Tag Archives: Survival

Metal Gear Survive review

After many minutes of cutscenes, several hints at gameplay without, in fact, participation, followed by mere moments of interactivity before the next slew of dialogue and exposition kicked in, I knew I was playing a Metal Gear game. Indeed, despite the apparent departure from the tried and tested formula, Metal Gear Survive has all the same elements you might expect from the series, making it a pleasant surprise after what the open Beta suggested it would be.

As the title suggests, Metal Gear Survive is focused on survival, and this mixes up the usual stealth play and action quite well with expanded mechanics that we saw hints of in previous Metal Gear games. You must now manage your thirst and hunger, which are frequent concerns, especially early on. This involves finding food and clean water and regularly consuming them, which in turn affects your health and stamina. Allow hunger or dehydration to get the better of you and your physical abilities suffer considerably, reducing your combat effectiveness and movement therefore putting you in grave danger against your foes.

These foes take the shape of zombie-esque characters; ferocious, animalistic adversaries that mean to tear you apart. They’re called Wanderers and inhabit a dimension called Dite, a world where you find yourself after an attack on Mother Base from the end of Metal Gear Solid V: Ground Zeroes. You’re not alone in this strange world however, other survivors are scattered around the large, open play area, and they can be found and recruited to help build and maintain your own base of operations, as you seek to discover the fate of a previously deployed unit to this dimension and a ways to escape it.

Managing your immediate needs of thirst and hunger make up only a small part of the overall management system. Your health is threatened by raw meat and dirty water, so medication is required to treat illness, while upgraded facilities are required to prevent illness in the first place. Meanwhile, every scrap of material is precious. This scrap is essential, allowing you to build new crafting stations at your base, new equipment and weapons to aid you, and defences to help keep the Wanderers at bay. This amalgamates in building up your base and outposts to be safe, self-maintained havens for you and the other survivors. And indeed, they soon become just that, with farms growing the all-important food you need and the other survivors even helping maintain it all as well as allowing you to send them on missions of their own. It’s gruelling, desperate survival initially but eventually gives way to rewarding progress and order.

Then there’s the story, which is surprisingly deep and intriguing. The Beta gave the impression of a cooperative survival game with equipment upgrades measuring progress, but in fact there’s a lengthy tale of political intrigue with plenty of twists and turns and pleasant links to The Phantom Pain. This is so much more than just a survival game that means to encourage emergent gameplay, there’s a story here worthy of the series. The multiplayer offering of teams of four protecting an area against swarms of Wanderers is but a small part of the experience, an optional part for more resources.

The meat of Metal Gear Survive is in the single-player offering, of searching for information about the lost unit, the Charon Corps, and figuring out a way back home while enduring the harsh environment. It’s a different kind of Metal Gear, and a riskier one at that, but there’s also something refreshing about it. Newcomers are likely to find this to be a survival game that’s challenging with a surprisingly heavy handed slice of exposition, meanwhile, Metal Gear fans may find something gripping and different about the experience. Post Kojima Konami may not be entirely without hope after all when it comes to this series. There is, of course, the £10 save slot debacle, and indeed that’s anti-consumer, over-priced nonsense, but the rest of the micro transactions are less offensive, allowing you to buy additional load-out slots and unit slots to send on missions. They are entirely optional extras that most will never feel the urge to indulge in.

While Metal Gear Survive is surprising in its single-player offering and story, it still suffers some missteps. Defending against waves of Wanderers and fetching data from computer terminals are the primary missions on offer, with side missions merely pointing you towards additional resources you can gather. It all gets a bit repetitive, especially once you devise a few winning strategies for dealing with the Wanderer hordes. Meanwhile, despite the lengthy story and its twists, character development is a bit lacking. Your character is fully customisable but mostly silent with no real personality beyond the one you imprint on them, and those that are explored come across as dull and uninspired. There’s no Kojima magic here for zany characters. Certainly there’s enough intrigue here to help keep you playing to see how it all comes together but it’s more supernatural than military sci-fi this time around.

Metal Gear Survive isn’t what it appeared to be. This isn’t a multiplayer mode stretched out into a full release, instead it’s an experimental title in the series with the same single-player dedication but some new and expanded survival mechanics running the show. As a survival game it’s a fun and challenging experience, whether played single-player or multiplayer, as a Metal Gear game it’s one of the weaker titles but certainly not without its charms.

Thanks to Xbox and Konami for supporting TiX

The Evil Within 2 review

The original The Evil Within’s setting of the mind of a psychopath; a whole world contained within a mind that others could access through a device, made for some excellent horror, and allowed elements such as pacing, logical world building, and even characterisation to take a back seat. With the sequel, more care has been taken to establish motivation and character personalities, playing more on emotion within the same madness of a mind-made world of horror.

The mind hosting the frights this time around is that of the protagonist’s, Sebastian Castellanos, daughter, who was abducted by the sinister MOBIUS, those behind the Beacon Hospital event from the original. This organisation have, once again, created a world that others can inhabit, something has gone wrong and now they rely on you to figure out what and save their operatives as well as your daughter.

Indeed, The Evil Within 2’s stronger focus on character gives it a Silent Hill 2 feel initially, this is further explored by a shift from linear environments to several open ones. However, while the psychology of Sebastian is mostly well played on in dialogue, boss encounters and general enemies fail to represent the trauma and fear of the protagonist in any meaningful way. In fact they’re a little disappointing in general, lacking the same originality and over-the-top gruesomeness as in the first title. Considering the visual are leagues ahead in detail and lighting, as well as featuring a far more varied colour palette, this is surprising and a bit of a let-down.

Fortunately, there’s still plenty of frightening encounters and environments to get your blood pumping. Despite spending a fair amount of time in the three open areas, there’s still plenty of corridors and more linear areas that allow for some creepy and tense exploration, playing on audio and the ‘close the shoulder’ camera to really play on the fear of the unknown. The open areas, meanwhile, are a little more action orientated but still do a good job getting the scares in with enough corners hiding terrors and copious amounts of items and side missions to encourage you to explore every nook and cranny. Moreover, the new ability to craft items means less collecting specific ammo types and more collecting material to craft what you want. This brilliantly allows you to create ammo for your preferred weapon rather than forcing you to use them all.

Additionally, the crafting mechanic creates a clever risk verses reward situation where crafting items in the field costs significantly more than returning to a safe house and crafting there. It forces you to frequently decide between trekking through enemy infested areas to get somewhere safe or taking the hit to materials and crafting where you are allowing you to continue. This is especially effective in the first few hours where a couple of hits is enough to put you down and your ammo count is pathetically small.

Even when ammo is more abundant, you’re never fully prepared for the enemy encounters. Stealth is the best way to proceed, avoiding combat as much as possible, and when it does kick-off, the open areas allow you to retreat, which is often a smart choice. Additionally, a more nuanced tree of abilities, both passive and active, can be unlocked with green goo as with the original title, and these help you shape Sebastian into the character you want for the play style you’ve chosen. Still, it’s a difficult game where a lapse in focus can easily result in your demise.

The Evil Within 2 is a great horror game that improves upon the original in movement, characterisation and inventory management brilliantly, but drops the ball a little when it comes to enemy originality and scares. This is partially due to the open areas offering a different experience but more so it’s a simple lack of creativity on the developer’s side. Still, it’s an attractive looking title with an intriguing setting and enough frightening encounters to put you on edge, less original but more refined.

Thanks to Xbox and Bethesda for supporting TiX

The Final Station review

An intriguing beginning, superb ending, but highly repetitive and simplistic middle makes The Final Station a swing and a near miss as a survival horror gem. There’s some great ideas here, with its pixel art and colour palette proving some wonderful atmosphere, but its flaws outweigh a lot of the good in end.

You are a lone train conductor transporting equipment for the military, as well as survivors you find along the way, after an apocalyptic event begins. This is the second occurrence of this event, all told, with it originally occurring over a century ago. They call is the Visitation, suggesting some kind of alien menace; it results in possessed, zombie like humans lurking in buildings and on streets that mean to do the uninfected harm.

The experience is split between two sets of mechanics. On the train it’s your job to keep the bucket of bolts running, maintaining both the train itself and the equipment you’re carrying as well as keeping your passengers healthy and fed, otherwise they’ll die during the journey. When you arrive at each stop you must venture out into the world in order to find provisions to re-stock your health packs and food for the passengers, scavenge for materials to craft more bullets for your weapons, find any survivors and send them to the train, and primarily find a security code to allow you to carry on to the next station.

The Final Station

As you’re exploring these stops you’ll find NPCs with titbits of information to share about the world, as well as notes that paint a larger picture of the Visitation as well as shine a light on some of your personal concerns. But these stops are also full of the infected, coloured entirely in black, apart from their eyes, making them look like extras from Limbo. These foes come in a variety of predictable classes: the ordinary shambling sort, the faster scuttling sort, stronger and finally armoured. You can try to avoid them, shoot them with a small collection of weapons – although ammo is scarce – or punch them, either with your fists of the butt of your gun.

However, what seems like a threat to begin with is soon revealed to be a mere nuisance. The lack of information The Final Station gives you at the beginning builds a false sense of difficulty that lessens significant with a few trial and error mishaps. The enemies can largely be dealt with through melee attacks, with a couple merely needing finishing off with carefully aimed bullets to the head. Meanwhile, the locations are so linear it makes exploration routine; you’re unlikely to miss anything.

The Final Station

The med packs you collect can be used to heal yourself as well as your passengers, potentially providing an interesting shared resource to manage. However, once you’ve sussed out the combat you’ll find you won’t need very many at all for yourself. Food is purely for the passengers but it’s rare enough to put your patrons at risk of starvation, so managing it to keep everyone barely alive is a bit tricky and the most likely cause of any passenger deaths.

It’s an unfortunate discovery that the challenge is predicated entirely on the lack of a tutorial, however, the setting and story are still intriguing mysteries to be explored. Underground tunnels and structures have been built that give The Final Station a War of the Worlds feel. Meanwhile, the reveal of how the equipment you’re transporting will be used is exciting and cool. However, repetition does hurt the pacing a great deal. Stations begin to mostly look the same and you’ll find yourself willing each train journey to be the end of the current act in the story. It becomes dull and predictable; any fear the infected stirred originally is completely lost in the mid-game and exploring each station becomes a chore.

The Final Station

Then things spring to life in the final act. Mysteries thicken, twists and turns trigger your fascination, questions are answered and the ending itself is brilliant. It makes the whole journey worth it.

The Final Station is an interesting survival horror that starts strong with an intriguing, mysterious and frightening force to overcome, and some clever survival mechanics during the train journeys. The middle threatens to ruin the whole adventure, stripping the fear from the enemies, revealing exploration to be linear and overstaying its welcome to make it feel repetitious. But that ending is a return to form, capitalising on the narrative superbly. It’s worth the ticket price, but only barely.

Thanks to Xbox, tinyBuild and Iron Galaxy for supporting TiX

7 Days to Die review

7 Days to Die is marred significantly by technical problems, poor porting to console and amateur presentation, which is a real shame, as the minute to minute struggle to survive is actually quite compelling, especially with other players. But unfortunately its potential isn’t enough to redeem this terrible title.

7 Days to Die follows the familiar formula of placing you in a harsh world where you need to gather resources to equip yourself, build shelter and survive against nature and the zombie horde terrorising the area. It’s a clichéd setup, but one that can be exciting and entertaining in the right circumstances.

In this case, the right circumstances are during either local split-screen or online multiplayer. With other players involved, their intractable nature opens up wonderful opportunities for emergent storytelling. Working together to build an impregnable fort is rewarding come night when the zombie horde is most vicious and laps up against your walls and traps in their frenzy. Meanwhile, skirmishes with other players over resources are equally enjoyable. However, the fun is all too fleeting; 7 Days to Die’s many faults easily overshadow the fun.

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The poor visuals are immediately obvious. Muddy, low detailed textures are draped over everything, including characters and zombies. Meanwhile, the presentation disappoints even further due to poor, repetitive animations. This becomes even less forgivable when the draw distance is revealed to be extremely limited, with the world shrouded in fog a mere handful of steps in front of you.

When you start moving around you’ll notice terrible dips in frame rate randomly occurring, and the game even freezes for a second or two every time it quick saves, which is often. A cluttered, unintuitive menu system for crafting and inventory management makes the core gameplay suffer, along with a feeling of little to no impact when you swing weapons, and no difference between them; whether you’re swinging a stick or a sledgehammer. But of course you may not experience these issues at all as 7 Days to Die frequently crashes whilst loading a save. Indeed it’s a poor offering both technically and mechanically.

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However, what’s worse is the fact that this title has seen a full release on console whilst its PC counterpart is still in Steam Early Access. It’s baffling why they’d port the game in its current PC state over to the Xbox One, especially with the Xbox Preview Program as an option. It screams a lack of investment in the game’s future and comes across as feckless from developers The Fun Pimps and Iron Galaxy.

And there’s just so much potential clearly bubbling below the surface. A vast crafting system allows for some impressive structures to be built. Furthermore, the scrounging for resources, weapons, food and water is rewarding and simple. You need to eat and drink to survive as well as manage your comfort by wearing clothes to stay warm or staying in shade to stay cool. Animals roam the countryside and can be killed for their pelts and meat, that’s if they don’t eat you instead. During the day the zombies are shambling threats to be avoided but at night they are fast and ferocious foes to flee from. Meanwhile, the aforementioned human interactions through multiplayer open up even more threats and opportunities for adventure.

Indeed, 7 Days to Die has so much potential, but for every neat idea there’s a game-breaking flaw that completely overshadows it. On PC it still has a chance to blossom into a great survival game, on console we’re stuck with an embarrassing, awful port.

Thanks to Xbox and The Fun Pimps and Iron Galaxy for supporting TiX

Subnautica preview

Survival games are ubiquitous at the moment and largely follow the same formula. Subnautica does things a little differently, with the clue being in the title. Indeed, the underwater nature of Subnautica is what makes it stand out from the crowd, and it’s all done so well it’s hard to put it down.

Having suffered a fatal malfunction with your spaceship, you launch an escape pod and splash down on an aquatic planet; you’re intact but severely damaged ship sticking out of the ocean a few hundred metres away. Here you quest for survival begins, encouraging you to search the ocean for materials to craft devices, supplies, submersibles, and habitats in order to keep you alive.

Playing through on survival mode subjects you to starvation and dehydration, making it imperative that you find sources of food and drinkable water amongst the usual building options and exploration. Here’s where Subnautica really shines, forcing you to explore further and further from your escape pod, and deeper and deeper into the ocean, in order to find what you need. This is a daunting and frightening endeavour. An ocean is a monumentally large place to forage within, full of fish and creatures, and not all of them friendly, but a planet sized alien ocean is a different matter altogether. Here the alien environment is so new that everything feels like a threat until you’ve investigated it, and venturing that little bit further from your escape pod taps into your fear of the unknown splendidly.

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Bobbing up and down on the surface you’ll be forgiven for thinking you’re on Earth, but the moment you go beneath the waves the alien ecosystem is clear to see. Brightly coloured fauna and flora litter the alien ocean, drawing you in with their strangeness and tapping into that explorer within us all. Scraps of metal from you ship can be found on the shallow bed, amongst all manner of materials that can be collected, identified and then put to use within your pod’s matter converter. Caves and coral formations entice you in, creatures dart by and encourage you to chase, then you see the shallow bed give way to darkness and the fear of the unknown drowns out that spark of exploration. However, eventually you’ll have to go down there, there might be stuff down there you need, and frightening as it may be, a part of you wants to go down there. A few enhanced oxygen tanks or a submersible later, and you can venture into the darkness and discover what else lurks beneath the waves.

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The ocean is superbly enticing and scary, and with hungry creatures looking to make a meal out of you it only gets scarier the deeper you go. But it’s also extremely rewarding. There’s a lot to see in the depths and building large habitats and slowly conquering this alien world alone is thoroughly entertaining. The day and night cycle brings with it visibility issues to challenge your engineering skills and fear tolerance, as well as stirring new sea life for you to witness, and the bioluminescent glow of the flora is especially attractive. The visual splendor does come at a cost, with the initial load taking several minutes, but fortunately death means an almost instantaneous respawn, and once the initial load is done Subnautica runs smooth and fast.

Indeed, Subnautica is shaping up to be one of the strongest survival games on the market, thanks largely to how spectacularly detailed, vast, rich and different its ocean environment is. Moreover, you can enjoy the alien ocean without the need to worry about food and drink thanks to a creation mode. And whilst the barrier for some will be the lack of handholding when it comes to figuring out how to construct things, this inherent aspect of the genre isn’t going to affect the enjoyment for survival game veteran at all.

Thanks to Xbox and Unknown Worlds and Grip Games for supporting TiX


Back in December we previewed the Rouge-lite, RPG, tower defence, survival game Dungeon of the Endless, and it certainly made a good impression. However, for how enjoyable, clever and compelling it was, copious amounts of bugs kept ruining the experience and causing frustration. However, three months later and Dungeon of the Endless has hit digital shelves, and wonderfully the bugs are all gone.

Dungeon of the Endless combines mechanics and themes from tower defence, RPGs, and survival games to craft an experience that challenges you tactically, encourages risk for potential reward, pits you against swarms of enemies in frantic, heart pounding combat, and even hints at an intriguing story. It’s a wonderfully varied package that makes it appealing to a large audience.

It doesn’t, however, teach you it’s mechanics very well. The tutorial is somewhat hidden away amongst in-game menus, and it’s text-based when/if you do find it. However, with a little trial and error things become clearer. Fortunately, despite this lack of introduction and a wealth of nuance, it’s all fairly intuitive.


Having crash-landed on an alien planet and penetrating deep into a not-so-natural network of caves, you take control of a pair of survivors and must uncover the procedurally generated dungeon made up of rooms filled with mysterious architecture and technology, find the exit, grab your escape pod’s crystal and climb to the surface 12 floors up. But of course it’s not as easy as that, as each floor is also full of monsters. These beasts are discovered randomly as you unlock each door to each new section of the dungeon, and also have a chance to spawn in any discovered but unpowered rooms. In order to limit the monster spawns and protect your party of survivors and the escape pod’s crystal, you need to use your resources to power rooms and then build defences, support modules, and resource generating nodes.

As you explore each level you’ll also encounter venders selling equipment to boost your stats – such as attack, defence and HP – as well as treasure chests also housing equipment, abandoned technology that has a chance to grant you more resources, and other characters eager to join your party and escape to the surface. Indeed exploration can be a rewarding thing, however, with monsters spawning randomly each turn and the dungeon being procedurally generated, there’s always the risk of biting off more than you can chew.


Finding other characters allows you to modify your party, adding new member until you have a full set of four and even allowing you to switch out members if you find someone more suited to help you survive and escape the dangers ahead. Meanwhile, spending resources wisely to not only defend you, your crystal and your resource nodes, but also to level up your characters, encourages even more risk as you feel compelled to gain every piece of equipment and all possible resources to better prepare you for what’s coming on the next level. It’s hugely entertaining and immersive.

Meanwhile, research crystal can also be found on each level and through them you can enhance and upgrade your defences, resource generators, support modules, and even power generators, which all help to combat the growing threat of enemies on each level and better light up the dungeon to keep you safe. And as you climb nearer the surface the enemy’s numbers increase dramatically, as do their stats, posing an even greater threat.


It can certainly prove challenging to keep on top of all this, especially playing alone and trying to manage all four characters yourself, however, with online coop available, up to three friends can join, take control of a character or two, and aid you. This is where Dungeon of the Endless truly shines, and working together to explore each level, design defence strategies and collect resources, allows for some excellent emergent storytelling, as well as oodles of fun.

Completing a play-through takes a good three hours or so, and with the large rooster of characters available, all with their own strengths and weaknesses, there’s plenty of incentive to dive back in. Moreover, different escape pods can be chosen at the start – once they’re unlocked – which modify the experience with additional challenges, all this on top of the procedurally generated nature of the title and Dungeon of the Endless possesses strong longevity.

Indeed Dungeon of the Endless is a challenging but superbly entertaining Rouge-lite adventure. The mixture of mechanics from multiple genres works together remarkably well, and the whole experience is masterfully balanced to provide a stiff challenge but one that seldom feels unfair. Now that all the bugs from the preview version have been eradicated, Dungeon of the Endless comes highly recommended.

Thanks to Xbox and Amplitude for supporting TiX

The Solus Project Developer Video #1

The Solus Project, unveiled at the Microsoft games conference, last year is due to hit Xbox Game Preview in February, and today the developer has released their first tease of what’s to come.

The Solus Project  is a first-person survival adventure game, set on a deserted alien planet. Unlike most other survival games, The Solus Project is not a sandbox game with an open world, but rather more linear single-player experience, with survival elements and ten large and complex environments to explore.

The story goes that you crash-landed on an alien planet and every other member of your crew is dead. While exploring the barren surroundings you find out that you are not the first intelligent being to set foot here. Mankind is on the verge of extinction and you were supposed to be the last hope to find a safe haven to set up a colony. You have no choice, but to survive, as the fate of mankind rests in your hands.

You can check out the introduction to the game developer video below:

Dungeon of the Endless preview

Dungeon of the Endless brings together mechanics from RPGs, tower defence and survival games and ties them together with a Rogue-like knot. The result is a wonderfully compelling and a splendidly unique experience, one that’s made all the more appealing by its multiplayer component which allows up to four players to join in on the fun. It is, however, lousy with bugs, but with full release a good month away, hopefully the worst of them can be ironed out.

With this preview build we struggled through the bugs as they snatched victory away from us at the most heart-breaking moments and frequently threw up obstacles to impede our progress. We kept at it, though, never letting the bugs win, and a large part of why we kept playing was just how much fun we were having despite the setbacks.

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Having crash-landed on an alien planet and penetrating deep into a not-so-natural network of caves, you take control of a pair of survivors and must uncover the procedurally generated dungeon made up of rooms filled with mysterious architecture and technology, find the exit, grab your escape pod’s crystal and climb to the surface 12 floors up. But of course it’s not as easy as that, as each floor is also full of monsters. These beasts are discovered randomly as you unlock each door to each new section of the dungeon, and also have a chance to spawn in any discovered but unpowered rooms. In order to limit the monster spawns and protect your party of survivors and the escape pod’s crystal, you need to use your resources to power rooms and then build defences, support modules, and resource generating nodes in them.

On top of that you can also find items to equip that increase your attack power, defence, speed and wit, whilst also levelling up your survivors at the cost of resources. Other survivors can also be found within the dungeon, allowing you to recruit and switch out new members in your party, with each character sporting their own set of stats that make them more effective at certain things. Furthermore the nodes and modules you can build can be upgraded by finding a mysterious research crystal. Meanwhile, in singleplayer each character has their own personal story that’s gradually revealed between floors.

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It’s a complex set of mechanics that can easily overwhelm you in your initial few attempt to survive the dungeon, and whilst a tutorial is present, it’s hidden away behind in-game menus and is disappointingly text-based. However, once you do figure out how everything fits together it reveals itself to be magnificently conceived and well-balanced, as well as hugely compelling.

Different escape pods can be chosen at the start – once they’re unlocked – which modify the experience with additional challenges, and the characters offer a variety of different skills and stats to change things up, all this on top of the procedurally generated nature of the title and Dungeon of the Endless possesses oodles of longevity.

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The bugs truly are horrendous in this preview build, however. Research not completing, monsters that can’t be targeted, the level not ending once you reach the exit with the crystal, freezing on the transition screen between floors, and several more bugs hindered our progress over and over again. It remained fun but became frustrating, but as long as these bugs are quelled for release, then I’m certain when we come to review Dungeon of the Endless, the praise will be astronomical.

Don’t Starve: Giant Edition review

Don’t Starve is built around a simply goal: don’t starve. It’s about survival, with minimal resources and unknown dangers threatening to kill you at every turn. As such, it’s a challenging game, made even more so by a philosophy of no hand holding, forcing you to experiment in order to discover what’s on offer. It’s initially frustrating but figuring out how to survive a little longer each time is a compelling trick that keeps you playing despite the harshness.

You take control of gentlemen scientist, Wilson, who has been manipulated into creating a device and unleashing antagonist Maxwell, who pulls you into a dark and mysterious world. In this world you must try to survive for as long as you can, by gathering food, building shelter, combatting madness, and hiding or slaying the beasts that roam the land. Meanwhile, if you can find Maxwell’s Door, you can uncover more of the narrative and defeat Maxwell.

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The narrative is more of a scene setup than an immersive tale, but does more than enough to introduce you to this strange and eerie world. A cardboard cut-out, sepia toned, Tim Burton aesthetic adds to its eerie vibe and makes for a unique visual identity.

Surviving in this world is a chore. Food is scarce, resources for building things are randomly generated and often also scarce, and the permadeath is a constant companion that plagues the back of your mind. Meanwhile, figuring out what to do, how to build things and what to prioritise is a trial and error challenge that’ll take multiply deaths and restarts to figure out. But you’ll certainly feel compelled to conquer it. The world is fascinatingly weird and each death is a lesson you can trade for a little more time surviving next go around.

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A day and night cycle adds additional threats and challenges. During the day you’re free to explore and gather food and resources, when twilight hits it’s wise you find a safe place and prepare to hunker down for the night. At night you’re surrounded in darkness and nasty creatures come out which mean to eat you. You’ll need to create fires and torches to keep creatures at bay, and if you’re caught in the pitch black a mysterious entity called, Charlie, very quickly saps your health.

Furthermore, your hunger is a constant concern, forcing you to take more risks to gather food further afield, or figure out alternative methods to feed yourself by exploring what’s possible in the build menu. But if you get caught in the dark and witness or have to perform horrible things, such as grave robbing, your sanity begins to fall. Fail to raise it again by performing pleasant actions, such as picking flowers or wearing dapper clothes, and you’ll begin to see things, things that can become corporeal and, if your sanity falls to low, eat you. It’s a dangerous world and survival is hard. Push on, however, and eventually you’ll unlock additional characters who you can try to survive with instead, some of whom bring new challenges to the mix, such as one who won’t eat vegetables.

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Indeed, Don’t Starve: Giant Edition’s pleasantly simple premise rewards you with a fascinating and creepy world and a competitive compulsion to survive for more days than the last time in its procedurally generated world. And while the challenge is stiff and the lack of tutorials initially frustrating, you’ll soon find yourself struggling to resist the urge to try one last time, which inevitably leads to far more attempts and many more hours of fun.

Thanks to Klei Entertainment for their support 

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