That means no unsightly mess in your corridors. On the one hand, a floor panel drops away and your enemies are swiftly conveyed to their deaths. Way less control than some blades flying out of the ceiling. Someone has to clean that boulder, and you know it's going to roll all the way down that hallway, leaving skidmarks from the poor chump it flattened as it goes. The boulder trap is kind of the same thing. Afterwards, all you need to do is have someone cart off the remains, wipe off the blades, and stuff them back into the ceiling. I mean granted, you could say that most traps have a risk that your security team will accidentally set one off, but consider these blade traps: someone triggers the giant blades and gets chopped good. At the end of the day, there's really only two exits from the pyramid, then you lose one killing that pesky hero, and how long until one of those nemes-loving guards gets bored and blunders into one? I understand the desire to protect the inside of their evil cult lair, but causing controlled cave-ins like this seems really counterproductive. They really don't like you, probably because you distract them from having to constantly watch their feet for tripwires and snakes and pressure plates and pits and so on, so you can expect to get your head cut off if you wind up getting in a fight with them. Regardless, most of the deaths you can experience in Egypt are caused by the countless traps within the pyramid maze: The very first evil twin came from Egypt, way before the curse was even cast, so this gypsy curse thing gets into a chicken/egg thing. That's why you'll spend a lot of the game looking at these gruesome death scenes and really struggling to give an answer when the game asks you, "play again?" Nevertheless, your uncle explains that you must because you need artifacts from the evil twins to be used when the time arrives to prevent the curse from being cast. Also, your dead uncle can communicate with you via crystal ball to help you out.Įach exhibit gives a little history saying how each of the four particularly bad evil twins was eventually stopped by his good twin, so it doesn't really seem like you need to be doing any of this. Then he died, and now you have to enter the bodies of the four good twins via the four waxwork exhibits and defeat each evil twin to save your twin brother from being evil. Eventually, your uncle built a waxworks cataloging the four worst times in history that this happened. In return, she cursed your family so that in every generation that had twins, one twin would be good, and the other evil. Long ago, your ancestor caught an old gypsy stealing one of his chickens and cut off one of her hands. In spite of the Waxworks name, there are no wax-related deaths in the game, rather your adventure takes place within the confines of a waxworks, sort of: It wasn't until their final outing as a developer that Horror Soft really got a handle on what kind of things your art department needs to turn out to creep out adults and scar young children for life. So then why was she in the logo for a game about an English kid who comes home to fight the devil? And why isn't she on the logo now?
A few too many cases of using a single picture of some dead-looking guy and drawing some minor effects on his face to illustrate that he had been bitten by a vampire, or decapitated by a deranged chef, or chewed on by giant ants.Ĭould that be why the Horror Soft tombstone logo is no longer graced by Elvira's digital likeness? It remained an integral part of the logo during the two previous titles, but those were both games that were explicitly about Elvira. The two Elvira-themed games that came immediately after were okay in that regard, but most of those deaths were a little too same-y. While I'm sure they had other virtues, their biggest improvement in my eyes was the greater abundance and detail in their death sequences.
After their success with Personal Nightmare, Horror Soft went on to develop several more first person horror games.