In practice, though, the inventory mechanics feel bolted-on at best, meshing awkwardly with Supermassive's long-established formula. Because we're constantly shifting characters, the game doesn't want to disorient us by having to track too many details across too many inventories. Pickups in the environment are primarily keys for use in the immediate vicinity through an extra button press, which is functionally just another way to visualize actions that have traditionally happened automatically in these games. If these new ideas accomplish anything, they suggest something potentially more experimental and fleshed out down the line for Supermassive. As is, they certainly don't ask us to consider which character we're playing or which tools they have for more than a few seconds.

Paired with this expansive setting is the series's first 360-degree camera system, as compared to the fixed and floating cameras in "Man of Medan" and "Little Hope." A flashlight has also been added, encouraging you to search dark corners for secrets or clues about the archaeologists whose hastily abandoned research sites and ominous journal entries you discover throughout the ruins. As you explore, the game gives you plenty of time to soak in its giant set pieces, which only get eerier as you descend. What starts out as a fairly straightforward monster movie plot that unfolds underground (think "Tremors" or "The Descent" but with vampires) ends up taking some wild turns. It definitely hits its stride in the second half, capturing the spirit of horror "B" movies beautifully, never crossing the line into ridiculousness and thereby detracting from the terrifying atmosphere and suspense.