Later on, you’ll get to explore an abandoned hospital. Little Nightmares 2 takes you to a creepy old boarding school, one that’ll ensure you’ll never look at school dinners the same way again. It’s a haunting place, desolate and derelict, and very reminiscent of Marc Caro and Jean-Pierre Jeunet’s The City of Lost Children – a film Tarsier Studios has previously cited as an influence.
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Old tenement buildings sway and bend in the wind, and interiors are full of creaking rotten wood and peeling wallpaper.
After the forest, you’ll arrive at the shores of a place called the “Pale City”. There’s a lot of variety in the environments when compared to the original game. Ominous sounds – rattling, scraping, murmuring – always appearing a room or two before any direct confrontation. I also love how often you hear danger before you see it. There are long lulls without much action, but these slow, wandering sequences are also great at setting the scene and building the atmosphere. There’s dread and eeriness in abundance, and I respect the extent to which Tarsier Studios has utilised quiet moments and even silence. While there are few out-right scares, Little Nightmares 2 understands tension. At one point, after defeating an enemy by luring them into an incinerator, she stops to rub her hands by the fire, menacingly. You’ll often find her leading the way, jumping across treacherous chasms and then beckoning for you to follow with a leap of faith – a neat reversal of the hand-holding, where suddenly you become reliant on Six pulling you to safety. While you’ll mount several rescues – and there’s even an Ico-esque hand-holding mechanic that allows you to drag her around – along the journey Six begins to feel like the tougher and more complex of the two characters. Not long into the game, you’ll join forces with Little Nightmares 2’s other character, “Six”, the tiny protagonist from the original game. Importantly, stealth and puzzles both feel naturalistic, and there’s often excellent pay-off and even a cathartic release at the end of particularly gruelling sections.
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This means there’s some trial and error involved, although I think in many ways you’ll want to fail, and even die, if only to get a closer look at the game’s fine animation work and all the gruesome detailing. Occasionally, the game also makes use of perspective shifts, with several chase scenes forcing you to sprint towards the camera, your pursuer looming large in the background.Ī lot of the time there’s only one way to bypass obstacles, and failing a stealth sequence is a common occurrence. You can clamber over things in the background or find secret areas hidden away in dark corners. You make your way from left to right as you would in a traditional 2D platformer, only here there’s also depth to the environments. L ittle Nightmares 2 offers a good mixture of platforming and problem-solving in a world that might be described as “2.5D”. In the woods you’ll find canvas bags bulging with body parts, while in the depths of a hunter’s cabin there’s a stuffed family sat round the dinner table, tumorous food spilling out from their plates and bowls. There’s a hazy, pensive mood throughout, and a real obsession with body horror and all things grotesque. While everything plays out from a pint-sized perspective, Little Nightmares is no child’s game.
Small hills are actually perilous cliffs, and the bear traps that litter the forest floor are big enough to swallow you whole. Lost in the woods at night, you awaken to a world filled with threat and menace. In Little Nightmares 2 you play a small child-like figure named “Mono”. READ MORE: ‘Nioh 2 – The Complete Edition’ review: as brutal as it’s always been, just shinier.Comprehension melts away, and fear follows closely to fill the gaps. Little Nightmares 2 poses the opposite idea: what happens when the scale increases? When we ourselves are shrunk down, and the regular world appears bigger? Suddenly we’re hit with the reversed effects: order and control is replaced with deeper layers of mystery and a heightened sense of vulnerability. The regular world is chaotic, and so by reducing its scale – as seen in things like museum dioramas – we can more easily understand and control things. In Simon Garfield’s In Miniature: How Small Things Illuminate the World, he argues that shrinking things down to size satisfies an innate desire for elucidation and mastery.
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