If you were to play Compulsion’s South of Midnight in a wireframe mode, devoid or art or sound, it would feel pretty ordinary. At its core it’s a fairly standard third person platformer. As the camera floats behind your character, you traverse along mostly linear levels, earning new movement skills as the game progresses. In fixed areas there is combat; you have to beat these fights to move forward. And that’s pretty much it.
Honestly this is not my preferred genre any more. I crave, at minimum, a semi-open world where I at least have the illusion that my choices matter. In fact as I was realizing this I wondered how present-day me would respond to a game like the Uncharted series; I LOVED those games back when I played them but I wonder if I still would today.
Anyway, back to South of Midnight. I loved this game, mostly because of its art style, music and story. It’s the story of Hazel, a young girl living on the outskirts of the Louisiana bayou with her mother. She and her mom get into an argument as they’re getting ready to evacuate from the path of incoming hurricane. The mother sends Hazel to check on some neighbors. While she is gone, their entire house is swept away by the rising flood waters. Hazel, who is a successful runner in school, chases after the house but can’t catch it. Driven by loss and guilt (due to the fight) she plunges into the swamp and into a mystical, creepy and eerily beautiful world that she’d been unaware of.
It turns out Hazel is a Weaver, a kind of magic user. Her gear, as she finds it, is related to fiber arts: over-sized crochet hooks, spindles and distaffs. Each comes with a new skill. By the end of the game Hazel will be double jumping, wall-running, grapple hooking and gliding to get from one spot to the next.
This gear is all one and done; you don’t ever replace it or anything. Hazel has some skills that can be leveled up via a currency called “Floofs” which she earns via combat or some light exploring. You can spend these floofs to level up skills. In my playthrough I unlocked all but one skill so floofs are fairly plentiful. Aside from the skills and the equipment (all of which is found very early) the only other character progression is increasing the size of your health bar via collectibles. There are no levels or exp or anything of that nature.
Combat is against “haints” — spectral creatures in various shapes and sizes. For the most part it is melee-based combat, and when an enemy’s health bar hits zero Hazel can “unravel” them and get a burst of health from doing so. There’s a lock-on camera that I found hampered me more than free aiming. Once the enemies in an area are conquered Hazel can untie a knot which dissolves walls of “stigma” — a mass of boils and thorns that tend to block Hazel’s path.
Here’s a random 60 seconds of combat to give you an idea of what it is like:
In between all this are some boss fights and some chase sequences. Each boss fight has some kind of mechanic you have to figure out but the game is pretty liberal with hints.
I had some technical issues with the game; there are some invisible walls here and there that will prevent you from making a jump that otherwise seem manageable, and there were a lot of times when I felt I was getting some input lag or just missed button presses. I feel like maybe they tried to put too many actions on too few buttons. None of this was game breaking or anything, but it made the combat, in particular, feel a bit frustrating. I eventually turned down the difficulty so I could focus on the story.
And the story is really good. Along her way Hazel encounters various creatures from the tall tales of the bayou. I’m honestly not sure how many of these are real stories and how many are made up, but my Mississippi-raised partner recognized at least some of them. There’s a boy who has turned into a tree, and a grieving mother who has turned into a kind of sea monster. Hazel is “helped” on her journey by a catfish the size of a school bus. Most of the stories are sad and the best Hazel can do is to try to give these spirits and creatures some kind of peace. Oh and her rather horrific-looking home-made childhood doll, Crouton, can now come alive and travel into tiny burrows inhabited by rabbits having tea and other such Wonderland-ian scenes, to get to areas Hazel can’t get to on her own.
The sound design is really good too. There’s a wide variety of folksy, bluesy swampy music and the voice acting is top notch and authentic. Heck there’s even a dance number. I thought about posting a video of that in this post but I think it is better appreciated if you experience it in context.
I also want to talk about Options. There are SO many. There are 5 difficulty levels (I played on #2 because of my combat issues) but additionally there are options to just skip the boss fights, or to skip the running sequences. You can even skip combat completely if you want. There are just a ton of options so you can tweak the game to be comfortable no matter what kind of gamer you are.
It’s not a very long game; my playthrough (and you know I am Mr. Slow Gamer) was under 14 hours. There are no real gameplay reasons for a second playthrough unless you just want to experience the story again. So keep that in mind. But damn, is it ever good. One of the better games I’ve played this year.
