The Evil Within review | Thunderbolt
“You have an odour of blood about you” chimes the nurse, but she doesn’t know the half of it. I’m safe now, though, in this… place. I’m still not quite sure what to make of it yet, drawn to its whereabouts, as I was, by Debussy’s Clair de lune – the Frenchman’s stirring composition acting as a beautiful beacon amidst this violent chaos.
The aesthetic is that of a mental hospital – all locked cells; sterile, “smells like medicine”. It’s ostensibly a safe haven, yet one that maintains a sense of unease inherent in the unknown. Things don’t always stay the same from visit to visit, subtly twisting and contorting various details like the evil is slowly clawing away at the walls, trying to get in. The nurse refuses to provide answers but is nonetheless a friendly and familiar face, even if I don’t quite trust her. She asks me to save my game at her desk before I enter a grimy cell, upgrading my abilities and weapons by injecting green gel into my brain using a cruel-looking lobotomy m…
