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About the StoryMinnesota, September 2005. A serial killer hunting young women. A policeman with nightmares in his past. “To all units near Little Falls, there’s a 5150 code. A woman called 911, saying she’s in trouble. Head for 10th Av SW, Little Falls. Possible 5150.”
A house on the Mississippi, protected from unwanted eyes. Survive and you’ll win.
The Independent Gaming Source
As successful an experience Little Falls is, it still fails on fundamental level of storytelling. I’ll give the game a little credit for being translated from a foreign language—I’m sure some subtleties are lost in translation—but the writing is so heavy handed that there’s no real sense of mystery or fear. The added visuals and audio nearly compensate for this though, allowing the story to unfold in a pleasing manner.
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Overall, my experience was that the early part of the game, though frequently melodramatic, did draw me into the story and make me afraid for my protagonist; but as I encountered some of the less gracefully-implemented sections of the midgame, I got stalled and this sense of engagement and urgency drained away, so that the endgame did not have quite the impact it could have.
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Assuming the role of a motorcycle police officer, still battling with residuals issues from your past, you pull over a country retreat for an investigation. From here on, your choices will lead you to various degrees of ruin, or salvation.
The game invokes a sense of foreboding, as you caution your way around the house, battle your inner and real life demons. Augmented by image and sound, a sense of pace and time restriction permeate your actions.
The game is short, but well produced. Some minor possibilities for interaction are absent, and NPC interaction is limited, yet what structure there is in the game is enjoyable. The game's puzzles are consistently logical, and the game is specially suited for short replays until you reach the best ending.
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