
The Midnight Walk taught me that it's okay to embrace the darkness
As I'm sure is the case with many people right now, I'm currently going through it. It's hard not to look at the state of the world right now and not spiral a little bit. Concerns about the economy and the destructive rise of AI have bled into my personal and professional anxieties, leaving me in the dark. So many times this year, it has felt like my fire has been blown out. But you are not doomed to eternal blackness once a flame goes out; with a little effort, it can be rekindled.
So perhaps it was fate that I sat down to play The Midnight Walk this past weekend on a whim. After two exhausting weeks of travel that fully drained my energy, I decided to settle in for developer MoonHood's debut game. I didn't know much about it other than the fact that it's an adventure game that features a Claymation art style that's a dead ringer for Tim Burton's work. Though it can be played on a normal display, I chose to try it on PlayStation VR2 instead. I'm not sure why. Maybe I just wanted to disappear for four hours — a textbook case of escapism.
Recommended Videos
Thankfully, The Midnight Walk didn't let me drift away. Instead of escaping my troubles in a fantastical world, I got the wisdom I needed from a moving fable that's about both reigniting your inner fire and knowing when it's okay to embrace the darkness. Like any great fantasy, it only whisks us away to bring us back to where we started with fresh eyes.
Fire in my heart
Created by a new studio founded by developers who worked on Lost in Random, The Midnight Walk is a playable fable built out of clay. In it, I control a character known only as The Burnt One who sets out on a quest to bring light to a dark world. I am accompanied by a critter named Potboy, a sentient lantern whose flame is exactly what I need to navigate fire-based puzzles that have me lighting candles and heating up cauldrons to raise platforms. It's a straightforward adventure game that's entirely built around light puzzles instead of combat.
Its most immediately striking quality is its stop-motion art. Like this year's South of Midnight, it does a convincing job of adapting physical animation to an interactive medium, complete with characters that are animated on twos. At first, I see an obvious parallel to Tim Burton, but The Midnight Walk has its roots in deeper animation traditions. I'd liken it more to classic European and Soviet films, sharing more in common with Yuri Norstein's Hedgehog in the Fog than The Nightmare Before Christmas. It strikes a delicate tonal balance that's somewhere between cute and creepy. It's childlike, as if pulled out of a storybook, but mature and emotional in the same breath.
It's sort of a Rorschach test for players as there are a few ways you could categorize it depending on how its tone hits you. At times, it's a warm and charming adventure. Other times, it's nearly a horror game in the vein of Little Nightmares. That duality isn't a flaw, but rather a function. The Midnight Walk is very much about the tension present in its tone.
The story takes place across five chapters, each of which is centered around fire as a multi-purpose symbol. In some tales, fire is a fundamental resource needed for survival. I need to bring fire back to a freezing town to keep it warm, for instance. Other tales abstract it a bit more. One chapter tells the story of a craftsman and his strained relationship with his daughter, a conflict that snuffs out his creative passion. Much of the gameplay has me resolving those issues by wielding the power of fire to solve villagers problems as I embark on a trek up the fabled Midnight Walk to restore a burnt out sun.
MoonHood gets creative about how to turn its symbol into gameplay. I occasionally need to grab giant matches and strike them against a box to light torches. I can command Potboy to move around and light objects up with the press of a button, making for some clever 'one-player co-op' puzzles. One repeated sequence has the two of us running through a raging storm, stopping to hide behind rocks before a big gust of wind freezes us. In those moments, I need to huddle around his burning head to stay warm. Fire isn't just an element here, but a lifeline. It's no wonder that the residents of this world feel so lost without it; they are left wandering through the darkness.
You might be tempted to boil story down to a battle of light vs. dark, a dull crutch of a theme that so many games lean on. The Midnight Walk is far more nuanced about that though, which is where its excellent VR mode comes into play. Darkness can be terrifying for The Burnt One. It hides monsters that stalk the hero, forcing me to occasionally tiptoe through stealth sequences lest I have the bejeezus scared out of me. But like fire, darkness can be a tool too. When I close my eyes (literally on PSVR2 thanks to excellent eye tracking), I develop a superpower. I can hear hidden objects like keys, allowing me to find them by tracking the sound. When I see a blue eye icon, I can close my eyes to reveal secret paths. Some enemies have that same eye and I can vanquish them by standing tall and shutting my eyes rather than turning and running away. I'm scared the first time I do that, as I can hear the sound of a charging beast approaching. But when I open my eyes, it has disintegrated.
The nuance to The Midnight Walk's story is in how it sees darkness as a necessity like water. Rather than being something to escape, it's framed as a constructive force that allows us to recover when times get tough. There is room for self reflection in the seemingly infinite blackness. Stretch out as far as your body will allow to fill that void and then strike a match when you're ready to continue the long walk.
That idea resonated with me by the end of the four-hour journey. The more I played, the less I dreaded the dark. The horror elements dissipated as I grew more confident. I could close my eyes without fear, beating the monsters on their home turf. I was still on a quest to rekindle a lost flame, but I found that I could navigate the twisted clay world even without it. We are not lost even when the lights go out. There's always a path forward. Close your eyes, take a deep breath, and listen.
The Midnight Walk is available now on PS5, PC, and compatible VR headsets.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
27 minutes ago
- Vogue
Dance Aerobics is So Deeply Uncool…And That's Why I Love It
There are people out there who will tell you that you should never do any form of physical activity that you don't enjoy. While I respect and admire their commitment to approaching exercise with zeal, I have to ask: how? I genuinely love various forms of exercise (which, at the moment, include mat Pilates, swimming laps, going for long walks with my dog, and weeding crabgrass at the community garden), but I've come to think of them as a kind of deposit in my future-happiness account; I know movement will eventually make me feel great, especially now that I'm no longer working out in a constant quest to lose weight, but in the actual moment of moving—and, even more so, the moment before a workout class when I have to squeeze myself into a sports bra and actually get out the door—I'm often full of dread. This was true, at least, until I attended my first 'fiercely noncompetitive dance aerobics' class at Pony Sweat, a studio based in my hometown of L.A.'s Frogtown neighborhood that describes its practice as feeling like 'dancing in your bedroom to music from a favorite mixtape.' Terrible dancer that I am (unless I've had two to four martinis, in which case all bets are off), I felt nervous and typically dread-filled even stepping through the door of the Pony Sweat studio, but the moment the lights dimmed and the music started, something weird happened: I forgot to feel stupid. I don't know exactly what it was about Pony Sweat that got me out of my shell and happily dancing around to combinations I'd never seen or tried before, but I'm guessing it was a combination of the gloriously retro '80s soundtrack, the unbridled enthusiasm of the dancers around me (many of whom, like me, weren't perfectly on-beat and didn't seem to have any prior familiarity with the workout), and the instructor, Emilia, shouting what I'm now turning into a kind of exercise mantra: 'Fuck the moves.' I ended the hour-long class with sore calves and an exhausted glow, driving home as fast as I could to gush about Pony Sweat to my boyfriend and pre-book my best friend to attend the next week's class with me—and although I might have expected to feel good after the class, what really surprised me was how much fun I had during and how little clock-watching I did as I bopped around. There are definitely workouts I've enjoyed in which knowing exactly what you're doing matters—weight lifting, for instance, sort of depends on your ability to listen to instructions and not accidentally injure yourself with something heavy—but the loosey-goosey, 'do what feels fun' approach of Pony Sweat really speaks to me right now as a 31-year-old doing my best to get comfortable being bad at things. I've always resented the aspects of life that are hard for me (math, cleaning, driving, the list goes on), but exercise is a low-key, low-stakes way to lean into the question of what my time and my life would look like if I reframed my idea of perfection and focused instead on trying to have genuine fun while also meeting my bodily movement goals.


Forbes
27 minutes ago
- Forbes
NBA Finals: Look Beyond TV Ratings For Keys To Success
The National Basketball Association Finals have arrived, and you know what that means for the media coverage – a lot of headlines about TV ratings. Embittered New York Knicks fans are already preparing their collective 'I told you so' with the likelihood of historically low ratings between two small TV market teams, the Oklahoma City Thunder (47th ranked market) and the Indiana Pacers (from the 25th ranked market and the team that defeated the Knicks). But for the NBA, its business partners and even for the folks at ABC and ESPN who are broadcasting the Finals, focusing so heavily on TV ratings is just so 1990s. There is a much more complex tableaux of media measurement metrics that are ultimately far more relevant to business success and failure here. Yes, the NBA Finals TV ratings will likely be low by any historical standard. In addition to the presence of small-market teams, the Finals matchup lacks marquee franchise names like the Los Angeles Lakers and the Boston Celtics. And there is no larger-than-life superstar like LeBron James or Michael Jordan, but how many of those are there? It's true that NBA ratings have been falling for years. Last year's NBA Finals between the Celtics and the Dallas Mavericks averaged 11.3 million viewers, down 27% from 2014 (LeBron James was playing in those), and down 37% from 2004 (with the Lakers and Kobe Bryant). The ratings for the NBA playoffs are actually slightly up this year compared to a year ago. But more broadly, the entire TV ratings universe has fallen 54% in the last 10 years. 'Linear TV' – broadcast and cable – now accounts for less than 50% of all the video viewing in the U.S. Is any of this breaking news anymore? Can we broaden our lens a bit in analyzing success and failure? Most importantly for the solidity of the NBA's future as well as its present is the new media rights deal it announced last July which is going into effect next season. The NBA closed an 11-year, $76 billion agreement for national TV and streaming distribution with Disney (ESPN and ABC), NBCUniversal (including Peacock) and Amazon. That's a dollar amount three times larger than the deal the NBA signed with Turner Networks (now part of Warner Bros. Discovery) and Disney nine years ago. None of the new and returning media partners were unaware of the ratings environment when they signed on the dotted line. As the NBA's SVP for Partnerships, Lauren Sullivan, told me in the midst of busy Finals prep, the new deal will bring 40% more nationally televised games during the regular season, including weekly national prime time broadcasts on NBC on Tuesday and Sunday nights, as well as a massive increase in nationally streamed games via Peacock and Amazon. There's little or no ability to predict the future path of ratings, but in a world of future ratings blindness, the one-eyed live sports broadcast remains King. This enhanced distribution helps drive awareness and fan engagement throughout the year, not just during the Finals. Sullivan emphasized throughout the course of our discussion of the NBA Finals that the league's approach to marketing demands '365-day planning and storytelling [with an] Partnerships have to work for all. NBA team marketing sponsorship revenues topped $1.6 billion last year, and marketers and media partners get access to the breadth of the NBA fan base especially its highly engaged younger audiences, which aren't easy to reach anymore on linear TV broadcasts. Marketers with ongoing NBA partnerships, including through the Finals, include Puma, Michelob Ultra and YouTube TV. The metrics around social media fan engagement are increasingly critical, as both Sullivan as well as the NBA's SVP for Digital and Social Content Bob Carney pointed out to me. According to Carney, the NBA works with 'an unbelievably rich community' comprised of the league, broadcast partners like ESPN, digital and social media partners such as Bleacher Report and House of Highlights, individual media talent and a huge creator community that the NBA has cultivated over the course of the last decade. As Carney pointed out, the NBA social content strategy leans heavily into its Instagram account (with its 90 million followers), and Sullivan proudly trumpeted the league's 'takeover' of Instagram's own Instagram account (that's a thing) which has over 700 million followers. Video highlights are a huge part of the NBA's content strategy given that social media algorithms are driven by the amount of time spent with videos, and the NBA is constantly looking to create stories with its players, teams and marketing partners that will drive extended video viewing. One of the immediate winners in the NBA Finals marketing sweepstakes is Converse which has hit the jackpot with its celebrity endorser, Shai Gilgeous-Alexander ('SGA'), the NBA's new MVP and the star of the Finals-playing Thunder, a deal in play long before the Finals. In case you haven't heard much of him, SGA leads all NBA players in social media engagement in these playoffs with 864 million views. You can add in fellow shoe brand Puma (leaning into the now-laughable designation of Pacers' star Tyrese Haliburton as 'overrated" by his fellow players). Halliburton, that 'overrated' guy, is third in social media playoff views with 679 million. Needless to say, partnerships with these stars aren't going to live or die on TV ratings. Yeah, but it's still two small market teams playing in the Finals, right? Carney almost laughed at the notion that young audiences, especially internationally, particularly care about the market size of the NBA Finalists. The Finals will be distributed in 214 countries and territories in 60 languages, with 'NBA House' live fan events in Brazil, Canada, Mexico and India, and official viewing parties in China, Japan, Indonesia, and the Philippines. It's all part of the league's long-term strategy of expanding its global footprint. For those still fixated on the U.S. linear TV ratings, you need to get your eye on the bouncing ball.


Fox News
28 minutes ago
- Fox News
Caitlin Clark pokes fun at Fever teammate Lexie Hull over love for this 'weird thing'
Caitlin Clark may still be sidelined due to injury but it hasn't stopped her from razzing her Indiana Fever teammate Lexie Hull as the team tries to power through her absence. The Fever let their fans get to know some of the players on the roster. Hull was one of them as the team put together a picture on its Instagram account. Hull's notes included that she was from Spokane, Washington, she has a dog named Libby and the "weird thing" that she loves. "A1 & Cheddar," the item read. Clark took the opportunity to poke fun at Hull on Instagram. "A1 and cheddar. What does that even mean?" she wrote with a few cry-laughing emojis. "she's likes a1 sauce on cheese? Huhhhhhh." Hull responded later, saying "Cut up cheddar cheese. Dip it in A1 sauce. Thank me later." Clark and Hull have become close friends since the Fever selected Clark with the No. 1 overall pick of the WNBA Draft in 2024. Hull's numbers have improved since Clark joined the team. She was averaging 4.6 points, 2.5 rebounds and 1.1 assists per game in 2023. When Clark joined in 2024, Hull improved her averages to 5.5 points per game and she earned 6th Player of the Year votes. Hull is off to a hot start in her first seven games of 2025. She's averaging 10.4 points, 4 rebounds and 1.6 assists per game. Her field-goal percentage jumped from 44.1% last year to 54.5% this year. Clark's injury has definitely hampered the Fever's ability to win games. Indiana is 3-4 to start the season. The team topped the Washington Mystics in the first Commissioner's Cup Game on Tuesday, 83-77. Follow Fox News Digital's sports coverage on X and subscribe to the Fox News Sports Huddle newsletter.