GAME REVIEW – The Excavation of Hob’s Barrow (PC)

By Marty Mulrooney

The Excavation of Hob’s Barrow is a folk horror point-and-click adventure game from developer Cloak & Dagger Games, published by Wadjet Eye Games. Set in the sleepy British village of Bewlay, players take control of spirited author and antiquarian Thomasina Bateman, who plans to excavate Hob’s Barrow – an ancient burial mound – despite a lack of co-operation from the locals. But was the barrow sealed to stop people like her getting in… or to stop something getting out?

Bewlay, situated in the remote English countryside and surrounded by misty moors, is the perfect setting for a haunting Victorian tale that will gradually creep under your skin. Thomasina – who is writing a book about the burial mounds of England – has been summoned to Bewlay by a gentleman called Thomas Shoulder, who recently wrote to her about a local barrow and assured her that excavating it wouldn’t be an issue.

Upon her arrival by train, Thomasina disembarks to find that Mr Shoulder is nowhere to be found, and most of the locals won’t even acknowledge that Hob’s Barrow exists. An outsider visiting a small rural community hiding a dangerous secret might sound derivative (and to some extent, it is), but The Excavation of Hob’s Barrow manages to stand out from the crowd by making the fictional – but beautifully realised – village of Bewlay as much a character as the distrustful village folk that live there.

There is a true sense of history ingrained in the muddy streets, weather-worn buildings and colourful characters that Thomasina will come across during her stay in Bewlay. The 19th-century setting is convincing from the outset, transporting players back to a simpler – yet undoubtedly much more superstitious – time. However, some things never change; the first place Thomasina heads to is the warmth and (presumed?) safety of the Plough and Furrow, aka the village pub. A woman after my own heart.

The Plough and Furrow acts as a central hub of sorts, where both Thomasina and the player can catch their breath and escape the chilly outdoors. The landlord seems friendly enough, and will happily let Thomasina rent a room for the night (provided she can leave something valuable with him as a deposit)… but as soon as she mentions Hob’s Barrow, the conversation becomes stilted and awkward. It’s a running theme, but Thomasina quickly dismisses what little information she can glean – cryptic warnings to leave the barrow well enough alone – as hogwash.

The majority of the puzzles integrate seamlessly into the plot, and it’s only during the game’s final hours that things shift to become a bit more ‘video gamey’ (and therefore more challenging, for better or worse). There are some brilliant quality-of-life features too that add modern conveniences to an otherwise retro presentation. Hotspots can be highlighted with the click of a button, and fast travel is made possible thanks to a convenient menu system. The gameplay itself is tried-and-tested: left-click to interact, right-click to look, with an inventory that is guaranteed to always have a few interesting items in it.

Making progress is a fairly linear affair, but progression is structured in such a way that the gameplay experience never feels too confined. It’s usually pretty clear what Thomasina should be doing (she has a handy ‘to-do’ list) and where she should be heading next. It helps that exploration is so enjoyable, with beautiful pixel art that implies as much as it shows. The zoomed-out views of the moors are particularly evocative and eery, and you always feel like Thomasina shouldn’t be staying out after dark. Convincing fog and rain effects only add to the delightfully gloomy mood.

There is a palpable sense of dread and impending doom always running just beneath the surface that is delightful. While playing, it reminded me of the feeling I always get when watching Donald Sutherland frantically exploring Venice in Don’t Look Now. Another comparison that can be drawn between that film and this game is their masterful use of colour:  Hob’s Barrow makes great use of the colour purple to add an otherworldly, Lovecraftian vibe to an otherwise real-world setting. The horror becomes much more disquieting and intense as a result, with even the most outlandish moments feeling possible.

Meanwhile, the original soundtrack composed by The Machine. The Demon. mixes electronic beats and ghostly wails with dreamlike dirges. If Michael Mann ever directed a horror film, I imagine this is what it would sound like. In short, it’s brilliant. And the voice acting – courtesy of Dave Gilbert and Wadjet Eye Games – is top-notch too, with a proper British cast that sounds 100% authentic. The entire cast does a marvellous job, but it’s Samantha Béart as Thomasina who does most of the heavy lifting. She brings an incredible amount of warmth to an otherwise cold and damp experience, and it’s hard to imagine Hob’s Barrow being half as effective without her.

Part of the fun of the very best horror books, films and games is wanting to shout at the main character to stop what they’re doing immediately and flee the situation they’re in… but of course, they never do. It’s a genre that relies heavily on fate and tradition, with a certain air of inevitability.

It’s clear from the moment the title screen first appears on screen, with Thomasina sitting on a train with the titular barrow visible through the window behind her, that the excavation of Hob’s Barrow isn’t going to end well for her. Yet when the ending does arrive, it’s still clever enough to evoke a genuine gasp… and then another.

The Excavation of Hob’s Barrow doesn’t reinvent the horror or the point-and-click wheel, but it doesn’t really have to: it is a standout title within both genres. This is a compelling adventure that tells an equally compelling story. Players will grow to know and love Thomasina Bateman throughout the six or so hours it takes to reach the end credits, and that’s why it’s so easy to become invested.

A little bit more levity at times wouldn’t have gone amiss, some plot points are left frustratingly dangling and the puzzles veer sharply from simple to convoluted near the end, but these are minor complaints. Never lowering itself to rely on cheap jump scares, this is an unsettling folk horror experience that won’t quickly be forgotten. Can you dig it? I certainly can.

9 OUT OF 10