We even keep the collectibles, mostly cryptic messages or objects that someone left before they died. In addition, deaths punish little, since we keep all the objects that we have taken, the doors that we have opened and the situations that we have solved.
#Yomawari night alone review full
There are not many quick save points and we also have to pay for them with coins that we find on the ground, but luckily the town is full of them as soon as we look around the scenarios. Which translates into dozens of deaths, and in crossing that line a little more than it should. It is a line that is usually crossed when you have to repeat an area too much, and in this sense Yomawari sometimes sins of being a bit obtuse and not letting us see the correct way to advance. In horror games there is a fine line that separates our vision of monsters as something we fear and seeing them as a heaviness. Monsters will appear too fast, we will be ambushed by a great spirit or we will simply not see someone approaching us from the corner of our eye. Even if we are careful, we will often die. In any case you have to be careful, because we have a resistance bar to run that lasts much less when we are near a monster. In most cases we will resort to the second option there are a few monsters that only react if we run close to them, but in most cases they will be able to distinguish us with their eyes and will immediately chase us. The protagonist cannot fight against them, so we only have two ways of confronting the spirits: either we walk on tiptoe so that they do not hear us or we run to give them a slip. Those of you who know the work of the cartoonist Junji Ito will be able to find here a large part of his imagery, removing all the erotic load. The classic ghosts with long black hair and white dress are accompanied by spirits of pure darkness, monsters with open and bloody heads, giant babies, animals with anthropomorphic features. What little we can see of monsters and spirits lets us delve a little into the terrors that haunt the Japanese thanks to its extensive bestiary.
Each scenario is overcome by solving a puzzle that usually resorts to the idea of restoring peace to a spirit that has left some issue unresolved, although we will also have to face real beasts that will chase us tirelessly.
Each of the chapters into which the game is divided is set in a common place in a Japanese village: the rice fields, the mountains, the factory, the Shinto temple … In these places there is an especially powerful enemy that makes things difficult and tells us stories of the city, from an unfortunate accident in the school swimming pool to the slow death of the commercial fabric of the center. This scenario is one more protagonist of history. The game launches us to explore a rural town in Japan from an axonometric perspective, with a camera that moves away so that we feel tiny in front of the large scale of the town. Leaving the house, he realizes that the town is now full of spirits and that the only tool at his disposal is a simple flashlight. Her sister decides to go looking for Poro, but when a while passes and he does not return, the girl decides to go looking for them both. When a car runs over the dog and he escapes bloodied, she returns home crying, bringing only the leash with her. Yomawari: Night Alone begins with an everyday scene, a girl taking her dog Poro for a walk. It is interesting to immerse yourself in the works of terror from other countries to try to understand the tangible fear behind their monsters The game at hand allows us to carry out this exercise with the land of the rising sun. The same idea, the zombie, represents at different times and contexts the fear of loss of will or slavery, the fear of an uninformed mass with whom it is impossible to reason, or the fear of an epidemic that disrupts our world. Yomawari: Night Alone captures the idiosyncratic horror of Japan and adds an eerie soundscape.īeyond its biological facet, fear has a cultural condition what provokes fear varies between places and times.