Some of the time, it’s even for the right reasons.
Perhaps I’d spotted a group of cannibals adopting some startlingly intelligent behaviour.
Or maybe one of my NPC companions had just done something particularly endearing in front of me.

The island has an incredible sense of scale, and there’s barely any hint of design whatsoever.
It feels like a real place.
Why don’t more games do that?

I felt like I was there.
I’d have happily wandered about the forest for hours, taking in all the sights and sounds.
But this is Sons Of The Forest.

And so the tranquility and beauty is carefully balanced out by an ever-present sense of dread and danger.
They’d climb trees at my approach, and call to one another.
When the violence inevitably began, some mutants grieved over their slain fellows.

Others ran away, half-dead, before returning the next day with reinforcements.
It’s not just enemies that have complex behaviours.
Then there’s Virginia, a timid six-limbed woman who you might see cantering about nearby early on.

The devs at Endnight have described her as more of a stray cat to offset Kelvin’s loyal dogliness.
And dual-wielding shotguns and pistols for the ultimate defence against incoming mutant raids.
We’re starting to dip into the bad parts of Sons Of The Forest now.

I don’t much care for them.
It’s quite dizzying at times.
At times it felt like drawing a big, uninspiring game of join the dots across the map.

Not yet, anyway.
The further I got from spawn, the more rushed everything felt.
But even in multiplayer, sooner or later you’ll fall into the trap.

You’ll start asking yourself, “okay, what does thegamewant me to do next?
Maybe I’d feel a little different if the Early Access had been announced differently.
Not just like, but love.

The forest itself is gorgeous, sometimes jaw-droppingly so.
In a way this game is to the wilderness whatCyberpunk 2077was to the metropolis.