Review: Golem – The World Is Not Enough to Save This PSVR Title from Itself

Rock slide.

Have you ever had one of those games you were really excited for, but once the game finally comes out you end up not just disliking it, but actually kind of hating it? Enter Highwire Games’ Golem. Despite being delayed over and over since 2015’s announcement, it doesn’t feel like a stretch to say more delays may have been the right call. What we have here is a game that gets several things right to an impressive level while completely and utterly dropping the ball in other key areas.

But let’s start with the good stuff. You play a bedridden child named Twine, living in a post apocalyptic fantasy realm, who discovers he is a “dreamer”, someone capable of controlling the mighty Golems. This ancient city is walled off, so the Golems are actually the only means of penetrating the magical veil. Once Twine takes control of the Golems, the open world experience really gets going as you slowly gain access to more and more of the city. The story and the world building are really great, and help enrich the experience, as does the sandbox itself. The environment and art direction are amazing, and the world feels both unique and interesting to explore. This extends to the animations as well, which are surprisingly good. The humans and Golems you encounter have a wide range of animations to draw from, and the fluidity is impressive. Finally, the music, from Halo composer Martin O’Donnell is simply divine. Incredible in isolation and in service to the game, Golem features one of the most beautiful scores of the year, and frankly, of the generation.

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