It may seem strange to start this review of The Medium by comparing it to the latest release from another Polish developer, Cyberpunk 2077, but listen carefully. The Bloober Team’s latest psychological horror project has done what CD Projekt Red failed to do: it’s very ambitious.
I’m not talking about a huge open world or role-playing system that takes some getting used to. Medium can’t compete on those fronts. Where possible, it’s even more important to have an idea with a unique game mechanics, work on it patiently until the right technology is available to make that vision a reality, and make a game that can meet your own and your fans’ expectations.
Medium isn’t revolutionary with its scenario or racing and collecting capabilities. What makes it so good is the art of patient game development – the very first game concept was developed in 2012 – and the translation of the classic mechanics of local cooperatives into a unique single player experience that is both unsettling and heartbreaking.
It all starts with a dead girl.
You incarnate Marianne, a medium who can live in the real world and in the spiritual world at the same time. After her surrogate father is buried, Marianne receives a panicked phone call from a mysterious man named Thomas asking for help at an abandoned resort called the Niwa Workers Hotel. There, Marianne must solve the mystery of Thomas’ disappearance and his connection to a ghost girl named Sadness, while avoiding a terrifying and infallible creature named Mau, who wants Marianne’s powers for himself.
Medium immediately seems more cinematic than previous Blueber games. It’s their most ambitious title yet, and that’s how I feel. The game takes advantage of the Xbox X series’ powerful features with atmospheric environments, ray tracing and advanced realism, aided of course by mocap sequences – features that are further enhanced by the PC’s high-end settings.
Medium isn’t afraid of his Resident Evil and Silent Hill inspirations either. Fixed camera angles, combined with the ability to combine objects to create new ones, give the impression of a return to the games of the late 1990s. Opting for a static camera may seem a little ridiculous, but it adds to the overall experience and makes you fearful of what might be lurking around the next corner.
Two features stand out in particular when it comes to sound reproduction. Silent Hill’s music by famed composer Akira Yamaoka is hauntingly beautiful, adding depth and emotion to scenes that need it. Meanwhile, Troy Baker’s voice from The Maw is noted, and it’s a shame his creepy performance isn’t used more. Encounters with Mau – we’ll come back to this later – are frighteningly intense, but rare and infrequent. Of course they stand out more when they pop up, but a few more wouldn’t hurt.
Bridge between worlds
What about the dual split-screen reality in The Medium, which is its most unique feature? It works surprisingly well, all things considered. Most of the game takes place in the real world, with only a few sections where Marianne travels to the spirit world.
In this game, however, Marianne connects the two kingdoms and makes the Middle shine. Much like classic split-screen co-op, splitting the screen horizontally or vertically allows you to travel through both worlds at once, solving puzzles and collecting collectibles only available in each reality. It’s a little confusing at first, because you have to focus on two parts of the screen at once, but after a while you get used to it.
Puzzles are not too boring. Most require you to find and use elements to progress. You can focus on the real world or the spiritual world by using the X and A buttons on the Xbox controller for directions. Marianne’s insight is important in some cases, but it is not required for all puzzles. The ability to experience beyond the body is more necessary; sometimes Marianne’s physical self cannot progress in a particular area, but her spiritual form can. However, the limited time you have to prevent Marianne from getting lost in the spirit world forever can be, well, limiting, especially when you have to go back into her body and reactivate the ability to completely solve the puzzle. Using mirrors to travel between worlds is also a good idea, as it makes the mechanics of crossing faster and helps with puzzle solving.
Fight your demons
If you’re thinking of fights, there aren’t any. Dating The Maw is either a scenario designed for your life, or you have to solve endless puzzles to make it turn against you. You have defenses in both worlds – in the real world you hold your breath so he can’t hear you, and in the spirit world you use your Spirit Blast to burn him if you get caught – but both are limited in their application. Sneaking and solving environmental puzzles is the only way to defeat The Maw, and while they create moments of tension, it can be frustrating when he catches you and kills you because of a stupid mistake you made. The only enemy you’ll have to watch out for is a swarm of moths, but they’re easy to fight off thanks to Marianne’s Mind Shield ability. As long as you have the energy of the spirit, they won’t give you any trouble.
The medium’s stubbornness to get you out of the barriers gets tiresome after a while. Yes, cutting through the sharp doors of Spirit World is fun at first, but after the tenth time it feels like a chore. A quick action button to speed things up wouldn’t have been out of place in the next parts of the game.
The ending of Medium, which heralds a possible sequel or spin-off, is also ambiguous. It’s become a trademark of Bloober titles, but it would have made the finale more enjoyable if there had been some kind of closure. Medium’s emotionally charged story and thematic look at how we deal with our own demons deserves more, and I felt a little empty following Marianne’s journey to see that there was no solution.
Pronunciation
The Bloober team is known for these types of games, having previously developed the Blair Witch and Layers of Fear series, and Medium is the studio’s best game to date. A re-imagining of classic gameplay, grotesque and scary environments, and explorable and even imperfect characters make for a solid game that ultimately makes Microsoft’s Xbox series exclusive. There are weaknesses in his movements and a lack of real combat, but he leaves an impression without overwhelming his welcome.
+ | The dual reality split-screen feature could be a game-changer for the industry. |
+ | Atmospheric and scary without being overdone. |
+ | Solid characters with enough depth and development to move you. |
– | Placement problems are caused by some areas being dragged and abandoned. |
– | More encounters with Mau would have enriched the experience. |
Disclosure: The game code was provided for review.
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