Dungeons of Hinterberg Analysis: Like Zelda and Persona, But Colder

Dungeons of Hinterberg starts with good ideas and a premise that allows for a relaxing adventure thanks to its social component. However, its design suffers from simplicity and ultimately lacks soul.

To be honest, when I launched Dungeons of Hinterberg, I didn’t expect the game to reflect so well the capitalist society we live in, personal situations that push us to the limit, huge workloads and the need to stop and catch our breath. Although in this case, the message may sound a bit contradictory, because Louise, the main character of the game, goes to a small town located in the Austrian Alps to disconnect from the routine and for this she goes to a place where the main tourist attraction is a series of dungeons magically appeared in the area, where everyone can go to relax by killing monsters living there for rest. In the end, I think everyone uses their vacation as they want.

This premise may seem quite absurd, and in fact it does not go much deeper, because there is not much to scratch here either. For this reason, Microbird Games decided to give more importance to the dialogues of Louise with the other visitors who are in this place. The social component is one of the pillars of the game, and Dungeons of Hinterberg also uses a time-flow mechanic, with which we are encouraged to make the most of every minute. There are actions that have no effect, but others, which are usually related to activities with other tourists or using some of the tasks available in the city, will make time move forward. The key is to make the most of every moment, since what we decide to do will affect the main character, for example, improving his health or unlocking new skills, as well as his personal characteristics. For example, eating ice cream increases fun, and visiting a cafe adds acquaintances. These factors are crucial for the ability to unlock new missions, since there are characters who will not listen to us until we reach a certain level in these relationships.

In this way, a strategic tone is added to the mechanics of the passage of time, which in fact usually does not rush us with time actions. The game always offers a rather curious dichotomy, which sometimes did not quite suit me; a peaceful atmosphere in its surroundings and carefree activities that range from the onion festival to the possibility of going to the cinema to watch films alone or with characters with whom we have a better relationship. But at the same time, this relaxed approach falters when we think about the fact that the protagonist is really on vacation and that having such a tight schedule or having to organize each day very well so as not to leave anything behind causes stress. This is slightly softened by the variety of NPCs that we can approach, some with interesting levels of depth, while others, such as the influential people, are excessively parodic, carefully created to sharply criticize the current society. Overall, the dialogue lines were one of the aspects that kept me most engaged in the game, making me even more curious to find out what the short but intense conversations led to, while making me avoid feeling like I was doing it simply because it was necessary to improve the skills or performance of the protagonist’s team.

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The other main part of the game is, of course, exploration and dungeons. Usually, at midday, we have the opportunity to enjoy the various landscapes of Hinterberg, from forests to snowy mountains. We can move around the maps with some freedom, following the directions to find the dungeon in question, where the sauce is actually located. Although, in truth, this is where the seams of a proposal with good intentions, but perhaps not all the necessary means to fulfill them, are most noticeable. The scenarios try to add variety in their design and execution, using the magical powers that awaken among visitors to this area and which can be used both in solving these not very difficult puzzles and in combat. The combat in the game is rather boring, although we have the usual options for this type of work: melee, magic and special abilities. In the end, it focuses on letting go of everything we have, pressing buttons and using dodges from time to time, without much depth, not because of the lack of options, but because of how archaic its execution is. The development is focused on equipment upgrades that make our task easier, not on enemies with different routines or behaviors, and only on the way to defeating a specific boss do some sparks of light appear.

Of course, it would be illogical to come here expecting something on the level of Zelda, although this is one of the games that most influenced the development of Dungeons of Hinterberg. If you look at it from another point of view, it can also be a good starting point (it’s funny because in this game you enter the dungeons through doors, as if it were Monsters SA) for people who are less experienced in this kind of proposals and who are not looking for too many complications. This is a game that makes simplicity a virtue, and although the difficulties appear when we delve into the most difficult and high-level dungeons, this is a much more accessible proposal than usual. I would say that this is a great game to relax in due to the aforementioned atmosphere, simple and effective mechanics, as well as a colorful art part that shows a great ability to convey sensations.

Dungeons of Hinterberg could benefit from being released directly on services like Game Pass so you can see for yourself what it offers; it is a warm game with which you can easily develop affection, although it is also true that it falls victim to some of the tools that its conception tries to avoid, for example, at a certain point it becomes something too routine. Good intentions are rewarded, although they are far from perfect, and this inevitably affects the experience and the purpose of an unforgettable holiday.