This game blows massive ♥♥♥♥, no polite way to say it. Never has a game pissed me off this ♥♥♥♥♥♥♥ bad. The writing is completely and utterly retarded. The other dark pictures games pretty alright. OK. Spoilers, but it does not matter, don't play this ♥♥♥♥. So it was towards the end of the game two characters are alive which are Mark and Kate. (All the others died because the game is soooooooooooooo ♥♥♥♥♥♥♥ glitchy, I dont know how anyone other than EA could release such a piece of ♥♥♥♥.) But anyways mark is in the lighthouse at the end of the game he then looks out the window to see Kate running in and yells "KATE IM UP HERE!", then all of a sudden Mr Holmes is behind him, they get into a bit of a tussle, and Mark grabs an ax, swings it at him a few times. Right before getting a MASSIVE ♥♥♥♥♥♥♥ STRIKE ON HOMIES HEAD KATE BURSTS THROUGH THE DOOR AND MARK DROPS HIS ♥♥♥♥♥♥♥ AX TO HIS HIPS AND DUMBFOUNDED SAYS "kate?" AND THEN EVIL DR HOUSE GRABS THE AX OUT OF MARKS HAND AND KATE AND MARK RUN AWAY TO THE BOAT. THEN THERES A COP FOR SOME ♥♥♥♥♥♥♥ REASON ON THE ISLAND BECAUSE WE TURNED THE LIGHT HOUSE ON AND APPARENTLY THE POLICE SHOW UP LIKE ♥♥♥♥♥♥♥ BATMAN WHEN THEY SEE A LIGHTHOUSE ON. THAT COP IS A ♥♥♥♥♥♥ GETS HIS HAND SLASHED OFF WITH HIS GUN IN IT, DOES NOT MATTER HOMESLICE KICKS IT INTO THE WATER ANYWAY, THE COP DIES ANYWAYS WHO CARES. THEN WE HAPPEN TO HAVE THE KEY TO ANOTHER BOAT BECAUSE THE COPS BOAT ♥♥♥♥♥♥♥ EXPLODES. THEN THERE IS A DOG THAT IVE NEVER ♥♥♥♥♥♥♥ SEEN BEFORE THAT SHOWS UP, AND MARK KNOWS HIS AND STARTS PETTING HIM AND TREATING HIM LIKE HES AN OLD FRIEND FROM PRESCHOOL, THEN THE DOG HOPS ON THE BOAT AND THE SAIL OFF IN THE MOONLIGHT, BUT NO!!!!!!!! HOMEBOY HAS BEEN HANGING UNDER THE BOAT CAPE FEAR STYLE NOT ♥♥♥♥♥♥♥ DROWNING. ATTACKS US AGAIN SMACKS FIDO OFF THE BOAT INTO THE SEA. MARK AND KATE I SWEAR TO ♥♥♥♥♥♥♥ GOD BENT OVER FOR THIS ♥♥♥♥♥♥♥ GUY TO KILL THEM 10 TIMES ON THE BOAT SLAPPING HIS ASS SOFTLY TO SAVE EACH OVER. THEN MARK FINALLY GRABS THE ANCHOR AND INSTEAD OF SMASHING IT THROUGH HIS SKULL, IT ORBITS OVER HIS RIGHT SHOULDER AROUND HIS HEAD AND LANDS DIRECTLY IN HIS CHEST OVER HIS LEFT SHOULDER, AND THE CHAIN CATCHES THE ROTOR PULLS SHERLOCK INTO THE WATER. And then it was done, they sailed off into the sunset! NOPE THE BOAT ♥♥♥♥♥♥♥ CRASHED INTO A ROCK AND EXPLODES WHILE THEY JUMP OFF, THEN THEY'RE ON THE NEWS AND POOCH SHOWS UP, AND IS LIKE WHATS UP FAM! HAPPY ENDING! NO! OOOOOOOOOOOOoOOOOOOOooOOOOOoOo THE MASK IS ON THE GROUND AND A GLOVED HAND GRABS IT, SPOOKY! "ITH NOT OVAH!" the end.

The worst of the 4.

yes

The Dark Pictures Anthology: The Devil in Me marks a gripping and atmospheric finale to the first season of Supermassive Games’ horror anthology. This installment plunges players into a chilling, claustrophobic nightmare inspired by the real-life horrors of H.H. Holmes, the infamous American serial killer. Set in a modern-day recreation of his "Murder Castle," the game follows a documentary film crew lured into an isolated hotel under the pretense of filming a career-defining piece. What begins as a promising professional opportunity soon devolves into a struggle for survival, as they find themselves trapped inside a labyrinth of traps, surveillance, and psychological manipulation. The premise is disturbing in all the right ways, blending historical horror with slasher tropes and a technological twist that evokes the likes of Saw and The Shining without feeling like a direct copy.

Narratively, the game builds a consistent sense of dread, offering a tight, standalone story that doesn’t require prior knowledge of the series. The characters, while at times leaning on archetypes, are given room to develop through branching dialogue, relationship dynamics, and crucial moral choices. The writing is serviceable, sometimes leaning into melodrama, but the pacing of the story helps carry it forward. The branching narrative design continues to be a signature strength of the anthology. Decisions big and small can result in vastly different outcomes, with any character able to live or die based on your choices. However, some may find that the choices this time around feel more cosmetic than consequential compared to earlier entries like House of Ashes or Man of Medan, particularly in how dialogue options play out. That said, the death scenes are brutal and creative, often catching players off guard and contributing to a high-stakes atmosphere where tension rarely lets up.

From a gameplay standpoint, The Devil in Me represents the most ambitious evolution in the series so far. Supermassive introduced a new set of mechanics that push the boundaries of what the anthology has previously offered. Characters can now climb, jump, shimmy across ledges, and use items from their personal inventories to solve environmental puzzles. Each character has a unique tool that adds layers of functionality—such as lock-picking, audio tracking, or even marking out hidden messages—which ties neatly into their personalities and roles within the group. While these features enrich the exploratory experience, they are sometimes underutilized or poorly integrated, and their novelty can wear thin over repeat playthroughs. The movement system, though improved, still feels slightly stiff and slow, particularly during action sequences where precision and timing are crucial.

Visually, the game is impressive, with detailed environments that are meticulously crafted to evoke unease. The hotel is a standout setting—its decaying grandeur, mechanical trapdoors, flickering lights, and maze-like corridors all contribute to a constant sense of vulnerability. The use of lighting and sound design amplifies this effect, creating moments of unbearable tension with eerie ambient noises, sudden silences, and disturbing sound cues. The voice acting is solid across the board, with notable performances that give the cast more depth than they might otherwise have on the page. Jessie Buckley, in particular, brings nuance to her role, and her performance is one of the emotional anchors of the story. Composer Jason Graves returns with a haunting score that blends industrial noise with classical horror motifs, subtly underscoring the psychological themes without overpowering the experience.

Despite its strengths, the game is not without its flaws. Technical issues remain a recurring problem for the series, and The Devil in Me is no exception. Players may encounter bugs, stuttering, animation glitches, or even game-breaking crashes, especially in multiplayer. These interruptions can be frustrating and undercut the cinematic flow that the game is clearly aiming for. The controls, while more flexible than before, can sometimes feel clunky or inconsistent, especially in time-sensitive situations. There are also moments where the game’s pacing suffers due to overly long exploration segments or puzzles that bring the action to a halt. These slower sequences can be immersive but may test the patience of players eager for narrative progression or scares.

Despite these technical shortcomings, the game’s replayability remains one of its strongest assets. Multiple endings, character fates, and hidden lore provide a solid incentive to revisit the story. The return of the Curator’s Cut—a mode that unlocks new scenes and perspectives—further deepens the potential for varied experiences. The cooperative modes, both online and local, continue to offer one of the most enjoyable ways to play, turning the experience into a tense group story where decisions can be debated, regretted, or celebrated together. Whether playing solo or with others, the game succeeds in crafting an interactive horror movie experience that remains engaging across multiple playthroughs.

In conclusion, The Dark Pictures Anthology: The Devil in Me is a fitting, if imperfect, finale to the first season of the series. It ambitiously expands its gameplay mechanics and offers a memorable horror setting with a distinct identity. While technical issues and pacing missteps hold it back from being the anthology’s best entry, it stands out for its creative premise, immersive atmosphere, and commitment to evolving the formula. For fans of narrative-driven horror games, it remains a compelling experience that delivers both thrills and tension in equal measure, especially when shared with friends.

Rating: 6/10

nice game..

Downgrade from previous games. Loud noises are not scary, they are annoying. 5/10

Pretty good game, fun to play. Definitely horrifying throughout most of the game for both players. The lesbian stuff is kinda forced and clear like all the rest of the diversity politicking games do nowadays, but other than that, it's pretty intriguing. There are a good few bugs, as me and my friend ran into 5 or so earlier on, but after that we didn't see very much. Overall, definitely recommend playing this at least once.