Reviews
[Review] ‘The Surge 2’ is a Confident and Violent Sci-Fi Action RPG With Some Minor Malfunctions
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
‘Hungry’ Review – Finally, a Film Brave Enough to Call Out Hippos for the Monsters They Truly Are
When it comes to the animal attack subgenre of horror, there’s a hierarchy of sorts with the wildlife in question. Killer shark movies are easily the most ubiquitous, while alligators/crocodiles, dogs, bears, and snakes probably lead the rest of the pack.
It’s often worth paying attention, though, when a filmmaker targets a more atypical animal threat, including the likes of Jonathan King’s Black Sheep or Juan Piquer Simón’s Slugs. A new contender rumbles its way onto the screen this month, and while we all grew up thinking hippos are rotund cuties, the truth is far more frightening – this hippo is Hungry.
Sistine (Madison Davenport) and her best friend, Hannah (Olivia Bernstone), are enjoying a vacation in New Orleans, hoping to drown out their troubles back home. They sign up for an early morning bayou tour known for its alligator sightings and are joined by four other tourists and the boat’s skipper, Rodrigo (Michel Curiel). An uneventful trip sees Rodrigo take the group off the beaten path, but when an animal in the water capsizes their boat, the group finds themselves trapped in the swamp by something unexpected and deadly.
It’s a hippo. There’s a hippo in the bayou, and it’s not happy about all these pesky people.
From Joy Houck’s Creature from Black Lake to Walter Hill’s Southern Comfort to Adam Green’s Hatchet, the movies have warned us time and again not to go into the swampy bayous of Louisiana. Those cautionary tales are appreciated, though, as bigfoot, inbred hicks, and undead serial killers are a very real threat. But hippos? In the bayou? Well, that just seems silly.
And yet, Hungry plays its blubbery, big-toothed threat with deadly seriousness, and it’s all the better for it. “But Rob,” I can already hear some of you saying, “just yesterday you reviewed the new shark attack film, Chum, and said it suffered from taking itself too seriously. What gives?” For one thing, you’re misquoting me, but more importantly, the reference there was more of an observation on the animal attack subgenre successes as a whole. The “fun” ones tend to succeed more often than their more serious counterparts, but a dramatic and thrilling time can still be found with filmmakers who know what they’re doing.
Chum may be serious, but it’s also poorly written/performed, lacking in any degree of tension, devoid of personality, and so on. By contrast, Hungry lets its suspense build on the backs of engaging characters, good performances, and believable writing. Only one of its ensemble is obnoxious – a major feat for this kind of film – but even then, their motivations are both well-written and understandable.
The rest of the characters are people you’d be happy to see survive the night, and rather than looking forward to the next kill, director James Nunn and his cast leave us uncertain and nervous about who’s going to go belly up. The nervous business traveler wanting to get back to her kids? The family of three celebrating lost loved ones while on their vacation? Joaquim de Almeida’s Walker, an old hunter, is introduced saying, “The only cute hippo is a dead hippo,” so you pretty much know where he’ll end up.
To that end, the film teases out its hippo’s first appearance until well into the ninety-minute running time. We get ripples and splashes, but it’s only around the midway point that we get our first real look at the beast, and it looks fantastic. Nunn goes on to show the hippo in all its glory, and it’s a convincing antagonist brought to life through practical prosthetic effects and digital work. From the ear twitches to the beast’s giant maw opening wide with awe and malice, the hippo’s presence feels part of the action. There’s a tangible nature to it, something practical effects excel at while digital effects sometimes fail to convince of, and both succeed here with quality work from all involved.
While we get brief exteriors early on and some visually appealing drone shots, the bulk of the film unfolds on what looks to be a highly believable, set-dressed water tank (but could very well be an actual location, in which case, kudos to the team). It’s wholly convincing as a section of the bayou, complete with shoulder-high water and arching, twisting trees emerging into the sky. The film was shot in Malta, which is, coincidentally, where Chum was filmed as well.
Nunn, who also wrote Hungry, is now ten films deep into a fairly interesting career as a genre filmmaker. He’s made four movies with Scott Adkins, three of which are certified action bangers (with 2016’s Eliminators in particular being an underrated gem). He dipped a toe into the animal attack subgenre back in 2022 with the aforementioned Shark Bait, and it’s clear he learned some lessons from that endeavor, as its first hour is an engaging, attractively shot feature that sinks fast as soon as its poorly rendered shark becomes a lead character. Hungry improves on every aspect of that film, with its biggest step up being in regard to the effects.
If there’s an area or two where Hungry lacks bite, it’s in both its gore and its ending. There are numerous kills here, but the nature of the attacks and the choices made by Nunn mean none of them result in gory assaults or outcomes. We’re shown the torn apart corpse of an alligator early on, but most of the human kills see them attacked and dragged underwater, leaving nothing but a blood spill behind. Similarly, while the ending encounter satisfies, it still feels like it should have been a bigger confrontation. Neither of these aspects really hurt the film, but a bolstering of the gore and ending antics would have definitely upped the film’s ultimate entertainment value and rewatchability.
When all is said and done, Hungry is a genuinely solid animal attack film that succeeds in making its creature threat thrilling, entertaining, and, dare I say, educational? Title notwithstanding, the film acknowledges that hippos are vegetarians, meaning the five hundred or so people they kill every year – a true fact! – are slaughtered not out of hunger, but out of spite, self-defense, or a desire to play “land orca” while tossing around us fragile humans like we’re little more than seals in the wrong place at the wrong time.
Characters are grounded and engaging, the film moves well between suspense, character beats, and action, and the effects used to bring the hippo to life are highly effective and never feel like distractions. Drop those expectations of a Hungry Hungry Hippo romp, and settle in for a terrific little survival thriller about an angry, angry hippo instead.
Chomp chomp.
Hungry releases in select theaters today, June 3, before arriving on VOD on June 23, 2026.
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