Game Review: South of Midnight (Xbox Series X)

Why does it feel so refreshing to play a straight-forward third-person action-adventure game that has linear level designs, simplistic platforming elements, and familiar gameplay tools? It’s because South of Midnight bucks the open-world/free-roaming trend and goes a bit ‘old-school’. Delivering a stylised game that plays out in an uncomplicated way, levels and bosses included. We really don’t get enough of these games anymore and I, personally, am always glad to see one come along (raise a glass to Evil West recently too), especially when it’s as enjoyable as this game is.

There’s nothing particularly new here, and sometimes that causes the game a few problems, but South of Midnight is an easy game to love.

Developed by Compulsion Games and published by Xbox Game Studios, the first word that comes to mind when trying to describe South of Midnight is ‘fantastical’. Not just because of its story, but because of its characters, world, and gameplay elements.

Player’s step into the running shoes of a young woman named Hazel (Adriyan Rae) as a tornado rips through her hometown of Prospero. A small place in the American Deep South. The tornado causes devastation, resulting in Hazel’s mother Lacey (Cynthia K. McWilliams) being swept downriver in their house. Giving chase, Hazel simply isn’t fast enough to catch up, but does start to experience odd events as she tries, which include seeing mystical ‘strands’ that she will later learn to ‘weave’.

How? She is a weaver, the latest in a long line tasked with mending broken bonds and spirits thorough magic. Magic she learns to control via a pair of hooks, which also serve as her primary weapon for combat. As Hazel searches for her lost mother, she steps into an unseen reality that draws inspiration from Deep South gothic folklore, and must deal with mythical creatures, many of which aren’t friendly.

Yet, while all of this does result in a truly magical narrative adventure, what really makes it special is that this fantasy setting and story also draws from real-world issues, in particular sorrow and trauma. A tale about a three-toed alligator that has eaten so much that it’s now the size of a small island might not seem that deep, but as the story plays out, it reveals so much more. Its side stories prove to be as captivating as the main narrative, That is the game in a nutshell though, filled with depth, and taking the player on a wild ride that impressively holds the attention. For the most part.

I can’t praise the story enough, and a lot of that comes from the incredible cast of characters and the actors that portray them. That we also get a game that looks so lush and sounds so stunning is even better. Seriously, there were so many times where I just stopped to admire the visuals, and personally, I love the stop-motion cutscenes. They really give the game a unique feel.

Unfortunately, while all of this makes South of Midnight special, almost all of its actual gameplay elements are as standard as they come, and while I was happy to experience this, I can’t ignore the humdrum nature of its platforming and combat. The latter of which really highlights the game’s limitations.

Aside from a handful of bosses, you’ll be battling creatures called ‘Haints’, which are manifestations of pain and trauma. Step into an arena, take out the Haints, and finish by unravelling the creatures and the source of ‘Stigma’, which often clears the path ahead. While there are different types of Haints, the formula stays the same, and once fully powered up (you can upgrade powers using collectibles like Floofs), Hazel is a beast to beat. That is as long as you can handle a camera that can have a bit of a mind of its own. Combat isn’t horrible, and can be quite fluid, but it is repetitive. As are chase sequences where you have to run away from a dark threat while dodging obstacles. Even bosses, while varied (there are four in total) have a pattern and once you learn it, you can take them down with ease. In fact, for three of the bosses there’s an achievement for beating each without taking damage.

These are issues, and issues that some may not be able to overlook, but I think I just played this game at the right time. I wanted something linear, something untaxing, but something really memorable, and this is what I got. I did not expect to be as invested or as thrilled as I was, and that is what I’ll remember the most about the experience. Well, that and its incredible visuals and soundtrack.