Hellblade 2 struggles to balance a serious message and video game tropes

For the first two hours of Senua’s Saga: Hellblade 2, I was fully transported into Senua’s headspace. Every aspect of the sequel’s design was working in concert to pull me into her mind and never let me go. And then I found my first collectible.

I missed out on the first Hellblade, but was familiar enough to know what the general consensus was regarding its strengths and weaknesses. I knew it was a narrative-driven game about a very serious mental health condition. What I never heard about, and thus didn’t know to expect until I came across it, was something as “gamey” as collectibles. In most games, collectibles can be a way to reward exploration, add lore to the world, or simply be an added objective for those who want to do and see it all. In the case of Hellblade 2, however, it’s one small piece of a larger issue: The series’ video game instincts betraying the serious tone and subject matter that the rest of the subversive experience is so committed to.

Wall hugging

At first, Hellblade 2 gripped me like few games have. You already know just how impressive this game is from a visual standpoint from trailers and screenshots, but it’s the 3D audio that pushes it into a league of its own. That first scene of Senua nearly drowning in the ocean while competing voices attempt to encourage and demoralize her instantly established an empathetic link between us. The tight perspective of the camera, the framing of Senua and her detailed facial animations, and the lack of a head-up display (HUD) all made sure that link remained unbroken.

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When I found the first collectible — a totem of sorts with a column of runes indicating which one you found and how many more there were — I was thrust out of that mindset. Afterwards I found a second type of