![]() At first, I didn’t really get the point of a watered-down version of The Last of Us until I came to a realization Gylt isn’t for people who can or should play The Last of Us.įor some reason, the absence of blood and the monsters being more of a “Henry Sellick” level of creepy didn’t clue me into this. You even go around consuming random discarded medications to regain health, though this time, it’s inhalers rather than pills. The gameplay also felt very familiar, as it has you sneaking around monsters and scrounging up scarce resources to potentially kill them, just like a more simplistic version of The Last of Us. It wasn’t necessarily “bad”, but the plot about a young girl searching for her cousin in a weird, spooky version of a familiar location felt a bit too Stranger Things (yeah, I know the irony of saying something is derivative of Stranger Things when Stranger Things is purposefully derivative of a lot of other things). In the first few minutes, I wasn’t particularly impressed by Gylt. But earlier this month, Gylt was re-released on PC and consoles, and I got to check out the PlayStation 5 version. The title was originally released as a Stadia exclusive back in 2019, and was briefly not available anywhere after Stadia was shut down in 2023. Now that could very well be due to the pre-launch reviewer period, but reporting what I know in home internet conditions (102 Megabits per second), Stadia is more than capable of running this low-key tale.I recently wrote about the gradual destruction of media at the hands of big companies, so it’s interesting to review a game like Gylt, because it was actually saved from being unplayable. Even running on the Pixel the game controlled well with a controller (you need to plug it in at this time, so have a holder/attachment ready), and I saw very little in the way of visual bugs or frameskips. I had the chance to test out Gylt running on a PC, a Google Pixel 3a, and a ChromeCast (the latter is the preferred method). It’s weird to think of how a game “runs” on Stadia, since it’s not technically hardware, but it is a new delivery system. That’s kind of a Tequila Works signature, for what it’s worth. ![]() From a narrative standpoint Gylt doesn’t offer up a lot of revelatory material: instead preferring a slow burn as the story mostly serves as a way to move you from place to place as it quietly ponders your situation. Some are more effective than others, offering up lingering dread rather than jump scares, or better enemy placements that make for more engaging stealth gameplay. How much fun (or emotional quotient) you get out of it is completely dependent on the area itself. It’s got collectibles and light puzzler-boss battles. It has the classic action-adventure “move this object around to the right spot” brain teasers. There’s locations to scour for keys to open doors. Much of it is guided - either through some tense linear scenes or story sequences - and the rest is structured as a series of light puzzles. ![]() You know the drill for these types of games by now. The former theme is best reinforced by the item base, one of which is an inhaler that restores health, or soda cans that can be used to distract said baddies. You know, Cthulian eyeball tendrils, creepy creatures, things of that nature. We essentially get two stories: one is grounded in reality and deals with the very troubling life of Sally and Emily, and the other is a macabre mix of horror genre stylings of the “T-for-Teen” variety. What begins as a tale about a bullied girl searching for another lost child slowly descends into madness, as shadow creatures (both literal and allegorical) pop up to wreak havoc on our headstrong hero Sally.
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