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Review: SWERY’s Deadly Premonition 2 Is a Janky, Navel-Gazing Exercise

Everything about your quest feels dragged out to mask how little substance there is to Blessing in Disguise.




Deadly Premonition 2: Blessing in Disguise
Photo: Rising Star Games

Lise Clarkson’s body has been found after 14 years, her dismembered body parts pristinely reassembled and frozen in a block of ice, like something out of Bryan Fuller’s Hannibal. Every bit as striking as this opening to Deadly Premonition 2: A Blessing in Disguise is the reveal that the prime suspect in Clarkson’s murder is none other than Francis Zach Morgan, the “metaphysical offender” who was at the center of 2010’s Deadly Premonition. But it quickly becomes clear that this game, both a sequel and prequel to the original, is largely unconcerned with taking Zach’s potential guilt seriously. It is, though, quite interested in waxing rhapsodically about the power of pizza, and having you bow down before creator and director Hidetaka “SWERY” Suehiro’s love of esoterica.

Indeed, Clarkson’s murder is just a bait and switch. You think you’re going to delve into the supernatural horrors surrounding her death, but instead you spend most of your time listening to characters quip about how a personal connection to the 1986 Sylvester Stallone film Cobra can help one to appreciate frozen pizza, or, in one of many fourth-wall-breaking moments, how by-the-book F.B.I agent Aaliyah Davis and her eccentric techie partner, Simon Jones, would be “the perfect stars for the latest video game.” These asides are endemic to Blessing in Disguise, the bread and butter of both the brief 2019 sequences and the remainder of the game, which transpires in 2005 in Le Carré, Louisiana and features Zach’s earlier self, Francis York Morgan. (If you haven’t played Deadly Premonition, this won’t make any sense, as A Blessing in Disguise can’t be bothered to bring newcomers up to speed.)

The game’s present-day timeline is little more than a non-interactive visual novel, as Aaliyah’s investigation is limited to her asking Zach about random objects, like a shrine of milk cartons, in his one-bedroom Boston apartment. The game never stops shunting the mystery to the side, but being restricted to Zach’s apartment at least keeps things somewhat focused, and because the action all transpires within a few hours, it at least has a feeling of immediacy. York’s 2005 case allows him to more freely, albeit sluggishly, roam through Le Carré, but he’s essentially going through the same rote click-to-investigate motions as Aaliyah, the difference being that the objects he interacts with are thousands of meters apart, a distance that he inexplicably chooses to cover on a skateboard he calls “my darling.” Like its predecessor, A Blessing in Disguise operates on a 24-hour schedule, and while you certainly feel the pull of time, you don’t feel the urgency to investigate the game’s various crimes, which take a back seat to your attempts to set high scores at barely functional minigames like rock-skipping and bowling.

Everything about York’s quest feels dragged out to mask how little substance there is to Blessing in Disguise. The game’s 24-hour schedule forces you to spend a good chunk of each chapter literally wasting time by smoking cigarettes and camping out in the street, waiting to trigger events that only occur at dawn or during an establishment’s business hours. But as empty as it feels to use inventory items to force time to pass, that’s still preferable to the other activities the game offers up: hunting squirrels, dogs, gators, and bees; foraging for items in dumpsters, mailboxes, and fields; and shooting mysterious miniature UFOs out of the sky.

Throughout, the materials you collect, or the stat-boosting charms you craft from them, are somewhat necessary, but the disappointing rewards further spell the game’s irrelevance. There are “realistic” systems in place to account for York’s hunger, sleepiness, body odor, and sobriety, but they’re barely connected to the plot. (Which is to say nothing of how questionably realistic it is that otherworldly monsters tend to drop fresh cups of coffee when slain.) And the meaningless of the game’s busywork is compounded by the poor frame rate and low-texture graphics that would’ve seemed cut-rate even on an early-2000s console.

Given the disconnect between the game’s various systems, it’s hard to view SWERY as anything more than an amateur auteur. He imitates others, but to what end? In the vein of Hideo Kojima, he suffuses his games with pop-cultural references but never shows poetic aspirations. He channels Suda51’s irreverence but not the satirical bite of No More Heroes. He even has Aaliyah indiscriminately quote Nietzsche, which would be a well-intentioned effort to guide players through a philosophical inquiry of crime and morality, if only these references connected in the slightest to the story at hand. Referencing hyperrealism and likening the way York’s hand transforms into a Psychogun as being like that scene from David Cronenberg’s Videodrome doesn’t make this game smart; it outs it as a spectacle of flimsy appropriation, which is evident even in the demonic “Pains” that York faces in the Other World, all inexplicably named after stock characters from commedia dell’arte.

This is also a game that mistakes character development for quirky things happening to characters or being done by them. In one scene, a family’s patriarch forces his son-in-law to feed his own arm to an alligator—a cruel moment that’s never acknowledged again. In another, a character delivers a five-minute-long monologue detailing all of the work he’s put into the ritual he’s about to enact, only to anticlimactically set his knife down, having changed his mind mere moments later. Rather than have to address the effect of these decisions, Deadly Premonition 2 generally just kills off its characters, a particularly maddening move when it comes to the game’s transgender character, Lena, whose efforts to settle things with her family would have benefited from even a superficial grasp of her emotions.

And that’s how the game treats its main characters, as the side ones are either stereotyped and saddled with tics that invite our laughter more than our empathy. There’s a crawfisherman whose most memorable feature is his dwarfism, a bartender who stands out only on account of his tight white underpants, and the employees at the hotel you’re staying at who are all the same person, each one defined by a different, terrible accent.

Ironically, by the time A Blessing in Disguise finally gets around to introducing monsters into the mix, you may find yourself longing for the quirkiness of its shallow caricatures of people. Not only do three of the game’s four chapters end in identical red-misted corridors with no distinguishing features or puzzles, they also recycle the same three enemy archetypes: a creature with giant scissors who snips toward you, a giant chained to a doorway who releases lock-shaped explosive crabs from his bindings, and a half-naked woman who slinks toward you, summoning tentacles. These survival horror sequences are neither scary nor fun, and the most challenging thing about them, beyond their forcing you to try to auto-adjust your aim in order to account for the stuttering lag in the frame rate, is how you have to push past boredom. Consider, then, these sequences not so much a premonition but a warning born of experience: Turn back all who enter here, for there is nothing good awaiting within.

This game was reviewed using a review code provided by Thunderful.

Developer: Toybox Inc., White Owls Inc. Publisher: Rising Star Games Platform: Switch Release Date: July 10, 2020 ESRB: M ESRB Descriptions: Blood and Gore, Use of Drugs, Violence Buy: Game

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Review: Haven Is a Technicolor Tone Poem to Falling in Love in a New World

Along with being one of the most gentle and soothing games of the year, Haven is also gaming at its most compassionate.




Photo: The Game Bakers

The worst thing that can be said about the Game Breakers’s Haven is that it doesn’t visually live up to its spellbinding animated intro, a sequence of achingly beautiful watercolor psychedelia and sensuality out to make you fall for the game and the young lovers at its center, Kay and Yu, even before you’ve pressed start. The bulk of Haven doesn’t reach that level of sensual audacity until a second, even sexier sequence in its end credits. Still, the bookends are only a joyous lightshow, a Technicolor tone poem about what love feels like. The real revelation is the game in between as it basks in the day-to-day joy of building and maintaining love millions of light years away from the rest of humanity.

Haven’s star-crossed lovers have managed to steal a spaceship and escape from the technocratic utopia they call home and the arranged marriages therein. They crash-land on a lush, colorful, but seemingly uninhabited planet called Source. Fast forward a few weeks and they’ve managed to figure out that one of the plants on Source is similar enough to apples to be edible, at which point your job becomes to help them find more kinds of food and materials to fix up their ship, as well as leave them with a clearer sense of where they are.

The core mechanics of Haven are all derivative of the most tired modern concepts of survival and crafting but refreshingly distilled to their essence. This is an open-world survival game that isn’t designed to take over your waking life. There’s a fast-moving day-night cycle, during which you wander around finding plants, seeds, mushrooms, and crude minerals, and while you have to make sure that Kay and Yu regularly eat, bathe, and sleep, the process isn’t beholden to the grindy nature of other games with similar systems.

It helps that traversing Source is exhilarating. Kay and Yu possess anti-gravity boots that allow them to glide angelically over the landscape, as well as ride the blue floating ethereal energy rails made of biofuel called Flow. They can ride these rails over otherwise untouchable terrain, even high into the air like an invisible roller coaster. The game exudes carefree vibes, from its lo-fi synth-wave soundtrack to the defiantly naturalistic way that it handles encounters with alien life. Haven is a sci-fi exploration game where you share space with others but don’t own it. Which is to say that the joy of exploring Source is less about the world than the company.

Haven puts us in the boots of a couple moving in together millions of miles from not just their families, but humanity itself. Kay and Yu are best friends who’ve become more than that. Here, they tap into their inner children, endlessly curious about each other and the brand new world they’ve arrived in, and both are quite literally willing to go through fire for the other. Throughout the game, the writing and voice performances are stellar, unafraid to capture the minutiae of two individuals testing all sorts of boundaries as they revel in matters of work, play, love, and lust. Haven is far from the only game to capture the dynamics of a couple so well, but it’s a rarity in terms of making coupledom such a foundational element of gameplay.

As a mechanic, love in Haven means that Kay and Yu automatically hold hands while they glide across a field. They tease and taunt each other should one of them accidentally bump into the other, and they engage in the sport of friendly competition when it comes to who first spots edible batches of seeds in an area. They will camp, cook, fall asleep side by side at rest points, getting into new, non-repeating conversations every time. The only true physical danger to them are the aliens infected by Rust, an unknown material corrupting much of Source. Confronted with that danger, the game switches into an active-time JRPG-lite mode, where success means working in concert. Kay is controlled by the d-pad, Yu by the face buttons, and the most powerful maneuvers are only accessible by the two of them charging moves in tandem. Cooking and crafting are controlled in the same way. Stand still long enough and they’ll embrace and kiss, evening out each other’s HP totals.

There’s other conflict that arises in Haven that further disrupts Kay and Yu’s bliss when their home planet’s forces get wind of their survival and their arranged mates come calling. Disagreements crop up over how to tend to their new home, and a truly ugly argument breaks out between them after a harrowing video call. And all of it feels incredibly organic, an honest take on the “better and for worse” part of a union that so many treacly romances tend to gloss over. And there’s no conflict so devastating that we’re not still reminded that we love these people and wish for their happiness in their new home. Along with being one of the most gentle and soothing games of the year, Haven is also gaming at its most compassionate.

The game was reviewed using a review code provided by the Game Bakers.

Developer: The Game Bakers Publisher: The Game Bakers Platform: Xbox Series X Release Date: December 3, 2020 Buy: Game

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Review: Hyrule Warriors: Age of Calamity Is Addictive in Spite of a Shaky Engine

It’s an addictive, delightfully rowdy experience in spite of the creaky, decrypt gameplay and engine.




Hyrule Warriors: Age of Calamity
Photo: Nintendo

When Legend of Zelda: Breath of the Wild launched alongside the Nintendo Switch in March 2017, it felt like a wake-up call to developers the world over, showing that with enough creativity, a game’s horsepower scarcely mattered. Now, Hyrule Warriors: Age of Calamity has arrived on the scene as if to further test that premise. It’s rare that a first-party Nintendo game feels like it’s rubbing up against the upper limits of what the Switch can do, but that’s exactly the kind of judder you can feel the second the playing field in Age of Calamity gets remotely busy. Lucky for us, the experience of playing it remains addictive and delightfully rowdy in spite of the creaky gameplay and engine.

Age of Calamity, a pseudo-prequel to Breath of the Wild, shows us the last optimistic days of the Hyrule that was. As Calamity Ganon lays waste to Hyrule, a stray Guardian robot manages to open a portal and travel back in time to warn Link, Princess Zelda, and King Rhoam of the coming catastrophe. Creating an alternate timeline, the king orders Link and Zelda to travel around the world, getting the greatest champions of each of Hyrule’s tribes to pilot the massive Divine Beasts who can defend Hyrule from the apocalypse.

Here, massive armies of beasts, knights, and wizards are looking to burn Hyrule to the ground in Ganon’s name. And, of course, this being a Warriors game at heart, annihilating those armies is much easier than it is in Breath of the Wild. Arguably too easy. The sporadically winning formula from the Warriors series hasn’t changed much, as the vast majority of enemies our heroes will face are hapless cannon fodder that you can either run past to reach your goal on the map or slay en masse with three presses of the Y button. You can count on one hand the number of times that any of them will take a swing at you, let alone have it connect, during an entire playthrough. Still, this formula persists for a reason, as there’s undeniable satisfaction and glee to obliterating whole armies in a matter of minutes.

What Age of Calamity lacks in difficulty it makes up for in variety. The game’s greatest success is its huge roster of characters—the forebears of known characters from Breath of the Wild—and how wildly different they play as they dazzlingly wield the magic powers from the prior game’s Sheikah Slate. It’s easy to button-mash through Age of Calamity, but more satisfying is trying to figure out the exact Sheikah Slate power to stun your enemies with, then experiment with how to chain melee attacks into elemental barrages, arrow storms, and spectacular feats of swordplay. Just as the original Hyrule Warriors meshed Dynasty Warriors’s mechanics with Twilight Princess’s aesthetic and gameplay extremely well, it’s impressive how seamlessly Breath of the Wild adopts this combat system, possibly more so here given how much this game kicks Breath of the Wild’s less popular features—like breakable weapons—to the curb.

Here, advancement is handled by turning the various items and currencies you find on the battlefield into money or ingredients to open up new item shops, craft new items, and complete random challenge stages. While it’s possible to build characters up into overpowered invincible juggernauts with surprisingly little effort, you also don’t necessarily need to in order to do well here. Aside from leveling up your weapons at a blacksmith, you could get along perfectly fine without every other crafting system in the game. The various missions that involve actual gameplay are far more rewarding of the player’s time and efforts.

There’s nothing wrong with another Warriors game providing a familiar experience, but all that’s dependent on this particular game being enjoyable to look at and play comes up incredibly short. At its best, Age of Calamity keeps a weak grip on 30 frames a second, and at its most visually chaotic, the game effectively becomes a slideshow. And it’s at its absolute worst when it puts you behind the controls of one of Hyrule’s Guardian Beasts, massive stone-and-metal kaiju that wreak havoc on hordes of enemies. These segments should be wicked displays of payback. Instead, they’re smudgy, indecipherable nonsense, given that the camera can’t figure out where to go, enemies are too small to stand out against the various smoke and light effects, and the explosions from destroying them tank the framerate.

Age of Calamity isn’t a game that’s likely to stay with you too long after the credits roll, even if it hurts the eyes from time to time. But Warriors games have always been there to scratch a very particular itch, and Age of Calamity still manages to deliver on that front, while also letting Legend of Zelda fans spend some quality time with some familiar faces. It’s a somewhat broken experience, but it’s scarcely a heartless or empty one.

The game was reviewed using a review code provided by Golin on November 20.

Developer: Omega Force Publisher: Nintendo Platform: Switch Release Date: November 20, 2020 ESRB: T ESRB Descriptions: Fantasy Violence Buy: Game

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Review: Assassin’s Creed Valhalla Brings the Fun, but It May Leave You Uneasy

The game is fairly dedicated to correcting many of the worst creative decisions made across the lifespan of the Assassin’s Creed series.




Assassin’s Creed Valhalla
Photo: Ubisoft

Fun comes through more effortlessly in Assassin’s Creed Valhalla than it has in years for Assassin’s Creed. Where Origins and Odyssey took more than a few cues from The Witcher 3: Wild Hunt, Valhalla embraces the things that, once upon a time, made Assassin’s Creed unique. Here, there’s renewed emphasis on actual assassination, but also more focus on showing how each of your targets connect, how they affect the world at large, and the direct result of their elimination. You get to see the ways your actions make the world a better place, at least in the short term. That, in turn, provides plenty of motivation to do all the extra non-essential stuff that Origins and Odyssey kept trying to foist upon the player.

It does, though, take a few hours—after an introductory sandbox in Norway provides a bleak and uninspiring bit of setup—for the game to get to that point. You play as Eivor, a Viking who finds themselves tagging along on the first exodus out of Norway with their hot-blooded brother, Sigurd, when their father bends the knee to a new king without consulting the rest of his family. The journey leads Eivor and Sigurd to seek out their Norwegian brethren in England, where the game blooms from a set of linear plot points to a much looser structure.

The next main story mission is always out there waiting for you to tackle it, but with enough time, effort, and honest detective work, visiting a diverse array of well-written and amiable NPCs will be a great opportunity to tame the hostile English terrain. That work will also lead you to the two dozen or so assassination targets that will make settling down in England easier in the long run. There are still plenty of mindless sidequests, minigames, and timewasters to blow a 40-to-50-hour game out into something closer to 90, and a plethora of fascinating little nooks and crannies to explore for treasure, customizable items, and random secluded hermits with grand stories to tell. But blessedly, these are truly optional, instead of a required grind. Now, just about anything you do in game can help improve your equipment, or provide enough XP to unlock new tricks, better attacks, defends, and the like.

Raids are the backbone of Valhalla, at once the main source of its enjoyment and its most problematic component. On its face, a raid will find you blowing a horn and charging alongside 30 of your best CPU allies into battle against the Saxon dogs who choke the life from the land, burning their villages to the ground. It feels as if, in the thankful absence of rape, there’s triple the amount of pillaging to be done. At its best, the film’s combat strikes that happy medium between patient, Souls-like sword-and-shieldplay and easy, effective button-mashing that usually ends with your enemies finding out what your favorite axe tastes like.

The quests as part of the main story go even further, turning into full-on Lord of the Rings-scale melees. Aside from the rock-solid frame rate, if there’s anything that truly shows off the power of the next-gen consoles, it’s the way these battles, such beautiful displays of chaos, never skip a single frame—something that can’t be said about the stuttery previous gen port.

Stop for even a moment to consider the implications of all the looting and burning, though, and Valhalla starts to unravel. You spend much of the initial boat trip into England talking about how you intend to take the land from the Saxons, who had to take it from the Romans, who had to take it from others before them. But the option to take a different path, one toward coexistence, isn’t an option. And why not? A dialogue system has been built into this game that takes some rather intriguing twists and turns with the story, where enemies can become friends, innocent people can die as a consequence of your actions, and Eivor can try to find diplomatic solutions before things escalate into war. But bloodthirst is always the first option.

Granted, Valhalla is a game about a Viking assassin, so it’s difficult to imagine peace as a possibility within that premise. But the violence you bring about in prior Assassin’s Creed titles has a different flavor. You’re meant to revel in the good you’ve done in the other games, while chaos is your guiding principle here, as it’s considerably easier to progress with fury than it is with grace, which nearly every other game in this series makes a point to lean into.

There are a few motions toward grace later in Valhalla, especially when some of the more despicably bloodthirsty Vikings start to play a role in the game’s narrative, betrayals start to pile up, and named innocents start dropping like flies. Eivor begins to develop a wider, empathetic view of the world around the Vikings as the narrative progresses. There are more than just Danes trying to carve a small piece of England for their own, and Eivor is able to recognize that same settler struggle in others as time goes on. Given that everyone has lost friends and family trying to make England their home, and Eivor is often tasked with being an emotional bedrock for them as they build and rebuild. At the same time, you can’t help but wonder why Eivor is meant to feel so uneasy about the way their people operate now. Why wasn’t it a problem decapitating the men whose primary crime was defending their village?

Of course, you know the answer to that: Because it’s fun. Admittedly, lots of fun. Indeed, Valhalla surrounds you with people, places, and activities that make spending time in a bloody Assassin’s Creed open world the most enjoyable it’s been since Syndicate. A golden sunrise greets you every few hours in the game to bless a journey you take. You get the sense that you’re not supposed to think about the implications of your actions, that you’re supposed to kill and pillage at your leisure, which doesn’t make the game much different from most others, except that it makes such a point of bringing frightened terrorized bystanders into the mix.

Valhalla is fairly dedicated to correcting many of the worst creative decisions made across the lifespan of the Assassin’s Creed series. Most notably, it empowers its female characters and puts them on equal footing with the male characters. But there’s a cost, as the force of colonialism is front and center here in ways it never has been before in an Assassin’s Creed game: You’re meant to take anything that’s not freely given in England, and not nearly enough nuance has been baked into the story to say that your enemies deserve what your Vikings have come to bring. That makes the primary mode of advancement in the game rest a bit uneasy with where the narrative ends up going. Arguably, that uneasiness is the point, but it’s not enough to support how much fun the game wants you to have throughout.

The game was reviewed using a review code provided by 160over90.

Developer: Ubisoft Montreal Publisher: Ubisoft Platform: Xbox Series X ESRB: M ESRB Descriptions: Blood and Gore, Intense Violence, Partial Nudity, Sexual Themes, Strong Language, Use of Drugs and Alcohol Buy: Game

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Review: The Pathless Grasps for Profundity in the Shadow of the Familiar

The Pathless ultimately buries anything it might have to say in a stupefying level of cliché.




The Pathless
Photo: Annapurna Interactive

There’s something almost defiant about how prototypical and familiar The Pathless is, treading as it does territory worn not only by Shadow of the Colossus and The Legend of Zelda, but the countless other media they’ve likewise inspired, to say nothing of further forbearers like Hayao Miyazaki’s Princess Mononoke. That familiarity suggests an intent to transcend the thick muck of video game cliché in which The Pathless stands, and what’s most disappointing is that the game almost manages to do so.

The forces of light and darkness are at it again in Giant Squid’s open-world game. The Hunter has traveled to a distant land where the requisite giant animal deities have been cursed and struck down. To put things right again with nature and the world at large, she must cleanse the cursed gods and switch off the radiating red towers that look like the Eye of Sauron.

The game’s unique movement system provides a magnificent sense of momentum. Armed with a bow, the Hunter sprints across the world while shooting floating talismans that replenish an ever-draining dash meter. Aiming is more or less automatic; all you have to do is look in the direction of a talisman and hold down the trigger for a brief lock-on period. As you get a feel for how long it takes to shoot and how quickly arrows reach their targets, navigation becomes a captivating rhythm that frees space for you to experiment with different maneuvers, weaving through trees or hopping over rocks and rivers while expertly aiming without a hitch.

Complementing this freedom of movement is your eagle companion, who can soar to great heights or carry you across gaps and long distances. Sometimes a river is a little wider than your jump distance, so the eagle can carry you the rest of the way. But some of The Pathless’s most thrilling moments occur when you cross areas without the eagle’s aid. For one, if you hit a talisman in midair, the boost keeps you aloft and provides just enough push to jump a wide river. Mastering the navigation means blazing through the world at high speed, able to propel yourself across the landscape while scarcely touching the ground.

Otherwise, the bow tends to be used in the puzzles that dot the landscape. And, unfortunately, those puzzles are pretty standard stuff, from lighting a torch by shooting an arrow through some fire, to hitting a switch from a distance, to, if you really want to get wild, weighing down a pressure plate. But what the puzzles lack in distinction they make up for in a fulfilling sense of discovery when you find them on your own. They’re nestled inside the trees and the ruins that might catch your eye from a distance, rewarding you with light orbs that are used for markedly less inspiring means: turning off the video game towers to unlock the boss battle.

In each area, a cursed god roams the land within an enormous storm, a swirling cloud of ominous red that occasionally expands to pull you inside for rather tedious stealth segments. While it’s possible to outrun these storms, they tend to interrupt puzzles and exemplify the odd identity crisis at the core of The Pathless. The game visibly aches to be more traditionally dramatic, which manifests in more guided stretches like the stealth sections and boss battles.

And when The Pathless doesn’t lean on the sense of discovery that so few games trust the player with, its most familiar attributes become almost laughable because there’s no longer anything to differentiate them from those of countless other games. It’s then that it becomes yet another game where you have to shoot giant eyeballs, light torches, and look around in bog-standard blue vision to highlight relevant objects while making dark clouds go away. In the wrong hands, the wonder-of-nature, light-in-the-darkness archetypes merely become another flavor of generic. The Pathless ultimately buries anything it might have to say in a stupefying level of cliché, grasping for profundity in the shadow of the things that inspired it.

The game was reviewed using a review code provided by fortyseven communications.

Developer: Giant Squid Publisher: Annapurna Interactive Platform: PlayStation 4 Release Date: November 12, 2020 ESRB: E10+ ESRB Descriptions: Fantasy Violence Buy: Game

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PlayStation 5 Roundup: Devil May Cry 5, Spider-Man Remastered, & Demon’s Souls

Even the PS5’s most grandiose examples of a remake still pay more tribute to the past than they provide a window to the future.



Devil May Cry 5
Photo: Capcom

The PlayStation 5’s exterior design feels sprung from the imagination of Björk, as if capable at any moment of releasing a bloom of black smoke that will eventually transform into a flurry of butterflies. Which makes it somewhat disappointing that actually playing games on the PS5 feels, well, just like playing them on the last generation. Mostly. But we can see strands of the future laid out in its handling of the past, and three games in particular provide the most intriguing taste of things to come.

The least ambitious of these visions is Devil May Cry 5, a fantastic game on the previous gen that’s been given the “special edition” treatment. In this case, that means the inclusion of all the previously gated bonus content from the deluxe versions available on the PS4—most notably new costumes for the main cast, and a delightful feature allowing players to see live-action pre-viz footage of select cutscenes—alongside a massive cache of starting currency and the addition of series antagonist Vergil and a new Legendary Dark Knight mode that drops insane hordes of enemies on the battlefield at any given moment.

The cherry on top is a next-gen spit shine, almost completely eliminating load times but adding a high frame rate mode, ray tracing, and an extra bump in detail to what was already an extremely pretty game. The most anyone can really say is, yep, that’s Devil May Cry 5 all right, and the visual uptick is certainly nothing to sneeze at, especially given the manner in which light plays off the world in ways that pop off the screen. In a game that often devolves into chaos, there’s a newfound clarity that really drags you into the world just a bit more. Fundamentally, though, it’s still the same game folks may already own.

The same can mostly be said of the remastered Spider-Man, included in the Ultimate Edition of its semi-sequel, Spider-Man: Miles Morales. It’s a prettier, more detailed game now (the frame rate can be kicked up to a solid 60), but the PS5 adds a lot more to the fundamental experience here. Two of the bigger flaws of the original game were a virtual New York City that was less effective at invoking the real thing the closer you got to the ground, and rather extensive load times that made any segment where you had to go indoors feel entirely separate from the rest of the world. Both of those problems have been solved on the PS5.

Spider-Man Remastered

A scene from Marvel’s Spider-Man Remastered. © Sony Interactive Entertainment

While it’s not a one-to-one reflection of the real deal, the New York of the game absolutely bustles with life now, brimming with new details, vendors, and NPCs interacting with each other—and it does so for full city blocks ahead of your field of vision. But more than this, the world is absolutely seamless, only breaking immersion for cutscenes, which have also been given a nice new level of detail and photorealism. That realism has, however, led to probably the most notable change to the game: A new face model for Peter Parker who, for unquestionable reasons of synergy, looks a hell of a lot like the MCU’s Tom Holland.

The kid looks great, but there’s a small dissonance cost, as his is a rather young face for a Spider-Man who, in the game, is an old hand at the superhero gig, and is already feeling its fatigue. That older, frazzled voice (Yuri Lowenthal’s) doesn’t quite synch up with the fresh face, but there’s an impressive new level of earnestness in the physical performance now that captures more actorly decisions and expressiveness. All in all, the change is worthwhile, and it’s certainly a strong reason to revisit the game before jumping into Miles Morales.

The real main event on the PS5 right now, though, is the Demon’s Souls remake, a top-to-bottom makeover that brings the eldritch grandfather of Souls games rocketing into the future. I was there back when the original Demons’ Souls was an evil secret, a dare for those who had the belly for a true challenge during one of the least challenging generations of games. But unlike the worlds offered up by its wicked spawn—Dark Souls, Bloodborne, and Sekiro: Shadows Die Twice—it never felt like a place you wanted to get lost in or held wonder. It was a grim, grisly labyrinth of torments that seemed to revel in your failures, with nothing but cold, unyielding, nicotine-yellow brickwork to bear witness, even if its enthralling representations of death and decay made it difficult to turn away from it.

Perhaps the perfect example of everything special and different about Demons’ Souls is its hub area, the Nexus. It was always a dead place, with the mood of an abandoned church—dim, bleak, and yawning, whose main purpose is to get you away from it. Its guardian was a ragged banshee barely discernible against the darkness. Conversely, the Nexus on the PS5 is a true sanctuary. It’s a palace bathed in the gentle amber of candlelight, where the floor is a clockwork mechanism protected by a membrane that ripples like water. It’s a place where choral voices soothe in all directions—probably the best example of the PS5’s 3D audio feature hard at work—where the faces of the damned are easy to read and commiserate with. It’s a place of respite, creating a powerful contrast between you and the endless agony to come.

Yes, the look, feel, and sound of Demons’ Souls is absolutely a next-level experience. The irony, however, is that the game is otherwise a carbon copy of the game that dropped on the PS3 back in 2009. Every strategy, every secret, every bit of balancing feels as warm and familiar as a hug from an old friend—that is, a friend who’s ready to kill you within 10 seconds if you don’t watch your step. It doesn’t feel old per se; every FromSoftware game that comes out is a reminder that Hidetaka Miyazaki has insight on how to build worlds and experiences that even the best Souls copycats haven’t been able to touch. But it does feel oddly safe in 2020. We’ve seen this brand of game one-upped in various ways over the years, and Demons’ Souls, as excellent as it often is, is still playing with a mood and mechanical language that’s very well tread at this point. Funnily, one of the other PS5 launch titles, Godfall, is riffing on many of the design tenets set forth by Demons’ Souls, and while it’s a more repetitive experience, it also feels like it’s reaching toward something more ambitious in concept.

Demon’s Souls

A scene from Demon’s Souls. © Sony Interactive Entertainment

Of course, we don’t expect launch titles to answer the question of what the next generation of video games will look like. The experiences that have come to define the last seven years of video games were absolutely inconceivable way back in 2013, when the PS4 and Xbox One arrived on the scene. We know how good it can look, at the very least, and we know it can make games engulf our senses like never before. But as beautifully lavish and deserving of reverence the old may be, even the PS5’s most grandiose examples of a remake still pay more tribute to the past than they provide a window to the future.

These games were reviewed using retail copies purchased by the reviewer.

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Review: Tetris Effect: Connected Will Leave You Wanting for VR Support

Tetris Effect is one of the best VR titles on the market, so without the feature Connected feels, well, disconnected.




Tetris Effect: Connected
Photo: Enhance

There are few among us who haven’t heard of Tetris, the addictive tile-matching video game created in 1984 by Alexey Pajitnov in which players must move and rotate tetromino pieces in order to form and clear horizontal lines. For years, developers have been crafting their own iterations on this familiar formula, and they almost all feel largely the same. Perhaps that’s why Tetsuya Mizuguchi, the creator of trippy games such as Rez and Lumines, puts so much of the focus of Tetris Effect on literally changing the way people feel, using a variety of audiovisual effects to present an artistic, emotional spin on Tetris.

And yet, the successes of Tetris Effect, named for a condition where people spend so much time doing a particular activity that it begins to pattern their thoughts, come not from such ultimately superficial and distracting bells and whistles, but from the introduction of a brand new ability. As players clear lines, they’re also charging their Zone gauge, which, when it’s completely filled, will allow you to significantly slow down time. It’s a game-changing mechanic that shakes the foundation of the Tetris experience, allowing masters to massively boost their scores by clearing as many as 20 lines while also re-balancing the game for amateurs who may need an extra advantage to puzzle their way out of a tight spot.

Tetris Effect offers the most responsive Tetris experience to date, in part due to the best improvements in the series’s history, such as the ability to store a single tetromino in a queue and to T-spin shapes into awkward gaps before they lock into place. An Effects mode offers a wide variety of modifiers to the basic game, from standard speed runs and score attacks to skill-training puzzles that test your ability to quickly All Clear a board or combo together line clears. And the Master mode, which all but instantaneously drops pieces, makes a return here, but now there’s also a Relax setting, which offers up different themed levels, like Sea or Wind, but without the risk of a dreaded Game Over. And for those who have mastered every aspect of Tetris, there’s the Mystery setting, which throws weird and random rule modifications into the mix. It’s one thing to play on an invisible board, and quite another when that board is flipped upside down, or when the tetrominos take on new and unwieldy or massive shapes.

Pity, then, that the game’s emotional resonance is rather lackluster. The Journey mode, self-billed as “a journey of discovery and emotion,” more closely resembles a Couch to 5K-like training program, one that hides the repetitious work of building Tetrises beneath 27 increasingly challenging levels. Abrupt shifts between high-intensity havoc and slower, soothing tempos give players a chance to recover from the more taxing speeds, just as the varying visual styles—not just for backgrounds, but for pieces—helps with training.

Tetris Effect is staggeringly immersive, but it falls short of justifying its audiovisual ambition as anything more than a novelty, a way to resell one of the oldest video games in the world, now gussied up with high-definition colors and graphical bloom. There’s Tetris, better than ever, in the foreground, but then there’s all these other effects going on in the background.

Now, Connected brings a multiplayer component to the Tetris Effect experience. In addition to PVP modes (the same that have been available in other Tetris compilations over the years), the strongest multiplayer mode is its namesake, Connected, wherein three players unite online to take on a series of astrology-themed AI-controlled bosses. The player starts a game alongside two co-operative partners while the bosses play their own game, firing attacks back and forth as lines are created. Occasionally, all three games link up so that players can take turns dropping pieces onto a play area that’s three times the size of the standard area, making longer lines that do devastating damage against the zodiac bosses. It’s suitably epic and engaging, and boasts the same kind of thrilling immersion as the core Tetris Effect campaign.

But just as the Tetromino Lord giveth, the Tetromino Lord taketh away. The multiplayer additions, while compelling, don’t make up for the absence of a virtual reality mode, which is unfortunately unsupported by the Xbox One platform. After all, the complete audio-visual immersion of virtual reality is where Tetris Effect really shines: Beyond the stellar visuals, the sound effects of the gameplay synchronizes to the beat of the soundtrack, and when the engaging gameplay is in lockstep with the music with the gorgeous graphics surrounding the player, Tetris Effect generates a feeling of transcendence. Tetris Effect is one of the best VR titles on the market, so without the feature Connected feels, well, disconnected.

The game was reviewed using a review code provided by Enhance.

Developer: Resonair, Monstars, Stage Games Publisher: Enhance Platform: Xbox One Release Date: November 10, 2020 ESRB: E Buy: Game

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Review: With Melody of Memory, Kingdom Hearts Takes an Undeserved Victory Lap

In the end, Melody of Memory is very much a fans-only affair.




Kingdom Hearts: Melody of Memory
Photo: Square Enix

The franchise equivalency of auto-fellatio, Kingdom Hearts features Disney and Final Fantasy characters as bit players in a contrived, bloated narrative revolving around saving the world through the power of friendship, pureness of heart, or some other nonsense. The common element between each game is that Kingdom Hearts is the greatest and you’d be a fool to think otherwise. In fact, the last thing the series wants players to do is think at all, lest they see it for the shallow, juvenile, incoherent blather that it is. And after last year’s disappointing Kingdom Hearts III, Melody of Memory serves as a wholly undeserved victory lap, a recap of the series’s major narrative beats baked into a mediocre rhythm game.

Melody of Memory features three types of levels across its World Tour campaign, all requiring you to press buttons when prompts appear: Field Battles, wherein a trio of characters (most commonly series protagonists Sora, Goofy, and Donald Duck) run down a floating path through a level from past Kingdom Hearts games and fight enemies; Memory Dives, a kind of interactive music video where the characters fly in the air as video clips from the prior games play in the background; and Boss Battles, wherein your trio circles a boss and attacks and defends until the fight ends, often unceremoniously. Completing levels unlocks cutscenes from each game, moving through the narrative of both the main numbered titles and its spin-offs.

After a bewildering interactive opening that Melody of Memory doesn’t make clear that you can even play, you’re introduced to the serviceable but unexciting basics of its gameplay—attack, jump, fly, and multiple attack—little of which changes or evolves from the start to the end of the campaign. But the game’s lack of variety is only part of its problem. The difficulty swings wildly throughout Melody of Memory, with the most difficult option, Proud, providing the most comprehensive experience, wherein the player has to press buttons in time to all of the beats in a song and misses are punished severely. Conversely, Beginner gives the player significantly fewer button prompts and frustratingly little to do, as playing the game this way doesn’t allow one to really maintain any sort of rhythm or even enjoy the music.

Better examples of this genre of game, like Harmonix’s Rock Band series, have found ways to not only give beginners a fun experience, but teach them how to improve, by, say, enlarging the timing window to hit beats instead of reducing the number of beats that you have to hit. Alas, Melody of Memory doesn’t even provide adequate feedback as to how the player isn’t hitting specific beats, making progress arduous. And while the game boasts a tracklist of over 140 songs, the arrangements often disappoint, with few orchestral versions of popular tracks and some notable soundtrack omissions from past games in the series, like “Scythe of Petals.” Surprisingly, the game also contains few licensed Disney songs, as more of them would have given Melody of Memory the opportunity for broader reach and appeal.

In the end, Melody of Memory is very much a fans-only affair. You will find no better proof of this than the banal narrative, which plays out as a “greatest hits” edit of the series’s overarching story, and in such patchy fashion that only those intimately familiar with the games will be able to make heads or tails of any it. Like Eiichiro Oda’s One Piece and its awful video-game adaptation series Pirate Warriors, truncating Kingdom Hearts’s overcomplicated narrative into fragmentary clips somehow makes the whole thing seem more incoherent. But the more cultish, nostalgia-fueled fans of the series will remain undeterred, which is ironic given that the more dedicated among them are the ones who should be the most frustrated with this gimmicky, transparently pandering product. (Imagine the backlash to a Just Dance: Dark Souls, or, heaven forbid, a Silent Hill pachinko machine.) Melody of Memory is less than the sum of its parts, a judgment one can fairly cast over the entire Kingdom Hearts franchise.

The game was reviewed using a review code provided by fortyseven communications.

Developer: Square Enix Publisher: Square Enix Platform: PlayStation 4 Release Date: November 13, 2020 ESRB: E10+ ESRB Descriptions: Fantasy Violence, Mild Language Buy: Game

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Review: Bugsnax Is Excitingly Weird but Clumsy When It Has Something to Say

The game noticeably stumbles as it attempts to more overtly address the darkness beneath its concept.




Photo: Young Horses

The eponymous creatures of Bugsnax—sentient food with googly eyes—live within their environments in much the same way that regular animals do. A Bunger, a hamburger with curly fries for legs, roams its terrain, charging at anything slathered in ketchup. A pineapple spider, naturally called a Pineantula, remains buried in the sand until a crab made from apple slices—a Crapple, of course—can be coaxed to dig it out.

And those are just a few of the strange creatures that fill the delightfully odd world of Bugsnax, including anthropomorphic walrus-looking thingamabobs called Grumpuses, some of whom have built a settlement on the illustrious Bugsnak domain of Snaktook Island. As a desperate Grumpus reporter from the city, you make your way to the island to investigate the rumors of things that are, per the game’s theme song by Kero Kero Bonito, “kinda bug and kinda snack” in a comedic adventure that flounders as it reaches its climax.

With Grumpus names like Beffica Winklesnoot and Wambus Troubleham, the game can often feel like an elaborate ploy to make voice actors recite ridiculous words, given that the Bugsnax don’t grunt or growl so much as say their own names aloud like Pokémon. But unlike the Pokémon games, Bugsnax seems to be much more consciously in touch with its darker side. Upon devouring a Bugsnak, a Grumpus will transform accordingly and horrifically—though not, it appears, painfully: a leg becomes a carrot, an arm becomes a shish kebab, a nose becomes a pickle. And not long after you does this for the first time, the player meets a Grumpus who’s morally opposed to the idea of eating Bugsnax in the first place, preferring to keep them as pets on a ranch that other Grumpuses view more as an auxiliary food source.

The game is most disturbing at its most overtly whimsical, when no one seems bothered by the fact that these characters blundered onto a remote island and are gradually becoming grotesque food chimeras by eating the wildlife raw. Most of the game functions in that mode of comedic ignorance, where a Grumpus has some request and you run off to capture the corresponding Bugsnak through some combination of sauce packets that grow like plants and the gadgets you’ve accumulated, like a launchpad or a tripwire. Light on challenge, the game works best as a procession of weird characters among even weirder fauna, the Bugsnak interactions more like momentary puzzles than particularly in-depth systems.

Which isn’t to say the game is incapable of surprising you with the way the Bugsnax behave even without your interference; sometimes you’ll see them attack each other while moving along their predetermined paths. But in its breezy nature, the game ends up living and dying by its storytelling, which noticeably stumbles as it attempts to more overtly address the darkness beneath its concept. If the game is funniest and strangest while playing dumb, it becomes tedious and wholly predictable once the time finally comes to say into the camera that all the Grumpuses have done on Snaktooth Island might actually be bad. Bugsnax is so much more inventive when it’s pretending everything is okay, even when it clearly isn’t.

The game was reviewed using a review code provided by popagenda.

Developer: Young Horses Publisher: Young Horses Platform: PlayStation 4 Release Date: November 12, 2020 ESRB: E10+ ESRB Descriptions: Crude Humor, Fantasy Violence

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Indie Roundup: Carto, I Am Dead, and Noita

Carto gets a lot of brain-bending mileage from its central mechanic.



Photo: Humble Games

The layout of the world in Carto (Humble Games) is subjective, but only up to a point. The latest from Taiwanese developer Sunhead Games finds the title character collecting pieces of her magic map to make terrain appear in the world. Place, say, a patch of forest to her east and what was once a blank void transforms into a very real forest for Carto to explore. If you pick up that same map piece and place it to her north, the forest moves to the north instead. As long as the edges match up—forest to forest, grassland to grassland—the beautiful, storybook-esque world of the game is totally within Carto’s power.

Other people also live in Carto’s world. In addition to the grandmother who she’s been separated from, there are the various tribes that have settled in different environments according to their own customs. And they’re already familiar with the land; if one character says that his hut is by the sea to the east of another hut, his home won’t appear until the player sets the map piece down in the proper place. And even if the map piece fits just fine to the north, south, or west, he knows where his home is.

Though the more complex, and occasionally obtuse, puzzles can make your constant opening and closing of the map feel a little tedious, Carto gets a lot of brain-bending mileage from its central mechanic. Each area introduces some pleasant new wrinkle, like moving big chunks of the map at once, connecting the path of an earthworm, or rotating a map tile to open a safe before moving on again, one more stop on a lovely journey about getting to know different cultures and how they survive in so many different conditions.

Death, as it turns out, isn’t the end. Deceased museum curator Morris Lupton is now a rather nosy ghost, capable of supernaturally peeking inside objects around the small island of Shelmerston in I Am Dead (Annapurna Interactive), the latest from the creators of Hohokum and Wilmot’s Warehous. The outsides melt away on command, letting him look inside of a grapefruit, the circuits of a walkie talkie, or the gears of a clock. But Morris finds himself without purpose, until the ghost of his dog informs him that they need to find a replacement spirit for the island to keep its long-dormant volcano from exploding.

What follows is a rather simple game where you seek out mementos of the dead that tend to be hidden in unexpected containers like a fox hole in a sculpture park or an armchair at the lighthouse turned yoga retreat. I Am Dead places its objects among scenes of such vibrant life and history, bursting with strange details and memories tackling a range of emotions that’s all the more surprising for the cutesy exterior. There’s pleasure, charm, and sadness here, rummaging through mementos seeing how our touch on the world persists, however brief it may seem, through the people and objects we leave behind.

Though so many games call themselves sandboxes, few can claim the depth and variety of the pixelated playground of Noita, the latest from the self-proclaimed nerds at the Finland-based Nolla Games. The simple art style belies an enormous spiderweb of systems upon systems, actions and reactions. When your magician character lights something on fire, the fire spreads and takes the terrain with it, pieces of it crumbling off into the cave network below. Smoke rises, collecting in pockets of the cavern to drain oxygen from you or the hostile creatures lurking in the dark. You can douse the fire in water or blood, or you can feed it with oil or alcohol and watch from a distance as it consumes the monsters in your way.

And fire is just one of the many potential variables on your journey, something that might crop up because you knock over a lantern or manifest it as an unexpected side effect of your spells. Acid melts terrain, electricity surges through water, and parasitic plants block your path as they grow unchecked. Even with just a handful of basic spells, Noita is an astonishing, reactive, and chaotic achievement. But as you progress, starting from scratch upon death, as it is customary in roguelikes, even the spells grow in complexity. You can bolt on additional effects, change trajectories, and tweak their potency until, say, you’re obliterating ground as far as the eye can see in a flash of red fireworks, probably killing yourself by accident in the process.

Death will come often in Noita as you puzzle out the secrets of its merciless systems, and to the game’s occasional detriment. Without a safe, reliable place to experiment, you’ll often find yourself dealing with powers and enemies that you’re unaccustomed to, scrambling for footholds and bottlenecks that might crumble at any moment. The desperation can be exciting to be sure, but Noita’s systems are so fascinating on their own that it’s difficult not to long for an option to make its wondrous sandbox just a little less dangerous.

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Review: The Dark Pictures Anthology: Little Hope Puts Scary Ideas in a Safe Package

The gameplay blunts the effectiveness of the game’s aesthetic, because there’s no real danger to exploring the environments here.




The Dark Pictures Anthology: Little Hope
Photo: Bandai Namco Entertainment

Right out of the gate in Little Hope, the second game in The Dark Pictures Anthology, the so-called Curator (Pip Torrens), a Rod Serling-like master of ceremonies, makes promises that this modest thriller can’t keep. This will be a “confusing” and “disturbing” tale, he promises, one filled with “infinite” possibilities. What follows is a decent enough thrill ride with some especially well-conceived monsters, but it’s little more than a gamified ghost tour of the fictitious Salem-adjacent abandoned town of Little Hope.

A stubborn professor, John (Alex Ivanovici), attempts to shepherd his four students to a working phone after their bus crashes along the road to Little Hope. Each student is a distinct type: cynical and guarded Taylor (Caitlyn Sponheimer); her jock-y, earnest boyfriend, Daniel (Kyle Bailey); the older Angela (Ellen Davis), who’s quick to disdain; and Andrew (Will Poulter), who’s a bit of a frightened cypher on account of the head injury he sustained that’s given him temporary amnesia, though the other four all recognize him as their classmate.

If you’re playing alone, Little Hope chooses which character you control, supplying responses from the others that fit whatever character traits you’ve leaned toward in prior scenes. And if you’re playing with a co-op partner online, you’ll each concurrently take control of a character, meaning that you might see completely different scenes. The latter option is the better, faster mode that best emulates a horror movie—or, at least, it is if you’ve got some way to hastily talk things through with your partner, sharing your nuggets of the plot with theirs.

Little Hope’s quintet of bus crash survivors don’t have any real freedom, emphasized here by a disorienting fog that only lets them proceed in one direction. The mostly binary choose-your-own adventure selections you make might change the dialogue and personalities of these characters, but they don’t seem to impact where you go or what you experience there. Dario Poloni’s script neatly evokes parallels between a witch trial in 1692 and a tragic house fire in 1972, but by doing so it proves itself to be too tightly tethered to them, with a clear and correct way to “save” everyone in the present day from similar fates.

Little Hope is more ambitious than Man of Medan, thanks in no small part to its more expansive setting. It helps, too, that you aren’t just stumbling through nightmares, as the monsters here are thematically associated with the main characters. Periodically, your survivors snap back in time to 1692, long enough to see their doubles being accused of witchcraft. Joseph was once weighed down by stones cast by his fellow Puritans, and James, the drunk patriarch of the 1972 prologue, was crushed by a collapsing roof. And modern-day John finds himself pursued by a shambling, half-flattened grotesquerie, just as his students are chased through the town’s abandoned factory, sewers, woods, and church by the mangled corpses of their past selves. Such specific details and parallels go a long way toward elevating by-the-books scares that are at times undermined by some odd design choices. For instance, though these characters are reflexively aware that what they’re experiencing is “exactly what happens in horror movies,” they all move at the same plodding pace, regardless of their age. In fact, Little Hope only shows them running during quick-time-event-filled cutscenes.

The game’s aesthetic enhances the horror, with your crew’s flashlights rarely being much of a match for the overwhelming fog and darkness, and the monsters reflecting the full ugliness of witchcraft murder techniques like drowning, burning, and pressing. But the gameplay blunts the effectiveness of that aesthetic, because there’s no real danger to exploring the environments here. There might be the occasional jump scare upon opening a window or door, but nothing’s actively chasing you as it would in something like Resident Evil. It’s the weirdest sort of plot armor to be found in a horror game, in that your characters are completely safe in Little Hope so long as you control them, and at risk only when a cut scene takes over.

The game was reviewed using a review code provided by fortyseven communications.

Developer: Supermassive Games Publisher: Bandai Namco Entertainment Platform: PlayStation 4 ESRB: M ESRB Descriptions: Blood, Intense Violence, Strong Language Buy: Game

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