Unfortunately, it’s actually a drawn-out multiverse adventure with pacing as lethargic as I am.
Though it does this peripatetically, with an original cast of characters facing an original set of circumstances.
So layers of interdimensional sorcery are somehow responsible for this circuitous plot.
In that sense, Frank Stone is the most cinematic of all Supermassive’s interactive horror games.
When it does, your input feels insignificant.
In either case, your contribution to your character’s trajectory feels minimal.
The rest of the game’s interactive aspects feel similarly inconsequential.
You sometimes have to manually balance characters on three-foot wide pieces of plywood for no reason.
But none of it matters.
Be consoling or confrontational?)
seem unrelated to their final outcome.
Even the game’s brand-new passive combat system lacks pressure.
Many characters desperately clutch an enchanted Super 8 camera like it’s a balloon about to pop.
It might as well be.
But the game’s stakes are often either too low or too obscure.
In combat, Frank approaches you from far away and barely moves.
He’s more a swaying Halloween decoration than an imminent threat.
Out of combat, death happens too suddenly to feel like aconsequence.
Unwelcome, but too abrupt to contemplate.
Adjustable skill check timeout and combat timer.
Customizable font style and subtitle formatting, including ability to show speaker’s name.
The game doesn’t rely on any preexisting DbD lore, so it should be intelligible to any player.
And Frank Stone has great music and oppressive sound design.
It might not always be pleasant, but the important thing is that it’s yours.
A copy of The Casting of Frank Stone was provided for review by Behaviour Interactive.
