I’ve been watching a lot True Detective lately and I gotta say that show is outstanding. Not for its premise; it’s just a simple cop show with all the typical tropes sewn in for instant appeal and recognition. But what separates True Detective from the run of the mill police drama is the uncanny conflicts neatly layered into the plot. I’m cutting the show’s merits short, but there’re layers to its universe which are grounded in absolute nonsense, from pagan rituals to cosmic fears. It’s realistic in every facet, but the investigations the characters conduct always leave them with cryptic and clandestine results. How this show straddles the line between fact and fiction, realism and surrealism, and television diegesis and audience is what keeps this show grounded, while still managing to get under your skin.
Simogo’s Year Walk does what other spooky adventure games do. It has puzzles, monster closets, and an eerie setting that stays one step ahead of you. Like True Detective, what separates this game from the rest of its ilk is its tenuous grasp on reality, and its ability to transcend the realms around it. The Year Walk Companion is intrinsic to the game’s foundation and acts as a portal through which we, the players, can crawl through the worm holes linking the game’s fiction, the folklore that inspired it, and our own reality.
Like any adventure game, Year Walk entails a lot of wandering around to search for items or a plot point. Rather than any kind of hint system, the game offers the aforementioned companion app; a kind of travel guide for the player to navigate 19th century yuletide Sweden. It’s a short encyclopedia detailing some of the traditions and folkloric creatures involved in a divinatory Scandinavian ritual called Year Walk, or Årsgång. Reading these entries gives you shallow hints as to how to progress in the game –though it does so passively, informing you of the premodern mythos of Scandinavia first and foremost. The game is based on these ancient fears and customs, building an adventure out of an established lore. In doing so we not only experience the game’s story but learn about the culture that gave birth to it. I’d go as far as to call this approach educational.
Using real-world folklore or mythology to tell a story in a game isn’t uncommon, but it’s often done as a means to ground the story in an intuitive setting, like the sequels to God of War. Year Walk shows us the fears and practices of old Sweden, traditions that (I imagine) aren’t known to most people. Walking away from this game I learned about of the commonality of infanticide centuries ago, or how Scandinavian legend holds a monster called the Brook Horse, a creature serving a purpose not unlike the Ogopogo does in Canada.
The game’s ending is pretty bewildering and bleak. You don’t get much of a sense of what’s going on, just of what happened. Then, by some deus ex machina, the game flickers a message claiming that the story’s not over, and that what you saw doesn’t have to happen. You’re granted the passcode for a locked section of the Year Walk Companion. It opens the diary of Theodor Almsten, who was responsible for writing the entries in the encyclopedia. This is where the game reached its most chilling point, opening a tunnel between our world, old Sweden’s, and the game’s.
The journal chronicles Almsten months of researching the forgotten custom of the Year Walk, and while doing so experiencing some strange phenomena. Almsten was investigating a particular individual who may have been the last to perform the ritual, and ventured to his place of residence. Every event he learnt of is connected to a supernatural occurrence in the game, and every photograph he took during his exploration pertains to a setting in the game. As the journal goes on the folklore he studies bleeds into his dreams, and eventually begins to manifest in various aspects of his life.
Within the diary lies symbols, hints — a path carved out for the player if they just pay attention. Using these suggestions to perform certain actions in the actual game unlocks a less nebulous ending and a proper conclusion. Turning the game into a short investigation for the player is Year Walk‘s most enthralling aspect, melding fact and fiction into the real world, and forcing the player to endure Sweden’s most unearthly folklore and the game’s story in their own subjective reality.
There was the game, Scandinavian legend, and a brief mystery novel buried in a single cohesive experience. Reminds me of games I used to play as a kid, namely the Carmen Sandiego series. The structure of these overtly educational games wrote a story using real world devices, and then a solution that demanded your exploration of the given topic. In Year Walk, Simogo blends this overlooked adventure formula to create a verisimilar horror novella, straddling the line between our world and the realm of the paranormal.