Little Nightmares 3: Did Supermassive Cast a Spell... or Just Trip Over Their Own Robes?
AI Gaming News Author · Eurogamer ·
Supermassive Games' *Little Nightmares 3* offers a compelling, grimly artistic journey with new protagonists Low and Alone, yet Jeff notes its initial 'safe' approach and persistent mechanical frustrations, echoing Eurogamer's review. While the game truly blossoms in its later stages, showcasing imaginative set-pieces and a strong narrative pulse, it's a mixed bag of enchanting atmosphere and design quirks that prevent it from quite reaching the series' previous peaks.
Right, so you know that feeling when a new wizard takes over the old shop, and everyone's holding their breath, wondering if they're going to conjure up something truly new or just end up setting fire to the broom cupboard? That's kinda the vibe I got tinkering with the new *Little Nightmares 3*. After the delightfully macabre Tarsier bid farewell to their creation, *Until Dawn* maestros Supermassive Games stepped up to the plate. And, fair warning, it's a bit of a mixed bag, mate – a compelling ride, yes, but one burdened by more than a few familiar frustrations, as our pals over at Eurogamer pointed out in their review.
Now, Supermassive had a golden opportunity here, didn't they? A fresh pair of hands, a chance to really shake things up in The Nowhere. But, for better or worse (and honestly, a bit of both), they've largely stuck to the script. It's like they had this ancient, dusty grimoire of *Little Nightmares* design philosophies, and rather than adding new chapters, they mostly just re-read the old ones. The Eurogamer review by Matt Wales highlighted this 'playing it safe' approach, suggesting it often felt less like a bold new adventure and more like a 'tribute act' in its opening hours. And I reckon that's a pretty sharp observation.
But here's the thing about this peculiar series: even when it's just going through the motions, there's still nothing quite like it. Eight years on from the original, *Little Nightmares* maintains this uniquely unsettling ambience – a potent brew of claustrophobic menace and grim wonder that feels ripped straight from a child's most vivid, slightly terrifying dreams. It’s got a touch of Tim Burton's whimsical darkness, sure, and you can see the ghostly influence of Playdead's *Limbo* or *Inside* lurking in the shadows. Yet, it carves its own niche, and Supermassive, to their credit, absolutely nails that essential essence.
Our new protagonists, Low and Alone, are a brilliant addition to this pantheon of fragile moppets. Low, with his spindly limbs and trusty bow and arrow, carries this nervous determination, whilst Alone, with her sturdy wrench, is a more steadfast, confident companion. Their bond, conveyed almost entirely wordlessly through some genuinely gorgeous animation – Alone always offering a hand to Low after an air vent, for instance – is genuinely touching. It’s the human (or perhaps, *child*-like) story behind the corporate announcement, and it grounds the grim spectacle.
And what a spectacle it can be! Low and Alone's journey through new regions of The Nowhere is a procession of meticulously realised, fragmented visions. We start in a desolate, sand-ravaged city, its few remaining residents frozen in eternal fear. Then, it's off to a grey, Kafka-esque hellscape of belching chimneys and bureaucratic banalities, where putrescent lollipops are piled high – a delightfully unsettling tableau. And then, there’s the grand Carnevale – a sprawling, glittering fairground of grotesque excess where patrons frolic themselves into oblivion. It’s here, around the mid-point, that the game truly begins to hit its stride, shedding some of that early reticence and blooming into something quite imaginative. The original review noted this shift, and I wholeheartedly agree; the sheer artistry in these later environments is simply stunning, even if the predominantly monochromatic aesthetic sometimes feels starker, less 'cosy' than previous entries.
Now, about those 'familiar frustrations.' Bloody hell, Supermassive didn't just stick to the script, they apparently decided to keep all the annoying scribbles in the margins too, and perhaps even add a few new ones. Progress still involves the series' signature blend of 2.5D platforming, puzzling, stealth, and frantic escapes. But, as Eurogamer highlighted, the moment-to-moment action often feels a little flat. There's a fair bit of trudging through empty, nondescript rooms, especially in that rather 'rote' first half. And when the set-pieces finally arrive, they're often too predictable, lacking the imaginative choreography or the truly oppressive tension of earlier games. You'll stealth past sightlines, you'll leap and slide as monsters chase you – it's all there, but sometimes it feels like going through the motions rather than genuinely shivering with fear.
The puzzles, too, were a bit of a letdown. Distilling the series' formula down to 'perfunctory busywork' like block pushing and lever cranking, as the review mentioned, feels like a missed opportunity. Especially when you consider that *Little Nightmares 3* accommodates two-player online co-op! You'd think that would open up a whole new world of intricate, dual-protagonist brain-teasers. But nope, intricate teamwork is 'seldom required.' It's like inviting a second wizard to your spell-casting circle, only to have them mostly just stand there looking confused while you do all the heavy lifting. Why introduce a mechanic if you're not going to push its boundaries? That feels like a design choice that didn't quite land its spell.
And then there are the returning 'frustrating ticks' that really got under my skin, and apparently, Matt Wales' too. Woolly controls, infuriating platform sections due to poor perspective choices, badly signposted trial-and-error sequences paired with time-wasting checkpoints, and of course, those insta-death fails that make you feel like you're playing a long, drawn-out quick-time event where you're constantly guessing the right button. It's a testament to the game's undeniable atmosphere that you stick with it, because repeatedly dying to the same obscure 'gotcha' moment can test even the most patient gamer's resolve. I mean, we're here for the grim wonder, not the grim *repetition*, mate.
Despite these niggles, and I know it sounds terribly negative, there's an undeniable pull to *Little Nightmares 3*. Around the time you reach those big top tents and glittering Ferris wheel lights, something truly magical happens. The final two chapters are especially vivid, exhibiting an energy and ambition that was less evident earlier on. Perspective is used playfully, the camera dances with the environment, and the final puzzles find a clever 'gimmick' that works. Coupled with some impressively staged set-pieces and a genuinely brilliant monster design, it ends things on a high. It’s like the new wizard finally found their rhythm, shaking off the nervousness and truly embracing their arcane power.
Ultimately, *Little Nightmares 3* isn't without its problems, but when it finds its rhythm, it's a potent reminder of why this peculiar series has endured. It's chock-full of grim intrigue, gruesome wonder, chilling tension, and macabre thrills. And secreted away amongst its child-like horrors, there truly lies an earnest heart. It might have a new developer and a subtly different flavour, but the essence of the series still shines through, even if it never quite reaches the dizzying, terrifying heights of its predecessors. It's a shame it doesn't find its footing sooner, but when it does, it feels bloody good to be back in this darkly compelling world.
*This repurposed article draws insights and information from Matt Wales' 'Little Nightmares 3 review' published on Eurogamer, October 8, 2025.*
Tags: Little Nightmares 3, Survival Horror, Platformer, Supermassive Games, Game Review
Original article: Eurogamer