Masters of Creepy Babies: Visceral Games
While playing through Dante’s Inferno I encountered an enemy that was pretty unexpected. Almost as unexpected as an achievement that popped up moments later, it was an achievement entitled “Bad Nanny” that I earned when I killed 20 unbaptized babies. Read that again, I killed 20 unbaptized babies. Yeah, that’s how I felt when I first saw the infant toddle towards me. Now, before you think that I knocked that baby over, curb stomped it then proceeded to high five the devil and shotgun beers with him, I must describe this “baby”. First of all, it crawled out of what I would describe as a crib, made of fire and brimstone. It’s arms were blades not unlike the blades sticking out of Mortal Kombat‘s Baraka. It’s eyes were blank and dull, the umbilical cord and stomach hanging out. The way it walked was very similar to a baby, and as I was still in limbo I wasn’t sure what to do. Until it hit me. Then I knew it must die. Before long, I was swarmed by these fast moving hell spawns.
It was one of the creepier experiences of my gaming career, surpassing the lurker from Dead Space. Which, as crazy as it sounds, EA and Visceral developed, and it also had a baby enemy. Given, this one also was not helpless by any means, after being infected by the alien virus it turns into a being that can climb walls and has 3 tentacles protruding from the back amongst the many other physical manifestations of the infection. (see below for picture)
Do I condemn Visceral for including baby enemies in these titles? Hell no! These are both mature titles, which anyone playing should be able to handle. Both titles are disturbing, with me giving the nod to Dante’s Inferno for having some of the craziest, most demented and disturbing enemies. I applaud Visceral for continuing to push the envelope by developing new and creative situations for the gamers to experience. Also, there is a featurette on Dante’s Inferno on what lengths Visceral Games went to successfully create a very life-like toddler walk. The executive producer, Jonathan Knight, motion captured his own son and used that as the animation. Hats off for the dedication!