[*Returnal* Shows that Sony can still be Weird and Daring](https://www.eurogamer.net/articles/2021-04-22-returnal-shows-that-sony-can-still-be-weird-and-daring) by Martin Robinson for Eurogamer > This isn’t the Housemarque you might know from *Resogun* or *Nex Machina* yet it’s also exactly like those boutique classics, mixing demoscene flex with arcade precision but on a much grander scale. There’s an intensity to the action, a readability to enemies and attack patterns, an immediacy that all harks back to the hard-edged classics of the arcade, but the spectacle is something else; Robotron with raytracing, the resulting action worthy of an Amiga classic that plays out like Ridley Scott in crisp 70mm on the big screen. I suddenly cannot wait for *Returnal*. Logan Moore’s incessant hype and this preview sent me from “not a care in the world” to “is it April 30 yet? > Like *Death Stranding* this is an indie that’s epic in scope, and likewise it’s not a game that comes up short when it comes to spectacle. Is it triple-A or isn’t it? I’m not sure if there’s a scientific way to determine that one way or another, but I can tell you that *Returnal*’s credits run just as long as any Hollywood movie (just under 18 minutes, if you must know – I felt compelled to find out myself, anyway) and you can probably tell for yourself that it looks frankly outrageous. I love this perspective on *Death Stranding*. Kojima’s odd and marvelous package delivery game ended up being one of [[Returning to Death Stranding Six Months Later|my favorite games I played last year]]. Big budgets and wildly creative people being able to make bolder titles is great to see. This is how Sony has and continues to set itself apart in the market.