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The highlight of Somerville arrives just a few minutes in. A young family—man, woman, child, dog—living in a remote farmhouse awakes at night, having fallen asleep in front of the TV. You assume control of the man, head down to the basement to fetch the dog's food, and carry it up to the kitchen. Then boom. An explosion shakes the house and suddenly you're in the midst of an alien invasion.

As soon as you’ve dealt with your mutt’s mealtime, an explosion rocks your countryside abode. Running outside to survey the damage, you see glowing obelisks swarming the sky, their lasers destroying farmland. It’s all extremely HG Wells, and after a strange glowing lifeform knocks you unconscious, you’re mistaken for dead, setting the stage for a tense, solitary journey.

Early on, Somerville feels exactly like what I was hoping for. A filmic opening credits sequence trails the family's car from high above to the tune of emotive music like the first few minutes of The Shining. Going 0 to 60 in a heartbeat feels like the right way to introduce the game's alien threat, too. The characters have no comprehension of what's going on, so neither do you. And the driving force behind the story--reunion and safety--are easy to latch onto. It starts strong.

Of course, plenty of narrative-led games make do just fine with pared back mechanics, but Somerville also falls short when it comes to its characters, story and cinematic pretensions. It creates an uphill struggle for itself from the off by trying to build its scenario without the use of spoken or written words, as games such as Playdead's Limbo and Inside have done to great effect in the past (Jumpship's founder Dino Patti was previously the founder of Playdead, and produced both games). What worked to evoke an eerie otherworldliness viewed through the eyes of a lone child, however, makes far less sense when dealing with a family in a recognisable reality. The absence of crying and screaming when the bombs start falling, for instance, feels strangely apathetic.

Much as in Breath of the Wild, music and subwoofer-bothering sound effects are employed sparingly. For long stretches of your perilous journey, your only audio accompaniments are the gentle patter of rain and the impatient huffs of your furry companion. When you are about to have a close encounter of the murderous kind, the sound makes you very much aware of it. This sense of quiet foreboding makes Somerville a decidedly wintry game. As the days grow shorter and the outside world becomes less inviting, this is an adventure built to be enjoyed in one rainy evening, ideally in a dimly lit room.

Short games aren't inherently flawed, but Somerville needed a bit more time to convey its major themes. The scope of the alien invasion story looks at both macro and micro relationships among people in ways that only end up scratching the surface of saying something interesting, and though it builds up an interesting universe that leaves me with questions regarding its alien overlords, I was surprised to find in myself an indifference toward finding the truth that's out there.

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