Virginia Review

Virginia is a gorgeous, often perplexing, first person thriller. From afar, some may write it off as yet another one of those self-indulgent walking sims. You know the kind: an emotive soundtrack, jaw-dropping vistas, and a dearth of gameplay, all propped up by the promise of a gripping story and memorable characters.

While certainly derived from this ever-growing subgenre, Virginia manages to shrug of its biggest caveat: pacing. Compared to games like Dear Esther, Assemblance, and even many of Telltale’s recent works, it’s far more focused and to the point. Instead of idly pondering from one scene and into the next, the story is constantly being nudged forwards, backwards, and to the side as its mysteries begin to unspool.


As FBI rookie Anne Tarver, you find yourself assigned to the case of a missing person – a pastor’s son from the alarmingly average town of Kingdom. Subject to prophetic dreams and vivid hallucinations, she’s a troubled protagonist to say the least. It’s a recurring plot point yet one that isn’t overstated or leaned on too heavily. Developer Variable State seem to have a knack for spinning a narrative yarn without turning each thread into a cumbersome woolly jumper. They are intentionally conservative with what information they give, forcing players to construct their own interpretation.

The complete lack of dialogue between characters feeds into this strange, yet effective design choice. Adventure games, especially those that ascribe to the modern format, have a penchant for spelling everything out in painstaking detail. Virginia doesn’t have the same option, trying to convey the raw essence of conversations in a distilled form, turning them into a handful of fleeting gestures and changes in facial expression.


This streamlined approach also spills into something as simple as walking. As an impatient gamer with a short attention span, and so it’s easy to see where my indifference to many adventure games stems from. I often switch off when exploring huge locales, no matter how gorgeous they may be, as I struggle with the inescapable monotony of ambling between set piece moments.

Once again, not wanting players to dawdle, Virginia loves to jump cut, instantly snapping you from one segment to the next in a TV-like fashion. While not completely seamless, there’s a certain relief in being transported from a precinct into the passenger seat of a car, all within the blink of an eye.

Although considerate and beneficial to the player, some won’t see it this way. Clocking in at around four hours, there will be those waiting to the point the finger without realising how much inane filler Variable State could easily have pumped into Virginia.

Something we can all agree on, however, is just how amazing the game looks. There’s a charmingly vibrant aesthetic at play with an artistic use of lighting. This same low-poly look, coupled with a bold colour palette, works its way into the characters designs too, but they manage to convey a surprising amount of emotion despite this.

The soundtrack is equally as impacting, composed by Lyndon Holland andfeaturing the Prague Philharmonic Orchestra. It helps to galvanise every moment of tension, sorrow, and melancholy just so.

What’s Good:

  • Top notch soundtrack
  • Gripping, despite the absence of dialogue
  • Lovely lo-fi look
  • Pacier than your typical adventure game

What’s Bad:

  • Framerate issues on console
  • A story arc that won’t please everyone

Virginia’s tale of intrigue and mystery quickly comes full circle. In that time, it will take you to some pretty surprising, extraordinary places, and easily warrants a second playthrough. The closing moments may not be to everyone’s taste, though the journey to get there is certainly worthwhile.

Score: 8/10

Version Tested: PlayStation 4

Written by
Senior Editor bursting with lukewarm takes and useless gaming trivia. May as well surgically attach my DualSense at this point.


  1. It looks like Firewatch.

    • It does a bit. Like Firewatch and (class game) Another World had a baby. :D

      • *classic (although “class” still works) :-)

  2. There’s a demo available. It’s not very big, and takes about as long to download as it takes to realise the game is quite terrible.

    I realise it’s an artistic choice, but it looks horrible. Just doesn’t work for me. Some people made of about 17 polygons stand around not saying anything while you slowly walk around trying not to vomit due to something weird with the camera.

    Now, it’s possible the game itself is nothing like the demo and really is worth 8/10, but from what I’ve seen, it’s not even close.

    I’m going to go and make some coffee and try and keep it down. It really did make me feel quite ill, which never normally happens, in case you think I’m one of those weird people that can’t play anything first person without throwing up everywhere.

    • I also played the demo and found it quite hideous when you move the camera, which is a shame as otherwise i found the cel-shaded style quite pretty and the storytelling seems interesting.

Comments are now closed for this post.