The campaign structure in Mysteries of Westgate is disappointingly similar to the campaign structure of Storm of Zehir. That is, there isn’t much going on with the main storyline (you don’t really learn anything about the cursed mask until the very end of the game); you just need to complete a bunch of side quests on your way to the parade of final boss battles. The side quests are fun enough, and they involve vampires, pirates, spiders, and of course hamsters, but they’re all short, and they only rarely have anything to do with the main storyline or your companions. They just felt like random filler to me, which is sort of sad coming from a developer who likes to mention Baldur’s Gate, which linked together characters, quests and plot as well as any game ever.
The plot itself is derivative of several well established cinematic genres. This reflects a deliberate effort to steer away from truly high fantasy, and instead achieve a remarkably successful realism in the setting. You won’t find any Mary Sues and Marty Stus in Westgate. Indeed, more than one criminal faction is vying for power, while agents of good-aligned deities have an apparent interest in containing the chaos, or even benefiting from it. Everybody in this town is looking out for number one, even the ones who are ostensibly on the side of law and good. The degrees and specifics by which everyone’s self-interest finds expression is what sets them apart from each other. In a sense, this pervasive sense on literally being on your own against a hard-bitten world made me compare some of the story arcs to classic crime dramas like Heat, the French Connection, and The Corruptor.