In the midnight South boss battle, you need to find a pulsating wound in the monster’s body and hit it to hit it. In fact, these creatures are analogs to human characters, and people who have sometimes been literally transformed into beasts are tormented by thorny curses that drive them into a horrifying state of anger and panic. This is a game about blessing trauma – history as a painful wound you need to thrust to eventually heal. Reclaiming the scale and feathers of all folk tales, these are human stories of shame, hunger, neglect, and abuse, and are more effective than others. It’s a gorgeous game with a killer approach to music. Sometimes there are holes in rope stumbling in action-adventure genres.
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He plays Hazel, a track runner in the Southern United States. A hurricane is here and she is packing her family’s belongings and running away. However, her house is quickly washed away in a storm, and enters her mother, and Hazel sets out to find it, discovering that she has the magical powers of “Weaver.” Of course, since this is an action game, those same forces resulted in the shadowy “Heinz” of her batsman appearing with claws and fists and bloated fly to fight her.
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It’s a game of charming beauty. With a deep, expressive face and fantastical costume, humans meet giant catfish with their gorgeous whiskers and glittering eyes. The fox and rabbit run around as they run through the forest corridors, the heron undoubtedly in the sky, groaning the topic of dragons, the crocodile snap turtles at the edge of the water. The stop motion effects widely promoted in the trailer are not as transformative as an animated Spider-Man movie. This is mainly because it’s not applied to the game in a truly consistent way, and even if it droops a bit, it can make the graphics card seem to have frame rate issues rather than intentional style choices. But even if you put that visual gimmick aside, you often still see it.
It also is acoustically off the chart. There are short, unforgettable hymns that can be heard in every use of Weaver abilities – double jumps and dashes rarely sounded good – and most chapters feature musical numbers that go from choral chants to full-fledged folk songs, as you discover more about characters involved in any folk stories that are currently cultivating your path. Honestly, the music and sound design here will probably win an award if the people responsible for such things have a taste.
“But” you may feel it coming. you’re right. The sights and sounds, and their stylish sense of magic, are enough to recommend it. But I’m not impressed that my hands are otherwise a very simple third-person action adventure than my eyes and ears. The imaginative approach to character design, sheet music and story themes is not in line with the action taken throughout the game.
The bib on the walls of an unknown style feel particularly outdated, as it squeezes small gaps, obvious combat arenas, Persian-style escape sequences and simple box-pushing puzzles. It did well. It’s an eye-catching game, and, importantly, it’s deeply emotionally literate, but in many of its gradual movements, I found it to be ambitious and unignorable.
It also feels like you have little trust in you as a player. For example, the camera focuses on something far from you, or snaps an object that is thrown straight into a destructible hazard instead of aiming at itself. There’s the same lack of trust as the reader, but it explains the moments of bold and spelling things out, and the whole level you just played in the screen story time sequence (to put it in fairness, these are skippable).
Hazel also loves to talk to himself in a way like its protagonist, pointing out the solutions and next steps before he has the opportunity to look around. “You can narrow it down to small spaces that you can’t!” she screams as she meets small companions that become available skills. Hazel is also a player and appears to have access to the game design document. There are many lines of dialogue in these distracting “player direction”; The moment you need to use this puppet companion, the instructions flash on the screen anyway. It further proves that rather than exploring it on its own terms, the game wants you to shake up that world.
The battle can also feel a little stiff. It mainly locks them into enemies and slashes them with weave tools, attacking them to deliver a large explosion of energy that will make them stun them before dodging. However, that dodge is probably only avoidable from certain movements, so it can feel a bit sticky and unresponsive. You will receive special attacks that bring your enemies closer or push them away, but a relatively long cooldown for these forces means you cannot use these satisfying tactics several times, at least a few times each fight, until you unleash the means of Cooln Down.
I have other fight nitpicks. Hazel’s recovery time after being knocked down often feels painfully slow, allowing Gossummers of enemy attacks to unclear busy brawls. As the video game Smash ‘n’ Slash Combat progresses, it is serviceable, but sloppy, and like many of the games, it repeats in a way that can be cured if it’s less. And it makes sense to manifest the trauma of each boss as a specific wound, and I have found the process of actually fighting those bosses with a clearly patterned, moving run.
And all this is housed within a recurring structure that recurs all chapters. You enter the level, cleanse about four arenas of enemies, perform escape sequences from the mist that chase you, and (sometimes) fight bosses. The chapter rarely deviates from its rhythm, and the repetitive sensation is exacerbated by the massive amounts of use scattered across levels that remain expandable, like exploding mushrooms and sea urchins. Midnight South is never long, 10-15 hours to complete, but I felt that much of it could be safely reduced and bringing a more lear game. For me, that repetitive danger and storytelling pattern began to feel overworked at the halfway point.
That’s a lot of things that go out of my curmudgeon. None of the above concerns may be important for those who want to play chapters every night, as they stick to story mode and thrust into episodes of a TV show about giant spiders with a taste of Townsfolk. As I often point out, you have to rinse the game for reviews and distort your perception of that pacing somewhat. I’m happy to report something important that I didn’t give in under that pressure. It’s the strength of the protagonist.
Hazel is simply a decent person. She is on her way to Earth, but she has knowledge of her hometown history, its roots as a sugarcane plantation, and the trembling survivors that remain (sometimes as a literal ghost) in the forgotten ruins she stumbled upon. Her track runner’s attitude and attitude manifests in several fun ways, like when stretching her hamstrings after a fight or shaking her legs in an idle state. She is mouth-like, yet refreshing and non-judgmental. She makes lots of jibes for the rich, but when she faces a flash of other people’s backstory (the past of the swamp man or the troubled times of her own grandma’s motherly), she shows sincere understanding and empathy. Her warmth is spreading even to those who have done terrible things. There is something pleasant to be comfortable with this heartfelt person. Murder, neglect, even betrayal does not ruffle her wings, and her feelings really boil when it comes to her own mother’s health.
Certainly, sometimes it feels like its empathetic narrative and game platform-like action is at odds. A whiplash moment of tone between the story and the action. Exemplary is that a particularly dark flashback of childhood trauma is followed by a crash bandicoo trauma that quickly follows a snarky platform. It’s not enough to completely undermine the power of the moment (another example of the roots of history that are corrupted under living memories), but learning the horrifying truth can be a bit distracting and suddenly dodges the spikes into Jounty Music.
Again, it feels like the result of an action-adventure style. I previously complained that there can be times when games lack trust. But in storytelling, at least there is a certain level of faith in the player. For example, we won’t attack you with the inspiration behind folktales (but you can always look it up). The quilt you sometimes magically ring on the wall is based on the story of the coded blankets used in the Underground Railroad. And there’s a deeper crime for some characters, which is not explicitly named, but are mercilessly trusting you understand.
When these suggestions come to exist in the game without any open comment, it retains most of the power. As a white Irish youth, I am not the best to talk about how it handles the themes of race and class in the United States, or how it handles the echoes of intergenerational trauma that originates from black people through our layers of history, but if you are looking for a literary game with those themes – while being clear, you are not separated from the clear propulsion behind white people behind white people. That final scene feels like a cocktail of understanding and accountability that the practical mixologists of mythology are calmly offering.
I’ll end with one thing I like about it. Infinite use as both a symbolic and dressing of wildlife. Like I said, the fox and opossum will think of you from afar and run away while you approach, but this is not necessarily just an animatronic decoration. They often lead you to hidden corners where you can make your energy lump to upgrade your powers. Crows are always used as feather-like signs to point to the right direction. In the hole where your soft toy buddy digs can explore, rabbits and raccoons peek gently through the roots.
Not only are the animals woven into the wounds of humanity as iconic spiders, abused gators and tortured birds, but in the closing shots of many chapters you will see ordinary, quiet forest creatures watching Hazel hang out behind her catfish friends in silence. Towards the end of the game, these animals – the smallest unit of animated environmental storytelling – gather around Hazel in a way that shows support from the kingdom beyond Ken. That’s one of the quiet suggestions of the game. We are part of a greater nature, and when that world is wounded by a storm or by a human hand, we hurt ourselves.