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‘Don’t Starve: Reign of Giants’ Review: Soggy Good

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Written by T. Blake Braddy, @blakebraddy

I have to admit right up front that, in the nearly two dozen hours I put into Don’t Starve: Reign of Giants, I never encountered any new bosses, from the Bearver to the Dragonfly, so in a way my review is incomplete. But the truth is that experiences in Don’t Starve are so unscripted that no definitive review of the game is really, truly possible. Despite evading the major foes – which is kind of a success, I think! – I’m fairly certain I have a good handle on what the game is all about.

Reign of Giants is an expansion for the Klei-produced survival roguelike of the same name, and though its art style is cute and the game is not strictly a straightforward horror title, it packs a tense wallop in its immeasurable ability to torture the player. The game almost seems to relish the opportunity to do so, and when combined with the variety of weird, unnatural creatures and sense of existential foreboding, Don’t Starve seems to fit in quite nicely with its darker, more overtly unsettling brethren.

You won’t be roaming blood-soaked hallways filled with the undead, but you will encounter roaming shadows, walking tree monsters, and half-eyeball bird creatures that can kill you in a few strikes, not to mention all of the ordinary, humdrum creatures that can take you down, like bees and spiders. If you manage to evade all of the overt, creepy-crawly threats in the game, then, well, you still have to contend with a winter that would make the Starks cringe. Don’t Starve is a microcosm for just how much of a knife’s edge humanity exists on, and it is no less demanding and brutal.

What Reign of Giants does so perfectly is shift everything around and rebalance it so that players have to change the way they approach survival. It’s really diabolical, and the amount of stuff that is packed in makes it feel more like a thoughtful, well-rounded sequel than an expansion. Even though you’ll largely be able to tackle vast portions of the strategy you no doubt refined over many unfortunate deaths the first go-round, you’ll have to adopt some new quirks in order to to persist and thrive this time through.

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The game keeps the same premise: you play as Wilson (or one of the myriad other unlockable characters), trapped on a mysteriously Dr. Moreau-ian island, left only with the instructions to find something to eat before sundown. And that’s really it. For me, the real fun of Don’t Starve is uncovering the various ways supplies, food, and items can be used, combined, or repurposed to make your chances of survival slightly more favorable. The only way to learn (other than reading the amazing community guides on Steam) is to make mistakes. And die.

I might not be any good at the game, but I approach my journey like Bill Murray’s character in Groundhog Day. I’m not nearly cautious enough to play the long game, but I enjoy being able to carve out a new strategy each time I die (although unexpected hound attacks still make me want to set my laptop on fire. I guess I’ll just never get used to those).

Reign of Giants does not drastically change the game’s overarching dynamic, but it offers some new wrinkles that may give veteran players fits early on. The main complicating addition has to be the wetness meter, which pops on-screen anytime rain begins to fall. Not only does it monitor your level of sogginess (and the sogginess of your items), but it also provides a constant reminder of how annoying it is to be wet. It’s almost as if the game wants to provide a sincere psychological link between real life and the thing being portrayed in-game. It’s hard not to feel helpless when your on-screen avatar pines for dryness or food or warmth, especially when you don’t have the resources or the know-how to make it happen.

The game also adds autumn and desert landscapes to the mix, with animal and plant types that complement the new environments nicely. Birchnut trees and moleworms and catcoons, while new, have the kind of simplicity that almost feel as though they evolved from the world rather than being placed in it. Not to mention that they are doing cute-weird in a way that Nintendo should be taking notes from right now.

The game’s art style and animations, like previous Klei entries like Mark of the Ninja and Shank, are easily recognizable and pop right off the screen. The color palette is pleasantly varied, even from the first game. It’s a treat just to explore, collect, and combine all of these strangely familiar items, even if the constant threat of death looms directly overhead.

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Overall, there are plenty of refinements, and most of them appear to have been conceived in an attempt to make for a more challenging experience. Don’t Starve is already not the most hospitable game, but Reign of Giants makes it a point to have the player constantly considering all the various elements of survival simultaneously. For example, rabbits. In the original game, captured rabbits could be held in perpetuity, stashed in a chest until needed for food or warmth. However, in the expansion, they can get hungry and die, which is the live food equivalent of spoiled or rotting food.

And that is the beauty of Reign of Giants. Rather than muddle the experience with new gameplay elements or more complicated systems, it splices together already existing ideas into something that players will inherently understand but will nevertheless have to assimilate into that previous knowledge. You won’t be able to skate by on everything you’ve learned by toiling away in the original Don’t Starve, and even veteran players will likely experience a renewed sense of wonder at what Klei has managed to achieve with this wacky, weird, and inimitable game.

Reign of Giants is so idiosyncratic and arcane that it may drive some people crazy, or push away people who do not wish to give in and become well-read on the variety of enemies, animals, and plants in the game, but I am slightly obsessed with the minutiae, so I’m happy to see how Klei has iterated on it.

Still, despite the mind-numbing amount of content added to this version of the game, the thing to keep in mind is that, no matter what sorts of monsters you encounter, the lingering, ever-present knowledge of an eventual winter is the real adversary. Or, as I kept typing, deleting, and then retyping: “Winter is coming.” (You can sigh. It’s all right.)

The Final Word: Even if you’re a newcomer, Reign of Giants will still be a great place to start. Don’t worry; you’ll make plenty of mistakes, but screwing up is most of the fun. It is only through failure that you will learn how to be successful, but learning from mistakes will not guarantee success.

Both Don’t Starve and the Reign of Giants expansion are available on Steam right now for PC and Mac.

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Gamer, writer, terrible dancer, longtime toast enthusiast. Legend has it Adam was born with a controller in one hand and the Kraken's left eye in the other. Legends are often wrong.

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“AHS: Delicate” Review – “Little Gold Man” Mixes Oscar Fever & Baby Fever into the Perfect Product

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American Horror Story Season 12 Episode 8 Mia Farrow

‘AHS: Delicate’ enters early labor with a fun, frenzied episode that finds the perfect tone and goes for broke as its water breaks.

“I’ll figure it out. Women always do.”

American Horror Story is no stranger to remixing real-life history with ludicrous, heightened Murphy-isms, whether it’s AHS: 1984’s incorporation of Richard Ramirez, AHS: Cult’s use of Valerie Solanas, or AHS: Coven’s prominent role for the Axeman of New Orleans. Accordingly, it’s very much par for the course for AHS: Delicate to riff on other pop culture touchstones and infinitely warp them to its wicked whims. That being said, it takes real guts to do a postmodern feminist version of Rosemary’s Baby and then actually put Mia Farrow – while she’s filming Rosemary’s Baby, no less – into the narrative. This is the type of gonzo bullshit that I want out of American Horror Story! Sharon Tate even shows up for a minute because why the hell not? Make no mistake, this is completely absurd, but the right kind of campy absurdity that’s consistently been in American Horror Story’s wheelhouse since its inception. It’s a wild introduction that sets up an Oscar-centric AHS: Delicate episode for success. “Little Gold Man” is a chaotic episode that’s worth its weight in gold and starts to bring this contentious season home. 

It’d be one thing if “Little Gold Man” just featured a brief detour to 1967 so that this season of pregnancy horror could cross off Rosemary’s Baby from its checklist. AHS: Delicate gets more ambitious with its revisionist history and goes so far as to say that Mia Farrow and Anna Victoria Alcott are similarly plagued. “Little Gold Man” intentionally gives Frank Sinatra dialogue that’s basically verbatim from Dex Harding Sr., which indicates that this demonic curse has been ruffling Hollywood’s feathers for the better part of a century. Anna Victoria Alcott’s Oscar-nominated feature film, The Auteur, is evidently no different than Rosemary’s Baby. It’s merely Satanic forces’ latest attempt to cultivate the “perfect product.” “Little Gold Man” even implies that the only reason that Mia Farrow didn’t go on to make waves at the 1969 Academy Awards and ends up with her twisted lot in life is because she couldn’t properly commit to Siobhan’s scheme, unlike Anna.

This is easily one of American Horror Story’s more ridiculous cold opens, but there’s a lot of love for the horror genre and Hollywood that pumps through its veins. If Hollywood needs to be a part of AHS: Delicate’s story then this is actually the perfect connective tissue. On that note, Claire DeJean plays Sharon Tate in “Little Gold Man” and does fine work with the brief scene. However, it would have been a nice, subtle nod of continuity if AHS: Delicate brought back Rachel Roberts who previously portrayed Tate in AHS: Cult. “Little Gold Man” still makes its point and to echo a famous line from Jennifer Lynch’s father’s television masterpiece: “It is happening again.”

“Little Gold Man” is rich in sequences where Anna just rides the waves of success and enjoys her blossoming fame. She feels empowered and begins to finally take control of her life, rather than let it push her around and get under her skin like a gestating fetus. Anna’s success coincides with a colossal exposition dump from Tavi Gevinson’s Cora, a character who’s been absent for so long that we were all seemingly meant to forget that she was ever someone who was supposed to be significant. Cora has apparently been the one pulling many of Anna’s strings all along as she goes Single White Female, rather than Anna having a case of Repulsion. It’s an explanation that oddly works and feeds into the episode’s more general message of dreams becoming nightmares. Cora continuing to stay aligned with Dr. Hill because she has student loans is also somehow, tragically the perfect explanation for her abhorrent behavior. It’s not the most outlandish series of events in an episode that also briefly gives Anna alligator legs and makes Emma Roberts and Kim Kardashian kiss.

American Horror Story Season 12 Episode 8 Cora In Cloak

“Little Gold Man” often feels like it hits the fast-forward button as it delivers more answers, much in the same vein as last week’s “Ava Hestia.” These episodes are two sides of the same coin and it’s surely no coincidence that they’re both directed by Jennifer Lynch. This season has benefitted from being entirely written by Halley Feiffer – a first for the series – but it’s unfortunate that Lynch couldn’t direct every episode of AHS: Delicate instead of just four out of nine entries. That’s not to say that a version of this season that was unilaterally directed by Lynch would have been without its issues. However, it’s likely that there’d be a better sense of synergy across the season with fewer redundancies. She’s responsible for the best episodes of AHS: Delicate and it’s a disappointment that she won’t be the one who closes the season out in next week’s finale.

To this point, “Little Gold Man” utilizes immaculate pacing that helps this episode breeze by. Anna’s Oscar nomination and the awards ceremony are in the same episode, whereas it feels like “Part 1” of the season would have spaced these events out over four or five episodes. This frenzied tempo works in “Little Gold Man’s” favor as AHS: Delicate speed-runs to its finish instead of getting lost in laborious plotting and unnecessary storytelling. This is how the entire season should have been. Although it’s also worth pointing out that this is by far the shortest episode of American Horror Story to date at only 34 minutes. It’s a shame that the season’s strongest entries have also been the ones with the least amount of content. There could have been a whole other act to “Little Gold Man,” or at the least, a substantially longer cold open that got more out of its Mia Farrow mayhem. 

“Little Gold Man” is an American Horror Story episode that does everything right, but is still forced to contend with three-quarters of a subpar season. “Part 2” of AHS: Delicate actually helps the season’s first five episodes shine brighter in retrospect and this will definitely be a season that benefits from one long binge that doesn’t have a six-month break in the middle. Unfortunately, anyone who’s already watched it once will likely not feel compelled to experience these labor pains a second time over. With one episode to go and Anna’s potential demon offspring ready to greet the world, AHS: Delicate is poised to deliver one hell of a finale.

Although, to paraphrase Frank Sinatra, “How do you expect to be a good conclusion if this is what you’re chasing?” 

4 out of 5 skulls

American Horror Story Season 12 Episode 9 Anna Siobhan Kiss

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