Junebug23057

As a longtime Halo fan since the original Xbox release, I approached Halo Infinite with tempered expectations. Having played every mainline entry except Halo 5, my experience with the series has been a mix of highs and lows, with Halo 4 leaving me underwhelmed. When I saw Halo Infinite on sale, I decided to dive into its single-player campaign, curious to see how 343 Industries would handle Master Chief's next chapter.

Halo Infinite's story follows Master Chief as he battles the Banished, a mercenary faction led by Escharum, Atriox's lieutenant, on the Halo ringworld Zeta Halo. After being rescued adrift in space, Chief aims to rally scattered UNSC forces, uncover the mystery of Cortana's disappearance, and thwart the Banished's plan to weaponize the ring. The narrative is decent, striking a balance between classic Halo vibes and a soft reboot feel, though it acknowledges past games. However, the story feels incomplete, as if single-player DLC was planned but never materialized. It leaves you wanting more, and I genuinely hope a sequel builds on this foundation. The new AI companion, a more feminine take on Cortana, adds charm, while the lost pilot's subplot and Escharum's personality inject some emotional weight, though the villain didn't fully resonate with me.

Gameplay is where Halo Infinite shines, easily marking 343's best effort. The semi-open forest world of Zeta Halo offers a refreshing change, with chaotic, engaging combat loops that feel quintessentially Halo. You'll fight Banished forces-essentially Covenant 2.0-with familiar human and Covenant weapons (the trusty standard rifle remains my go-to). New additions like the grappling hook, temporary shield, and other gadgets bring a dynamic flair, occasionally reminiscent of Just Cause. Vehicles and human NPCs add variety, enhancing the sense of a living battlefield. The campaign's 10-minute combat loops are consistently thrilling, with no dull moments, making it the game's strongest asset.

Visually, the game is a mixed bag. The forest setting, dotted with hexagonal stones, grows repetitive and lacks the vibrancy of past Halo titles, though I overlooked this for the gameplay's sake. Sound design and music are exceptional, delivering the iconic Halo atmosphere I expected. Side missions, like capturing enemy bases and rescuing soldiers, feel repetitive after a few completions, so I skipped most of them.

At roughly 10 hours, the campaign is concise but lacks closure, hinting at unfulfilled plans for more content. It's a shame Halo has lost some of its cultural steam, but this entry proves the series still has life. I'd love to see it reach new audiences, perhaps on PlayStation. For its price, especially on sale, Halo Infinite's single-player campaign is a bargain and a must-play for fans and newcomers alike. I rate it 8/10, a strong return for Master Chief that leaves me hopeful for the franchise's future.

As someone who dabbled briefly with the original Dying Light on PS4 but never fully clicked with its parkour-heavy gameplay or first-person melee combat, I approached Dying Light 2: Reloaded Edition with tempered expectations. My interest in zombie melee games was reignited after enjoying Dead Island 2 on sale, which prompted me to give this patched-up version a shot. Here's my take on Dying Light 2: Reloaded Edition, a game that offers a sprawling world and a surprisingly deep story, but struggles with clunky controls and frustrating traversal.

In Dying Light 2: Reloaded Edition, you step into the boots of Aiden Caldwell, a wandering Pilgrim tasked with delivering goods and news between scattered survivor settlements in a world ravaged by a zombie virus. Beneath this nomadic life lies Aiden's true mission: finding his sister, Mia, whom he left behind as a child to escape the brutal experiments of Dr. Waltz. The narrative is a standout, weaving a complex and emotionally engaging tale that surprised me with its depth, especially compared to the lighter, more pulpy tone of Dead Island 2. I found myself genuinely invested in Aiden's journey and even grew attached to a couple of characters. The game's faction system adds a layer of moral complexity, forcing you to make tough choices between groups like the Peacekeepers and Survivors. These decisions carry weight, though they sometimes feel like no matter what you choose, things go south for someone-credit to developer Techland for crafting such dilemmas.

However, comparing Dying Light 2 to Dead Island 2 is inevitable, and the differences are stark. While Dead Island 2 leans into slower, gore-soaked combat with a tongue-in-cheek vibe, Dying Light 2 demands constant movement, tasking you with dodging lightning-fast zombies and human enemies wielding similar weapons. The gore is present but feels less visceral than Dead Island 2's over-the-top splatter. The world here is far larger and more intricate, filled with diverse factions and characters, though I often struggled to keep track of who was who without their distinct uniforms.

My biggest gripe lies with the controls and combat. The button configuration is downright odd-having the run button where it is threw me off, and the jump mechanic felt delayed, making parkour less fluid than it should be. Combat, while not terrible, is challenging, especially at night when zombies become relentless. I often found myself more annoyed than thrilled during fights, as enemies, particularly the larger ones, are massive damage sponges that soak up hits. Human enemies block excessively, and even with upgrades, I never felt truly powerful. The Reloaded Edition introduces firearms, but they feel tacked on and underutilized. The game's difficulty can be punishing-expect to rage-quit a few times as enemies swarm you from all directions. Switching to easy mode might be wise if you're short on time or patience.

Traversal is another pain point. Despite Aiden's speed, covering even 400 meters feels like a slog. A parachute introduced later helps, but it doesn't fully alleviate the sense that getting around takes longer than it should. The main missions are generally solid, but side quests are a letdown. Most involve fetching a person or item, sending you on a tedious multi-stop journey that feels artificially stretched. Given the clunky traversal, these missions quickly grew tiresome.

On the brighter side, the sound design shines. The tense, fast-paced music ramps up the intensity, and the voice acting is solid, meeting genre expectations. Visually, the game is decent but feels like a patched-up PS4 title. Set in an autumnal world, it looks fine during the day but turns murky and less appealing at night. The framerate holds steady for the most part, which is a relief. Scattered watchtowers and military outposts offer bonus loot, but these feel like standard open-world filler, reminiscent of Ubisoft's formula.

Ultimately, Dying Light 2: Reloaded Edition earns a 7/10. Its compelling story, complex world, and meaningful choices elevate it, but clunky controls, frustrating traversal, and uneven side content hold it back. If you've played Dead Island 2, the comparison might dampen your enjoyment, as it did for me. Still, Techland's ambition is clear, and I'm optimistic about what they'll deliver in the next Dying Light game. If parkour and melee combat aren't your thing, consider tweaking the difficulty or approaching with modest expectations.

I still remember the first presentation of South of Midnight back in 2024, which left me with a sense of nostalgia for classic titles like God of War and the early to mid-2000s Prince of Persia. The combination of quirky design and unique presentation immediately drew my interest. After its release in April 2025, I couldn't wait to dive into this brand new IP, snagging it in May.

At its core, South of Midnight follows Hazel Flood's journey after a hurricane completely devastates her hometown of Prospero. This narrative pulls players into a Southern Gothic reality teeming with folklore creatures, while Hazel navigates her role as a Weaver-a magical mender of broken bonds and spirits-in search of her mother, who has gone missing. Without spoiling too much, I can say that the story has layers worth uncovering.

One of the first points everyone recognizes is the engaging gameplay style, reminiscent of Hi-Fi Rush, though clearly distinct. While music plays an integral role in South of Midnight, the combat is not rhythm-based. Instead, it's more of an adventure platformer, featuring linear levels with opportunities for exploration where players can discover XP and hidden letters scattered throughout the environment.

The art direction steals the spotlight. Toggle the stop-motion mode on or off, and you're treated to visuals that feel as if Tim Burton directed a film around Louisiana's fascinating legends and myths. The distinct design and endearing characters complement the overall atmosphere beautifully. Speaking of atmosphere, the music acts almost as a character itself-it intricately chronicles the plot while delivering a stunning mix of bluegrass, blues, and gospel that enriches the immersive experience. Much like the music found in Far Cry 5, it's evocative and beautifully done. The voice acting is equally commendable, showcasing strong performances that enhance the game's narrative.

On the flip side, the gameplay can be a bit disappointing. Although not outright bad, it lacks the polish one might expect. The game consists of exploration, combat, and environmental puzzles. In terms of exploration, the absence of invisible walls when navigating branches and rooftops poses a significant risk of falling to your death. Additionally, various traps, whether they be mushrooms or spikes, feel more tedious than fun to avoid.

The combat, while generally snappy, occurs only in designated zones, offering no surprises when it comes to enemy encounters. The combat system itself relies on a simplistic combo and a few special moves that, while functional, don't stand up to the complexity of competing titles. The enemies you face-tar-like creatures with limited abilities-are few in number, with only about 5-6 different types, indicating they weren't the primary focus of development. Boss fights also follow a straightforward pattern, requiring specific strategies to defeat them rather than presenting real challenges.

Environmental puzzles are basic and revolve mainly around using Weaver magic to manipulate items, with a cute stuffed animal named Cruton assisting Hazel. While they serve their purpose, the puzzles are relatively easy and lack a sense of longevity.

Narratively, the story has commendable elements that reflect the passion and dedication put into the project. It's engaging overall, though some cutscenes might leave players a bit disinterested at times. I appreciated a surprise plot twist, but one issue was the introduction of characters Hazel supposedly knows well, making the player feel almost pressured to recognize them too.

Overall, South of Midnight is clearly a labor of love that showcases the potential of a new IP. While it possesses its flaws, particularly in gameplay mechanics, its heart shines through. I genuinely hope the developers will consider a sequel to refine these aspects. For now, I would rate it a solid 7.5/10.

Lastly, it's disheartening to witness the overt negativity surrounding the game stemming from various online factions. The backlash seems rooted more in bias than genuine critique-an unfortunate trend in a medium meant for enjoyment and exploration. Playing as an African American woman shouldn't be deemed "woke"; it's simply part of the narrative landscape. I encourage gamers to look past the sensationalism and enjoy South of Midnight for what it brings to the table.