{"id":2320,"date":"2019-09-05T12:48:29","date_gmt":"2019-09-05T10:48:29","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-man-of-medan\/"},"modified":"2025-06-16T19:18:52","modified_gmt":"2025-06-16T17:18:52","slug":"review-man-of-medan","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-man-of-medan\/","title":{"rendered":"Review: Man of Medan"},"content":{"rendered":"\n

As I noted in my review of The Nun<\/a><\/strong>, crafting genuinely compelling horror is a significant challenge for filmmakers. Game developers, however, often find themselves in a more advantageous position. The player’s investment in the game world is different, and many will recall the terrifying brilliance of the dog attack scene in the original Resident Evil<\/strong><\/a>. Supermassive Games<\/strong> returns with another horror title following Until Dawn<\/a><\/strong>; this time presenting a branching narrative experience.<\/p>\n\n\n\n

\"Man<\/a><\/figure>\n\n\n\n

A narrator introduces each segment, setting the stage for the unfolding story. Visually, Man of Medan<\/strong> is impressive. On the Xbox One X<\/a>, the game’s graphical fidelity evokes the feel of a high-budget animated horror film. The characters are brought to life by capable voice actors and benefit from well-written dialogue. The music and sound design further enhance the immersive horror atmosphere, creating moments of genuine tension.<\/p>\n\n\n\n

\"Man<\/a><\/figure>\n\n\n\n

However, Man of Medan<\/em> exhibits a critical flaw: despite its polished presentation, it more closely resembles navigating an interactive film, such as the Black Mirror<\/a><\/strong> episode <\/a>Bandersnatch<\/a><\/em> on <\/a>Netflix<\/a><\/strong>, than providing a truly engaging gameplay experience. There are numerous instances where the player advances to interact with an object, such as a cabinet, and is prompted to press a button to move forward, only to then require another button press to complete the action. These interactions feel like artificial padding, rather than integral game mechanics.<\/p>\n\n\n\n

\"Man<\/a><\/figure>\n\n\n\n

This issue persists throughout the game: a jump scare occurs, prompting a quick-time event (QTE) requiring the player to rapidly press X<\/strong> to avoid failure. Similar prompts are presented throughout gameplay. Detroit Become Human<\/strong><\/a> employs a similar system of unnecessary button presses, but offsets this with a deeply compelling narrative and characters that foster genuine emotional investment. In that game, the QTEs feel meaningful, and I recall the impact of sacrificing a character due to unfamiliarity with the PlayStation 4 controller. This level of engagement is unfortunately lacking in Man of Medan<\/em>.<\/p>\n\n\n\n

The game includes an “accessibility” menu that allows players to disable the timer on QTE sequences (while still requiring the correct button press). This may be a worthwhile option for those who wish to focus primarily on the narrative.<\/p>\n\n\n\n

Man of Medan – Multiplayer?<\/h2>\n\n\n\n

The announcement of multiplayer functionality in Man of Medan<\/em> generated excitement within the editorial team, with the anticipation of a true co-op experience akin to A Way Out<\/a><\/strong>. However, the implementation falls short. The game is fully playable in single-player mode, which offers the longest playtime. The “Don’t play alone” mode provides a slightly shorter experience. Local co-op (Movie Night<\/em>, for 2-5 players) involves each player controlling specific characters, passing the controller as the narrative focus shifts. While the concept is promising, the execution suffers from extended play sequences (15-30 minutes), leading to prolonged wait times for other players. Faster, more frequent transitions, or the inclusion of two controllers for synchronized cooperative sequences, would have improved the experience.<\/p>\n\n\n\n

Online co-op proves to be a superior alternative, offering split-screen perspectives and character-specific viewpoints. This creates a more intense and dynamic experience, with real-time communication enhancing the tension. Unlike A Way Out<\/em>, which mandates two players and requires only one copy of the game, Man of Medan<\/em> necessitates that each player own a copy. However, the game is priced at roughly half the cost of a full-price title, a factor to consider.<\/p>\n\n\n\n

\"Man<\/a><\/figure>\n\n\n\n

In conclusion, Man of Medan<\/em> is a technically competent horror game, but its local multiplayer mode feels more like a novelty than a fully realized gaming experience. The game receives a passing grade, but ultimately falls short of achieving excellence.<\/p>\n\n\n\n

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