The countryside village of Graavik is positively beautiful. In particular, Edward's mutterings, pauses, and audible skimming through letters and selecting what to read aloud to Lissie makes those interactions feel more genuine. On top of that, the strong performances behind each of the central characters bolster their personalities.

In fact, Lissie is the antithesis of Edward, a fact that becomes more significant as the central mysteries of the game wear on. In stark contrast, Lissie has a wild and liberal approach to life. This enhances your involvement in embodying Edward, which is important, as he is otherwise a fairly single-minded character in a linear narrative. The interplay between the two is delivered through naturally flowing dialogue you can interject, begin conversations, continue them, or choose to stay silent. Everything you learn about these three central characters is through conversations between the stoic academic Edward and his vivacious young ward. It's 1923 and Edward and Lissie have traveled from Hanover, Massachusetts to a fishing village in Norway in search of Edward's younger sister, Elizabeth, who has gone missing. A good ending is only as important as the joy of the journey to get there, but can a fascinating mystery succeed in its own right without a Christie-style 'tidy conclusion'? Draugen's conclusion is certainly an untidy one, but regardless of whether you like your mysteries neatly solved, the somewhat unsatisfying ending does not eclipse the fascinating characters, gripping story, and breathtaking town of Graavik. There won't be a convenient set of clues leading to a tidy conclusion.' That's what protagonist Edward Charles Harden tells his 17-year-old ward Lissie, and by extension the player, halfway through Draugen's fjord-noir mystery.

Draugen creature