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[Review] ‘The Surge 2’ is a Confident and Violent Sci-Fi Action RPG With Some Minor Malfunctions

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the surge 2 review

One thing’s for sure very early on in The Surge 2. It’s far, far better than its predecessor on so many levels. The real question is if it can go beyond that and be a great game. Let it be known that a bloody good try has been had.

The original game, by developer Deck 13, was an unashamed Dark Souls-like action adventure that had two things going for it. A sci-fi setting featuring cybernetically-enhanced protagonist and enemies was one thing, but its interesting limb-targeting system was the thing that really made it stand out. It’s not like the rest of the game did so, with painfully ordinary visuals and a blander-than bland itself setting that saw you essentially move through an infinite hardware warehouse.

The Surge 2 kicks off after the events of the first game (if you can remember them) and starts in a Police Department medical bay as something murders all and sundry, and the prisoners run riot. By the time you destroy your first cybernetic boss and head outside, you’ve already seen more variety in the opening 45 minutes than the first game had in its entirety.

You play as the survivor of a plane crash who wakes up in the aforementioned medical bay, You fight off prisoners and police alike with your overpowered fists, and try your damndest to find an exit. Inadvertently helping you is a large robotic beast, rampaging through the building and making doors out of walls. The enemies up to this point are weak and rather human bar the drone robots, but so are you, so the playing field is somewhat level. That is until you’re tasked with finding your first rig, a cybernetic framework for your fleshy body.

This ends with your first boss fight. Your opponent is a security officer clad in his own rig (that you’re out to get a piece of). Whereas the game has been gently ushering you forward before, showing you the controls in small bites, you’re now tasked with taking all you’ve learned (and unlearned if you’re a regular with games like this) and pass your first test. It’s not a tough one, but it’s just enough to spark your interest in how The Surge 2 can play, and there are moments like this peppered quite regularly throughout the opening hours. It’s not especially revelatory, but you begin to understand just how much of a leap this is from the largely bland original.

The limb-targeting combat is tricky to use at first, but once it clicks, it becomes second nature. It adds a different kind of strategy to fights. weak spots are very specific. Take that first boss. His weakness is in his head, so whilst targetting him, you flick the right stick up to select his head as a specific target. Limbs have their own smaller health bar, and by wearing it down, you can perform a lethal contextual strike which almost always results in a severed body part. It’s not always a practical way to approach a fight so the grisly death scenes don’t get burned out from overuse. Instead, they feel like a little treat for smart combat work.

The directional targeting works in a defensive manner as well, with certain enemy attacks able to be nullified by blocking and pushing the right stick in the correct direction. Again, it’s a weird thing to get used to, but it’s ultimately rewarding to get to grips with.

You can find a variety of weapon types out in Jericho City (in most cases, ripped off your enemies bodies) that suit various play styles, from heavy-hitting sledgehammer types that melt enemies to spark-fizzing clubs, and nanotech-infused blades. All of these and your own cybernetic equipment are upgradable by collecting scrap and components, while the overall health, stamina, and battery of the player character are also able to be upgraded by funneling your tech scrap into leveling up.

The battery plays an important part in your arsenal. it holds several charges and is filled by stringing combos together. When your health gets low, you can use up one of those charges to heal yourself, and that’s generally what you have to do if you want to survive. Battery charge doesn’t stay around for long, but you can store heals for later if needed. It encourages aggressive play, as sitting back taking potshots with your drone can only do so much (and ammo is limited). You need to get stuck in, risk taking a hit or two. It’s a significant reason why The Surge 2’s combat is so enjoyable.

By the time I reached the later hours of the game and having to fend off multiple dangerous foes, the systems are so ingrained that it feels close to effortless when I switched between targets and their individual limbs, picking off stragglers with my personal turret and speed-dodging frighteningly fast attacks. This turns out to be an easier feat than taking on some particular bosses, which is more of a failure of balance regarding certain boss fights than a criticism of the combat.

After that escape from the Police Department, the big city opens up for the first time, and that familiar tingle of excitement grows from just thinking about all the possible exploration of its nooks and crannies. Jericho City is The Surge 2‘s sci-fi dystopia, and it has a familiar crumbling warzone look, and that means it lacks a bit of originality, but it’s an intriguing labyrinth to work your way through. Jericho City is functional, but it’s fair to say the inmates have taken over this particular asylum, with pockets of relative safety acting as a breather and a reward for the tough challenges faced along the way.

The Surge‘s version of bonfires are suit upgrade stations. From here you can do your upgrading, restore your health and even buy some new items. There are also hub areas where you can talk to traders, accept side missions, and generally take a break from the limb-flaying action. It’s these hub areas where the majority of the game’s story is told.

While the main story carries on from the first game, it’s not essential that you played it first. The Surge 2 lets its main threads dangle in the foreground without much in the way of subtlety, but the smaller, personal stories you find in side quests do help to flesh out this broken world of metal and concrete. It’s not the most memorable tale you’ll play through this year, but it adds a bit of seasoning to Jericho City’s own story.

What doesn’t make the stay in Jericho City so pleasant is the difficulty spikes. For the most part, The Surge 2 is a fair mistress, giving you visual and audio cues for enemy attack patterns, but when the boss fights kick in, that isn’t always enough help. While the player character is pretty swift on their feet, there’s a slight fumbling to complete animations, and that can see you caught out more often than not, and against bosses that is utterly devastating. It’s the only time it feels like you’re fighting the controls, and in turn, it makes certain boss battles appear cheap and unfair. In fairness, it never gets to the maddening hysteria of say, Sekiro’s boss fights, but where those just felt humbling, these can just feel like an unnecessary blockage.

the only other significant gripe I can point at is the slightly uneven graphical presentation. Jericho City is well designed, but the character models and textures are far more hit and miss. Look out onto the sprawl of the city and it’s undeniably impressive. look at the enemies, NPC’s and even the player character and it’s far less inspiring. They often look low-res and grubby, which detracts from some good design work. The more robotic enemy types fare better, and also tend to have a bit more imagination to their look. The Surge 2 isn’t much of a looker overall, rather it shows some beauty underneath layers of grime and machine oil.

These are still pretty minor grievances because all The Surge 2 really needed to do to be an improvement was to be a bit more interesting, and it’s definitely that. Refined combat, an intriguing and varied place to explore, and just more variety, in general, are huge contributors to The Surge 2‘s success as a hardcore action RPG and as a sequel. It’s not ripping up any rulebooks or striking out with all that much fresh ambition, but it is a supremely confident followup to a bang average game.

The Surge 2 review code for PS4 provided by the publisher.

The Surge 2 is out now on PS4, Xbox One, and PC.

Reviews

‘House of Sayuri’ Review – Kôji Shiraishi’s Comedic Reclamation of J-Horror’s Bleak Legacy

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House of Sayuri

Japanese filmmaker Kôji Shiraishi knows his way around a haunt, having established a reputation for scare crafting with documentary-style horror movies Noroi: The Curse, Occult, and A Record of Sweet Murder. The director occasionally showcased his sense of humor, dialing up the camp factor in commercial films like Sadako vs. Kayako. Kôji Shiraishi’s latest, House of Sayuri, splits the difference between serious scares and irreverent horror-comedy. A vengeful ghost doles out shocking violence in this haunted house, with a comically combative grandma standing in its way, making for a tonally disjointed effort as bizarre as that setup suggests.

After a cold open that establishes the haunting’s inciting event, House of Sayuri cuts to the present to introduce the Kamiki family, a tight-knit and cheerful group of seven who’ve just moved into the home, blissfully unaware of its history. The new home comes after years of blood, sweat, and tears from Dad Akio (Zen Kajihara), and it represents the fulfillment of a dream for their family, one meant to bring happiness and vitality. Instead, their house comes with the wrathful ghost of a little girl who wastes no time in disrupting the Kamikis’ happiness.

The ghost then quickly escalates the typical haunted house frights, picking the family off one by one until the Kamikis’ dementia-ridden grandma Harue (Toshie Negishi, Audition) becomes lucid again and enlists eldest son Norio (Ryoka Minamide) to protect Akio’s dream. 

Norio in House of Sayuri

Shiraishi, who adapts Rensuke Oshikiri‘s Sayuri manga with co-writer Mari Asato (Fatal Frame, Ju-on: Black Ghost), touches on the familiar earmarks of J-horror ghost stories to acknowledge the tropes before shattering them. The vengeful spirit often assumes the appearance of a long-haired girl in a white dress, making eerie clicking sounds when she’s not giggling at the torment she inflicts. Norio’s schoolmate turned love interest, Nao Sumida (Hana Kondo), serves as the psychically sensitive type and may offer a critical key in unlocking the house of horror’s mysteries. Shiraishi touches on all of the trappings in quick succession, then quickly sets about dismantling them at every turn. That begins with the introduction of Sayuri, a wholly different depiction of a J-horror ghost, and continues to build with Shiraishi’s demented dispatching of the Kamikis, sometimes in quick succession.

It’s a rare haunted house story with bucket loads of arterial spray.

Only when Harue suddenly snaps into lucidity does the seemingly serious haunted house story drop the façade and lean into slapstick. The grandma transforms from sweet but disoriented into butt-kicking hippie. She’s not letting this extremely powerful ghost claim everything from her without a fight, and she’s teaching the new generation to fight back, too, in grandson Norio. Harue symbolizes Shiraishi’s quest to shake up J-horror’s reputation and legacy. Foundational J-horror films like Ring, Ju-On, and Pulse set the blueprint, introducing inescapable horrors that always triumphed over the protagonists. There’s no outsmarting or evading Sadako or Kayako, leaving optimism in short supply. Shiraishi seeks to untangle that pervading sense of bleakness from J-horror’s legacy here and, through Harue, does so with amused defiance. 

Scared Norio

As entertaining as the subversion can be in action, it doesn’t always work. Trying to mesh the conventional haunted house elements with the deconstruction creates tonal whiplash, as emotional beats bump into wacky splatstick with a confusing thud. It becomes even murkier when the third act reveals the full truth behind the haunting, mining good-for-her laughs from a rather sensitive subject matter. It’s Shiraishi’s point; the filmmaker is intentionally attempting to dislodge J-horror from nihilism’s grasp. But its execution lacks the cohesion or fluidity to fully pull it off without leaving the viewer unsure about tonal intent in a film that constantly alternates between tragedy, comedy, and horror. 

Luckily, that also means that House of Sayuri is never boring. What starts as a family haunted house story derails into a funhouse of horrors, where the high body count is as delightful as the playful attempts to shake up J-horror tropes. Shiraishi combines convention with his distinct brand of horror and horror imagery, creating a bold new take on supernatural revenge. Even if the tonal whiplash confuses, House of Sayuri entertains for its commitment to bloodshed for humor’s sake and its unrelenting pursuit to infuse J-horror with amusement and joy. 

House of Sayuri screened at Fantasia Fest. Release info TBA.

3 skulls out of 5

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