The Dark Pictures Anthology: Little Hope, Analysis

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We delve into the new Supermassive, an imperfect playable coven but well-cooked scares. “Witchcraft is the sauce that idiots pour on failure to hide the taste of their incompetence”, from Clash of Kings (1998), George R. R. Martin

Whoever has played the previous Man of Medan already has an idea. But who does not know what the Dark Pictures Anthology is about, a brief summary: With Supermassive creating and developing and Bandai Namco producing and distributing, Dark Pictures is basically the translation of the concept of Tales from the Crypt or the (failed) Dark Universe of the Universal: different stories born from a gallery of paintings that a mysterious character, that curator of stories who is going to learn so much from us, discovers us.

From the sea to the mountains, from Medan to Little Hope

Each painting is a game, a title with a strong narrative load that, like each season of the American Horror Story series, will change the era, setting, characters, plot and sub-genre of terror in each installment. Last year we saw this ambitious anthology debut with Man of Medan, a title that took the concept of horror to the sea against a backdrop of ghost ships. This year, it’s time to change the scene, this year Supermassive has decided to change the sea for the mountains.

Like the previous one, the study wants to start from real events to build its own story. And Little Hope is part of the infamous Salem Trials, those in which a wave of Catholic-religious puritanism led many to their deaths on charges of witchcraft. The trials were real; real and unjust torture and death; and that’s the base that Supermassive uses for its new title in its dark anthology.


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