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[Review] ‘Outward’ is a Rough and Overwhelming Survival RPG, But Can Be a Rewarding Experience

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We’re going on an adventure! Find out why it’s a long, tough road to enjoyment in Bloody Disgusting’s Outward review for PC.

You’ll have to enjoy certain kinds of games to really get the best out of Outward. A swift glance at it in action may suggest a low-rent ‘Dark Souls clone’, but in all honesty, it’s much deeper and far more intimidating than that.

Outward is indeed an action RPG with more than a nod toward’s From Software’s series. It even features an eerily similar quick menu on the HUD. This and the combat is about it, however. The game is more open world and the monsters are far from your only obstacle.

You begin the story washed ashore in what turns out to be your homeland, and after staggering to a nearby camp and passing out with exhaustion, you soon discover that you’re not exactly in for a heroes welcome.

Safely back at your home, you find you’re in a blood debt that needs paying in a matter of days. With little in the way of options in town to make money, you must head outside the gates and try to earn the coin out in the dangerous wilds, and boy is it dangerous. That’s just the start of the story though, and your journey will take you, an ordinary citizen with high vulnerability, to some frighteningly tough places (though you’re able to tackle it with a friend in local or online co-op if you want).

Outward is structured closer to a regular RPG, with hub areas, NPC’s handing out quests, and a grind to progress. The grind is not so much about stats as it is in the game’s key component, survival. Truly the survival in Outward is where the game currently shines brightest, and also where it may lose some people.

This is a fantasy world, filled with beasts and magic, yet it holds a refreshing degree of realism due to its unrelenting survival core. You can end up afflicted by any number of diseases, illnesses or injuries, and not just from enemy attack, but from poor diet, incorrect clothing choices, and well… doing stupid reckless shit. In fact, not paying enough attention got me into plenty of interesting situations where small emergent stories crop up (I ended up imprisoned more than once for messing with the wrong people). Death doesn’t really come, rather you pass out and end up somewhere else. Sometimes you get rescued, sometimes you barely crawl away from your experience, but whatever happens, it tends to be interesting, if occasionally frustrating depending on where I’ve ended up in relation to what I’d been doing. The lesson here is to plan and be sensible.

With such a big world to explore, the urge is there to dash about finding new areas, but in Outward, that’s almost certain doom. Outward is all about planning, and improvisation when the planning fails. You can do temporary fixes on the fly, maybe tear up a shirt to make bandages for instance, but you really have to come prepared and to do that, you’ll need to keep plenty of stuff handy.

You can only carry a finite amount of items on your person though, and when you need weapons, water, food, camping equipment and more, that’s a daunting prospect. Here enter the backpacks, the beautifu damn backpacks. You can store additional items in a bag that you carry around with you. They start small, raggedy and humble, but you can find bigger, better ones around the place. The trade-off for more and more space is that you have less and less mobility.

That makes combat trickier, especially when taking on more agile predatory animals. Smartly, this means you need to plan out where you’re going to go, how far it is, and what’s essential for the trip. If you’re crossing multiple types of terrain, for example, you need plenty of clothing, prepared foods, and item variation if you’re going to survive dehydration, freezing, etc, etc. It gives the simple act of walking a vicious edge.

Handily, you are able to dump your backpack at a moments notice. A good strategy if a fight is hard and requires only basic inventory, or if a quick escape is an optimum solution for the time being. You can come back and retrieve it once the situation has deescalated, but naturally, it’s another set of risks to just leave hard earned cash and saleable items out there unattended.

The combat itself is quite wonky. It’s a little too loose, and lacks the heft needed to really feel like its a part of the game’s realistic mechanics. What it does do right is making each battle, big or small, feel like it matters. You always stand to gain something from each fight or escape, whether that be valuable items (in Outward, even the smallest item finds feel like an accomplishment) or simply knowledge and strategy for future battles.

There’s also the issue of handling multiple enemies. While it’s sensible to expect a tough fight against several opponents, especially when you’re underpowered, the targeting currently falls short of the responsiveness required when a fight is unavoidable (which it can often be). The controls are decent overall, but there really does need to be some serious refinement.

It’s a shame because Outward really does throw some impressive beasts at you as you wander the various biomes. The design of them alone is surprisingly varied given the scale of the world itself, though they could do with a touch more variety in terms of combat patterns.

Visually speaking, Outward is a very mixed bag. On PC with settings cranked up, it’s still somewhat rough around the edges, and while the world design can be decent in parts, there’s a lot of blandness to the parts in between. Faces are somehow more melty and distorted to look at than those found in something like Oblivion. I also tested the PS4 version and it is undeniably very rough-looking on there, even on the Pro.

Learning to manage the game’s many systems is the biggest potential stumbling block players will face. If you’re the sort to revel in micromanagement and extreme challenge and enjoy the thrill of actually exploring and living in a place rather than wandering from objective to objective, then Outward could be something special for you from the get-go. It’s a hard sell otherwise, with such overwhelming depth, occasionally misfiring combat, and rather grimy visuals.

Then again, perhaps that might be the best way to deliver the purest form of Outward, a flawed, aggressive beast that requires time and patience. It would possibly lose something in being too refined. It makes adventuring into something different and intriguing, after all.

Outward review code provided on PC by the publisher.

Outward is out now on PC, PS4, and Xbox One.

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Movies

‘Tha Rae: The Exorcist’ Review: Gory Thai Possession Horror Faithfully Adheres to the Tropes [NYAFF 2026]

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Tha Rae: The Exorcist Review
Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere

Possession films are an exceedingly common subgenre in horror to the point that far too many of them feel far too familiar. This is a generalization, obviously, but it too often seems that someone is possessed, a representative from the area’s dominant religion is called in, and a fierce spiritual battle comes to a dramatic conclusion. The idea that the demon in question always happens to be of the exorcist’s faith and denomination is simply chalked up to plot necessity.

Tha Rae: The Exorcist adds an intriguing wrinkle into that trope by introducing a demonic entity that rebuffs both a Catholic priest and a local Yao shaman. It’s only when the two join forces that they’re able to put up a fight against the evil being.

The film opens with a Catholic exorcist out of options. A possessed child writhes before him, pustules and other signs of devilish control wracking the little girl’s body with snarls and contortions. Unable to beat the demon, and unwilling to let it grow stronger and move to another host, the priest convinces the child’s mother that death is the only choice left – so they plunge a knife into the girl’s heart.

Forty years later, it’s that same priest, Ming (Thaneth Warakulnukroh), who’s become possessed to the point of attacking and trying to eat other villagers. His daughter Malee (Nichaphat Chatchaipholra) arrives to check in on her father, but she too soon falls prey to a possessive entity with a taste for flesh. Two exorcists with wildly differing faiths and styles are called in – Sopha (Phiravich Attachitsataporn) is a self-described Yao witch doctor and TikTok exorcist who uses props, dance, theatricality, and ancestral spirits to combat the forces of evil, while Father Paolo (Jirayu Tangsrisuk) is entrenched in the traditions and rituals of the Catholic Church.

Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere

There’s both tragedy and betrayal at play in the narrative of Tha Rae: The Exorcist, but director/co-writer Taweewat Wantha puts the thematic focus on the collaboration and understanding required to go toe to toe with a deviously malevolent force. It’s an interesting spin on the expected formula, and while the rest of the film stumbles in its supporting players and follows more traditional beats – albeit with some fun, gooey gore – that core element is enough to make it stand apart from the crowd.

Wantha broke onto the film scene with 2004’s memorably titled Sars Wars: Bangkok Zombie Crisis and continued that trend with oddball genre comedies like The Sperm and Kindergarten War, but he found major success with the one-two horror punch of Death Whisperer and Death Whisperer 2. His latest is more in line with those hits as jump scares and local mythologies play into his creepy tale of possession and generational punishment.

Tha Rae: The Exorcist arguably has more personality and humor, and both are due in large part to the character of Sopha and the playful but sincere performance that brings it to life. Where Tangsrisuk is saddled with the more straightlaced priest, Attachitsataporn’s witch doctor enjoys his local celebrity and has fun while aiding his community. Sopha’s social media followers expect a show, and he delivers, but there’s an engaging dynamic at play within him.

Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere

Sopha’s grandmother was the original witch doctor, and he was just her apprentice. When she passed – and subsequently became the primary ancestral spirit that he calls upon during his rituals – Sopha took up the mantle. For one reason or another, continuing her legacy requires him to carry on with his more feminine foot forward. Makeup, costumes, and a feminine lilt to the way he walks and talks are all part of the show. He apologizes to Paulo for it, but there’s no shame in his words or tone as he embraces the gifts he holds and the power he wields.

There’s no disdain between the two even as they seem initially unimpressed by each other’s efforts. Eventually, though, after each has struck out in dramatic and painful fashion, they realize a combined approach to fighting this particular demon is the only way forward. It’s here where the film shines brightest with the idea that beliefs can intermingle and co-exist without the need for disdain or dismissal.

The two of them are the heart of Tha Rae: The Exorcist, but the meat and potatoes of the genre come in the form of creepy antics and a bit of the ol’ gut munching. Intestines are nibbled, a feral man bursts through floorboards to terrorize young girls, and the possessed have a generally unsettling look about them. Wantha too often neuters his atmosphere and mood, though, by jumping quickly to the gore. It cuts into the horror of it all, leaving the film to work in fits and bursts rather than as a cohesive, propulsive whole.

Shortcomings in both the script and direction prevent the film from coming close to denser, more memorable, and atmospheric possession horrors like It Comes or The Wailing, but its main theme and dual lead characters still offer up an intriguing combination.

Genre tropes exist for a reason, but Tha Rae: The Exorcist is a good reminder that they also exist to be twisted, teased, and, when necessary, torn to shreds.

Tha Rae: The Exorcist made its North American premiere at the 25th New York Asian Film Festival.

2.5 out of 5 skulls

 

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