Vampyr (video game)

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Vampyr
Single-player

Vampyr is an

Windows, and Xbox One on 5 June 2018, and for Nintendo Switch on 29 October 2019. The plot relates how Jonathan Reid, a doctor who has turned into a vampire, is torn between the Hippocratic Oath
and his newfound bloodthirsty nature.

While some

Dialogue options are used for conversation and hunting prey to feed on, which replenishes strength and levels up the lead character. Weapons and supernatural abilities are employed while combatting enemies. Set during the era of the Spanish flu, London serves as a fictionalised semi-open world
composed of four districts, amenable to destruction based on the player's actions. The game was first mentioned at a Focus Home event in January 2015.

The developers researched the setting by travelling to London and consulting history books and documentaries. The visuals were made with fictional and factual reference points in mind. Olivier Deriviere composed the original score and infused it with industrial music. The game was met with mixed reviews from critics, who praised the primary game mechanic, setting, character development, and voice acting, but criticised the combat, overall narrative, technical problems, aspects of the choice-based system, and animations. The game surpassed one million copies sold within ten months.

Gameplay

Vampyr is an

skill tree facilitates the improvement of abilities, which is fuelled by experience points[10] gained from blood and, alternatively, investigation.[11] Feeding on human blood provides nourishment in addition to unlocking new vampiric powers.[3] Abilities can be manually activated and passively upgraded. Active skills afford defensive, aggressive, healing, and tactical measures; passive skills increase health, stamina, the blood gauge and absorption, bite damage and regeneration, and carry capacity.[12]

It is possible to finish the game without killing citizens,[2] which best preserves Reid's cover as a doctor,[13] but leaves him nearly incapable of levelling up.[14] Killing no one unlocks one of four endings.[15] He can turn people into vampires,[16] and is only able to enter a house with an invitation.[17] Locals each have their different backgrounds, relationships, and routines. If killed, they impart their last thought.[18] The "Mesmerise" ability controls the behaviour of weaker targets, like coercing them into revealing information,[19] or guiding them to less conspicuous areas so as to feed without combat.[9] With crafted medicine, Reid can heal the injured and sick, who if eaten,[7][16] will yield more experience points as a result;[5] the rate of their affliction can be viewed using vampire senses,[20] which also detect blood.[21] Each of the four districts has a score based on the average health of its citizens.[22][23] Reid navigates London using a waypoint,[21] and collectible documents are scattered around the city.[24]

Reid engages in combat with his enemies, using supernatural abilities.

Reid can wield improvised

Boss fights are featured,[7] and in some cases mandatory.[28] Reid is adaptable to other vampire features, like the claws of a Vulkod.[26] Weapon improvement through crafting is made possible by looting items. While using vampiric powers in combat, the character's blood bar drains. This forces him to feed so he can immediately replenish his strength.[3][21] With the vitality attained from killing a human being, he can boil the blood of his enemies, cast blood spears,[29] throw mist bombs, and turn invisible.[6] He uses his control of shadows to hide himself and strike at his opponents.[26] He can use "Spring" to scale locations and charge rapidly across gaps,[2][9] which is also useful for avoiding combat.[30]

Plot

Doctor Jonathan Reid, returning to London from the

Great War in 1918, awakes in a mass grave
as a vampire. Overwhelmed with bloodlust, he inadvertently kills his sister Mary, who was searching for his body nearby. Jonathan takes shelter from vampire hunters in an abandoned house and starts hearing the disembodied voice of his maker, a typical feature in the progeny of vampires. Realising London is profuse with corpses, he follows a blood trail to a bar. The bartender points Jonathan to William Bishop, a suspicious patron. Bishop is caught feeding on a man named Sean Hampton and is killed by the vampire Lady Ashbury. Doctor Edgar Swansea rescues Hampton and hires Jonathan to practice medicine at Pembroke Hospital.

After the room of patient Harriet Jones is found covered in blood and Hampton disappears, Jonathan tracks him down for questioning. Hampton insists he did not murder Jones and directs him to an underground haven for corrupted vampires known as Skals, where it is revealed that Jones faked her death. Jonathan later discovers a corpse in the street bearing his mother's brooch. He pursues the perpetrator towards the cemetery in Whitechapel and finds his sister Mary with their mother Emelyne, realising Mary was turned into a vampire the night he fed on her. Mary is intent on killing him to rid herself of his voice, but dies trying. Jonathan vows to uncover what is behind the Skal epidemic, which he learns has been mistaken for the Spanish flu.

Lady Ashbury invites Jonathan to the

Morrigan, also known as the "Red Queen", after she possessed Jones to wreak havoc upon London. Jonathan defeats Morrigan in battle, resolving then to travel after Lady Ashbury to her family castle, where she hid with her maker William Marshal, 1st Earl of Pembroke. Now a ravenous vampire, Marshal explains to Jonathan that when he fought the previous Disaster that caused the Black Plague (and the Great Fire of London
that was caused by him), he succumbed to the blood of hate and hurt Ashbury. After discovering a cure for it and using it on Ashbury, he chose to live in his castle to hold back his dark thirst and as an atonement. Marshal then asks Ashbury to end his life, which she complies.

The ending then differs on the amount of civilians that were embraced, with Jonathan's eyes either gradually changing to red with or remaining human: If Jonathan embraced less than five civilians, Jonathan will succeed in talking Ashbury out of killing herself and vows to find a cure for the blood of hate, with the two either traveling across the world and visiting America or locking themselves up in Ashbury's Estate with Old Bridget standing guard for them. Myrddin will be proud of Jonathan and either wish him peace or luck on his new quest. If Jonathan embraced between five and nine civilians or more than ten, Ashbury will incinerate herself; if Jonathan embraced less than ten civilians, he will declare his love for her and will never get over Ashbury's death, but otherwise won't be affected by her death and will become a monster with no sympathy for humanity that kills indiscriminately. Myrddin will then express pity towards Jonathan for having lost his way or disapproval over his fallen champion.

Development

Development began with a team of sixty people, later expanded to around eighty, many of whom worked on

1950s America,[34] but after narrative director Stéphane Beauverger joined the project,[32] it was discarded to inspire a more gothic mood with focus on the 1918 Spanish flu pandemic, set in London. The paintings of Phil Hale influenced the art style, also for the purpose of atmosphere.[1] Dontnod researched the setting by visiting London and taking photographs,[5] but since the city had been largely rebuilt, history books and documentaries concerning Whitechapel, the London Docks, and the Isle of Dogs were also consulted.[29] The literary sources Liquid History: The Thames Through Time and The Book of Facial Expressions: Babies to Teens provided geographical and anthropological insight, respectively,[35] while the television series Casualty 1900s and The Knick were turned to for medical information.[27] Anthony Howell was hired to voice Jonathan Reid.[36] The characters and dialogue were scripted by two French writers and translated into English by two native speakers. Dontnod decided on the British accent, though the marketing department wanted more.[37] The period was studied using both factual and fictional reference points[b] to create the visuals, realised with photorealistic lighting,[38] and post-processes running on the Unreal Engine 4.[4][1] Motion capture was used to track character movement.[39] In August 2016, the major obstacles in developing the Xbox One version had been overcome with the assurance that there would be no downgrades despite its hardware disadvantages.[40] The game has one save slot, a decision Dontnod made for in-game choices to have "real, meaningful impact"; to avoid corrupted saves, they implemented backup systems.[41]

Adhering to either Reid's

released to manufacturing in May 2018.[46]

Release

The game was officially announced at

Windows, and Xbox One).[39][50] Those who pre-ordered the game gained access to bonus downloadable content called "The Hunters Heirlooms", which contained exclusive in-game cosmetics.[51][52] If pre-ordered through select retailers in Europe and Australia, a phonograph record of the soundtrack was included.[53]

In May 2018, Dontnod confirmed that Vampyr would not be using

Denuvo Anti-Tamper, a technology criticised for damaging computer performance.[54] A launch trailer came out the following month, leading up to the release.[55] Two new difficulties, Story and Hard mode, launched on 26 September 2018.[56] Vampyr was added to Xbox Game Pass, a subscription-based service for Xbox One games, on 28 March 2019.[57] A Nintendo Switch version developed by Saber Interactive was released on 29 October 2019.[58][59]

Reception

Vampyr received "mixed or average reviews", according to review aggregator

Game Revolution enjoyed the atmosphere, each district's distinct look, and aspects of the combat.[66] Writing for GameSpot, Justin Clark was impressed with the effect of decisions and how this tied into the core gameplay, calling it "empowering". He also commended the "enthralling" characterisations, "exquisite" setting, and "captivating" voice acting.[67] GamesRadar+'s Leon Hurley, like Schaefer, found the mechanic of testing Reid's morality compelling, calling the characters well-realised and integral. Also approved of was the "atmospheric victorian London setting".[68] Brandin Tyrrel, writing for IGN, termed Vampyr "a fresh and genuine take" on vampire mythology. He was generally satisfied with how choices turned out and said the recreation of London as a "gloomy, somber city" was bolstered by authentic characters, whose writing and performances he also enjoyed. Tyrrel welcomed the story and enjoyed the citizen mechanics,[69] something Andy Kelly at PC Gamer also appreciated, hoping that more video games would follow suit. He called the dialogue-driven storytelling "compelling" and the setting "atmospheric".[70] Alice Bell of VideoGamer.com wrote, "Vampyr serves delicious ladles of angst and drama with a hearty slice of excellent, morally grey choice system that will genuinely surprise you, all wrapped up in a wonderfully gloomy London".[71]

Conversely, Mersereau scolded the overall narrative for its "threadbare" contribution. He called the combat "a low-grade Witcher knockoff", complaining about its lack of precision and "sloppy" mechanics. Lengthy loading screens and constant hangs were also cited as a source of annoyance.[64] Schaefer lambasted the animations for being "a little wonky" and the unpolished nature of the game.[65] To Utley, Vampyr failed to impress, in particular its character development and impact of choice. He also had technical problems (low resolution, "choppy" performance, and lengthy loading times).[66] Already frustrated with the combat, Clark said frame rate drops and frequent loading screens worsened the experience. He found that the narrative became weaker in the final chapters.[67] Hurley viewed the combat as "functional at best"; "solid if uninventive", and chastised how small decisions led to big mistakes, which he felt forfeited responsibility for one's actions.[68] Tyrrel cited lip syncing as a primary concern of the animation, criticised the lack of variety in combat, and experienced the same technical difficulties as Mersereau, Utley, and Clark, albeit noting that they amounted to minor annoyances.[69] Kelly disliked the "dull, repetitive" combat sequences and, despite noting a variety of fighting styles, saw this ultimately as a "tiresome" distraction.[70] Agreeing with many others on the combat, Bell described it as continuously turning "sour".[71]

Sales and accolades

Focus Home Interactive stated that Vampyr would be considered successful if it sold one million copies, although half would turn a profit.

€10.5 million increase from the previous fiscal year.[78][79]

At

GamesBeat's Unreal Underdog award[81] and Game Critics Awards' Best RPG award.[82][83] It was later nominated for the Best Console Game, Best Screenplay, and Best Soundtrack awards at the 2018 Ping Awards,[84] and for "Best Role-Playing Game" at the Titanium Awards,[85] and won the "Game, Original Role Playing" award at the NAVGTR Awards, whereas its other nominations were for the "Original Dramatic Score, New IP" and "Use of Sound, New IP" awards.[86][87]

Legacy

In August 2018, it was announced that the television production company

optioned Vampyr as a series, with Wonderland Sound and Vision and DJ2 Entertainment also attached to the project. McG, founder of Wonderland Sound and Vision, is set to direct and will serve as executive producer with Mary Viola, Corey Marsh, Dmitri Johnson, Stephan Bugaj.[88]

Dontnod Entertainment and Focus Home Interactive have announced to have renewed their partnership for a new game in April 2019, with Dontnod stating Vampyr is a "great success".[89] It was revealed to be Banishers: Ghosts of New Eden in 2022.[90]

Notes

  1. ^ Switch version ported by Saber Interactive.
  2. ^ As such, the game world has been described as a uchronia.[27]

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External links

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