![]() This is the vibe I wish Bloober Team had chased while crafting The Medium. ![]() Sadness pops in and disappears throughout Marianne’s investigation like the Cheshire Cat, offering her own childlike insight into Niwa’s past, simultaneously innocent and horrific. She encapsulates the game’s mood, both visually and aurally: The songs that play over her scenes are haunted-music-box levels of creepy, and they serve as a clear reminder that famed Silent Hill composer Akira Yamaoka contributed to this game. The skin connecting her limbs to her torso has been eaten away and one of her arms has been burned off entirely. She’s the ghost of a grade-school girl, wearing a scorched porcelain mask and a blackened butterfly dress. It’s like playing two games at once - and it’s a lot like rendering two games at once, which is one reason The Medium is exclusive to Xbox Series X and Series S (and PC), rather than eighth-generation hardware. The split shows up vertically or horizontally, depending on the circumstance, and it’s endlessly fascinating to play out these scenes in tandem, but in totally different worlds. Here, she has extrasensory powers, including the ability to see the undead, soak up energy from memories and pass through certain physical barriers. One looks familiar, while the other shows an inverted, hellish version of reality. When this happens, the screen literally splits into two segments, showing Marianne in both planes at once. While she can deploy a bubble shield or blast of light at will (and as long as she has enough psychic fuel), Marianne’s consciousness splits in two at random times, existing simultaneously in the planes of the living and the dead. ![]() Marianne’s supernatural abilities are raw, and she isn’t totally in control.
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