I’m a big fan of the British comedy game show Taskmaster. Each season, five comedians compete against each other to complete ridiculous objectives. The competitors are often rewarded for lateral thinking, as long as they stick within each task's rules.

Every time I watch a player hilariously mess up, I often think “well, I could do better than that.” But sit me down in front of a puzzle game that demands adept use of logic or pushes me to think outside of the box, and l often get frustrated and give up quickly (unless I find a decent guide to help me out). That’s quite irritating, especially since we’re in a golden age of puzzle games.

After a busy day of work, I’m far more inclined to play something relatively mindless, like Overwatch 2 or Fortnite. I tend to bristle at anything that slows me down, such as turn-based games. But the more I push myself to stick with puzzle games, the more I appreciate them. There are three recently released options that I've been bouncing between recently in Lorelei and the Laser Eyes, Animal Well and Paper Trail.

I had enormous expectations for Lorelei. The last offering from developer Simogo, Sayonara Wild Hearts, is easily in my top three games of all time. Lorelei is completely different and it's not like anything I’ve experienced before.

It opens with a woman named Lorelei standing next to her car. The vehicle won't start, but fortunately there's a hotel close by. As it turns out, that's where Lorelei is supposed to be to help an artist complete his magnum opus. This is a place where time is nebulous. It's 1963, but there are computers where you save your progress and a Game Boy-style system to use. The hotel is the only real constant, and even that is built out of puzzles.

The visuals are astonishing, even on the Nintendo Switch. Shocks of Giallo-esque reds and pinks frequently punch through the monochromatic environments. The design language is unusual yet meticulously crafted to guide you from one puzzle to the next until Lorelei's photographic memory is overflowing with conundrums to conquer.

There are all kinds of riddles to solve here, and they all feel intertwined. At first, you’ll have a few simple math problems to figure out. From there, you’ll be dealing with everything from mazes to pattern matching and spatial awareness puzzles. You’ll need a decent grasp of Roman numerals and the ability to pull together disparate scraps of information. Unfortunately for my scatterbrained self, plenty of logical thinking is required.

I’m nowhere close to finishing Lorelei. Even so, I already appreciate the way that Simogo slotted the intricately layered puzzles together. My only quibble in the early going is the over-reliance on padlocks and three-digit codes that secure document tubes.

My brain is not well tuned for logic-heavy puzzles, so I need to be in the right mindset before sitting down with Lorelei for an hour or two. I want to savor this one at my own pace over the coming weeks and months. I'll forego guides and try to figure out another of Simogo’s strange, intoxicating worlds by myself.

While Lorelei gives the player an in-game manual in the opening moments, Animal Well offers barely any guidance at all. You (as a squishy little meatball thing) emerge from a flower into a cave with a large, ghostly squirrel on one side. It's not clear which direction to move in, what the objective is, what your character is or why you're there. All you can do is explore and try to figure it all out.

This has been described as a Metroidvania, a format that sees players backtracking to unlock a new area once they acquire a certain skill or upgrade. It’s taking most folks between four and six hours to finish the main game. But Animal Well is really more of a puzzle platformer. If you know what to do and how to do it, it’s possible to beat the game in a few minutes.

That’s part of Animal Well’s charm and beauty. Solo developer Billy Basso has weaved an intricate web of secrets, many of which are hidden in the shadows of its gorgeous pixel art (the game feels great too, thanks to smart use of haptic feedback on the PS5's DualSense controller). Without spoiling anything, I appreciate that the puzzles, many of which are traversal-based, are often open-ended. There are ways to progress even if you don't use an intended item or route.

I don't find the puzzles here nearly as taxing as those in Lorelei. The answers are all there, you just have to poke around and try things to see what happens.

The same could be said for Paper Trail from Newfangled Games. The painterly art style caught my eye when this started showing up at game showcases a couple of years back. The core mechanic is fascinating too.

The aim is to guide protagonist Paige through a swathe of mazy environments toward her goal of attending school and becoming an astrophysicist. But there are many obstacles in her way. Fortunately, Paige (and the player) can bend reality. This means folding over the edges of the world, which has two plains — just like a piece of paper — to open up new paths.

Newfangled finds clever ways of building on the central idea and the difficulty curve is fair but challenging. Paper Trail has a nice hint system that shows what folds to make, but not how to move Paige or any objects around.

Although the controls can be finicky, even while playing it on mobile (where it's available for Netflix subscribers), it's perhaps the puzzle game I've found the easiest to engage with lately. I enjoy contorting the world around Paige and lining up some patterns to unlock a path. It's the kind of game that makes me feel smart and satisfied whenever I figure out a solution.

I wager that the more I play these games and ones like them, the better I’ll get. We’ve had some downright great puzzle-centric titles over the last few years. Unpacking, Tunic and Cocoon immediately spring to mind. So does Teardown and its wildly fun destructive heists. Planet of Lana, Venba, Viewfinder, Humanity and Jusant were all among my favorite 2023 games in general.

I wish I'd been able to get into The Case of the Golden Idol, but I at least appreciate what it was going for. I might also finally get around to checking out Chants of Sennaar now that it's on Game Pass.

The puzzle games keep coming, as a Zelda-style adventure called Isles of Sea and Sky just popped up and grabbed my attention. And then there’s Indika, which sounds both deeply strange and remarkably mature.

In any case, as in all great puzzle games, there's a bigger picture. All of these are merely practice for the ultimate test, because a VR version of Taskmaster is coming in June. I'll soon get to find out whether I'm better at lateral thinking than comedians after all.

Resident Evil 6 has sold surprisingly well on the Nintendo Switch since it was ported to the console in 2019, despite it being almost universally panned by fans of the series. As spotted by Nintendo Life, RE6 just got added to Capcom’s Platinum Titles list, meaning it’s crossed the threshold of one million units sold. It sits at number 117 on the list, with a million downloads for the Switch (but not any other platforms).

RE6 stands out as a convoluted action game next to the titles that came before it, marking a dramatic shift away from survival horror. It has a lot going on, but not so much of the things people actually love about Resident Evil games. It’s gained some defenders over the years, though, I’ll give it that. Capcom brought Resident Evil 6 to the Switch in October 2019 and bundled it with RE4 and RE5 in the Resident Evil Triple Pack that was released around the same time, which surely helped its sales. 

Epic Games has an uncanny habit of making sure Fortnite is in tune with the cultural zeitgeist and that's very much the case once again. After a strong season focused on Greek gods and monsters, the latest major revamp of the battle royale is taking a vehicle-heavy, post-apocalyptic turn in Chapter 5 Season 3.

The new season, which is dubbed "Wrecked," seems very much inspired by Mad Max, given the desert vibe and modded vehicles. It includes an official Fallout crossover too. Not only that, a wastelander take X-Men’s Magneto will be unlockable via battle pass quests at some point in July.

This is all very timely given the success of Prime Video's adaptation of Fallout, Furiosa: A Mad Mad Saga hitting theaters and X-Men ‘97 capturing the hearts and minds of '90s kids all over again. The Wrecked season will run until August 16.

The sandstorm that had been looming in the horizon over the last couple of weeks has swept over the island, bringing destruction and a new biome in the south called the Wasteland. (I'm glad my favorite drop site last season, Mount Olympus, has survived for now.) You'll have three new locations to explore in the Redline Rig refinery, the Nitrodrome car arena and Brutal Beachhead, where you'll find a boss named Megalo Don.

Redline Rig churns out Nitro Splash and Nitro Barrels, which you can find all over the island and use to power up your car and yourself. When you're Nitro-fied, you can bash through builds without needing to use your pickax. If you're lucky enough to find Nitro Fists, you can use those as a powerful melee weapon too.

Vehicles can be modded with things like machine gun turrets and spiked bumpers. There's the option to hijack one of two War Buses that are patrolling the island as well. These have cannons and an EMP pulse that can damage enemy shields and disable nearby vehicles.

As for the Fallout collab, that franchise's iconic Nuka-Cola is now in Fortnite. You can slurp some to replenish health and restore shields over time. In addition, you'll be able to unlock a T-60 Power Armor skin through the battle pass. 

Is it blasphemous to call a survival horror game “cozy”? Maybe so, but while thinking back on my playthrough of Crow Country, the word popped into my mind more than a few times.

From the jump, there's no question about Crow Country’s PlayStation 1 influences, which its creators at SFB Games have been upfront about: it is very intentionally the creepy-cute child of Resident Evil, Silent Hill and Final Fantasy VII. The game, which was released on Steam, PlayStation 5 and Xbox X/S on May 9, just about checks all the boxes for survival horror, but it takes a gentler approach to the genre, making it feel more like a test of mental endurance against some all-consuming bleakness than a constant fight for your life. (A Hard Mode, however, is apparently on the way).

You play as Mara Forest, who must painstakingly make her way through an abandoned amusement park in the year 1990 to find its elusive and evidently corrupt owner, Edward Crow. Resources, like ammo and health kits, must be scavenged. Skinless monstrosities may emerge from the shadows at any turn to grab at you and puzzles of varying complexity promise to stall your progress. There is an ensemble of characters who — including the protagonist — each seem to have questionable motives.

It’s a familiar formula paired with a familiar style of character design paired with a familiar unsettling atmosphere, yet Crow Country manages not to feel like it’s being propped up by nods to its predecessors. With more of an emphasis on mood and mystery than violence (and some humor sprinkled throughout), it’s just unique enough to stand on its own as a distinct work. The entire experience has this air of reflectiveness to it, and I think the developers describe it perfectly in their own synopsis of what Crow Country offers: “a beautiful, uncanny blend of tension and tranquility.”

The nostalgia did indeed hit me like a truck as I took my cautious first steps around the eponymous Crow Country theme park as Mara. Naturally, she walks at a snail’s pace and comes to a full stop whenever firing a weapon. Her running speed is fine, though, and you have 360-degree control of the camera angle, so it doesn’t weigh you down entirely with PS1-era limitations (a blessing).

I was prepared to be frustrated for the duration of the game by the stop-to-shoot bit, but I got over it once I realized the monsters are also slow as hell. Well, most of them. You can run right by them in almost every situation if you want to. That made killing a choice rather than a necessity, and immediately dialed down the sense of urgency I’d gone into my first enemy encounter with. This is not at all a bad thing. With the stakes lowered, I treated those fleshy monstrosities like target practice and picked them off mostly for the fun of it. That, along with the gradual realization that there weren’t going to be jumpscares every 5 seconds, sucked me into a much cozier experience than I was expecting.

Without anxiety fueling my every decision, I was able to take my time to pick through all the nooks and crannies of the amusement park, making sure to stop and read every notebook or piece of paper and examine every object on the ground or hanging on the walls. I could focus completely on the puzzles before me, some of which were really challenging. I even had to bust out a pen and paper at one point. It also wasn’t very difficult to stay stocked up on necessities like ammunition, health kits and poison antidotes, which could be found randomly all over the park and at vending machines, where they’d sometimes regenerate so I could return for more later.

The soundtrack by Ockeroid (which just got its own separate digital release) is eerily soothing, and helped to create an atmosphere that fully engrossed me. Crow Country’s save mechanism leans fully into the game’s contemplative ambiance, too: you can find respite at different sources of fire, which Mara will stare into before reciting a wistful thought about hope and dread in the face of uncertainty. I played Crow Country on a Steam Deck, snuggled up with my cats on a gray, stormy day, and I can’t think of a better way to take it all in.

SFB Games

In typical survival horror form, the environment gets increasingly hostile as you advance in the game; creatures start showing up in heavier numbers, a faster one joins the mix, it starts raining, it gets darker, someone shoots at you from the shadows. But any real heaviness in Crow County is balanced by just the right amount of playfulness. The characters are often so unserious, going back and forth with irreverent dialogue. And you cannot ignore the goofy crow-themed objects that are all over the place — you rely on some of them for resources and insight.

Initially, Crow Country hints that there’s more to Mara than we’re being told but makes no explanation as to who she is or why she’s really in this abandoned theme park. Nor does it explain early on why that park is filled with writhing abominations and conspicuously prevalent references to the number 2106. Those mysteries served to hook me, and keep me progressing deeper as things unfolded. The ending tied everything together in a way that felt really satisfying.

It’s short but not too short, taking in the ballpark of 5 to 10 hours to complete depending how thorough (or slow to figure out puzzles) you are, and has a lot of replay value. This game is full of secrets that aren’t vital to the plot but can make your life a little easier — there is even a map showing you where they are, if you can find it — and these add another layer of challenge to the overall scavenger hunt. The upcoming Hard Mode could also make revisiting it even more interesting. The game currently gives you the option to play in Survival Horror mode (the version I played), or Exploration Mode, in which “you will not be attacked.”

I missed a couple secrets on my first playthrough, so my main goals for the next run are to find the rest of those and hit 100 percent of the achievements. I’m also curious to find out how different choices in my interactions with other characters could affect how the story plays out. In the end, I found myself moved by Crow Country for reasons that had almost nothing to do with nostalgia.

Netflix’s mobile gaming lineup will soon have one more entry. Cozy Grove: Camp Spirit, the sequel to the 2021 Animal Crossing-esque Cozy Grove, will arrive on Android and iOS on June 25.

The Cozy Grove sequel is the first game from developer Spry Fox since Netflix bought the studio in 2022. In the game, you’ll embark on the high-stakes mission of helping ghostly bears upgrade their haunted island. The developer describes it as a “heartwarming adventure” where you’ll “experience new activities, new ghost stories, new furry companions with stories and abilities of their own and much more.”

Netflix’s mobile gaming portfolio has grown exponentially since it began dabbling in the arena in 2017 with its Stranger Things tie-in. Netflix now has a roster of “nearly 100” mobile games. Cozy Grove: Camp Spirit will be the third game from an in-house studio after the streaming service began scooping up indie studios, including Spry Fox, Night School Studio, Boss Fight Entertainment and Next Games. It’s also building studios in Helsinki and Los Angeles, where it’s working on a AAA game.

You can pre-register for the game on Google Play and the App Store and check out the trailer for the chillaxing title below.

Devolver Digital is holding a livestream event on June 7 at 2PM ET to celebrate its 15th birthday and drop a bunch of “updates and release dates for upcoming titles.” It’s part of this year’s Summer Game Fest, which also kicks off on June 7 and is quickly becoming the de facto replacement for E3. You can stream the event in a number of ways, including the company's official website. 

What’s likely to be revealed by Devolver at the livestream? The company remains mum, but more information on Skate Story is practically guaranteed. The game was supposed to come out last year, so a release date is likely. We could also get updates on the action title The Plucky Squire and the bizarre man-baby walking simulator Baby Steps. The company has also promised “exciting new reveals”, which could mean just about anything from Hotline Miami 3 to previously unannounced IPs.

One thing’s for sure. The event will most definitely be quirky and entertaining. This has become Devolver’s trademark, as previous livestreams have included riffs on public access TV, parodies of massive game conferences like E3 and game designer Goichi Suda, sort of, in a mech suit.

There are other events already scheduled around Summer Game Fest. The biggest of the bunch will be the Xbox Games Showcase on June 9. This stream is likely to feature a deep dive into the next Call of Duty entry.

Atari just announced that it has acquired the Intellivision brand, along with more than 200 games from Intellivision Entertainment LLC. This puts an end to the very first console war, as Atari and Intellivison were bitter rivals going all the way back to 1979. The original Intellivision console, released by Mattel, went up against the Atari VCS (later named the 2600) a full decade before Nintendo and Sega started their beef.

“Uniting Atari and Intellivision after 45 years ends the longest-running console war in history,” said Mike Mika, the studio head at Atari-owned Digital Eclipse.

The deal doesn’t include the long-delayed Intellivision Amico retro console. Intellivision Entertainment LLC will continue working on the Amico as a separate and rebranded company and will use a license provided by Atari to release Intellivision games on it. The company has had a difficult time getting the console funded after originally announcing it back in 2018. It did manage, however, to release a truly bizarre app for iOS and Android devices that requires two smartphones or tablets to work. One device displays the game and the other acts as a controller. It’s a weird idea and, according to Kotaku, "one janky piece of crap."

As for Atari, it’s already making use of the Intellivision brand by adding items like t-shirts to its online store. Atari CEO and chairman Wade Rosen said on X that the acquisition presented a “very rare opportunity to unite former competitors and bring together fans of Atari, Intellivision and the golden age of gaming.” The ColecoVision, another console from the early 1980s, was also part of this golden age of gaming, but has yet to be snatched up by Atari.

Super Mario Maker and its sequel are terrific games that let fans create and share their own Mario levels with ease. But it was a bit of a disappointment that Nintendo only factored in the 2D Mario games. None of the plumber's 3D incarnations have made it to a Mario Maker title to date. So thank goodness for modders.

A pair of modders named Arthurtilly and Rovertronic have released an open-source Super Mario 64 mod that aims to make it a cinch for players to create and share their own levels. You'll need your own (legally obtained) Mario 64 game file and a separate piece of software to infuse the mod into it. It's even possible to use Mario Builder 64 on a Nintendo 64 if you have a supported flashcart.

You'll have more than 100 parts to build your levels with. The creation tool includes some custom parts from a previous mod, so you have extras like permanent powerups at your disposal. To share your creations and find those made by others, the recommended places to look are a website for Mario level modders and Rovertronic's Discord server.

It'll be interesting to see if ridiculous 3D kaizo-style levels start popping up, while the mod could allow speedrunners to create custom training grounds where they can practice strategies. Personally, I'm hoping for creators to build levels that rely on half-A presses to beat.

It’s criminal that there’s been no way to play Paper Mario: The Thousand-Year Door for over a decade. The only way to experience the original 2004 Gamecube title was on that console or the Wii, which thankfully supported Gamecube discs (something that feels like a genuine miracle now). There was no Gamecube hardware support on the Wii U, unfortunately, and The Thousand-Year Door never popped up on its online store. So here we are, 20 years later, with a complete remake for the Switch. It’s fantastic, befitting a game that was already a masterpiece — it’s just a shame that Nintendo took so long to revisit the game.

Here’s some sobering perspective: I first played through The Thousand-Year Door as a senior in college, where my roommates and I made it a communal adventure. Now I’m married with two kids but I still lament the loss of Gamecube titles almost daily. Where’s Eternal Darkness, one of the best horror games ever made? Where’s Skies of Arcadia, an RPG I adored on the Dreamcast and which was later re-released on the Gamecube? I realize re-releases take work, but surely there’s an audience for these beloved titles!

Anyway, back to the remake of The Thousand-Year Door: It’s great, you should play it. It’s an easily accessible RPG for newcomers with a cute setup: Princess Peach has been kidnapped (of course), but this time it's by aliens! It's up to Mario and a group of friends — including a treasure-hunting Goomba named Goombela, and Koops, a cowardly Koopa — to save her by solving the mystery of an ancient civilization.

Like Super Mario RPG and Paper Mario before it, Thousand-Year Door is sort of a hybrid action RPG. You get to explore worlds and level up characters like an RPG, but battles also involve some responsive button mashing to keep you on your toes. A well-timed button could let you jump on an enemy's head more than once, or counter incoming attacks. It's an innovative approach to RPG mechanics that I wish more games picked up – the excellent Sea of Stars was a rare exception.

Nintendo

Paper Mario: The Thousand Year Door is also well worth revisiting for the olds with nostalgia for the original. The graphics are richer and more detailed, with sharper sprites and lighting that makes the environments feel alive (the reflections, in particular, are often stunning). The game's score has also been revitalized to feel less MIDI-like – don't worry, there's also an in-game perk that can change everything back to the original Gamecube tunes.

It’s too bad Nintendo had to lower the frame rate down to 30fps from the Gamecube’s silky smooth 60fps, but it’s not the end of the world. If you can enjoy some of the greatest games ever made in 30fps, like Breath of the Wild and Tears of the Kingdom, The Thousand Year Door is no different. The remake also adds enough new graphical elements to make it look better than the original. I’m sure I nailed the game's timing-based moves more often in 60fps, but they're still fairly easy to pull off (except for those damn counters).

Nintendo

Had Nintendo released this remake earlier in the Switch’s lifespan, I’m sure fewer gamers would be complaining about the 30fps dip. But at this point, the Switch is on its last legs and we’re awaiting news about its successor. Both Sony and Microsoft have had “next-gen” consoles out for so long they’re considering mid-cycle upgrades. It’s simply odd to see a game running more slowly today than it did on the Gamecube 20 years ago, especially when Nintendo is charging $60 for a lesser experience.

Perhaps the Switch 2, or whatever Nintendo’s new console is called, will be able to run The Thousand Year Door at 60fps. But it really doesn’t matter. It’s still a masterpiece, even at half the frame rate.

Senua’s Saga: Hellblade II shoves hopeless brutality in your face and screams at you to recognize its beauty. Its landscapes are littered with disemboweled corpses and shrines of rotting flesh, and its shadows conceal monsters carrying blood-stained blades. Every chapter in Hellblade II is a parade of suffering and pain, and every scene has a backdrop of taunting whispers. After just a few minutes of playtime it can feel like you’re strapped down, trapped in Senua’s claustrophobic reality on the Icelandic coast, suffocating under the dark waves with her.

And here’s the thing — it is absolutely beautiful.

Hellblade II is a third-person narrative adventure set in Iceland in the 10th century, and it’s the sequel to Ninja Theory’s 2017 game, Hellblade: Senua’s Sacrifice. Senua is a young warrior who hears a cacophony of disembodied voices in her mind, judging her every move. The whispers are a critical and permanent part of Senua’s psyche — a lesson she learned in the first game, after realizing the depths of her father’s abuse when she was a child. In Hellblade II, Senua is figuring out how to live outside of her father’s influence, but his voice still rumbles in her head at inopportune times, drowning out the female whispers that she’s come to view as her allies.

Ninja Theory

Senua regularly sees the ghosts of the warriors and civilians that have died around her, and she carries their souls as a mental shroud, fueling her intense desire to save as many oppressed people as she can. She has targets right away: Hellblade II opens with Senua and others held captive on a slave ship during a catastrophic storm. The ship is thrown ashore, scattering slavers and the enslaved on the black rocks. This is where Senua finds her sword.

She makes her way inland, where she finds companions and learns about a plague of giants terrorizing the local villages, slaughtering entire communities and destroying precious farmland. Throughout her journey, Senua fights the giants and hordes of human-sized enemies — always one at a time — with a single broadsword and a bit of magic. The whispers provide a constant soundtrack of criticism, encouragement, warnings, fear, anger and doubt, hisses slicing through the silence and interrupting moments of dialogue, inescapable.

Hellblade II is more of an extended, extremely anxious and violent vibe than a traditional adventure game. Its combat is OK, its puzzles are slightly tedious and, emotionally, it’s one-dimensional — but as an interactive brutality visualizer, Hellblade II is outstanding. Senua fights until her pores ooze blood, screaming through each swing of her sword as the whispers surround her, cuing her when to strike and telling her to ignore the pain. Every fight is close combat and one-on-one, warriors waiting in a circle of fog for their turn to rush in, punch her in the face and slice her to pieces. The sounds of flesh smacking against flesh join the whispers and the screen splatters red when Senua is hit. Hellblade II revels in physical violence.

Ninja Theory

Outside of combat, Senua’s body is sacrificed to the elements, caught in swirling riptides and burned to ash in bursts of hellfire, pieces of broken earth floating around her. Senua steps gingerly into dark pools filled with the ghosts of the damned, shadowy figures wailing and trying to pull her down. A giant’s hand slams to the ground, smashing a body with a wet splat beneath its palm. Reality bends and shatters, and Senua is trapped in torturous, psychedelic nightmares narrated by her father’s booming voice. She burns herself at the stake. Her face fills the screen, panic spewing from her lips and horror sharp in her eyes. In every scene, the whispers persist.

Basically, it’s metal as hell.

I played Hellblade II on Xbox Series S without headphones and on a high-end gaming PC with headphones. The game is stunning in both formats, though of course the details and lighting looked a bit crisper on PC. There may be no laughter in Senua's life, but there are breathtaking landscapes dotted with delicate shrubs and rough boulders, fine red dust stretching to the horizon. There are towering cave systems lit by the soft glow of blue flames; there are beaches with roiling waves; there are snow-capped mountains backlit by a golden setting sun. The environments in Hellblade II are all phenomenally detailed, which is great news for the game's Photo Mode.

Ninja Theory

Whether on console or PC, I encourage every Hellblade II player to wear headphones in order to fully enjoy the binaural audio. In this format, the whispers surround your head as they do Senua’s, spawning from various directions in a terrifying way. With no UI in the entire game, stellar acting from Melina Juergens as Senua, and headphones full of soft, hissing judgements, Hellblade II can get incredibly immersive.

Outside of its aesthetic and tonal merits, combat in Hellblade II is simplistic and sometimes frustrating. The game has pared-down mechanics, and Senua has just a standard and heavy sword attack, plus an evade move, a parry and a special power-up. Timing is everything in battles, and Senua moves sluggishly enough that last-second adjustments rarely land. Additionally, Senua’s special move is — dare I say — overpowered, and it basically guarantees she’ll kill whatever minion she’s fighting. Between the annoying timing structure and a too-strong power-up, it’s difficult to find a rhythm with any enemy in Hellblade II. That may indeed be a rhythm to be found in these battles, as demonstrated by the original Hellblade, but I couldn’t identify it in my initial playthrough.

Ninja Theory

The most successful puzzles in Hellblade II involve Senua magically changing the landscape around her, focusing on specific vortices to manifest platforms where she needs them. These riddles aren’t particularly challenging and they don’t gain layers of complexity as the game progresses, but their settings are gorgeous, generally contained to cave systems that glow like the night sky. The game’s most annoying puzzles are the symbol-hunting ones, where Senua has to find pieces of an ancient language in the environment. These moments feel like filler; they don’t advance the story in any meaningful way and they make me squint at the screen uncomfortably. That last one might be because I need new glasses, but still, I could do without the symbol-seeking puzzles entirely.

Hellblade II uses a limited set of inputs — just directional, sprint, focus and interact — and portions of it are fully playable with one hand, whispers shadowing Senua’s steps. Everything that Senua does is cloaked in apocalyptic framing; every conversation she has, whether with herself or her companions, is drenched in anxiety and urgency. There is no joy in Senua’s life, no respite from the pressure to save everyone, nowhere to run from the guilt that already weighs heavily on her mind. Senua’s singular emotion is desperation, her trauma is repeated over and over, her ghosts are explained again and again.

It’s as if Ninja Theory built Hellblade II to be an art installation at a busy museum — like they expected its audience to be milling in and out of the room, paying attention for spurts at a time, and they wanted to make sure every scene told the full story. Though Senua gathers a few allies along her journey, every character in this harsh world feels transitory, and their presence lacks lasting impact. Hellblade II is stuck at 11 on the emotional scale and it doesn’t offer any opportunities for falling or rising tension, causing its climax to fall a bit flat. The final scenes are epic, like the rest of the game, but they also feel like… the rest of the game. So much so, that I was surprised when the credits started to roll.

Ninja Theory

As a side note, I’ve never had a game trigger my phobia of crashing waves quite like Hellblade II. I had to close my eyes for half of one segment because it involved Senua getting swept up by the raging sea in regular pulses, waves repeatedly crushing her body and the camera, and it was making my stomach turn. This is far from the only deep-water horrorscape in the game, so fair warning.

Hellblade II is an impressive sensory experience interrupted every so often by tedious symbol-hunting puzzles. It’s an epic poem in video game form, violent and timeless.

Senua's Saga: Hellblade II is available on Xbox Series X/S and PC, included in Game Pass.