From childhood fear to adult frustration.
QUEST LOG #5: NIGHTMARE CREATURES
Getting the PlayStation into my home was life changing. Lego, a train set, some drawing materials, and a few other odd toys made up the bulk of my entertainment catalogue around that time. The console’s arrival changed so much in this regard. And while Lego kept its moulded plastic hooks in me for years after, everything else took a back seat. Lara Croft and Crash Bandicoot were some of the earliest guests invited into our lives therein, and the cast of wild animals, murderous thieves, war machines, fast cars, oddballs, sports personalities, robots, heroes, and villains only grew. Our virtual comrades were few in number to start however and remained few in number for quite some time. We received visitors, they came in groups, and infiltrated us through the medium of magazine demo discs. Changing the metaphor rather abruptly, magazines were akin to lush islands – a source of nourishment on the long voyage home. Home being an actual proper full-on game. Demos kept us going, and it was through these much-needed rations that I managed to experience so many games – albeit in a very brief and often shallow manner. Many of the games were forgettable, but there is one in particular that sticks in my mind, and one that I thought I’d never buy for the fear I had of exploring beyond what the demo had to offer. That game was Nightmare Creatures.
My younger self wrote this title off as likely to scare me – I did very much enjoy what I played of the demo, however I felt like nothing too bad could happen within the confines of a piece of promotional material. Not sure if that was sound logic – but I was 8 then. I’m not 8 now, and as well having enough money to buy the game, I’m slightly less of a wimp than I was then… slightly. So, with that decided, I ventured onto everybody’s favourite website for buying overpriced used games and I tapped in the title, finding that the cheapest I could grab it for was about £20. While browsing I became incredibly thankful that it wasn’t the sequel I was looking for as that reaches into the hundreds of pounds. We’ll stick with what we know, shall we? 20 quid later and a few days of waiting and my new copy of the game arrives. Now I’ve got to play it…
Like I say, I did explore the demo, but not completely, so starting the game fresh 25 years later with the expectation upon myself to go beyond that first area… well it’s certainly a challenge. Starting the game up evokes strong memories. Booting up a PS1 always does, the sound effects of the logo screens are burned into my mind, just as they are burned into the mind of so many my age. The intro to the game sees Activision blast onto the screen followed by that of Kalisto, the games’ developer being revealed behind a front page of the illustrated newspaper the Daily London, which is torn off the screen by a clawed hand, possibly hinting that the game contains some nightmarish creatures! There after we get the games introductory cinematic. We see Adam Crowley working alone in his candle lit lab. He’s up to no good in the neighbourhood and utilising the lost diary of Samuel Pepys which details the detestable rituals of the Brotherhood of Hecate. Ol’ Crowley then gets to work using black magic to unleash a demonic brood onto the unsuspecting streets of London. According to the voice over, if no one stops this, the city will be consumed by aforementioned nightmare creatures… Sounds troublesome, and as the title spins in, we get a howling sound effect to really drive home the point.
After a brief loading screen, we’re in the game and we have the usual options, start, load, passwords, and options. We also see in the background our two playable heroes, just chilling there, waiting for us to do something. One thing you might want to do, and something I didn’t realise initially is that the difficulty is set to hard by default. This might suit some, but it’s a challenging game already… the only other option is easy however, there is no middle ground and as I found out, both are pretty hard. Anyway, after perusing the options, we head back the title screen and start out new game. We are then given the option to pick our character. These are either Ignatius Blackward, the staff wielding a priest and occult expert, or Nadia Franciscus, the sword wielding daughter of an American doctor and immunologist. I played as Ignatius in the demo, so I went for him again this time around, feeling some vague familiarity with his character. After selecting our bloke, we get a loading screen detailing our general objective – find the door to the workshop, with a hint that we might find some clue to the Brotherhood there. The image is static save for an animated portrait of Crowley in the corner… this shows the game is loading, although it looks as though he’s just dancing to a bit of techno. A moment later, we get a blood dripping down the screen screen-wipe, and we’re in the game. This square we find ourselves in is what the demo showed of the game, and playing it again, I was drawn back in an instant, however whatever fear there might have been in playing it as a child was just as quickly replaced with an annoyance. It’s ReBoot all over again… the controls in that game were bloody awful, they aren’t as bad here, but still, it’s a bit fiddly. Le sigh. Still, can’t give up immediately. Into the fray! There is a shambling zombie chap just a few meters away, let’s bash him up and see what happens. A few quick steps and a swing of the staff sees to it that the formerly undead is now fully dead via the tried-and-true method of slicing in half. His torso shoots off and he’s now double dead.
After dealing with our first enemy, we find that the area is pretty quiet, only our footsteps and the slow melodic beat of the music and the subtle atmospheric sounds audible. This is fantastic by the way. There is little on offer sound-wise (at least initially), but a little can go a long way, and the overall tone of the game, conjured by the dark aesthetics, the gothic design, and the aforementioned music and sound effects combine to create an unmistakable feeling, and one that has persisted within my mind for years. That being said, it has taken me many years to give this game a proper go, but in atmosphere, it hasn’t aged a day. Frédéric Motte is the man behind the soundtrack, and it is sublime, evoking everything this game touches upon. It is Ripper-esque in tone and brings to mind the foggy Victorian streets of London with just a few simple chords. As Super Hans might have put it in Peep Show – ‘He’s created a powerful sense of dread.’ A sample of the first track can be heard below…
So, we’ve got a fantastic soundtrack, how about the environment itself? Well, the first level sees us in Chelsea, and while you won’t find any chavvy folk wandering about, you will find that the warehouses, gardens, cobbled alleyways, cemeteries, and houses are very well realised. The game is old now, but for an early 3D title, it holds up pretty well. The lines are jagged, and the texture resolution is low, but if you can see past that, you’re in for a treat. What you won’t see past however is the incredibly short view distance, concealed beyond the inky black is likely the limitations of the time period, but despite this being a technical shortcoming, it only adds to the experience, making every area you visit that bit more unknowable. In exploring this initial part of the level, and after dispatching your first enemy, you might be forgiven for thinking you’re in some horror version of Crash Bandicoot as you spend quite some time smashing up crates. This is no simple pastime however, hidden within are the game’s pickups, and pick them up you must! Pistol ammo, health potions, spells, bombs… there are many different options in terms of additional items or alternative weapons in the game, and it is imperative that you hoard these and use them strategically, especially if playing on the hard difficulty. The starting area has a pretty good haul of these items, and after checking them out, you’ll find yourself edging towards the large gates opposite the manor house.
To the right of these gates, there is a small door, and if you step too close, the camera will lock onto it, and bursting through splintered wood will be your first proper challenge, and most likely in the revealing of this Werewolf, you’ll experience your first heart attack and your first little bit of rage (if you’re rubbish with your timings). These creatures aren’t insanely difficult, but getting to grips with the controls, they can give you a bit of trouble. The combat system, while looking rather basic on the surface, is actually rather involved. Your character can kick, dodge, block, or strike, and as well as these options, there is a combo system, which allows you to perform a myriad of complex moves and strikes. Enemies will be able to block too, so learning your timings, dodging, and striking are all important. Getting a hold of the controls is imperative, not only because the enemies will be a challenge and take a good deal of your health with each hit, but your adrenaline meter will also continuously deteriorate so long as you are playing, illustrating the effects of the virus on your body as it infects your bloodstream. Killing enemies will restore some of this bar, so keep on swinging. Some of these combos are simple two button presses, but others, such as Divide and Conquer require five presses, two of which need to be pressed at the same time and there are over twenty of these combos to master.
You might not need to lean of all of the available moves, however. As I mentioned, there are numerous pickups, and many of these count as secondary weapons. The first of these you are likely to find is the Gun, which deals considerable damage to a single opponent. Proximity Mines damage any monsters that get too close, Smoke keeps enemies at bay, Freeze does exactly what you imagine it would, Dynamite both damages and knocks down enemies, Flash blinds, Firebombs burn enemies for a while before turning them into ash piles, the Berzerker hacks opponents into pieces (for a short time), Chaos turned enemies against each other, and lastly, my favourite, the Multi-Gun, which has your hero do some Matrix style move, shooting anything in an arc ahead of you. You’ll also pick up Heart items which bestow additional lives. There are Healing, and Super-Healing orbs too which… well they heal, obviously. So, as you can see, you are, or at least can be, very well equipped, both with skills and items. Seems as though any failure is on you, or in this case, as I’m the one playing, me. And quite the failure I am.
Perhaps deep down I never pushed for a full copy of this game when I was younger, knowing that it was just too difficult. Years later and having been a keyboard and mouse person for quite some time, I found it just as difficult. After pressing a button and fighting a few more zombies, I hoovered up all the items I could find and proceeded through the now open gates, blowing through the next set and into the cemetery. I found myself haemorrhaging health with my poor timing and relying heavily on the few bullets I found for the pistol. When I did manage to down an enemy however, it was rather satisfying. Landing a hit gives good feedback with sound effects. Punchy with a wet bloody kind of squelch. Good stuff. Onwards then through some narrow corridors and low ceiling places, and its here that the quite restrictive camera reveals its shortcomings. Another thing to try and overlook… This game sure could do with a modern remake.
After battling through the graveyard, we find a door, and all of a sudden, the first level is over. Congratulations - the games say. Here you get a percentage rating on the monsters you’ve killed, the items you found, and a readout of the time it took to complete the level. Save and continue… Next loading screen as we get another update: The warehouse is deserted, but a note pinned to the door tells of a secret meeting in Spitalfield… not that secret then but let’s crack on regardless. The next stage is more built up, and we find ourselves travelling down a narrower set of spaces. Here we have our first encounter with one of Pepys’ monsters, and what a treat they are. I was on my back more than an era appropriate hooker, and becoming just as annoyed at how pushy my client was. My client in this situation being the aforementioned monster, which is some random assortment of various mutilated citizens. Horrid thing, and the best way I found of dealing with it was to manoeuvre it into a corner and just keep on bashing until it was dead. Unfortunately, there seems to be an ample supply of these bastards, so get used to fighting them. You’ll also encounter the first Docker in the game, which is apparently the strongest in the game. Big, blue, and rather irritating to fight. Not getting hit is essential here. The difficulty seems to spike with this second level, and you’ll likely be struggling when having to deal with multiple threats, especially with the games rather unpredictable lock on system. Seeing the odd zombie shuffling about feels like essential downtime. Towards the end of the level, you’ll see Crowley having a good old chuckle to himself as he pegs it through a squeaky gate. Bash a few more monsters and give chase. End of the level – SAVE THE GAME.
Phew, glad we’re safe… Oh wait, we’re not. A five headed fire breathing sewer snake greets us. Some classic boss level antics are about to ensue. You’ll see a bunch of pillars around the room, and it’s your job to wreck them (while avoiding the fire). Once they are dealt with, masonry will fall from the ceiling, and the snake will get quite cross. As it lurches towards you with hunger in its low poly eyes, give it a whack. Sounds easier than it is, but eventually you’ll knock off enough of its health and it’ll go all floppy and dead. Save the game again and continue your journey through the Themes Tunnel. This is the most cramped level yet, and unfortunately highlights the lesser aspects of the game’s design. Despite this, the level is visually enjoyable, despite the rather samey aesthetics. Don’t worry through, getting through this level will reward you with some well-earned fresh air, leading you to the India Docks. More tentacles aquatic monsters here, as within the tunnels, and more of the regular creatures too, these often being accompanied by Harpies. The game introduces these various enemies through the game at a decent pace, and while there certainly are some you’ll dread to see, there is good variety here. Spider Demons, the Faceless Men, Gargoyles, Hell Hounds, Giant Rats, Thames Monsters, Roaches, Demons, and the aforementioned Dockers, Pepys’ Monsters, Werewolves, and Zombies… quite the roster of things to kill, and there are of course the bosses. The Sewer Snake, the Snowman, Jose Manuel, and of course Adam Crowley.
As you continue to explore London, you’ll find yourself moving through the snowy Highgate Cemetery, London Zoo, the interiors of churches, caverns, dense and claustrophobic city streets, riverside embankments and ruined dungeons, culminating in a rather visually impressive showdown with Crowley on the rooftop of Westminster Abbey, engulfed in flames. The game end there with Crowley dead and someone laughing as they pick up his head… Suppose that’s a cliff-hanger for the second instalment, or perhaps it’s your character just really finding the whole thing to be a good laugh. Either way, the credits roll then to the Sewer Snake theme, a joyously over the top heavy metal track.
It’s clear to see some inspiration in Nightmare Creatures for games such as Demon’s Souls and the like in this title. The combat is slow and considered, there is depth and darkness, and it’s bloody difficult. The game isn’t as much focused on horror as I had suspected all these years, but perhaps it is just that little bit too old to really retain it’s scariness, the first sudden appearance of a Werewolf being the only bit that put me on edge. Having said that, what has survived over the course of the years, as I mentioned earlier, is the atmosphere. It’s hands down the best aspect of the game, in combination with the music, and it is somewhat of a shame that it’s trapped within such a mechanically frustrating title. There are clear signs of love here though, the animations a fluid, and little details like when shooting an enemy, their head will pop... There is a bucketful of character and charm here, but if a game was ever deserving of a remake, it’s definitely Nightmare Creatures. The developer became bankrupt in the early 2000’s so it seems unkey, however, if Activision managed to get the rights, who knows? The demo bestowed a lifetime of memories from the shortest of experiences, and having only managed to play the full game as an adult, I don’t know if I fully enjoyed the experience or not. It has blown the fog away from the old memories I had from all those years ago. No longer is it an unknown… Like I say, the game has its charms, but perhaps I should have let the memories rest rest? I’m not sure. If it looks like the game for you though, and in the full expectation of no remakes coming to fix what age has made bad about the game, you can torture yourself with the PlayStation 1 version. If combo games and survival horror are your thing, I’m sure there is plenty of mileage in this old title. For me, I reckon I’d get more out of watching someone else play it just to experience the world and atmosphere.
My heart sank a little upon realising this was a combo game… I knew from then that I’d never master it. I’m pretty useless at any game that requires me to remember more than a couple of buttons… Hence my lack of Tekken championship titles. Regardless, I did have some fun returning to this game, and despite the lack of mystery hanging over the game for me now, it was interesting to finally see beyond the demo. Have you ever played Nightmare Creatures? If so, what did you think? If you’re looking for more to read, why not check out some of my previous ‘Thoughts On’ posts?
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