South of Midnight: Almost Great, But Not Quite

South of Midnight is the latest release from Compulsion Games, the Canadian studio behind Contrast and We Happy Few. This time, the Montreal-based team set out to create a game inspired by the culture of the American South, drawing heavily from black magic, voodoo, and the mystical atmosphere of what they call the "Dark Country." This aesthetic has roots in Louisiana — once a French colony — where African slaves brought their culture and religion, leading to a rich blend of traditions and beliefs.

The game is structured as a traditional single-player campaign, a familiar formula in the AAA world. Players follow Hazel Flood on her quest to rescue her mother, who was swept away by the floods that regularly hit Louisiana during the summer. As you might expect, the experience offers a mix of exploration, combat, and some simple puzzles. While the formula is familiar, its execution here runs into some issues, especially regarding complexity and performance.

Story-wise, South of Midnight has its highs and lows. Unfortunately, the highs are mostly found in the side stories, while the main narrative falls flat. The main plot is too straightforward and struggles to truly engage players, despite attempts to add depth through characters like Hazel’s grandmother and deceased aunt. Ultimately, the story feels like an excuse to showcase the game’s world — and to be fair, that world is excellent. What really shines are the secondary tales you encounter along the way, such as those of Benji, Two-Finger Tom, Rougarou, and Molly. These side stories are more compelling and impactful than the main narrative, with the exception of Roux’s Cabaret arc, which doesn't quite land. The biggest issue is that the climax of the main story isn't actually its ending — there's a final chapter that feels tacked on just to tie up loose ends, and it falls short on almost every front.

South of Midnight

Beyond the story, the gameplay also has its problems. Combat is overly simplistic and quickly becomes repetitive. The abilities you unlock aren't necessarily bad, but they’re neither exciting nor innovative. Enemy variety is limited, which makes battles predictable and, at times, tedious. Boss fights are the saving grace here, especially the encounters with Two-Finger Tom and Molly, which introduce more interesting mechanics. However, the "weaver" mechanic — central to Hazel’s combat — ultimately restricts the possibilities, making fights feel monotonous and even boring at times.

There are also smaller issues that end up having a big impact. Performance is a major one: the game struggles with freezes during cutscenes and loading screens, even on machines that meet the recommended specs. Some story elements feel poorly handled — for instance, Hazel’s father is introduced with some importance but is quickly discarded. And then there's the level design: it's often unclear where players can and can't go, leading to constant encounters with invisible walls. Every time this happens, immersion takes a hit. A clearer definition of map boundaries would have helped a lot.

Where South of Midnight truly shines is in its atmosphere. The game nails the Dark Country vibe, with detailed environments, rich storytelling, and above all, an outstanding soundtrack. It's easy to lose yourself in Hazel's world thanks to the strong sense of place. The stop-motion animation style used for cutscenes gives the game a unique and almost mystical feel, adding even more to its distinct aesthetic.

Music is unquestionably the star of the show. Not only is it great, but it also elevates the entire experience. The blend of blues and country music captures the mystical soul of Louisiana perfectly, bringing out the very essence the game set out to portray. Honestly, South of Midnight could very well end up taking home awards for its soundtrack at this year’s Game Awards.

In the end, South of Midnight is an interesting and enjoyable experience that stumbles on some basic fronts. Its incredible atmosphere and phenomenal soundtrack are weighed down by lackluster combat and a main story that's just too thin. It feels like the main plot is only there to connect the far more interesting side tales of mystical beings — almost like a D&D campaign with no real overarching story, just a series of loosely linked adventures. Combat lacks ambition, settling for something "safe" rather than exploring deeper, more challenging mechanics that might have alienated some casual players but made the game far more engaging overall.

Unfortunately, the aspects that shine — the setting, the aesthetic, the music — aren’t quite enough to carry the whole experience. The scattered side stories help keep the game afloat, but it’s clear that better development of the core elements would have made all the difference. South of Midnight is almost great — but just missed the mark where it mattered most.