Compared to Supermassive’s tent-pole releases, each Dark Pictures instalment represents both an experiment and an exercise in economy, its boundaries defined by budget limitations and the creative ways the Guildford-based studio comes up with to camouflage them. Thus, only a few months after their triumphant return to form with The Quarry, The Devil in Me arrives with less fanfare, a downsized cast of playable characters, and disappointingly lacklustre writing to pay homage to a different sub-genre: true crime.
Documentaries based on real-life serial killers are a dime a dozen nowadays, so Charlie Lonnit’s production company – unbeknownst to his bickering crew – is barely keeping afloat. No surprise, then, that the manipulative director jumps at a last-moment opportunity: filming an episode on H.H. Holmes and his infamous Murder Castle (as…
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Wireframe (Digital) - 1 Issue, #70