Starbreeze’s The Darkness remains one of my favorite games no one’s ever heard of. The game puts players in the shoes of Jackie Estacado, a mafia hitman who also happens to be the human host of the titular Darkness, a timeless, immortal god-being which basically lives to kill everything it sees. Jackie is on a quest for vengeance against the mob which betrayed him, a quest which is much easier when you can harness the power of a hateful god.
On your quest to murder every mobster in New York City, as well as potentially a couple dozen innocent passersby, the game hinges on this idea of darkness, lowercase d. You see, as one might expect, the Darkness, uppercase d, doesn’t really care for light, so whenever you’re in light, your powers are unavailable to you, making you just a regular dude, and regular dudes are pretty easy to kill.
When you get in the cover of shadow, however, things change. You become much more resistant to damage and can heal damage you take, you can summon imp-like minions, or you can just have your Darkness tentacles rip someone in half and eat their heart. You go from Jackie Estacado, regular dude with a gun, to Jackie Estacado, Death Incarnate.
This mechanic is complemented by a relatively simple addition to the game: you can shoot out most lights.
The reason I think this mechanic is great is turns fights into microcosms of player progression. When you play a normal FPS, sure there’s usually some sort of player power progression over the course of the game, but within a single encounter the player usually remains at a constant power level. The Darkness goes against this trend with an extremely engaging loop. The player enters an area filled with bad guys, and that area is usually pretty well lit, meaning odds begin against the player, since it’s gonna be harder for them to use their powers. As a conflict goes on, the player will shoot out more and more lights in the arena, turning the fight into a sort of horror movie when you’re the encroaching monster. The symbolism alone is fantastic, as the lights above your enemies fizzle out, and you approach them, literally covered in monstrous, dark tentacles.
A series that operates on a very similar loop are Rocksteady’s Batman games. In those, players will be tossed into arenas full of armed goons where, initially, their odds are pretty bad. However, as time goes on and they take out more and more goons, player confidence builds and enemy confidence shrinks. Survivors start freaking out and getting audibly paranoid, as you all of a sudden have an easier and easier time picking the leftovers off.
That loop is present in The Darkness as well: enter an area facing overwhelming odds and, through good play, turn the tides until you end up feeling like an unstoppable monster. On its face, this doesn’t seem too revolutionary. Your odds get easier the more enemies you beat, so what? Mathematically speaking, every video game that puts you against groups of enemies does that.
The thing that The Darkness and Batman do so well is that, on top of good play just naturally making encounters easier, good play also makes the player feel cool. Imagine a gunfight in a Call of Duty campaign. The tone of that gunfight doesn’t really vary over the fight, you’re just sort of shooting dudes until you’re not. The last enemy puts up the same amount of a fight as the first, and you probably feel like as much of a cool soldier person at the end of the fight as the beginning, if not a little more accomplished.
In The Darkness, a fight brings about an environmental change in the player’s favor in the form of encroaching darkness. It responds to the player’s success in the form of enemies freaking out and screaming. Success isn’t just good, but it feels good, it compounds the feeling of being this monster of darkness. I’d actually say it’s the same kind of feeling evoked when the lyrics kick in during a boss fight of Metal Gear Rising: Revengeance. You’re using non-mechanical tools to make players feel badass. And that’s a Good Idea.