Scorn's Gross Setting Looks Incredible, But I Wish The Story Had A More Straightforward Setup
Scorn's entire intent seems to be to disgust, disturb, and unnerve the player with its terrifying imagery of fleshy hallways and unsettling biomechanical monstrosities. And to that benchmark, the game seems to very much succeed--this is a game that I and my normally fairly strong gag reflex have struggled to look at from the earliest trailer. It's a gross-looking game that delights in its grossness.
Developer Ebb Software says that it pulled from the works of Swiss artist H. R. Giger and Polish painter, photographer, and sculptor Zdzisław Beksiński when constructing its part flesh, part machine world--injecting Giger's biomechanical art style into Beksiński's dystopian surrealism. Composers Billain Aethek and Brian Williams created Scorn's soundtrack, which is really the only thing you'll be hearing throughout your runtime as Scorn has no dialogue to (not) speak of. Instead, the entire narrative is told through the game's environment.
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Now Playing: Scorn Preview — Beautiful, Disturbing, And A Bit Directionless
In Scorn, you play as an unnamed person who has become isolated in an unnerving place where viscous-looking living tissue and twisted mechanical contraptions have been combined in an uncanny relationship that seems symbiotic in nature. There are some moments of first-person shooting and elements of horror in Scorn, but the game is more focused on puzzle-solving and exploration, not action or scares.
Scorn has an incredible visual style--this game has been immediately recognizable to me since its original
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