How this odd mix of ideas and storytelling play out over the full run is something that I'm really curious about seeing develop. But there's also an experimental air to many of its moments that makes me think my initial uncertainty is as much unfamiliarity with what it's trying to do as anything else. There is, however, a pervading sense that the creative minds behind it are overly protective of this story, standing over you a lot of the time to make sure you 'get' it.
One throw-away line reveals that the Italian father is a German general which instantly changes all my expectations of what appears to be an otherwise idyllic rural Italian house at the close of the war. There's definitely an interesting story to unravel as you uncover more about the family's history and events prior to the accident. When the big scare finally came we were basically old friends and the slow, drawn out 'reveal' lacked punch.ĭespite all the questions I have about why any of Martha is Dead is like it is, I'm curious to see more. There's a brief teasing glimpse that feels initially portentous, followed by a longer more awkward encounter where it felt more like I was the one catching the spirit by surprise as it moved out of view with an almost embarrassed shuffle.
The one moment where there is an actual gameplay scare - a ghostly encounter on a dark forest path - is needlessly diluted by the ghost appearing multiple times before its final BOO.
These moments are disturbing but delivered in a separated, distanced way through surreal cutscene segues, leaving you removed as a passive observer. There's more meaning than menace as faces are peeled off and worn, or corpse babies crawl out of rotting bodies. The horror elements are somehow incredibly dark and symbolically grim without really being scary.
What I can't tell at the moment, based on a few hours playing, is just how well Martha is Dead's eclectic mix of ideas will ultimately gel.
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