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Overall, the game plays quite smoothly, from using Marianne’s powers to search for supernatural clues in the environments, to the directed camera angles and movements, which are all well thought out and never get in the way of the experience.
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The team handles this transition well, and they take full advantage of the split-screen mechanic, which is not persistent and only appears in select moments throughout the story (a tasteful decision on Bloober’s part-too much split-screen would have no doubt been headache-inducing). Unlike Bloober Team’s previous games, which were presented in first-person, The Medium is in third-person, which recalls genre classics like Resident Evil and Silent Hill.
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In-game this is conveyed via a split-screen presentation where the player can interact with both worlds at once and solve puzzles by searching for clues in both realities, which are tethered in strange ways. The spirit world is a parallel version of ours, like a nightmarish reflection, and Marianne has the ability to traverse both realities simultaneously, which allows her to make connections between them in myriad ways. The game is set in ’90s Poland and centers on Marianne, the titular medium who can communicate with lost souls in the “spirit world” by focusing on objects imbued with memories of those who have passed. Repetitive gameplay elements and issues with pacing bring this game down quite a bit, but espite the game’s needling flaws, it’s still worth playing, particularly for those who have enjoyed the studio’s previous work. With The Medium, Bloober Team take a clever gameplay concept and uses it to weave a psychological horror story that is one of the most polished titles released by the studio to date but doesn’t quite reach its full potential.