In nature author Robert Macfarlane’s 2019 research of all issues subterranean, named Underland, he attaches being under floor to the idea of disposal. Beneath the floor is the place “waste, poison, trauma, secrets and techniques” cover—or the place we cover them. In Valhalla, Grendel is a deformed human exiled from the floor as a result of his otherness. He’s an uncomfortable reality hidden away till all his anger, hatred, rejection, and isolation bubbles up from the deep, violently.
The Beowulf poem is unbelievable not only for its early, vivid depiction of the English panorama, but in addition the distinction it attracts with a lot later, extra modern, views of nature. Nearly all of open-world video games view panorama by way of a Romanticist lens—lush vibrant forests, inexperienced rolling hills, elegant mountains. The landscapes of Beowulf are a lot darker. England is a extra hostile place—its forests nonetheless thick and shadowy, its bogs but to be drained, the hills not fairly absolutely pastoralized. By way of narrative, all through Murderer’s Creed: Valhalla there’s this central battle between Christianity and paganism, however operating in parallel, within the realm of panorama, there’s additionally a rigidity between the idyllic and the inhospitable.
The Bizarre and the Eerie
It’s straightforward to bask within the panoramic great thing about a sport like Valhalla, however like the actual lands they’re based mostly on, digital England is a spot constructed atop intense violence and atrocity. In Macfarlane’s essay “The Eeriness of the English Countryside,” he describes English landscapes as being “constituted by uncanny forces” and “part-buried sufferings.” Referencing one other quick story by M. R. James, “A View from a Hill,” the place a picturesque scene is reworked right into a stage of dying and execution when considered by way of a pair of binoculars created from the bones of the useless, Macfarlane exhibits how historical past can hang-out a spot.
Peeling again a panorama’s historical past reveals “the cranium beneath the pores and skin of the countryside.” Valhalla’s England is brimming with uncanny forces—conflict, invasion, battle, struggling, and contested possession are in all places. As Macfarlane mentions in his essay, the ghosts right here don’t have anything do with ectoplasm. As an alternative, England’s spectres are fully historic. Actual, horrific occasions rotting simply beneath the tranquil, pastoral floor.
Valhalla is obsessive about the traditional, the cursed, the wyrd. Newness rubs shoulders with the previous methods at each alternative, and there are even hints of the demonic and occult. Considered one of a number of actions that recurs throughout its big map are the “cursed symbols.” Gamers are tasked with fixing environmental puzzles and clearing these pockets of darkness, a lot of that are discovered deep underground or nestled away inside tree hollows.
Valhalla’s landscapes are additionally extra usually eerie. Generally it’s merely the way in which mild catches towards the silhouette of a barren hill or moor. Different instances an unearthly ambiance will stand up from the land, pockmarked as it’s with barrows (or fairymounds, as they had been referred to in instances of previous), Roman ruins, and stone circles. Generally you’ll stumble right into a labyrinthine cave community, full of darkish trinkets, the skulls of stags, and even burning wicker males. Within the sport’s Gloucestershire space there’s a complete quest referring to the pagan pageant of the burning of the large wicker man (sure, just like the 1973 movie, there’s somebody caught inside). In East Anglia there’s a hellhound often known as the Black Shuck, which prowls the countryside. One other string of quests sees you combat a coven of daggered witches—accumulating their weapons, you’ll finally discover a Roman break beneath the earth containing a statue of what seems just like the Inexperienced Man (a pagan image of rebirth), who you’ll have to stab within the again with stated daggers to be able to entry the treasure buried even deeper.
Highway to Damage
Valhalla’s standing stones are a very eerie characteristic. In Anglo-Saxon instances, these preparations—locations like Seahenge and Stonehenge—had been stated to be the work of giants, or petrified individuals who had dared break the legal guidelines of the land (equivalent to dancing on a Sunday or milking a neighbor’s cow). One idea that may assist us perceive all this eeriness is “hauntology.”