Recent reviews by Phobos

Evil returns once more in the eighth mainline entry of the franchise. Following a well-received return to form with Resident Evil VII, VIIIage had the heavy task of proving that the series was truly back on track after years of both narrative and quality missteps... Mission accomplished?

A direct continuation of the seventh game, it once again features Ethan Winters, who thought he could finally enjoy some peace in his new European home with his (rather ungrateful) wife and their newborn daughter, the latest addition to the Winters family. Alas, poor Ethan doesn’t seem to be a lucky man: neck-deep in trouble once again, things go from bad to worse when, one night, a squad forcibly kidnaps his daughter and guns down his wife in the chaos.

Dragged away by the mercenaries to an unknown destination, Ethan wakes up in the middle of a snow-covered forest after the van transporting him crashes, with only one goal in mind: to save his daughter...

Once again, the game opts for a first-person perspective, just as effective and well-executed as before, with a generous number of cinematic sequences that fully capitalize on the immersive viewpoint. The immersion is total, and the adventure gripping. That said, a DLC offers the option to play in third-person mode, à la Resident Evil 2 or Resident Evil 4, for those who prefer it. A nice bonus, though it would’ve been even better if it had been free. But hey, Capcom's gotta be Capcom.

VIIIage builds on the solid foundation laid by the seventh entry but avoids falling into copy-paste territory. Gone are the Louisiana swamps - this time, the action moves to Poland, and the result is visually stunning. If Resident Evil VII sometimes felt like a clumsy love letter to The Texas Chainsaw Massacre, its sequel takes its cues from classic gothic horror, with Nosferatu being the most obvious influence. The series thus returns to something closer to its roots, with settings ranging from sprawling manors to opulent castles, and a few new environments that are as intriguing as they are debatable when it comes to coherence.

Not that I’m complaining: in fact, quite the opposite, but one major segment of the game is clearly inspired by Tetsuo: The Iron Man, a sharp tonal shift from the rest of the adventure, both in atmosphere and gameplay. Super cool! But it does come at the cost of immersion.

This is once again where VIIIage stumbles: I’ve never expected Resident Evil to deliver a deep, moving storyline, but the series at least used to offer a lovable cast and a well-maintained, consistent lore, up until the narrative U-turn that was Resident Evil 4... The plot disasters of the fifth game forced Capcom to revise a lot to keep things going, and it’s clear they’re still struggling to make everything fit, often veering into absurdity while trying. Resident Evil VII and VIIIage form a parallel storyline that’s passable at best, but ultimately add little to the greater saga, and what little they do attempt, they don’t do very well.

That said, once the damage is done and can’t really be undone, you might as well go wild and make the ride thrilling.

Compared to the seventh installment, this sequel leans more heavily into action. On higher difficulties than normal, you'll still need to manage your resources carefully during the game's first half, which is no walk in the park. Things get much more explosive after the midway point, opening up the gameplay and giving players more freedom, all while maintaining a solid challenge.

Resident Evil 4 is a major influence on VIIIage, and its spirit is felt throughout. The first big action sequence is a shameless callback, as intense as it is entertaining. Gameplay-wise, the game borrows heavily from the cult classic: enemies drop ammo, healing items, and money upon defeat, and a traveling merchant offers his services throughout the game, selling gear and upgrading your arsenal.

It’s a bold choice that pays off. While not perfect, the game is undeniably fun, striking a palatable balance between pure Survival Horror and full-blown First-Person Shooter.

A few words about the side modes: The Mercenaries makes its return in a functional, if slightly lazy, version. You’re given a variety of levels where your goal is to go from point A to point B while dispatching enemies along the way, ideally chaining combos to boost your score. The action is intense, and a bit of strategy is needed to optimize your final result. Ethan Winters is the only playable character in the base game, but the DLC adds three distinct characters with unique playstyles: Chris Redfield, Karl Heisenberg, and Lady Dimitrescu, the game’s charismatic antagonists. Each character is fun to play and clearly designed with care, but the mode struggles with balancing issues. Since the levels remain identical regardless of who you play, earning top scores with Ethan is noticeably more challenging than with Lady Dimitrescu. Depending on your patience, going for perfect scores with every character might quickly feel repetitive, but that’s just the nature of score-based modes.

Finally, the story DLC “Shadows of Rose” gives you 4 to 6 hours of gameplay with Ethan’s daughter, sixteen years after the events of the main game... I’ll be honest: it doesn’t add anything meaningful to the main story, and while not bad, it’s rather average. Played in third person, Rose revisits some familiar locations and explores new ones. She has supernatural powers that come in handy on her journey, which is far less intense than her father’s. The story veers into full-blown B-movie territory, flirting with the absurd and supernatural, further weakening ties to the franchise’s origins, but at this point, who’s counting?

One highlight worth mentioning: the DLC includes what is arguably the scariest moment in the entire game: a short but excellently crafted sequence where Rose is stalked and watched by deeply unsettling entities in the Beneviento mansion... Absolutely brilliant!

Visually stunning, undeniably fun and intense, Resident Evil VIIIage is a generous, well-crafted game that’s easy to recommend. Don’t expect much from the story, and be ready to accept some of the usual modern gaming annoyances (yes, we’re talking about the infamous yellow paint), but all in all, there’s little to complain about in this eighth entry. It wraps up the Winters arc in style: perhaps not perfectly, but with confidence, and cements the franchise’s comeback.

Today is a good day: a good day to die.

id /ɪd/n.
1. The one of the three divisions of the psyche in psychoanalytic theory that is completely unconscious and is the source of psychic energy derived from instinctual needs and drives.


Everything that could be said or analyzed about this iconic title has already been done. A revolution in its time, a pivotal step in the history of video games.

Like it or not, it set the standard, shaping future games and establishing rules that are still followed to this day.

Wolfenstein 3D is nothing less than the very essence of "First-Person Shooter": fun, action, stimulation.

You’ve got to admit, id Software chose their name wisely: their games have always stayed true to that spirit.

Yet, until very recently, I never really dared to put my hands on it. I saw it as a grandparent with a rich life and many stories, but a bit boring and prone to rambling; the kind you’re happy to visit at Christmas or birthdays, just to be polite and stay in touch.

So I dove in with great motivation, and I was committed to seeing it through: Wolfenstein 3D, plus its “sequel” Spear of Destiny, and its two official expansions: Return to Danger and Ultimate Challenge.

One hundred and twenty mazes to find and defeat the ultimate evil: Adolf Hitler.

No joke.

The game was originally released in two phases. The first 30 levels present the main storyline. You’re the legendary B.J. Blazkowicz, an American spy captured by Nazis and imprisoned in Castle Wolfenstein. The mission is simple: escape the castle, then hunt down Adolf Hitler to end the war.

A problem quickly cropped up for the developers after the game’s success. With Hitler defeated at the end, how do you continue a story based on fighting Nazi Germany...?
By making a prequel.

The next 30 levels then serve as a prequel, showing Blazkowicz’s missions that led to his capture.

The game offers four weapons: a knife, a pistol, a submachine gun, and a chaingun. The shotgun wasn’t yet an FPS staple, and you’ll also have to get by without projectiles. Each weapon more or less replaces the previous one, so once you have the chaingun, there's little reason to go back.

Enemies aren’t particularly smart, but they’re numerous and well organized. Wolfenstein 3D plays very differently from later classics. Enemy fire hurts, and you're no superhero: two bullets can take you out on higher difficulty. The challenge is largely about enemy placement and player reaction speed. Enemies respond to sound: a notable detail for its time, and you’ll need to exploit that to survive. If you rush into Wolfenstein head-on, you’re in for a rough time.

Level design is probably the weakest aspect: complicated, yet limited. You’ll trek down long hallways, visit countless rooms, and collect keys to open elevator doors. Luckily, no traps: your only foes are Nazi troops. The engine’s limitations often feel annoying: few textures to differentiate rooms, very little decoration, and no automap in the original version. If you're after 100% completion like I was, you’ll need patience, and a good memory.

Secrets, hidden behind push-walls, are a pure torment. They were added late in development, and it shows. In Doom or Duke Nukem 3D, you spot secrets by noticing cracked walls, misaligned textures, odd objects... Here, any wall could hide a secret, with no logical hints. Worse, finding some secrets in the "wrong" order can block access to others.

The soundtrack by Bobby Prince paces the adventure well. The tunes are catchy and pleasant, but don't whistle the intro theme... it might annoy some folks. :)

Honestly, I didn’t expect to enjoy blasting SS soldiers so much. The game responds well, it’s fast, stripped to the essentials, but masters its subject. Sure, its successors went bigger and better, so comparing wouldn’t be fair, but Wolfenstein 3D absolutely nails what it sets out to do, and this is what matters.

Released just four months after Wolfenstein 3D, Spear of Destiny positions itself as its sequel, or rather, a prequel.

This time, you must recover the spear of destiny, said to have pierced Christ's body. Adolf Hitler had the Nazis steal it and bring it to Nuremberg Castle, thinking it would help him to master dark forces...

Spear of Destiny doesn’t improve the original formula, and is essentially identical, using the same engine with only minor tweaks. This “sequel” adds little beyond new levels, more action, a tougher difficulty, new music tracks, and a few fresh textures.

Still, it’d be a shame to skip it: Spear of Destiny is more focused and inspired than much of the base game. Its level design is noticeably better, action is constant, and its ending delivers a twist that is worth seeing... Trust me !

It’s easy to see the direction the studio would take with Doom after that...!

Released two years after the original game, Return to Danger is the first official expansion for Spear of Destiny. It was developed by FormGen, not id Software, and that shows.

The Nazis once again captured the spear and took it to Scandinavia, where they’re trying to build their own atomic bomb…

Gameplay remains unchanged, as do the music tracks.

Where Return to Danger tries something is in its visuals. Most sprites and textures were redone, but let’s face it: not everyone has what it takes to be a designer.

They clearly fell in love with bright colors, especially blue, repainting weapons, many walls, even dogs… blue everywhere!

The result oscillates between passable and ridiculous, but at least it brings some freshness after Spear of Destiny which stuck completely to the original game's visuals.

The real problem is the level design. Return to Danger is easier than Spear of Destiny, but levels quality is very uneven. Some maps can be finished in under twenty seconds, and many rooms are completely empty. Enemy placement also often feels off.

Once again, many secrets have to be found in the 'right' order, but I appreciate the idea of marking some with hidden rat corpses nearby.

An extension not as dreadful as some say, but forgotten over time for obvious reasons.

Released at the same time as Return to Danger, Ultimate Challenge is the second and final official expansion for Spear of Destiny.

The Nazis once again stole the spear, this time taking it into Hitler’s bunker, who just made a pact with a demonic force granting him knowledge of futuristic weapons...

Gameplay, arsenal, and enemies remain unchanged, mirroring Return to Danger. Graphics look nearly identical.

The major improvement here is level design. The difference between Return to Danger and Ultimate Challenge is striking: the mapping is competent, even matching some of Wolfenstein 3D’s better levels. Most feel inspired and concise, offering a much more pleasant experience. Secrets are once again hinted, this time by pools of blood, making the hunt less frustrating.

Everything else is similar except for the ending: Ultimate Challenge goes for surprise like Spear of Destiny did, linking the Wolfenstein universe with... Doom! I won’t spoil it, but it’s a fun, unexpected finale.

Wolfenstein 3D earned its rightful title as the grand‑father of FPS, and is still super fun and interesting to play, for its huge impact and the brilliant simplicity that still shines through. Patience is key to adapt to its technical limits and level‑design inconsistencies, but overall, Blazkowicz’s adventure deserves players’ attention just as much as its successors, which may age better, but share all its strengths.

Now, you know what to do.

From what I’ve read, this game was made by a solo dev, apparently 14 years old ?
Two things:
– That’s pretty cool for a first project at that age, no lie. Hats off.
– We're clearly dealing with someone who’s going full Death Metal with the gore - there are some cool ideas in there.

You play as Ethan, sent to investigate strange events at the local hospital where someone has gone missing.
What starts as a routine inspection quickly turns into a nightmare, as a horrific creature is prowling the halls, on the hunt for another victim...

Oh, and let’s not forget the rats on acid squatting the place. Because why not.

The whole thing wraps up in 30 minutes max, and there’s not much in the way of actual gameplay.
You walk through the building, open a few doors, maybe find a key for a locked one, and a note with a code for another...
Nothing exciting.

No action either, so it’s fair to call it a "walking simulator," since there’s no real danger for the player, aside from the final sequence, which is very short and leads to a rather abrupt and unexpected ending.

Visually, it’s quite clean. The level design isn’t bad at all, even if a bit generic and mostly made of rooms without anything to look for in.
The overall mood and color palette are very reminiscent of the hospital from Siren: Blood Curse if you remember it, but that’s where the comparison ends.

Beyond that, there’s no real interaction with the environment, no real tension, no sound design to speak of, and no surprises either...
I respect the project and the ambition, again, it’s an awesome start for someone breaking into game dev, but what we’ve got here is more of a proof of concept than a finished product.

I was tempted to be generous and recommend it, just to encourage the effort…
But learning it was initially released as a paid game before going free ?
That’s a gutsy call - a little too gutsy for what’s essentially a tech demo.
So yeah, that knocks it down a peg for me, I can't give it a thumbs up.

That said, I’ll keep an eye on this dev’s future projects.
Once again: ambitious start, but not enough to be anything more than a curiosity.

Important disclaimer
I never played or experienced D before.
I knew the game's reputation, its creator, but that's it.
What you're reading here is certified 100% free of nostalgia goggles.

D deals with subjects that were highly controversial for its time in the gaming world: violence, gore, cannibalism… Fully aware that the game wouldn’t pass censorship, Kenji Eno deliberately sent his publisher a “safe” version of the game for approval, long past the deadline.
Once approved, and since they were running late, Eno was tasked with personally delivering the master copy to the manufacturing plant in the United States.
But instead, during his flight, he discreetly got rid of the approved version and replaced it with the full uncensored version he had originally made.

It might sound amusing, but in the name of artistic freedom, the man willingly risked his career, reputation, and major legal action from several parties, in a country not exactly known for its tolerance of disobedience.

Mad Motherfuc*er right there.

Luckily for him, the game was a massive commercial success in Japan (over a million copies sold), and it seems this story ended well for everyone involved...

The player controls Laura, daughter of a respected doctor.
One night, she learns her father has gone insane, barricaded himself in the hospital he runs, taken several people hostage, and murdered a large part of the staff in cold blood. She rushes to the scene, but once there, she’s suddenly teleported into a medieval castle - greeted by the corpses of prisoners, deadly traps, and other lovely surprises…
Laura must do her best to survive the place, and try to save her father by understanding what drove him to such madness.

It’s mandatory to put this game in its proper historical context to really appreciate it: D came out at a time when 3D was booming and everyone had their eyes on the latest graphical advancements.
Everything had to be in 3D to catch players’ attention and push the boundaries of “realism.”
Real-time rendering like that of high-end workstations wasn’t possible on consoles, but CD-ROMs were perfect for displaying video.

D is therefore an adventure game made entirely of FMV (Full-Motion Video) - pre-rendered sequences recorded on professional machines able to render cutting-edge 3D environments, allowing players to enjoy what was, at the time, a stunning and realistic visual experience.
30 years later, let’s be honest, it has aged like warm milk.
With video compression added on top, D has withered like a sunflower in the rain and has nothing left to boast about on the visual front.

Controls are as barebones as it gets: arrow keys to move, “I” to check your inventory, and spacebar to interact.
That’s it.
The game didn’t shine for its gameplay even back then, and nowadays it’s downright sluggish and painfully slow.
Every movement triggers a new video segment, showing Laura moving at a snail’s pace through these dark corridors.
On the bright side, it gives you time to make a coffee between scenes to stay awake.

As for progression, the game relies on typical survival-horror puzzles: a key here, a trap to disarm there, a color combination here, a tool to use there... Nothing mind-blowing.
The game has one major condition for completion: you must escape the castle in under two hours, video transitions and inventory management included.
It might sound very short, but… well, the game is.
I had never played it before, and I got the best ending on my first try without a guide in 1 hour 45 minutes.
And I got lost more than a few times, but clearly, the time limit fits the extremely short runtime.

...Once in the right mindset, I found myself quite engaged.
D is incredibly dated by today’s standards, and it’s unlikely to appeal to a younger audience - it offers little interest in terms of gameplay, gore, or puzzles.

But two kinds of people might still appreciate what D has to offer: video game “historians” able to place a work in its proper context, and… fans of genre cinema, especially Italian horror.

Very clearly, D could have been directed by Dario Argento, Lucio Fulci, or Michele Soavi and no one would bat an eye. The game shows no signs of its Japanese origins; it bathes in that surreal, strange, and occasionally clumsy atmosphere found in Italian cult classics like Phenomena, The Sect (La Setta), or The Beyond (L’Aldilà)... everything reeks of graphic violence, a desire to shock, and bold ideas executed with limited means, even if it sometimes falls flat or ends up looking a bit silly.

The sound design reinforces that impression, with subtle but effective tracks composed by Kenji Eno himself.
It’s occasionally hilarious: opening a plain old door with a suspenseful and overly dramatic music cue is a guilty pleasure that always brought a smile to my face. These are clichés I know all too well… and never tire of.

Don’t believe me?
The ending credits for the “good” ending are backed by a Heavy Metal track (with Kenji Eno on guitar) that’s way too cool to only show up once.
I wasn’t kidding - those directors’ influence runs deep in D.

Not much else to say about this classic, forgotten for valid reasons, remembered for many others.
If you’re not a die-hard fan of gaming history or '70s/'80s Italian cinema, odds are you won’t get much out of it.
But if you see yourself in that description…
You’re in for a unique title with a strong personality.

Flawed, but full of heart.
Revolutionary in its time, and well worth knowing... if only for the culture.

Thank you, Mr. Eno, the most punk game designer of his era!

As sad as it might sound, Chop Goblins is about as close as it gets to the legendary TimeSplitters series on PC...

Now, let’s be clear: it doesn’t have much replay value, it’s strictly single-player, offers just a small handful of weapons, and barely lasts an hour, tops.

But!
The time-travel concept is there, the humor is on point, and the arcade-style level-design hits the spot.

The story could fit on a sticky note: a mysterious chest tucked away in a museum storage room is accidentally opened, unleashing the Chop Goblins - copyright-free Gremlin-like creatures - who are dead set on wreaking havoc across time to shape the future... their future.
It’s up to you to stop them.

The game takes you through 5 distinct levels: a museum, a modern city, Dracula’s castle, ancient Greece, and a futuristic factory.

Visually? It’s ugly.
Just like roughly 80% of the fun FPS games that are still worth replaying today, since most of them are pushing 20 years or more.
Chop Goblins is like that one kid from school who was two years behind everyone else: special, but beautiful on the inside.

The gameplay is simple but snappy and satisfying.
It even includes a few welcome parry mechanics, and enemies don’t just stand there firing from a distance with different health bars, each one has its own little gimmick.
They’re not groundbreaking, but at least they don’t all feel the same.

The final boss is almost worthy of Quake’s Shub-Niggurath, but the soundtrack is pretty solid throughout, and the game doesn’t overstay its welcome, hitting a runtime that feels just right for what it sets out to do.

The creator of Dusk hasn’t only made hits, but when it comes to shooters, he knows how to keep his crowd happy.

Chop Goblins is no exception.

Lovecraftian? Lynchian?
Maybe a bit of both, but what’s certain is that Reminiscence is a small, well-crafted and tightly controlled experience that’s easy to recommend amidst the sea of free indie titles available on Steam.

The story unfolds gradually over the short half-hour it takes to complete the game, so I’ll avoid giving too much away. But to set the scene: you awaken in what appears to be your home, and quickly realize that a tragedy has either occurred… or is about to.

However, you have the chance to stop it. You have the chance to undo what has been done.
Or at least, you think you do.

Reminiscence takes on the tricky subject of time loops.
Not an easy feat to pull off without stumbling, but the concept is handled impressively well throughout the game.

The atmosphere is carefully crafted - somewhere between science fiction and (light) horror.
It’s more of a suspense experience than a terrifying one, but it’s definitely unsettling, with a few well-placed scares that catch you off guard as you progress.

Like any reasonable person, I have a deep dislike for cheap jump scares - uninspired and lazy horror tactics.
Reminiscence does include a few, but they’re intelligently executed.
Many intense moments play out right before your eyes; some are more predictable than others, but the attention to detail makes them feel natural.
More often than not, you’ll blame yourself for not seeing them coming or for letting your guard down, but never will you feel like the game is being unfair or over-the-top.

Gameplay-wise, there are no complex mechanics involved, and the puzzles are straightforward.
It’s closer to an interactive short film than a traditional game - but given the goal, that’s not a flaw.

It’s like a lost Lovecraft short story blended with Groundhog Day, sprinkled with the bizarre atmosphere of Eraserhead.

Definitely recommended.

Space, emptiness, solitude.
Like a feeling of going in circles.

We Went Back is a small indie experience, free to play, that will take you between 30 and 50 minutes to go full circle... literally.

You are an astronaut, seemingly the only living soul aboard a drifting spaceship.
Seemingly...

You must find a way to escape by opening the ship’s evacuation hatch, which is sealed by a password.
To find it, you’ll need to explore the ship and inspect your surroundings for clues - but time will slip by before your eyes during the process...

You're not alone on this ship, but there’s an even greater danger - unexplainable, and relentless.

On paper, it's intriguing.
The execution is solid, the concept clever, and the level design enjoyable.

We Went Back has a nice atmosphere, streamlined gameplay, and a short runtime, all while being free.

As for the semblance of a story it offers, I must admit the game raises more questions than it answers - not a dealbreaker, though slightly frustrating.

The puzzles, on the other hand, aren’t particularly engaging, and I must admit I didn’t really understand the purpose of the various items you have to collect... Just another mechanic in the end, but still, a bit more logic overall would’ve been welcome.

My only real gripe: a surprisingly large number of graphical settings for such a short indie game, but no way to remap the controls.
Since there are no specific actions or movements in the game apart from moving and interacting with objects, it's not a major issue - but even for indie titles, I believe not excluding players who don’t use the “WASD” layout should be a basic feature in any production.

It’s easy enough to work around, but still a step a player shouldn’t have to take just to move properly.

You’re not risking much by giving We Went Back a shot - if you’re having trouble sleeping one night, this game is a solid alternative to grandma’s herbal tea: classic, but pleasant.

A horror point-and-click centered around a scandal covered up by the Church?
Sure, count me in.

The game looks great: visually, it's convincing, and the sound design is on point.
Unfortunately, I’d be hard-pressed to praise much else…

The puzzles are twisted, but in a way that’s more confusing than engaging.
I didn’t have to cheat to make progress, but I got stuck several times and had to think way too far outside the box.
And that’s coming from someone who managed to finish the original Forbidden Siren (PS2) without help, which says a lot.

The story is intriguing at first, but sadly turns out to be very formulaic by the end. It’s hard to really connect with the protagonist, and the big reveals don’t quite live up to what you might expect when starting the game.

On top of that, some pretty severe bugs need to be mentioned. I managed to skip a large part of the second level by entering a password “randomly” for a puzzle that was supposed to require a lot more investigations. This pushed me forward in the game, skipping over a bunch of events I didn’t even understand had happened.

Much more problematic: the game asks the player to “keep an eye” on their surroundings to avoid being attacked by various monsters - kind of like that animatronic series I despise as much as it deserves.
That might be tolerable if the mechanics were responsive, but the character frequently got stuck with no way to regain control during these sequences, forcing me to restart the entire level after each unavoidable failure.

All things considered, I can’t recommend Revere in its current, or even future state.
I do recognize its strengths, but its flaws are far too present to be overlooked or to allow for any real enjoyment.

I think it's important to take into account the fact that this is a project made by a class of students (as shown in the credits).

Astral Disorder is a short survival-horror game lasting around 20 to 30 minutes, where you play as the last survivor of an abandoned space station, with a monster lurking in the shadows, ready to pounce on you at every turn…

It’s a small-scale project made in Unity, with modest ambitions, and it’s free.
The game doesn’t bring anything new to the table: the gameplay revolves around collecting three items scattered around the map to access an evacuation shuttle, all while being chased by an unstoppable monster.

Your only option is to run if you want to survive.
The challenge isn’t especially tough, but the clunky movement doesn’t help much.

Let’s just say it’s fine if you’re out of ideas and have 30 minutes to spare — but you have to look at it the way a parent does when their child gives them a portrait of themselves for Christmas: it’s ugly and a bit laughable, but considering it was made with good intentions, you make the effort to smile.

Note: If you're reading this, you may want to read what I had to say about Chapter 1 first, if you haven't already.

Click to read.

So, here's Deathbloom: Chapter 2, which was released less than a year after the first game, and is also the last chapter of this short story.
To be honest, there was no reason to split the story into two different games, but I guess it was probably easier for the developer that way.

Also – more money.

Part 2 is slightly more focused on puzzles and includes some fun gameplay mechanics.
It's not much, but I enjoyed the attempt to do a few things differently, thanks to a better understanding of Unity, I guess.

The mansion is still the main playground, but extended to some degree – this time, we're going deeper into this madhouse and exploring new areas offering distinct environments. A light breeze of fresh air.

No pun intended.

Besides that, nothing new about your weapons or foes.
The difficulty has been toned up, but overall, Chapter 2 remains a very entry-level survival horror.

The story is nothing groundbreaking, but it's serviceable enough to keep the player engaged, and its conclusion is satisfying for what it is.

Final verdict?

I'd ask myself why I didn't buy a much better survival horror if I had to pay full price for both chapters, but as I said, the whole story cost me a cup of coffee — and not a Starbucks one — so...

I had a good time during the few hours I spent playing Deathbloom!