While it’s now available on Steam VR, Wraith was initially released as an Oculus Quest game. More likely, it’s a consequence of hardware limitations. I suppose this is because you’re a ghost, although as I already mentioned Wraith’s representation of ghostliness is inconsistent at best. Speaking of keeping your hands occupied, Wraith is surprisingly sparse in terms of tangible interaction. Wraith’s writing and voice acting is perfectly functional, but it either needs a more dynamic approach to storytelling, or something to keep your hands occupied while these dialogue sequences take place. This would be less of a problem in a regular game, but in a VR game, standing around listening to people talk is no fun at all, as it simply reminds you of the sweaty box strapped to your face. Much of the narrative is delivered through spectral memories of the séance’s attendants, who stand around having conversations with one another while you stand around listening. The delivery of the story is somewhat wanting, however. To escape, you’ll need to unravel the mystery behind the séance itself, and the fate of those who took part in it.įrom a plot perspective, Wraith’s story is interesting, a spooky whodunit from the perspective of one of the victims. Awakening in your ghostly form, you discover that your soul is trapped in the Los Angeles mansion where the séance took place. In any case, the end result is that you’re killed. Putting you behind the lens of a photographer named Ed Miller, Wraith’s commences in the wake of the world’s worst séance (or best séance, depending on whether your criteria for a good séance involve how massively terrifying things get). In a way, it’s a credit to the developers Fast Travel Games that I didn’t think about this until after playing the game, although I still wish it made more of its protagonist’s spectral nature. Yes, you play as a ghost, but you can pick up stuff as you would normally, and (initially at least) walls are no more an obstacle to you as they would be to the living. Wraith: The Oblivion: Afterlife’s response to this challenge is basically to ignore it. They can walk through walls but can’t pick anything up, which if you’re making a game that involves a set progression path and touching things, is a bit of a challenge. When it comes to game design, ghosts have very inconvenient abilities and drawbacks. As demonstrated by the stunningly incompetent Murdered: Soul Suspect, making your game’s player character a ghost is always going to lead to trouble.
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