Unravelling the shadows in the Bureau of Contacts.
Bureau of Contacts is a survival horror paranormal investigation simulator. The game was published and developed by MiroWin Game Studios. The studio has been around since 2017 and has developed and published games like Boiling Steel, a sci-fi, story-based FPS VR shooter, and BodyRecords, a survival horror.
Bureau of Contacts is a lot like quite a few paranormal investigators out there. However, it is labelled as a Survival Horror. Bureau of Contacts relies on four key evidence types, EMF signals, temperature drops, ultraviolet footprints, and ghostly writing, to identify the supernatural entities haunting its locations. These clues manifest within paranormal anomalies, large zones where spectral activity is concentrated around a central point of maximum intensity.
The EMF signal, for instance, grows stronger as you near its source, while ultraviolet footprints form eerie trails leading directly to the UV Evidence you need to identify the Ghost. Temperature drops are relative to the ambient room temperature, requiring careful monitoring, as they could be one of three types of evidence to serve as the final, definitive proof. This system encourages methodical exploration, rewarding players who meticulously track down each clue rather than rushing through the investigation.
With 19 distinct ghost types, the game offers a variety of paranormal encounters. However, the journal interface and classification system bear such a striking resemblance to Phasmophobia that it occasionally feels more like a clone than an inspired competitor.
While the inclusion of paranormal anomalies, zones where evidence clusters around a main centre point, adds a fresh layer of exploration, the overall structure remains overly familiar. The game would benefit from more unique mechanics to distinguish itself, as the current implementation risks being overshadowed by its obvious inspiration rather than standing on its own merits.
Paranormalities are the game’s defining feature, interactive zones where ghostly activity leaves behind detectable traces. Each anomaly has a central point, the heart of the supernatural disturbance, surrounded by scattered clues. EMF signals form crackling fields that intensify near the centre and can form three different sub-evidence pieces, while ultraviolet footprints create glowing paths that reveal the ghost’s movement, leading to eerie symbols.
Temperature drops create localized cold spots or even a rise in temperature, creating zones of unusual temperature fluctuations, mysterious symbols in notebooks pinpoint exact evidence locations. This system encourages players to think like investigators, analysing patterns rather than simply checking off a list. While the concept is strong, the execution sometimes feels too similar to other ghost-hunting games, missing opportunities for deeper innovation.
Exorcism is an optional objective, requiring you to confront the ghost directly using a spirit box and spoken commands. The ghosts respond via generative AI, making each encounter unpredictable. However, the AI’s sluggish response time can disrupt the tension, turning what should be a chilling exchange into a tedious waiting game.
Additionally, the reliance on AI-generated images for some of the paintings and photos in the house location feels like an odd choice, as pre-existing photographs could have lent more authenticity. The exorcism prayers, while atmospheric, are disappointingly limited to Christian phrases.
Expanding these to include rituals from other cultures, such as Japanese or Arabic traditions, would have added much-needed diversity, especially as the choice of ghost types comes from many different cultures.
The game currently features three expansive locations, a large abandoned house on the hill, an abandoned hospital, and a bunker, each designed with multiple floors and intricate room layouts. These environments are richly detailed, encouraging thorough exploration, though their size makes solo play daunting.
The vintage aesthetic enhances immersion, evoking an era before digital ghost-hunting tools, where investigations relied on intuition and analogue equipment. While the settings are atmospheric, they lean heavily on horror tropes, missing opportunities to introduce more unique or culturally varied locales. Despite this, the level design succeeds in creating tension, with every creaking floorboard and distant whisper keeping players on edge.
The game’s equipment is divided into four categories: investigation, banishment, defensive, and optional. Investigation tools like flashlights, UV lanterns, and notebooks help identify ghostly activity, while banishment items, spirit boxes, ritual candles, and chalk are crucial for exorcisms.
Defensive gear, including crucifixes and salt, offers temporary protection, and optional tools like walkie-talkies help with team coordination. The absence of modern technology, such as video cameras, reinforces the game’s vintage setting, requiring players to rely on older, more in-person methods. While the gear system is functional, it lacks innovation, sticking closely to established ghost-hunting tropes without introducing any fresh or even unique mechanics.
Unlike modern ghost-hunting games, Bureau of Contracts is set in a pre-digital era, where investigations rely on analogue tools and instinct rather than high-tech surveillance. This commitment to vintage authenticity is one of its strongest aspects, with equipment like Polaroid cameras and chalk circles helping to create a period-accurate atmosphere.
The lack of video cameras means players can’t simply set up monitors to watch for activity, and they must instead rely on real-time observation, which heightens the tension. However, this also means missed opportunities for deeper period-specific mechanics, such as older folklore-based detection methods that could have further distinguished the game from any other ghost hunter game out there.
The game’s visuals excel at creating a haunting, vintage atmosphere, with dim lighting, peeling wallpaper, and flickering shadows that immerse players in its eerie world. The art style avoids over-the-top horror clichés, opting instead for a more subdued and realistic approach that enhances the tension. However, certain UI elements feel too reminiscent of Phasmophobia, which breaks immersion and makes the game seem less original.
Despite this, the environments are richly detailed, with each location, whether a decrepit house or an abandoned hospital, feeling authentically unsettling. The deliberate absence of modern technology further reinforces the period setting, grounding the supernatural encounters in a tangible, believable world.
Sound is where Bureau of Contacts truly shines, with every creaking floorboard, distant whisper, and sudden static burst ratcheting up the tension. The ambient soundtrack is sparse but effective, allowing environmental noises to take centre stage and create an unnerving sense of isolation.
However, the generative AI voice used for ghostly replies is a double-edged sword; while it adds unpredictability, its slow response time can disrupt the flow of gameplay. When everything clicks, the audio design crafts some of the game’s most chilling moments, but inconsistent execution occasionally undermines its potential.
Overall, Bureau of Contacts has the potential to become a great game, but it lacks polish. The sound design and graphics set it apart, despite the use of generative AI art, which was not mentioned in the game’s warning about the type of AI used. Despite all this, it’s well worth a play for those who love games like Phasmophobia and Demonologist.
