Man, this game, “The Darkest Files,” it kind of sticks in your brain. You ever dive into something and think, “Why on earth does this exist?” but in a good way? That’s this game. It drops you smack in post-war Germany, strapping on the classy heels of Esther Katz, a prosecutor chasing down actual Nazis. Heavy stuff, right? But also, it’s got so many quirks, it makes you wonder how they pulled it off.
So, the storytelling – whoosh, raw and unflinching. Real cases from after WWII, like you’re stitching together horrors hidden by, you guessed it, more horrors. Voice acting’s got this punch that feels, oddly enough, respectful. They even hired German actors for the English version. Like, they didn’t have to, but they did. Cool.
The look, though, it’s got that graphic novel flair. Cel-shaded visuals. Imagine muted blues and yellows straight out of a political cartoon. It’s post-war chic, if that’s a thing. Doesn’t scream at you; it whispers the theme. Fits like an old record in your dad’s attic.
Oh, let me gripe about gameplay. It’s detective dramas 101, but not the “OBJECTION!” kind. More piecing together stories with old documents. Slower pace, not boring but, you know, deliberate.
But it’s short. So short it’s like, you blink, and credits roll. Two cases, about six hours, bam, done. You’re left wanting more. DLCs would be neat – more of Esther’s Nazi-bagging adventures, please.
The UI? A mess. Like, good luck finding those hidden pages. There’s a bookmark thing that’s supposed to help, but it just makes you want to chuck your mouse at the wall. Like, no thanks, game, I’m good.
Despite the clunk and glitches, you can’t bash it too much. There’s something special, rare. Makes you think more than most games today. It’s entertaining but educational, like, what does justice even mean, you know? Most games wouldn’t dare go there.
So, here’s the gist: it’s a must-play if you’re into games with a brain. Just brace yourself for the quirks and a runtime that feels like a tease. But yeah, totally worth a spin.
