Not only is it really great to play an indie horror game that captures the slow and thoughtful nature of old-school survival horror, but it's also refreshing to play a good old fashioned gothic horror game. So many indie horror games come off as feeling a bit pretentious with their reliance on suppressed guilt twists for their psychological horror plots. Song Of Horror bucks that trend by being a straight-forward horror story about haunted houses, possessed artifacts, and otherworldly mysteries.

Song Of Horror also ups the stakes by featuring a cast of multiple playable characters, each of whom can be killed off (and removed from the rest of the story) if the player screws up. So not only do we literally not know what eldritch abomination may lie around any given dimly-lit corner, or behind any creaky old door, but if you're not careful, whatever is around that corner or behind that door might put a premature end to a given character's life and story.

Strut and fret your hour upon the stage, and then ...

Song Of Horror was originally sold as an episodic indie horror game on Steam, but the collection of all episodes was released for console as a single game in 2021. It somehow slipped under my radar until last month, when YouTube recommended a video about it by Mert Kay Kay. Each episode includes 3 or 4 playable characters to choose from, each of whom can be permanently killed off if you fail to avoid or escape from the phantasms that haunt each episode. If a character dies, all the items and notes that they've collected will be dropped on the floor at the spot of their death, and that location will be marked on the next character's map. So you don't really lose any progress if a single character dies. If you lose all the characters in a given episode, however, then it's "Game Over"!

Each episode will introduce one or more new characters, but old characters can also re-appear as playable characters if they survived the previous episode(s). Thus, losing a character in an early episode may have the longer-term consequence of reducing the player's available lives (to borrow a term from old arcade parlance) for future episodes, and reducing your margin of error.

Each episode has 3 or 4 playable characters, each of whom can permanently die.

But even if you do manage to screw up and get all 4 characters killed in any given chapter, you only have to restart that chapter. Song Of Horror won't delete your save file and force you to redo the entire game. Each chapter takes 2 -- maybe 3 -- hours to complete on a first-playthrough, and can be done in well under an hour if you know what you're doing. It's actually a loss of progress that is somewhat on par with dying in an old Resident Evil game after doing a fair chunk of exploration without backtracking to a save point.

The legitimate threat of permanently losing a character will naturally raise the stakes of the game and of the horror. It will force the player to play cautiously, to be observant of your surrounding and of context clues in the environment, to pay close attention to sounds and shadows, and to not barge through every door in a rush. In fact, it may do this more effectively than even a game like Resident Evil. Dying doesn't mean simply restarting with the same character and retrying the set piece that got you killed. Dying means permanently losing that character, and having to try again with a new character. Restarting at a checkpoint doesn't simply reset the stakes, it doubles-down on them!

Furthermore, the actual jump scares and dangers are semi-randomized. You won't necessarily encounter the same jump scare or the same monster at the same place and time in any 2 playthroughs. This also keeps things tense, because even on a replay (whether it be a whole new playthrough, or just a respawn with a different character), you can't just memorize all the places to avoid.

I always have mixed / complicated feelings about survival games. They always seem like a great idea in principle, and I feel like I would really enjoy them for their methodical gameplay oriented around problem-solving (which is one of the reasons I also love classic survival horror games). But when I actually play them, they are often annoying and frustrating, and I have a miserable time trying to learn how the game works.

I think a big part of the problem is that a lot of these games, being modest indie titles, don't have robust tutorials and aren't very good at communicating their gameplay mechanics to the player in an efficient manner. Even when they have tutorials, those tutorials feel like they barely scratch the surface of what the player needs to know. And then you're shoved out into the deep end, having to learn the rules of the game world and the controls for navigating it, while your precious food, water, and energy meters are all depleting. These games are insanely difficult in the early sessions because every new threat or challenge feels like an unfair "gotcha!" from the developers. Once I learn the systems (through lots of frustrating trial-and-error), I find that everything I need is readily available, and most of the fun and challenge of the game gets optimized away, leaving only the tedious chores.

Case in point, figuring out how to save the game in my first couple play sessions with Green Hell VR was a very aggravating experience. I don't recall the game ever telling me that saving requires building certain types of shelters. I assumed the game would autosave every time I slept, and possibly also every in-game day, or every 20 or 30 real-world minutes. So imagine my surprise when I slept, closed the game, and booted it up the next day to find that none of my progress from the previous session had been saved. No, sleeping in just any bed isn't enough to save the game in Green Hell. You need to craft one of 2 or 3 specific shelters, or at a specific landmark.

Saving the game can only be done at dedicated checkpoints, or at a crafted shelter.

Initially, crafting these shelters feels like a relatively daunting task. You need large sticks and palm leaves, both of which are too large and bulky to be stored in your backpack. Scavenging around for them can be time-consuming. They always seem to be everywhere as I'm walking through the jungle, but then nowhere to be found when I try to set up camp. It took me a while to figure out that I could get large sticks by cutting down certain trees, and that palm leaves could be easily cut off of palm trees. I was initially hesitant to use my sharp stones or basic axe to try cutting down these trees because the durability of these tools is so low. So I would wander around looking for loose logs and palm fronds to carry back to camp, all while my health and energy are slowly draining. Logs and leaves were the bane of my existence in the first few play sessions!

I don't have a problem with limiting the ability to save, nor do I have a problem with tying the save functionality to a resource. I've praised Resident Evil for doing those very same things. But Resident Evil at least very clearly explains how saving works, and gives the player an opportunity to save your progress right at the start of the game. The typewriter and an Ink Ribbon are right there in the first room of the game. Green Hell, on the other hand, requires playing through to a particular milestone before you find the first save point, which (depending on how you play) might be hours into the game.

A few months ago, the Jimquisition had an episode about gamers criticizing game reviews and reviewers for "not finishing the game". James/Stephanie Sterling correctly points out that this complaint with a game review is most often employed to deflect from valid criticism of a game -- usually because the person complaining likes the game and gets overly defensive in response to any criticism. While I agree with James/Stephanie Sterling's response in the original video, I also have strong feelings about other practical concerns regarding whether a video game reviewer should need to finish a game in order to review it. As an amateur game critic and YouTube essayist, this particular brand of attack against reviews and reviewers is relevant to me, my gaming habits, and my content creation, so I hope that I have a worthwhile perspective about this topic.

As for the underlying issue of whether a game reviewer should have to finish a game before reviewing it: the answer to that question is a resounding, absolute, unequivocal "no".

As an amateur, who plays games and creates written reviews and video essays, all on my free time, outside of a full-time job, I cannot play every game to end credits -- let alone to 100% completion or a Platinum Trophy.

And you know what? Neither do most players.

Go ahead, take a look at the achievement or trophy metrics for any game you play. You'll probably find that the achievement for beating almost any game will be owned by well below half of all players, and might actually be less than a quarter of players for many longer games like RPGs. And while there are certainly some players who play offline and don't report their stats to Steam, Microsoft, Sony, or Nintendo, the achievement stats for the vast, overwhelming majority of games is very closely representative of the population, since most players don't go to the trouble of playing "off the grid".

Finishing a game is a relatively rare thing for the average gamer to do, which means the average gamer isn't going to care if a particular review finished the game or not. That average gamer is probably not going to see the end of the game anyway, so a review that only covers the first half or so of the game will still be perfectly adequate and informative for such a player.

Most games are completed by well under than half of all players.

So as an "average gamer" who plays as a hobby and writes reviews and other content on the side, as an un-paid amateur, not finishing a game is good enough for me too. Yes, I will try to finish the main campaign of a game that I review, if it's possible and practical. For most shorter games (with campaigns less than 20 hours), I do, indeed, almost always hit the end credits before I publish a review. It will usually take me a few weeks to do it, which is why, even if I bought the game on release day, my reviews will still be several weeks late, or longer. Most of my reviews are practically retro reviews by the time I get them out.

I recently published a new video essay to my YouTube channel about the last few years' worth of expansions and DLC for Cities: Skylines. I will not transcribe the entire essay here, since most of what is in the essay has already been presented in my various reviews of the relevant expansions and DLC. This video features my impressions of the Campus, Sunset Harbor, Airports, Plazas & Promenades, and Hotels " Retreats expansions, as well as the World Tour DLCs (including the Financial Districts mini-DLC and content creator packs).

In summary, while most of these expansions were even more limited in scope than the earlier Cities: Skylines expansions, they started to show some signs that Colossal Order was starting to address some of my long-standing complaints and criticisms with the earlier expansions. Most notably, the newer expansions started to back-port new features and mechanics into the older expansions, such as adding new buildings if players have other expansions installed, or adding new mixed-use transit options that combine transit methods in the new expansions with transit options found in old expansions. It's a lot of subtle stuff, but it goes a long way towards making all the expansions feel more robust and homogenized.

In addition, the newer expansions and content creator packs started introducing assets that I had been asking for for a very long time. These include native parking lots and garages, sports parks such as baseball diamonds and football fields, and new sports stadiums. Sadly, we still don't have public beaches, water parks, or golf courses.

These subtle changes to the way that the expansions also expand other expansions has me very excited and optimistic that Cities: Skylines II will learn lessons from the original game's expansions' faults, and will offer much more robust and complete expansions.