![]() And the violence here, that’s accentuated by commanding, sharp angles with a splash of bloodshed, emboldening a static, turn-based system. Darkest Dungeon’s world is vicious and uncaring, much like a world of profit above all. The aesthetics fit too, with crushing black shadows and ever dimming light paired with heavy line art. Stopping evil is a means to extract profit, not silence pure malevolence. It’s clever, less a broad theme of heroism and bravery as in most RPGs (a hero wanders into a town to save it), rather desperation with the potential for greed. In horror fantasy, there’s no greater statement of capitalism’s grossest parts than Darkest Dungeon. The map screen shows the castle (now in disrepair), built on a hill but overlooking a feeble wooden pub and a rotting shack (among others) – trickle down economics visualized, literally. The poor? Enthralled by his scraps and risking death for a chance to hold them. The rich man? Bored of his extravagant possessions. In adventurers go, not only fearful of death but in some cases expecting it, all for a chance to collect gold, the occasional treasure, and moldy books. ![]() Sprawled along the basement on rotting concrete floors lie potential riches. That man, after loosing an untold number of ghouls, begs people not to venture to his castle. Standing in his castle’s bedroom, a nude woman barely covered in his bed and a sizable fireplace crackling, he decides to unleash the spawns of hell to inject excitement into his life. ![]() ![]() A wealthy and opulent man grows tired of his privilege as Darkest Dungeon opens. ![]()
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