The music is superbly subtle, unlike the game itself. 'Clair de Lune' in the game's safe zones is a neat touch. The sound design in general will have you wincing as bullets, teeth and blades cut through flesh and bone. It's nasty but nice.
Drenched from top to bottom in dirty detail, The Evil Within's world is filled with glistening blood, dense rust, filth and decay at every turn. Delightful.
Sebastian's initial ability to sprint for only three seconds is laughable, but otherwise the game's interface and controls are fairly slick. The camera can be a bane on rare occasions, but the real sticking point is in the crummy boss encounters and drawn out set-pieces that really outstay their welcome, highlighting the game's shortcomings.
A long campaign is nice, but not when it's stuffed with so many patience-testing moments. The story is a twisty-turny pretzel that piles on too many ambitious ideas and fails to deliver a satisfying conclusion.
Perfectly fine. It covers the bases and even chucks in a few creative tasks to look out for.