Critically Beautiful but Cruelly Generic in Gameplay: South of Midnight Review

“South of Midnight” is the third game from Compulsion Games, a Canadian studio known for developing “Contrast” in 2013 and “We Happy Few” in 2018. Both games were praised for their distinctive artistic styles and imaginative concepts. This likely attracted Microsoft’s attention, resulting in the acquisition of Compulsion Games along with its employees in 2018 as part of Microsoft’s strategy to compete with PlayStation in terms of exclusive titles. Seven years later, Compulsion Games has released “South of Midnight,” a game that once again demonstrates the studio’s unique approach through an original and somewhat surprising thematic universe. However, similar to issues faced by “Contrast” and “We Happy Few,” “South of Midnight” presents good ideas but falls short in terms of solid gameplay.

“LIKE A HURRICANE…”

One might assume that the story of South of Midnight offers something light and very amusing, but this is not the case. Beneath its facade of plastic charm and stop-motion animation style, Compulsion Games’ title delves into serious themes such as poverty, isolation, abandonment, exploitation, child abuse, and slavery. These heavy subjects are wrapped in fantastical folklore, mystical creatures, living legends of the region, and metaphors and analogies to shield the traumas endured by the most vulnerable individuals. Thus, Hazel’s house being swept away by a torrent with her still inside subtly represents the quest for identity of an adrift girl who will unravel her past, along with that of other families too, while frequently referencing the 2005 disaster when Hurricane Katrina devastated Louisiana, resulting in over 1800 fatalities.

One could critique “South of Midnight” for attempting to address multiple themes simultaneously and for following numerous storylines, which results in a narrative that feels hastily concluded, particularly with the swift resolution involving the ‘villain,’ thus diminishing its impact. However, Compulsion Games does manage to present it coherently. Within just a few minutes, it becomes clear that the budget has been allocated towards the game’s visually appealing and undeniably alluring plastic aesthetic, opting for a stop-motion rendering style reminiscent of Aardman Animations’ work on “Wallace & Gromit.” This animation technique is evident in both cutscenes and gameplay, giving the game a unique charm despite initial disorientation suggesting somewhat jerky movement. Nevertheless, “South of Midnight” demonstrates technical stability and quality, featuring high-definition graphics with textured elements rarely seen in video games. The level of detail is particularly noticeable in interior settings where every object showcases meticulous modeling. The game is visually splendid, offering euphoric moments through impressive lighting effects and stunning vistas. Developers skillfully utilize different times of day to immerse players, even down to the representation of characters and creatures. This approach stands out as exemplary.

OLD SCHOOL MUSICAL

However, as is well understood, having a beautiful game is not sufficient to ensure it is a good one, and this is where South of Midnight somewhat falls short. Indeed, the game lacks in many areas, beginning with its structure, which is overly linear and directive for a release in 2025. Overall, the levels rely on a very conventional design that involves navigating through locations via a series of platform challenges requiring Hazel’s abilities. These include double jumps, wall runs, brief paragliding moments, grappling, and even summoning a doll to navigate narrow spaces since our protagonist apparently cannot crouch. While we can accept that her teddy bear Croûton is the only one capable of passing through mouse holes, it seems unnecessary for Hazel herself not to be able to bend down when needed. Nonetheless, let’s proceed…

As Hazel’s skills and powers unlock throughout the adventure, it becomes clear that each level is designed in a consistent manner. Battles occur within enclosed zones along the path, which are marked by vegetal barriers functioning as invisible walls. To encounter enemies, one must enter these designated combat areas; otherwise, no threats will appear on your path except for easily identifiable explosive mushrooms that wiggle and glow. South of Midnight generally does not present significant challenges, given its high accessibility and simplified platforming sequences. If a jump is missed, the game respawns the player just before the fall without any penalty other than a time loss. Additionally, the game features a GPS system to guide players through its linear path if they feel lost. It appears that the studio has anticipated potential difficulties for players. Even during chase sequences with a dark cloud pursuing Hazel, there is no real tension as checkpoints are placed in favor of player progression without fear of setbacks.

If it’s in the Game Pass, then it goes through!

One issue with South of Midnight is the lack of trust in the player, as if the game must provide extensive guidance for the sake of a storytelling approach that prioritizes narrative over interactivity. Aside from a few challenging fights—excluding the relatively simple and predictable boss patterns—the basic enemies exhibit an unexpected aggressiveness that contradicts the overall ease of the gameplay. This imbalance is not insurmountable, but it does seem incongruous. Moreover, if the developers intended to make the enemies more formidable, they should have also increased enemy diversity; there are only around 5 or 6 different enemy types throughout the approximately 15 hours needed to complete the game. It’s unfortunate because the combat mechanics are engaging, allowing players to imagine using Hazel’s accumulated powers across chapters with a variety of moves such as pushing back enemies, drawing them in, ensnaring them, and jumping on them, all accompanied by satisfying combos that permit stylish kills. However, this repetitive pattern diminishes the overall experience over time, making it somewhat conventional and lacking originality. On a positive note, South of Midnight performs better during exploration phases, although one could argue that these elements adhere to an outdated 2005 game structure in terms of design and mechanics.

Despite its classical approach, the overall performance of “South of Midnight” by Compulsion Games is satisfactory, though it struggles to escape a monotonous routine. While the developers excelled in graphics and artistic direction, they fell short in delivering engaging gameplay, variety, and diversity—quite an anomaly. The narrative, easily followed through beautiful cutscenes and well-written dialogues, is further enhanced by Olivier Derivière’s evocative original score. Familiar to grand video game productions in France, Derivière’s work in “South of Midnight” stands out, particularly for its homage to the diverse musical styles of the deep American South—jazz, blues, folk, and gospel. The game accurately represents the regional music identity, with some passages featuring sung music that echoes the characters’ situations or stories. This is a remarkable achievement and perhaps what saves “South of Midnight” from its overwhelming ordinariness.