Dance of Death

Dance of Death is a 1st-person adventure game developed by Eight Game Studio, primarily featuring hidden object gameplay. Released in 2015, the provided text indicates that a specific premise or setting description for this title is currently wanted and not available.

Dance of Death: Du Lac & Fey: A Retrospective Review

In the annals of interactive storytelling, few periods captivate the imagination quite like the gaslit alleys of Victorian London, especially when stalked by an infamous terror. Fewer still dare to infuse such a setting with the ancient magic of Arthurian legend. “Dance of Death: Du Lac & Fey,” released in 2019, is one such ambitious title that attempts this audacious blend. As a game historian, I’ve seen countless games strive for narrative grandeur, but Salix Games’ debut point-and-click adventure stands as a testament to both the heights of creative vision and the pitfalls of execution. This review will delve into the intricate layers of “Du Lac & Fey,” exploring its origins, its compelling narrative, its mechanical foibles, its atmospheric triumphs, and ultimately, its complicated legacy. While an earlier, unrelated hidden object game also bore the title “Dance of Death” in 2015, this exhaustive analysis focuses on the distinct and more narratively ambitious “Dance of Death: Du Lac & Fey,” which captured the industry’s attention and sparked critical discussion.

Development History & Context

“Dance of Death: Du Lac & Fey” emerged from the British independent studio Salix Games, based in Guildford, marking their debut title. The game was initially released for Windows on April 5, 2019, with later ports to PlayStation 4, Xbox One, and Nintendo Switch in 2023, with Tea Clipper Games assisting in the porting efforts and Hidden Trap taking over publishing for consoles. This ambitious project was spearheaded by Jessica Saunders, the creative director and a BAFTA Breakthrough Brit winner, whose fascination with Arthurian mythology and its evolution into the Victorian era laid the groundwork for the game’s unique premise.

The core creative team included Philip Huxley (known for his writing on “Batman: Arkham Knight” and “Battlefield”) as a primary writer, alongside Rebecca Haigh, and Rhianna Pratchett serving as a story consultant, ensuring a robust narrative foundation. On the technical and artistic side, Ed Reid handled programming, while Jessica Ambron and Olly Lawson contributed to the art direction. The game’s musical score was composed by Jeff Rona and Jools Scott, crafting an atmospheric soundscape.

Salix Games’ vision for “Du Lac & Fey” was initially a simpler “man and his dog” story, which organically evolved into the complex Arthurian fantasy it became. A significant focus was placed on historical accuracy despite the fantastical elements. To achieve this, the development team consulted with historian Judith Flanders, renowned for her work on “Assassin’s Creed Syndicate,” ensuring that the faithfully recreated fragments of 19th-century London and the Whitechapel crime scenes were grounded in real-world testimonies and police documents. This dedication to authenticity was a defining characteristic of the project.

In terms of the broader gaming landscape, “Du Lac & Fey” arrived during a period where point-and-click adventure games were experiencing a resurgence, often characterized by strong narrative focus and atmospheric world-building, somewhat filling a void left by the changing landscape of studios like Telltale Games. Salix Games attempted a Kickstarter crowdfunding campaign in 2018 to secure funding for PlayStation 4 and Xbox One versions, but it was cancelled early, though it did not halt PC development.

The game’s launch, however, was not without its struggles. Salix Games CEO Jessica Saunders admitted that the studio had “run out of both money and time” before the “rough” launch. This led to significant technical issues, most notably a major save game problem that plagued early players but was fortunately resolved within days of release. Despite these challenges, the studio demonstrated commitment by releasing free bonus DLC packs, including a digital artbook and soundtrack, a month after launch. The game’s art style, inspired by 19th-century painters John Atkinson Grimshaw and James Abbot McNeill Whistler, aimed for an exaggerated, slightly comic-book aesthetic rather than stark realism, a choice that contributed to its distinctive visual identity.

Narrative & Thematic Deep Dive

The narrative of “Dance of Death: Du Lac & Fey” is, without doubt, its crowning achievement and the primary engine of its appeal. Set in the smog-shrouded, class-divided London of 1888, the game plunges players into the heart of the infamous Whitechapel Murders, with a twist: the notorious Jack the Ripper’s killings possess an unsettling occult nature, drawing the attention of two unlikely immortal figures from Arthurian legend.

The story opens near the home of the eponymous characters, Lancelot Du Lac and Morgana Le Fay, as they confront a demonic force. This prologue swiftly establishes their identities and purpose: the noble, if somewhat uptight, knight Sir Lancelot Du Lac, and the pragmatic, self-interested sorceress Morgana Le Fay, who has been cursed by Merlin into a canine form, known simply as Fey. Their primary quest is to find an old friend and free Fey from her curse, but their path quickly intertwines with the horrors unfolding in London.

The game boasts a unique triumvirate of playable protagonists, each offering vastly different perspectives and interactions within the Victorian world:
* Sir Lancelot Du Lac: Voiced superbly by Gareth David-Lloyd (“Dragon Age”), Lancelot is presented as an upper-class, occasionally womanizing gentleman whose noble intentions and rigid attitudes often clash with the grittier realities of Whitechapel. His human form allows for traditional interactions with most NPCs, serving as the group’s primary interlocutor and note-keeper.
* Morgana Le Fey (Fey): Brought to life by the equally impressive Perdita Weeks (“Penny Dreadful”), Fey’s canine form is more than just a visual gimmick. Her curse grants her the ability to converse with other animals, often leading to amusing and surprisingly insightful exchanges, and to track scents humans cannot perceive. Her pragmatic self-interest provides a witty counterpoint to Du Lac’s idealism.
* Mary Jane Kelly: Given wonderful personality by Alexandra Roach (“Black Mirror”), Mary is initially introduced as a Whitechapel local and, historically, the Ripper’s final victim. In “Du Lac & Fey,” she possesses a magical secret and becomes a vital third playable character, offering an authentic “underclass” perspective on London’s squalid streets and contributing significantly to the investigation with her own inquiries and distinct abilities.

The plot meticulously weaves historical events and figures with deep mythological lore. The developers dedicated considerable research to replicating historical locations and crafting crime scenes based on witness testimonies and documents from the real investigation, lending an eerie authenticity to the supernatural proceedings. The underlying themes are rich and varied: the clash of ancient myth with modern terror, the stark realities of a class-divided society, the struggle between perceived good and entrenched evil, and the enduring power of compassion and trust versus self-interest and snobbery.

Dialogue is a significant strength, elevated by the star-studded voice cast. Player choices during conversations are crucial, impacting character relationships (e.g., between Mary and Du Lac, or Mary and Fey) and the unfolding storyline. The narrative is non-linear, with in-game decisions shaping each character’s resolution and leading to different outcomes, encouraging multiple playthroughs to explore the full spectrum of consequences. This multi-branching approach allows for nuanced character development and provides a sense of player agency in a genre often criticized for its linearity. The integration of collectibles like “Penny Dreadfuls” and newspapers further enriches the world, offering glimpses into the Victorian populace’s perceptions and fears during the “Autumn of Terror.”

Gameplay Mechanics & Systems

“Dance of Death: Du Lac & Fey” adheres to the core tenets of the point-and-click adventure genre, offering a third-person perspective and an action hotspot system for environmental interaction. The central gameplay loop revolves around exploration, conversation, item collection, and puzzle-solving, all within a faithfully recreated 19th-century London.

The most innovative mechanical aspect is the implementation of three playable characters, each with unique abilities essential for progression:
* Du Lac: As a human, he engages in most direct conversations, takes notes, and can wield a sword, featuring in timed combat mini-games.
* Fey: In her dog form, she communicates with other animals, uncovers hidden scents and clues humans cannot perceive, and can occasionally assist in combat when Du Lac falters.
* Mary: Her perspective offers unique interactions with the Whitechapel populace and, possessing a “magical secret,” she engages in activities like potion-making, which can be critical during combat encounters.

Players can swap between these characters, utilizing their distinct skills to solve various riddles and intricate mechanisms, explore different facets of the environment, and navigate social dynamics. For instance, Fey’s ability to “send in the dogs” can finish off demons that Du Lac struggles with, and Mary’s potion-making skills are crucial in dire situations, with potential for failure that leads to different narrative branches (“Bricking it” achievement).

Despite the strength of its narrative and character concept, the gameplay mechanics are frequently cited as the game’s most significant flaw. Movement is universally described as “clunky,” “plodding,” and “inefficient,” with characters struggling to navigate obstacles and exhibiting noticeable input lag, especially when camera angles shift. This can become particularly tiresome when “retreading old ground” during investigations, hindering immersion and pace. The “action hotspot system” can be obtuse, often requiring players to move “painfully slow” avatars close to objects before they become interactable, leading to tedious pixel-hunting.

Combat sequences, while present, are limited and often feel underdeveloped, described as “falling flat” and disrupting the narrative momentum. Puzzles, a cornerstone of the adventure genre, are criticized for their lack of challenge; some reviewers even claim the game “offers none,” which is a considerable detraction for genre veterans.

The UI also suffers from design inconsistencies. The game features 2D characters “padding out the 3D population” in crowded areas, creating a “jarring” and “uneven design quality” that detracts from the otherwise beautifully realized settings. Furthermore, the save system is problematic: there’s no manual save option, and while autosaves are frequent, they occur without clear indication and, crucially, without separate save slots or chapter selection. This means that if a player misses a collectible or makes an undesirable dialogue choice, the only recourse is to start a completely new game, a frustrating prospect for achievement hunters or those wishing to explore all narrative branches.

Achievements, which number around 50, encourage multiple playthroughs by linking to relationship statuses (e.g., “An Unexpected Ally” or “Like Oil and Water”), specific choices (e.g., “Aoife’s Choice”), and collectible hunts (e.g., finding all “Penny Dreadful” pages or “Aoife’s Sheet Music”). However, the save system issues make these endeavors more arduous than enjoyable.

World-Building, Art & Sound

“Dance of Death: Du Lac & Fey” excels in crafting a palpable sense of place and atmosphere, largely through its robust world-building, distinctive art style, and exceptional sound design.

The game’s setting in 1888 Victorian London is meticulously realized. Players explore key areas of Whitechapel and Shoreditch, from “cozy pubs to haunting churches,” “the Docks” to “Spitalfields,” and the “Police Station” to “Millers Court.” The developers’ deep research, aided by historian Judith Flanders, shines through in the attention to historical detail within these environments. The atmosphere is generally dark, fitting the grim subject matter of the Ripper murders, yet infused with a pervasive sense of mystic possibility due to the Arthurian elements. This “supernatural history” creates an “engrossing” and “atmospheric” experience that often drew praise from critics.

Visually, the game adopts an “attractive three-dimensional” style that eschews strict realism for an “exaggerated, slightly comic book-like” aesthetic. This choice was deliberate, inspired by the 19th-century painters John Atkinson Grimshaw and James Abbot McNeill Whistler, known for their atmospheric and often melancholic urban landscapes. The “world art here is striking,” with “beautifully realized settings” and “gorgeous” backgrounds that often employ a “freehand painting style.” Players often found themselves “wandering around just admiring the environment,” suggesting the art successfully contributed to the game’s immersive quality. Detailed newspaper articles and “Penny Dreadfuls” further enrich the visual narrative, grounding the fantastical elements in a textured historical context.

However, the visual quality is not uniformly praised. While the environments are lauded, the character models for the main protagonists and NPCs are described as “too goofy and bland,” “lacked detail,” and appeared “rough, almost like they were unfinished models.” This disparity between the stunning backdrops and the less polished character designs, combined with the “jarring” presence of “2D characters padding out the 3D population” in crowded scenes, led to an “uneven design quality.” Furthermore, critics reported visual bugs, including “stuttering backgrounds,” “black pixelated blob-like shapes” on characters during cutscenes, and instances where characters were not visualized despite speaking.

Where “Du Lac & Fey” truly shines is its audio. The “outstanding audio” quality, encompassing sound effects, music, and especially voiceovers, received near-universal acclaim. The game’s cast, featuring Gareth David-Lloyd (Du Lac), Perdita Weeks (Fey), and Alexandra Roach (Mary Kelly), delivers “superb” and “masterful” performances, contributing immense personality and depth to their characters. The atmospheric soundtrack, composed by Jeff Rona and Jools Scott, “infuses these places with atmosphere and helps to carry the often dark tone of the narrative.” Critics frequently noted how the “gentle music” and “impeccable standard of audio” significantly enhanced the overall experience, with some even stating the game “wouldn’t have been half the game it’s been made to be without it.” This excellence was formally recognized with the game winning the award for “Best Audio Design” at The Independent Game Developers’ Association (TIGA) Awards and receiving a nomination for “Best Dialogue for an Indie Game” at the 18th Annual Game Audio Network Guild Awards.

Reception & Legacy

“Dance of Death: Du Lac & Fey” launched to a “mixed or average” critical reception, as reflected by its Metacritic score of 51/100 based on 13 critic reviews, and an OpenCritic aggregate of 56. User scores were similarly mixed.

Critics were quick to praise the game’s ambitious narrative, its unique blend of Arthurian legend and historical true crime, and the depth of its world-building. The “superb” and “masterful” voice acting, particularly by its lead cast, was a consistent highlight, often cited as a reason to engage with the game despite its flaws. The meticulous historical research and the atmospheric visual design of Victorian London’s environments also garnered significant appreciation, with many acknowledging the “love” and effort poured into these aspects.

However, these narrative and aesthetic strengths were frequently overshadowed by a litany of technical and mechanical shortcomings. The “broken” launch version, particularly the “major save game issue” (though swiftly patched), left an early negative impression. Beyond that, the “tediously slow movement,” “clunky controls,” and “inefficient navigation” were near-universal complaints, hindering exploration and becoming “tiresome when retreading old ground.” The “general lack of engaging puzzle solving” was a significant detractor for fans of the point-and-click genre, with some reviewers lamenting that the game offered “none.” Design inconsistencies, such as the “jarring” presence of 2D characters amidst 3D environments and the “rough” character models, also contributed to an “uneven” and “unfinished” perception. Some critics even suggested that the game might have functioned better as an “audiobook” due to its strong narrative and weak gameplay. The short game length (approximately 6 hours for a first playthrough) and the frustrating autosave system (lacking manual saves or chapter select) further impacted replayability and overall value.

Despite the mixed reviews, “Du Lac & Fey” did achieve notable accolades. It won the TIGA Award for “Best Audio Design” and was nominated for the “Heritage Award” by the same organization. The Game Audio Network Guild (G.A.N.G.) also nominated it for “Best Dialogue for an Indie Game,” and it received an Aggie Award nomination for “Best Character – Du Lac and Fey.” These awards underscore the consensus that the game’s presentation, particularly its aural aspects and writing, were truly exceptional.

In terms of legacy, “Dance of Death: Du Lac & Fey” stands as a compelling case study of indie ambition constrained by practical limitations. While it didn’t revolutionize the adventure game genre, its unique premise and dedication to narrative artistry left a mark. It demonstrated that ambitious, high-concept storytelling could still find a home in the indie space, even if the execution of core gameplay mechanics presented significant hurdles for a small, debut studio. Its blend of historical fiction and supernatural elements, while not always perfectly balanced, remains an intriguing proposition that continues to draw interest from players looking for deep narrative experiences, even with the caveats of its mechanical roughness. It’s a game that provokes thought, not just about its story, but about the delicate balance between vision and execution in game development.

Conclusion

“Dance of Death: Du Lac & Fey” is a game that commands respect for its bold vision and earnest ambition, even as it frustrates with its mechanical shortcomings. As a professional game journalist and historian, I can confidently say that Salix Games embarked on an incredibly challenging endeavor, attempting to weave together the brutal reality of the Jack the Ripper murders with the timeless allure of Arthurian legend, all within the nuanced framework of a point-and-click adventure.

The game’s narrative is a tour de force, genuinely engrossing and intelligently written, brought to life by a stellar voice cast that delivers some of the finest performances in an indie title. The world-building is equally impressive, with a historically researched Victorian London that feels authentic, atmospheric, and ripe for supernatural intrigue. The unique concept of playable characters like the noble Lancelot, the pragmatic canine Fey, and the insightful Mary Kelly provides a refreshing and engaging ensemble, each contributing distinct perspectives to the unfolding mystery. The artistic direction, particularly for its environments, is beautiful and evocative, creating a strong sense of place.

However, the experience is undeniably marred by foundational gameplay issues. The clunky, slow character movement, the lack of challenging puzzles, and the inconsistent design quality of character models versus backgrounds repeatedly break immersion. The frustrating save system further detracts from its replayability and overall polish. It feels like a magnificent play with an Oscar-winning cast, but a stage that occasionally crumbles underfoot.

Ultimately, “Dance of Death: Du Lac & Fey” is an ambitious, flawed gem. It is easy to recommend for fans of narrative-driven adventure games who value story, atmosphere, and character above all else, and who are willing to overlook significant mechanical rough edges. Its unique blend of supernatural history, brilliant voice acting, and meticulous world-building secures its place as a memorable, if uneven, entry in the genre. While it didn’t achieve universal critical acclaim or widespread commercial success, its strengths in storytelling and audio design resonated deeply, earning it well-deserved awards and cementing its legacy as a powerful example of what an indie studio can achieve with a compelling vision, even when battling the inevitable constraints of time and resources. It’s a game that asks players to lean into its narrative strengths, and for those who do, it offers an unforgettable, albeit sometimes exasperating, dance with death in Victorian London.