Vampyr came to Switch, so I got it and played it. This time around, with technical issues reduced, I was able to complete the game. That said, there were still a lot of technical issues present, which felt shocking on a console. There were still often lengthy load times, including screen-freezing loading in the middle of combat on several occasions. Sometimes, it appeared that the game became slightly sluggish with a slight frame-rate drop. These were annoying and disruptive problems, but not fatal. Even worse, the game crashed on at least three occasions, with at least a couple times where I got a Switch system error telling me the software had to be closed and at least one time where the game indefinitely froze in the middle of a battle, becoming unresponsive (even in that situation, I could still easily return to the Switch Home menu and quickly close out the game, which is a testament to the reliable nature of the Switch). On top of all this, the game has been ported to Switch with what appear to be the lowest graphics settings–fair, I get that sacrifices have to be made for this little, under-powered console, but it’s a hard pill to swallow when the game still doesn’t perform consistently.
I’m glad that I finished the game, though. It has a fun take on vampire lore. The story advances in jagged steps, and the dialogue doesn’t always flow naturally, but it still lands more than it misses. In fact, I suspect that Dontnod had a better story here that was stymied somewhat by English-language localization efforts. Still, this feels like an odd explanation, given that Dontnod, while a French developer, has typically produced games with good-to-great writing, like Life Is Strange and Remember Me, which both precede Vampyr.
I enjoyed roaming the streets of this version of 1918 London. I enjoyed uncovering secrets and unlocking hidden lore. I enjoyed learning little hints about people and then using my vampiric influence to persuade them to share more about themselves, their motivations and their fears. I enjoyed healing people when they were sick. I enjoyed crafting treatments for them and serums for myself and upgrades for my weapons. And I enjoyed the combat, so much of it, combat outside of every safe district hub, combat between vampires and vampire hunters of all shapes and sizes. I enjoyed a focused approach to leveling my character, locking in on specific offensive and defensive abilities rather than going too broad with my skill selection and wasting valuable experience points on dead-end development. I enjoyed applying skill advancements that boosted my combat strategies and that sometimes made me adapt new strategies. I became a huge fan of hurling myself forward from the shadows across vast distances to damage and stun opponents, drawing blood and vitality restoration from them by biting them when they fell, and using a combination of vampiric claws and melee weapons (upgraded so that they, too, would draw little bits of restorative blood for me with every hit) to whittle down the health of tougher opponents in quick flurries of strikes between bursts of dodging. Combat stayed fun and fresh during most of my time in the game, and it kept the frequent backtracking across the game map more lively, but the boss fights were less fun and more frustrating, presenting the same sorts of challenges and requiring the same sort of maneuvers in basically every battle. And combat as a whole, especially at the scale in which it appears within the game, feels antithetical to the spirit of the core game, which is more focused on balancing your character’s thirst for blood with his impulse as a doctor to help people, to save lives, to be better. The narrative focuses on the latter so much that it feels increasingly disconnected from the active fighting and killing you’re doing most of the time.
[Huge spoilers about the end of the game follow. Stop if you have interest in giving the game a try without any reveals about the alternative endings.]
I hadn’t realized how close I had been to the end of the game before. I was well into the last third when I gave it up previously.
I made slightly different choices playing through this time. Chiefly, I found that I had little desire to choose to take the life of others. Something about my mental and emotional state at the time of this play attempt made me even more reserved about killing. Even when I encountered characters that are easy to hate, like a violent street gang leader or a sleazy slumlord or an actual serial killer, it didn’t seem right for me to be choosing to take their lives. At best, it would have been a brutal vigilantism, and at worst it was little more than an extrajudicial lynching, I felt. And so I spared characters I had previously killed.
It appears that this pure-hearted approach, wherein I refused to “embrace” any character, netted me the most “good” ending for the game. It was pleasant to attain that good ending, but I can imagine how frustrating it would feel to play through the game, choosing to feed and gain power only through enacting street justice against a few of the worst of the worst, only to find that this led you to being irredeemably corrupted. This insistence on remaining pure, avoiding the temptation to become a predator, feels especially silly given that the game actively encourages you to embrace people to gain power (and choosing who to kill and who to spare was part of the meta-narrative discussion around the game), while you’re also involved in a lot of fighting against and killing of the various types of vampires and vampire hunters. You can even choose an option, as I did, that led to a good person becoming a mindless lesser form of vampire (though not your intent), and you can return to their location later and kill their corrupted form, and this does nothing to hurt the ending. I had the protagonist feed constantly; using a vampire bite in battle was one of my major combat tactics, and there were plenty of rats drained of blood along the way. The distinction between the piles of bodies I drank from and killed along the way and this idea of abstaining from the thirst for blood as presented by the “good” ending narrative is contradictory and left unresolved and unaddressed in that narrative.
Still, the Gothic atmosphere and diverse cast of characters made it rewarding to explore (and fight through) the world all the way up until the end.