Oh now that's what I call video games.
Mothmen 1966 was a great little piece, but I really struggled trying to discern its main goals. It filled some horror tones, it filled some character niches, but the actual mood and purpose of everything felt really vague. Its the first of a collection of stories and those ultimately struggle with some polish.
Varney Lake very quickly distinguishes itself on Vibes.
Jimmy, Christine, and Doug know their childhood is coming to an end. The death of Summer is fast approaching, the adult world of 1951 soon to force itself back into their lives. They watch clouds, they invent games, they try to ignore the unspoken tension and frustrations, and they try to make this summer together mean something.
And then they meet the Vampire.
What really sings about the relationship between the kids and the Vampire is how neither party can recognize how dangerous this is. Three kids alone with a bloodthirsty creature is alarming enough. But the Vampire is completely genuine in his desire for friendship. He plays their games, he tells them stories, he treats them as equals. Its the exact thing a kid wants at that age, to have an adult respect them while still engaging with them on a kid level. And in the Vampire's loneliness, he's eager to please these children. But his values are still that of a bloodsucker. His methods of "protecting" the kids ultimately does infinite more harm than good. There's no distinction made between the Friendly Neighborhood Vampire and the Bloodthirsty Creature. Its all genuine all the way down. And that makes it worse. That the Vampire never separates these parts of himself, that these facets coexist on a daily basis, all of it contributes to the ways childhood falls apart. But even worse is how he presents an option. To stunt childhood, to exist in this state of daily adventure, forever. All because he genuinely likes them.
There's a few broader quibbles. Varney Lake and Mothmen 1966 are intentionally connected to each other, with past characters popping in and out of the framing device. A lot of this works for me! Secondary characters in Mothmen who lacked a real arc get some fantastic personality work. Xantos The Goat Man was introduced at the tail end of Mothmen as a baby. His characterization in the 1980s sections as a bit of a dweeb trying to be a private detective is instantly endearing. But it still makes Mothmen 1966 required viewing and it makes these games much more of an interconnected narrative than advertised. I'm curious if the upcoming third entry will tie all the pieces together, but its hard to tell what its building to.
Still, what really sings for me is the gameplay. Everything is framed within these minigames, but each one feels important. Every Vacation segment allows you to decide how the kids will spend their day. Watch clouds and try to find shapes. Fishing minigame as you try to catch a special fish. Matchbox or solitaire puzzles designed by your friend. Dice game to compete with local kids for money. All of them are fun minigames on their own, but they excel with the how purposeful your decision is to play them. Your Summer can't last forever. Do you want to spend it on Doug's matchbox puzzles? Or fishing? You only have so many vacation segments and only so many goals you can check off on your Summer to do list? The sense of nostalgia, of waning childhood, all these little pieces form just quintessential Vibes. The vampire narrative is crucial, but its a symbol of the wider disruption of childhood. The adults have come to crash your summer.
Vibes. Gotta love 'em.
Mothmen 1966 was a great little piece, but I really struggled trying to discern its main goals. It filled some horror tones, it filled some character niches, but the actual mood and purpose of everything felt really vague. Its the first of a collection of stories and those ultimately struggle with some polish.
Varney Lake very quickly distinguishes itself on Vibes.
Jimmy, Christine, and Doug know their childhood is coming to an end. The death of Summer is fast approaching, the adult world of 1951 soon to force itself back into their lives. They watch clouds, they invent games, they try to ignore the unspoken tension and frustrations, and they try to make this summer together mean something.
And then they meet the Vampire.
What really sings about the relationship between the kids and the Vampire is how neither party can recognize how dangerous this is. Three kids alone with a bloodthirsty creature is alarming enough. But the Vampire is completely genuine in his desire for friendship. He plays their games, he tells them stories, he treats them as equals. Its the exact thing a kid wants at that age, to have an adult respect them while still engaging with them on a kid level. And in the Vampire's loneliness, he's eager to please these children. But his values are still that of a bloodsucker. His methods of "protecting" the kids ultimately does infinite more harm than good. There's no distinction made between the Friendly Neighborhood Vampire and the Bloodthirsty Creature. Its all genuine all the way down. And that makes it worse. That the Vampire never separates these parts of himself, that these facets coexist on a daily basis, all of it contributes to the ways childhood falls apart. But even worse is how he presents an option. To stunt childhood, to exist in this state of daily adventure, forever. All because he genuinely likes them.
There's a few broader quibbles. Varney Lake and Mothmen 1966 are intentionally connected to each other, with past characters popping in and out of the framing device. A lot of this works for me! Secondary characters in Mothmen who lacked a real arc get some fantastic personality work. Xantos The Goat Man was introduced at the tail end of Mothmen as a baby. His characterization in the 1980s sections as a bit of a dweeb trying to be a private detective is instantly endearing. But it still makes Mothmen 1966 required viewing and it makes these games much more of an interconnected narrative than advertised. I'm curious if the upcoming third entry will tie all the pieces together, but its hard to tell what its building to.
Still, what really sings for me is the gameplay. Everything is framed within these minigames, but each one feels important. Every Vacation segment allows you to decide how the kids will spend their day. Watch clouds and try to find shapes. Fishing minigame as you try to catch a special fish. Matchbox or solitaire puzzles designed by your friend. Dice game to compete with local kids for money. All of them are fun minigames on their own, but they excel with the how purposeful your decision is to play them. Your Summer can't last forever. Do you want to spend it on Doug's matchbox puzzles? Or fishing? You only have so many vacation segments and only so many goals you can check off on your Summer to do list? The sense of nostalgia, of waning childhood, all these little pieces form just quintessential Vibes. The vampire narrative is crucial, but its a symbol of the wider disruption of childhood. The adults have come to crash your summer.
Vibes. Gotta love 'em.