![]() I'd glanced over the game's bumf and screenshots with curiosity but met its Teen rating with a derisory chuckle. I'm ashamed to say I came into Gylt a little smug. This world may look sweet and innocent with its Play-Doh colours and cartoonish aesthetics, but - as I'm belatedly realising - it's anything but. Not for the first time, I realise I'm not entirely sure what's going on. ![]() I realise there's nowhere else to go, and the panic intensifies. I grab my flashlight and wave it vaguely in its direction - I say vaguely because it's leaping about a lot and I'm panicking here - but it's ineffectual. Screeching with delight, it launches itself at me, face splitting in two to reveal a horrifying, pulsing void as it scurries after me, trying to suck me in. I risk peering over the top and instantly regret it: I've been spotted. "Come here," it adds in its sweet, musical voice. It lurches drunkenly from side to side, eyes glowing in the inky blackness of the room, head spinning at unnatural angles as it scans the space, primed for the slightest flicker of movement. "You can trust me," it says, as I tip-toe as swiftly as I dare into a dark corner, concealing myself - I hope - against a pile of damp, forgotten boxes. 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.Tequila Works' teen-rated horror might surprise you with its shocks and creepy atmosphere, but it's a little thin. 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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