Another month, another attempt to capture the magic of FromSoft’s genre-defining epic (even if French-Canadian developer Rogue Factor claims it isn’t). Yes, action-adventure game Hell Is Us sits with one foot in the soulslike category, but that's not a criticism; it takes what it needs from Dark Souls and its ilk, discards what it doesn't, then absconds in the night with a suitcase full of dodge-rolls and ominous-sounding characters.

See, as a big fan of FromSoft’s games, I've come to the conclusion that it's almost impossible to properly capture the magic of a game like Bloodborne or Elden Ring. Many have tried, and there have been some successes; Lies of P and Remnant II were two recent standout examples for me. I think the trick is not trying to mirror exactly what FromSoft does; it's taking the formula and doing your own thing with it.

Does Hell Is Us succeed in this regard? For the most part, yes. If you're a fan of either action-adventure or the best soulslike games - or are curious about getting into the oft-impenetrable latter genre - it's worth a look. The setting is unique and interesting, the gameplay is enjoyable, and it's more forgiving overall than most games within the soulslike genre, even if the underlying DNA is impossible not to notice.

Hard times

Straight off the bat, this game is bleak - the world you inhabit feels dark and dangerous, poised to collapse into unmitigated chaos at any moment, with only small glimmers of hope left. Wracked by a long and bloody civil war, the setting of Hadea is an insular, vaguely eastern European nation with a rich history of animosity between two religious factions, the traditionalist Palomists and the more progressive (but still pretty damn zealous) Sabinians.

By 1992, the war has reached a fever point, with brutal pogroms, fighting in the streets, and virtually every crime against humanity you could care to list. Seriously, this game is not for the faint-hearted; you're going to see some pretty visceral evidence of those crimes against humanity.

It's all rather horrible, but it does have a purpose. Although Rogue Factor didn’t seek to evoke any singular real-world conflict, the setting certainly echoes events like the Bosnian War, the Georgian Civil War, and the Croatian War of Independence. There's even a thinly-veiled UN imitator called the Organized Nations, characterised by their blue helmets just like in real life. Considering that Hadea is entirely fictional, there's an unsettling weight of reality to it all that stands as a testament to the quality of the world-building.

Our protagonist, Remi, doesn't really give a shit about any of this, though. He's come back to Hadea to find his parents, from whom he was separated as a young child. Naturally, said parents turn out to be entwined in the core narrative. See, that civil war is merely the backdrop; the real meat of the story here concerns an outbreak of bizarre, violent creatures, an ancient religious order, and a mysterious black-ops group doing nefarious things under the cover of Hadea’s present conflict.

Uncovering the mystery

The story is told via a framing narrative, which sees Remi - immediately recognisable as Elias Toufexis, best known as the iconic baritone of Adam ‘I Never Asked For This’ Jensen in the newer Deus Ex games - being drugged and interrogated by a deeply unpleasant man with a chainsmoking habit and about sixteen chins. See, Hell Is Us loves its classic environmental storytelling, but it's also not above using actual cutscenes. There are also proper dialogue scenes with some (non-player characters) NPCs, which serve to both progress the story and deliver optional exposition about the world.

For the most part, I found the characters believable and (usually) likable. From sardonic war journalist Tania to the kind-hearted Abbot Jaffer, these NPCs inject the world with humanity and authenticity. Unfortunately, Remi himself doesn't have quite the same screen presence. He's the cold, brooding type, which mercifully does mean that he doesn't chatter to himself constantly while you're exploring or solving puzzles, but also results in him feeling a bit flat. Early in the story, it's revealed that he's a diagnosed sociopath with a military past, but this seems to serve mainly as a convenient reason to make him largely unbothered by the insanity unfolding around him.

Many of the people you encounter while journeying across Hadea have side-quests to offer you, though this is usually done in a roundabout way; in typical soulslike fashion, there's no world map or objective markers. Instead, you might hear a soldier complaining about running low on his medication - and wouldn't you know it, later on, you'll find a bottle of the very pills he needs. Sometimes, the clock is ticking; I found a woman with a starving infant hiding from Sabinian soldiers, and by the time I returned with some bottles of baby formula, I was met with a shoebox with a pacifier on top. That hurt a little, honestly.

There's little handholding here, which admittedly had me wishing for a wiki on a few occasions while I was reviewing the game, but it's not quite as oblique as the average Souls series entry, instead feeling strangely more like a retro point-and-click adventure game. Remi has a chunky tablet device that doubles as an inventory screen and ‘investigation log’, noting down key information you come across and helpfully sorting the stuff you find into quest-critical items and the many, many lore snippets you can uncover.

Often, the pace is slowed by the inclusion of a puzzle, and these range from laughably easy to moderately head-scratching. Thankfully, these puzzles rarely outstay their welcome; even when you're hunting for the right combination of arcane sigils to unlock a door in some ancient ruin, you can expect to be set upon by ravenous monsters at any given moment.

Fight for your life

Speaking of monsters: let's talk combat. This is where Hell Is Us cribs from FromSoft’s homework the most, with the classic block-dodge-parry mechanics that should feel immediately familiar to any soulslike enjoyer. Of course, virtually every action consumes stamina, which is tied directly to your health bar, meaning that taking even a single hit immediately makes the fight harder.

Simply put, the combat gameplay is solid. Attacks that can be countered are telegraphed by the enemy pulsing red, with a reasonably generous parry window, but Rogue Factor still manages to distinguish itself from the usual business thanks to the ‘healing pulse’ mechanic. There’s no refillable healing flask here, and actual healing items are relatively sparse; instead, dealing damage to enemies releases particles, which periodically coalesce into a ring around you. At this point, you can tap a button to regain a bit of health based on the damage you’ve dealt, but you have to be fast, as the ring dissipates after barely a second.

You also get a gradually expanding suite of extra abilities. These take three forms: glyphs that can be slotted into your weapons and consume ‘Lymbic Energy' (read: mana), powerful relics with long cooldown timers, and programs for the owl-like tricopter drone that perches on Remi’s shoulder and doubles as your flashlight in dark areas. You get three glyphs each across two equipped weapons, one relic, and four drone slots, making for a total of eleven abilities equipped at once - meaning there's plenty of build diversity available here, even if Remi doesn't have a traditional stat sheet. Most of these abilities are pretty fun - I was particularly partial to the drone skill that let me grab onto it and zoom forward, dealing heavy damage to anything in my path.

The creatures besieging Hadea are invulnerable to conventional weaponry, with the only way to kill them being ‘Lymbic weapons’. Unfortunately, there's not a huge amount of variety here: you get a regular sword, twin axes, a polearm, and a hulking great sword, filling the usual melee weapon archetypes. These can be upgraded and imbued with elements (Grief, Rage, Terror, and Elation), but all this does is make them hit harder and determine which type of glyphs you can equip on them. I quickly settled into using a Polearm of Terror and Twin Axes of Rage, but if you're the sort of gamer who enjoys experimenting with every new weapon you find, you might be disappointed here.

There's another issue with the combat that doesn't emerge until later in the game, though: some of those special abilities are pretty dang overtuned. For example, once I got my hands on the max-level Rage Spike glyph (an explosive ranged attack), most fights became comically easy, with Remi repeatedly blasting enemies to smithereens from far outside melee range. It's not a massive issue for me, since you have to conquer a good chunk of the game to become that powerful, but it did trivialize the majority of encounters towards the tail end of the story.

Rise to the challenge - or don't

Speaking of difficulty, Hell Is Us isn't overly punishing. I experimented with all three difficulty levels (described as Lenient, Balanced, and Merciless), which purely affect the combat and can be further fine-tuned in the settings to adjust enemy health, damage, and aggression, and found that the highest difficulty gave the ‘truest’ soulslike experience. Yeah, I know that customizable difficulty options are a personal affront to the most die-hard fans of the genre, but I honestly think it's a good inclusion: on ‘Lenient’ difficulty, even someone who has never played a soulslike before could have a good time here.

There's also no real penalty for dying; you just respawn at your most recent save point, and the enemies you killed remain dead (although there is an optional setting to make death fully reset any progress from your previous save). Hostiles *do* respawn, however, if you leave one of the game’s many areas by travelling between them in the armored vehicle Remi commandeers in the opening act. You can stop this - and render an area permanently safe - by collapsing Timeloops, which are large ferrofluid-looking orbs that sustain the creatures you face.

To do this, you have to track down specific enemies marked as ‘Timeloop Guardians’, kill them, then take a special item to the Timeloop and chuck it inside. These are mostly optional, but you do get loot for each Timeloop you shut down, and doing so is its own reward anyway; there's a lot of backtracking to be done if you're shooting for 100% completion, so it's nice to return to a region and find it free of enemies.

Then again, the hostiles you face are actually pretty fun to fight. The ‘Hollow Walkers’ are a brilliantly creepy piece of enemy design, feeling like something straight out of the SCP Foundation universe, with unsettling, jerky movements and eerie vocalizations. Some Hollow Walkers are paired with a ‘Haze’, a floating ball of the aforementioned elemental emotions which must be slain before its linked Walker can be harmed - and if you're not quick enough, the Haze will reform and you'll have to kill it again.

These are another good example of strong audiovisual design, with the Rage Haze unleashing a barrage of attacks and screaming with fury, while the Elation Haze cackles maniacally as it zooms around. The creatures were unleashed by the negative human emotions that spiked because of the Hadean civil war, and that plays nicely into their design.

Sadly, a lack of diversity again hampers enjoyment a little here, as you basically fight the same measly selection of enemies over and over throughout the game. There are three tiers of enemy threat levels, but only the Hazes actually change in appearance and moveset from tier to tier; the Hollow Walkers merely get bigger health bars and more damaging attacks, and there are only five types of Walker to encounter. There's also a surprising dearth of boss fights - a common staple of both the action-adventure and soulslike genres - with only four real bosses to be found throughout the entire course of the game. The final boss, disappointingly, is just four much bigger versions of a basic enemy type. Clearly, no lessons were learned here from the final boss of the original Destiny campaign.

Hadean tourism

If I’m being honest, though, my criticisms are small. I really enjoyed my time with Hell Is Us, which clocked in at just shy of 30 hours for my review - and I was doing my best to do and see everything, which is possibly why I ended up being so overpowered. I played with both a gamepad and my usual mouse and keyboard, and although the game advises using a controller, I didn’t have any problems playing with the latter.

The biggest issue I have with the game is that I want more, which is quite the double-edged sword. The game is divided into three acts, but the third act is essentially just the underwhelming final battle, followed by a ten-minute cutscene that didn’t quite wrap things up to my satisfaction. Sure, it leaves things open for downloadable content (DLC) or an expansion and perhaps even a sequel (which I genuinely hope we get), but the finale feels a bit rushed, and it’s a shame not to end on a high note.

Still, it’s a super experience overall that I’d recommend to anyone who enjoys either soulslikes specifically or just dark action-adventure games in general. It runs on Unreal Engine 5 (which may set off alarm bells for some gamers), but I found it to be reasonably well-optimized, with no noticeable performance issues at 1440p on my RTX 5060 desktop or at 1080p on the RTX 4060 gaming laptop I also used for testing. Hadea is genuinely beautiful at times, too. For every dank cave and bombed-out village, there’s a vibrant field of flowers or the crumbling majesty of an antediluvian ruin.

If you like good melee combat and won’t be turned off by graphic depictions of war crimes, Hell Is Us is definitely worth a shot. Just be prepared to consult Google from time to time - or, like I did, keep a pen and notepad handy, so you don’t forget exactly where you were supposed to take those baby formula bottles.

Should you play Hell Is Us?

Play it if...

Don't play it if...

Accessibility

We've got the usual selection of accessibility options here, with three color blind modes - Deuteranope, Protanope, and Tritanope - which can be adjusted to varying degrees of color correction, as well as being able to reduce or disable motion blur and camera shake.

There are also gameplay accessibility options, which let you independently adjust the health, damage, and aggression of enemies, plus some customization options for the HUD and the ability to automate enemy lock-ons.

Of note is a directional audio indicator: this displays an on-screen marker denoting the direction and distance of gameplay-related sounds, including enemy attack sounds in combat and the identifying noise emitted by Timeloop Guardians. Considering how important directional sound can be in Hell Is Us, this is a good inclusion for hearing-impaired players.

How I reviewed Hell Is Us

I played Hell Is Us from start to finish, which took me a little under 30 hours - though I was being very thorough in my exploration, and a speedy player less concerned with 100% completion could likely beat the game far quicker.

I used my gaming desktop, which uses an AMD Ryzen 7 5800X3D and Nvidia RTX 5060 with 32GB of RAM, as well as an Acer Predator gaming laptop with an Intel Core i7, RTX 4060, and 16GB of RAM. On desktop, I used an Asus ROG keyboard and mouse and a Razer Raptor 27 gaming monitor. With the laptop, I used a Scuf Instinct Pro gamepad.

I frequently took the time to adjust both the difficulty level and graphical settings in several in-game locations to get a good idea of both how much challenge the game presents and how well it runs. I naturally also tested out each new weapon and ability the game gave me - though I quickly found my favorites and stuck with those for the majority of the game.

First reviewed August 2025

Developer Leenzee’s Wuchang: Fallen Feathers surprised me in the most pleasant of ways. Going into the soulslike action role-playing game (RPG) for review, I was expecting a competent game that would ultimately struggle to stand out in the space, similar to a Lords of the Fallen or Mortal Shell. What I found instead was a deeply and constantly compelling action game that I consider to be the best soulslike game since 2023’s exceptional Lies of P.

A dark take on the Ming Dynasty era of Chinese history, Wuchang: Fallen Feathers tells a shockingly grim tale, replete with themes of cyclical violence, abduction, forced marriage, and no shortage of grotesque body horror.

All this sets the backdrop to what is an incredibly refreshing soulslike experience. The game has that classic, Dark Souls-style level design, offering plenty to explore and multiple areas you can branch off into at any given time. Combat also has shades of Bloodborne, greatly rewarding evasion over blocking, and featuring a relatively careful selection of weapons that all pack their own unique skills.

Add in the fact that you can respec your skill tree limitlessly and for free, and you also have a game that encourages you to mix up your style frequently. Some levels and bosses, for example, are best countered with specific weapons, skills, status afflictions, and so on. Whenever I got stuck on a particularly demanding boss fight, I usually found that a few tweaks to the skill tree could make a world of difference.

Difficulty-wise, it’s not the hardest soulslike ever, and if you’ve cut your teeth on rock-hard titles like Lies of P, Sekiro: Shadows Die Twice, or Nioh 2, you’ll be well-prepared for the horrors in Wuchang: Fallen Feathers. That’s not to say it’s a cakewalk, though.

A handful of bosses will certainly stop you in your tracks, and levels will typically have one or two key hazards to be aware of. Sometimes Wuchang takes this a little too far; two different flavors of poison swamp in a row is a bit much, one level is littered with landmines that are needlessly difficult to spot, and the final area (without spoiling anything, of course) is an exercise in pure unbridled frustration to the point where I actually needed to get up and go out for a walk before I realized the temptation to hurl my DualSense into orbit.

Even still, Wuchang: Fallen Feathers is one of those rare instances where, after rolling credits, I immediately wanted to play through it again. And thanks to the game supporting New Game Plus at launch, it’s easy to dive right back in, chasing down its multiple endings with all your gear, skills, and levels intact.

Hope is the thing with feathers

You play as the titular Wuchang, a formidable pirate warrior who, at the start of the game, has been struck with a bout of amnesia. Unfortunately, that’s the least of her worries, as she’s also been afflicted with a disease known as the Feathering - an excruciatingly painful malady that drives people to madness, beasthood, and things even worse than that.

Wuchang is a special case, as she’s able to harness Feathering to bolster her combat prowess. In gameplay, this primarily comes in two forms - Skyborn Might and the Madness gauge. I’ve been over both in my original Wuchang: Fallen Feathers hands-on, but I’ll explain further why they’re now some of my all-time favorite soulslike mechanics.

Skyborn Might is a combat resource you can accrue in several ways, up to a maximum of five stacks. The main method of building it up is to perform a ‘shimmer,’ which is essentially a well-timed dodge that completely negates damage. The game’s five weapon types - longswords, axes, spears, one-handed swords, and dual blades - also all have their own ways of building Skyborn Might once you unlock them in the skill tree (more on that later).

Longswords, for example, grant a charge upon hitting an enemy with the second attack in the light attack combo string. One-handed swords can build it automatically over time. Spears, meanwhile, have their own resource that can be converted into multiple Skyborn Might stacks if played effectively.

So, what is Skyborn Might for? It has two main uses. Your weapon comes equipped with two skills - one signature skill unique to that weapon, and another known as a Discipline, which you can unlock on the skill tree. Discipline skills can be applied to any weapon in their respective family, and each weapon type has around three or four skills you can unlock, not dissimilar to the Nioh series’ unlockable moves.

If you’re running a magic-focused build, Skyborn Might is also used to cast spells. This is an approach that I really love. Wuchang has no separate magic bar that you need to keep on top of, a la Dark Souls 3 or Elden Ring. Instead, you’ll need to decide how to best spend your Skyborn Might charges; do you go all-in on the offensive with your weapon skills, or hang back with spells? It’s an elegant system that rewards a careful balance of offense and defense.

Going berserk

The Madness gauge, meanwhile, is decidedly more complex. Madness builds up when you die or kill humanoid enemies, and decreases when killing enemies afflicted with Feathering. There are thresholds at 50% and 90%, at which point Wuchang’s eyes glow red, and you can make use of Madness-related abilities unlocked via the skill tree. To get to these thresholds, you can also make use of certain items that boost the amount of Madness you have.

It’s a risk/reward system, though. If you reach full Madness, you’ll both deal and take more damage. And if you die while fully maddened, a dangerous demon will manifest where you last dropped your level-up currency (called Red Mercury in this game).

During my initial preview, I felt this mechanic could get frustrating and tiresome. After all, introducing another powerful enemy to an already-frustrating section is bound to go south, right? What I didn’t know back then is that the demon attacks indiscriminately, meaning it can be used to your advantage to distract or take down powerful foes.

I now think this is an ingenious inclusion; while the demon doesn’t spawn in boss fights, if you’re stuck on a particularly tough area or elite enemy, it can lend an involuntary helping hand and grant you much-needed room to breathe. Killing the demon will also reset your Madness to zero, so there’s still a choice in whether you want to engage it or not, depending on the type of play style you’re going for.

Madness initially seems like something you wouldn’t want to deal with, but when managed right, it becomes a powerful tool and a certified ace up Wuchang’s sleeve. Like many things in the game, it’s all about balance. Madness can be risky, but the power it grants Wuchang shouldn’t be ignored, especially for the game’s more challenging encounters.

Dressed for the occasion

There are plenty of ways to make Wuchang more capable throughout your playthrough, which is where the skill tree comes in. Leveling up in Wuchang: Fallen Feathers is a bit different than your average soulslike. You still get currency for leveling and buying items upon defeating enemies, but you’ll instead convert that currency into Red Mercury Essence, which are effectively skill points.

The skill tree in Wuchang is pretty sizable and divided into six main branches - one for each weapon type, and another for ancillary features like improving healing flask potency and unlocking powerful Madness-related buffs. The skill tree is still dotted with upgrades for your main stats (including health, stamina, weapon, and magic attack power), but you’ll also spend your points on new abilities, ability modifiers, and bone needle items, which can be used to temporarily add a status element to your weapon.

It seems a bit intimidating at first, but remember, you can reset skill points whenever you desire by resting at a shrine (this game’s equivalent of bonfires or sites of grace - effectively, checkpoints). Resetting is completely free, and you can choose to either refund all skill points or just a few to put somewhere else.

What this means, then, is that you are strongly encouraged to mix up your skill point distribution from time to time, and Wuchang’s level and boss design back this up. Some bosses, for example, can be made much easier by unlocking the longsword’s Deflect discipline, which can parry weapon-based attacks. Deflect is powerful, but it’s not universal, and won’t work against spells or enemies that attack with, say, their hands.

Wuchang also places great importance on status effects and being able to resist them. In most soulslikes, status effects can be a mild annoyance, but Wuchang often expects you to have an answer to them. One area, for example, is set on a chilly mountain, and Wuchang will gradually accrue Frostbite while here. To combat this and other status effects, you can ingest status-fighting items or pieces of armor made with those resistances in mind.

The game can occasionally lean into this a bit too much for my liking, though. Having two flavors of ‘poison swamp’ style areas back to back is certainly a choice. Moreover, one very annoying enemy type builds up Despair when in view, instantly killing Wuchang should it fill up. Then there’s the game’s final area, which may as well be the final boss of all poison swamps, complemented by relentlessly hostile enemies with massive pools of health.

No spoilers, of course, but this one area was a bit of a black mark on the whole experience for me, and its massive size definitely made it outstay its welcome as I found myself begging and pleading for it all to be over.

An exceptional soulslike experience

Even with that final area almost making me want to commit to the life of a hermit, it did not completely spoil what has been one of my favorite gaming experiences of the year. Wuchang: Fallen Feathers is an expertly crafted soulslike with some of the subgenre’s most impressive level design. It’s so rare for these types of games to instill the same wonder that makes FromSoftware’s output so special, but I was always so curious to see what Wuchang had in store around each and every corner.

Areas are also punctuated by some truly incredible boss fights. There’s a good variety here, too, from nimble humanoid warriors to hulking monstrosities. These encounters are where Wuchang’s phenomenal soundtrack shines, too. One boss later in the game really caught me off guard with a blistering metal track that nonetheless felt perfectly in place given the boss’s appearance and context.

If you swear by soulslikes as one of your favorite kinds of gaming experiences, then Wuchang: Fallen Feathers might just land on your personal game of the year list, because it’s certainly found a place on mine.

Should I play Wuchang: Fallen Feathers?

Play it if…

Don’t play it if…

Accessibility

Dedicated accessibility settings for audio and visuals are unfortunately minimal in Wuchang: Fallen Feathers at launch, including the lack of colorblind options. You can choose to display the game’s control scheme on-screen, and you can fully remap controls to your liking in the settings menu. But there isn’t anything noteworthy beyond that.

How I reviewed Wuchang: Fallen Feathers

I played Wuchang: Fallen Feathers from start to finish on PlayStation 5, with my first playthrough clocking in at just shy of 36 hours. That included defeating the vast majority of the game’s bosses (both mandatory and optional), thorough exploration of each area, and the completion of most side quests. I’m now well into my second playthrough on New Game Plus, which carries over your levels, skill tree progress, and equipment.

I played primarily with the DualSense Wireless Controller on an LG CX OLED TV, occasionally hooking up my RIG 900 Max HS gaming headset to experience the game’s fantastic music and ambient sound design.

First reviewed July 2025

With Elden Ring Nightreign, FromSoftware has created the definitive blueprint of how to use the parts of an existing game to craft an entirely different experience. In doing so, the developer has built a refreshingly freeing and flexible co-op experience that draws upon Elden Ring’s best bits while continuing to innovate and push FromSoftware into new territory, even if the matchmaking and co-op still feel partially stuck in the past.

FromSoftware has always reused aspects of its previous games for new IPs or titles. For example, Bloodborne and Dark Souls animations can be found in Elden Ring, and Sekiro: Shadows Die Twice bosses like the Blazing Bull were given a new paint job in Elden Ring to create the Fallingstar Beast. It’s a smart, efficient way to constantly generate new content and worlds without having to redo a bunch of work.

But here, the studio goes one step further and uses Elden Ring’s bones to craft a game in an entirely new genre, resulting in a clever roguelike with a lot more going on than first meets the eye. On top of that, unsurprisingly, Elden Ring Nightreign is an incredibly fun and addictive combat experience on par with FromSoftware’s other work.

A convergence of worlds

Set in an alternate timeline from the main lore of Elden Ring, in Nightreign, you play as one of eight Nightfarers. These are mysterious characters with their own combat specialisms that act as classes. They have been summoned to the land of Limveld and the Roundtable Hold. Upon meeting a mysterious hooded maiden, you are urged to survive three days in Limveld and defeat the Nightlord who appears on the third day. Fail and you begin your journey in Limveld again from the beginning of your first day.

During each day, you will drop into a random spot in Limveld and explore the map, gearing up as a ring of rain called The Night’s Tide closes in on you from all directions. Upon exploring during a 45-minute run, you will come across an assortment of castles, outposts, camps, and landmarks from Elden Ring that are filled with randomized enemies, loot, items, consumables, and, most importantly, bosses from the base game and even some of the older Dark Souls titles.

You can also find nods to other FromSoftware games, whether it be a character’s ability that resembles a Bloodborne weapon or reference to a beloved Souls NPC.

Despite seeing bosses and references from old games pop up, they never felt like eye-rolling fan-service moments. It was actually fascinating to see how these challenges from older games have been updated to keep up with Elden Ring’s combat, and there are compelling lore tidbits hidden away in the game that hint at what has caused these many worlds to collide and why these Nightfarers have been brought together.

Learning the lay of the land

While it takes a few runs through Limveld to attune to the game’s faster pace and freeform structure, by the time I tackled my first Nightlord, I was already addicted to the captivating concoction FromSoftware had cooked up.

Instead of a guiding path pulling you and your friends from location to location, Nightreign is all about learning how to make the most of each day in Limveld. Whether that is running from boss to boss at each landmark to stock up on Runes and upgrades to obtain new weapons or level up, exploring caves to find smithing stones to enhance your armaments, or traversing the map to find extra healing flasks to improve your survivability.

It is very easy to think Nightreign is a brainless boss rush, combat sandbox at first glance, but it is actually a considered roguelite that focuses on map knowledge, where to find the best loot, and when it is best to adjust strategies in a similar way to a battle royale or extraction game. The satisfaction of doing this also reminds me a lot of the best puzzle games like Return of the Obra Dinn or Blue Prince, where you finally decipher how a mechanic works or uncover a clue.

Learning the map and how to optimize my runs through Limveld was one of the most satisfying parts of Nightreign. It is not something I expected to be as vital as it is, but through talking with others in voice chat, sharing findings from our own individual runs, and combining ideas, we eventually found buried strategies.

Examples include figuring out how to max out our level or discovering how to obtain the most legendary weapons in a run to increase our chances of defeating the Nightlords. This sense of player discovery and word-of-mouth knowledge that was rife throughout Elden Ring’s launch is just as potent here in Nightreign, and it’s part of the magic that makes it work, especially if you are able to play with a large group of friends or Discord server.

The same goes for the game’s overarching progression, which revolves around randomized relics you unlock at the end of runs through Limveld. Three of these can be equipped before each run on each character in the Roundtable Hold and unlock small buffs like extra elemental damage, or bigger Nightfarer bonuses like enhancing Nightfarer abilities or allowing you to share the healing from your healing flasks with your co-op partners - giving you triple the healing if standing near each other.

I heard about abilities on these that I never saw from other people while playing during the review period, and the flexibility of Elden Ring’s many levelling systems, elemental damage types, weapons, and the Nightfarers themselves open up the possibility for hundreds, if not thousands, of build combinations and optimizations.

Play your way

Nightreign is about doing as much as you can with the little time you have, rewarding players who stick together and melt bosses in seconds. It encourages teams to combine abilities and attacks to stun foes quickly, while communicating to ensure they are all on the same page.

This makes it an incredibly hard game to play alone (which is an option that is available). While it can be done, the game’s enemy scaling and progression rewards teams that can complete as many objectives as possible, which just isn’t easy to do on your own.

I could spend ages talking at length about the Nightlords themselves, but in reality, fans already know what to expect, and the actual structure and systems in Nightreign are far more innovative. Even still, these Nightfarer fights are incredible spectacles, and some of the best FromSoftware has made. They are brimming with difficult moves to master and a combination of abilities and forms to learn, all set against an impressive, bombastic orchestral soundtrack for each one. FromSoftware simply doesn’t miss when it comes to combat and enemy design, and Nightreign is no different.

One area FromSoftware could have fumbled is the Nightfarers. While they could have felt like cheap forced classes, they are actually really flexible and well-rounded archetypes, with abilities that have a variety of uses. For starters, every Nightfarer can use any weapon or item. If you want to play the katana-wielding, parry-centric Executor with a dagger, you can, even though you won’t be as effective as you would be with a katana.

This means you can craft your build on the fly and you never feel locked into a certain playstyle, allowing you to adapt during your run through Limveld. Bows don’t have ammo, and weight isn’t factored in either, which gives the game’s combat a brisk speed and pace that isn’t found in Elden Ring. It also removes a lot of the barriers to enjoying the game’s wide variety of weapon types, as you can basically pick up anything and begin using it right away. Yes, they actually made ranged combat and magic fun here.

On top of that, the ability kits for each Nightfarer are multi-faceted with several uses that aren’t immediately obvious. For example, Ironeye, the archer, can use his Single Shot ultimate ability to fire a huge supersonic arrow. That arrow can be used to stun larger bosses, wipe out hordes of mobs, and also revive teammates instantly if they are downed. Not only can it do those things individually, but you can also do all three at once with a well-placed shot, and it has saved my team’s run many times.

Each character and their abilities can be used in many ways to deal damage and also support your party and discovering how to utilise them in new ways is just as satisfying as discovering Limveld itself. You can also easily use three of one Nightfarer or any combination and succeed, removing even more barriers, as you don’t need any particular Nightfarer to come out victorious (even if some of them have stronger abilities than others).

Some major barriers to Nightreign, however, do emerge after a few hours. Because so much of Nightreign comes from Elden Ring, it is imperative that you have that existing knowledge to enjoy what Nightreign is offering. You can’t sit and try to fight the Golden Hippopotamus again and again to learn its attacks, because the next time you run through Limveld, it could be in a different location or not spawn at all.

The same goes for the Nightlords. You can’t just skip to the third day and practice them over and over, you need to complete a full 45-minute run through Limveld to reach them again, which is taxing. So, you need to be familiar with Elden Ring’s combat and have completed both the base game and the Shadow of the Erdtree expansion because of the difficulty of some of those Nightlords.

While returning players will be able to pick things up after a few runs, it feels like Nightreign is built for the hardcore Soulslike players and addicts who have memorised every attack pattern in Elden Ring and across FromSoftware’s pantheon of titles.

Another key issue at the time of this review is the matchmaking and lack of crossplay. During the pre-release period, we had issues creating lobbies using passwords where matchmaking would fail or simply not put players together when we all tried to matchmake with the same password set. Nightreign definitely retains some of the dated multiplayer quirks of FromSoftware’s other games.

It is also unforgivable in my eye that in the year 2025 Nightreign doesn’t have crossplay, and because of the demanding nature of the game and the reliance on communication, I simply do not see how you can complete any of the Nightlord bosses reliably, especially the tougher ones, without friends whom you know and people you can talk to. I don’t necessarily think this is a straight-up weakness of the game, but it's a huge condition attached to the game that will prevent a lot of people from seeing everything it has to offer.

Should I play Elden Ring Nightreign?

Play it if...

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Accessibility

Elden Ring Nightreign offers limited accessibility options. There are basic speed adjustments for the camera and aiming with ranged weapons. There are no difficulty settings, and the game is best played in a co-op party of three, where you can communicate, which may not be possible for everyone.

There is also no subtitle customization or HUD alteration options, and there are no specialist options for those with eyesight or hearing issues. While you can rebind some controls on console, you cannot rebind every button, potentially preventing some people from playing on custom controllers.

How I reviewed Elden Ring Nightreign

I played Elden Ring Nightreign for 30 hours, completing all of the game’s Nightlord bosses and experiencing most of the world and map events available. I played the game entirely in performance mode on PS5 with a DualSense Edge controller on a Gigabyte M28U gaming monitor and using SteelSeries Arena 3 computer speakers.

This review was conducted in an environment where I was able to team up with other creators and journalists reviewing the game to play with them and complete the game’s various challenges.

First reviewed May 2025

Having toiled away on critically-acclaimed titles in the Metroid series and reviving Konami’s Castlevania series, developer MercurySteam has taken the risk of co-financing their latest project. Blades of Fire is its chance to prove their development skills at crafting their own original idea, and there’s a lot to love about this game’s blend of dark fantasy and mythology.

That being said, it’s hard not to feel the weight of legacy and industry trends, rather than instilling this world with bold new ideas, holding this game back from greatness.

Rather than focusing on the negatives, there’s much to appreciate in this new game, particularly the father-son-esque bond at the heart of this story. While the game builds up a story about an ancient race of giants known as Forgers, instilling the knowledge to craft weapons from steel into humanity, with this power being seized by the anointed Queen Nerea to curse those who oppose her and turn steel to stone, the plot is simple. Aran de Lira possesses one of the ancient hammers necessary to forge his own steel, and alongside Asdo, the son of his deceased friend, embarks on a quest to kill the queen.

Classic is queen

There’s an almost-quaint retro simplicity to which the world of Blades of Fire is introduced: Aran is a lonely figure with an unspoken past that fuels his desire for a solitary existence, yet he’s more than willing to go and save an old friend he hears in danger nearby. The child desires revenge for his father’s death and, thanks to his knowledge of the Forgers, goes on this adventure with Aran to take down the queen.

The contrast of scholarly child and mysterious scarred older man soon warms to you, and not solely due to the similarities between their bond and that of Kratos and Atreus in the recent God of War titles. Asdo is far from an annoying sidekick, balancing wisdom with genuinely funny quips that are enough to make you laugh without grating (and you can always send him away, if you do wish for him to be quiet). I felt a warmth for Aran and a desire to learn more of his past, especially the guarded secrets of his past relationship to the Queen before her descent to despotic control.

Having first expected a practical but minimal story, I was surprised to find myself attached and with a desire to learn more of the rich lore the devs instilled into this world.

This is balanced with an engaging combat system that, though its quirks and intricacies will take time to learn, thanks to an at-first clunky and uncomfortable control scheme, you soon come to appreciate. Victory requires players to learn enemy attack patterns and the best weapons to counter each of them.

All four face buttons are each mapped to their direction of attack: on a PlayStation controller, this means Triangle will strike from above, X from below, and Square and Circle from each side. Depending on an opponent’s armor, it’s required to consider where you strike in order to deal maximum damage, or at times, inflict any damage at all.

The need to be aware of not just when but where you strike is most important in boss fights. One early sub-boss, a troll, requires you to whittle down its health, then slice off a part of the enemy’s body in order to drain it further before it can regenerate. Whether fighting big bosses - one boss at the end of the Crimson Fort is particularly interesting in how it forces you to learn both attack patterns and strike direction to defeat it most effectively - or small-fry enemies, it rarely tires even after dozens of hours have passed.

It may take time to get used to the stamina system that is required to inflict stronger, quicker attacks, and your hands will strain getting used to the unusual grip of having both block and dodging mapped to the left bumper and trigger, but you soon adjust to the fascinating tension it instils to high-stakes conflict.

Nerves of steel

Embodying the blacksmith skills key to the game’s identity, you must collect materials around the world to forge new weapons. You have complete control over the type of steel you use, which determines weight, speed, strength, blocking, and more, and once you’ve refined this selection, you must then physically hammer the weapon into shape. The closer to the real shape, the more refined the weapon, and therefore the more you can repair it before it’s unusable.

It’s fun, at first. After a while, it becomes repetitive and time-consuming. If you craft a good enough weapon, you can automatically recraft it to this level without replaying the minigame, but if you wish to improve this stat or build a new weapon, you must spend upwards of five minutes forging, grinding the momentum to a shuddering halt.

It’s one of a few issues holding the game back, many tied to the long legacy leading into this game’s development and the weight of adjusting the game’s design to chase industry trends. Many senior developers on Blades of Fire worked on the mostly forgotten 2001 action title named Severance: Blade of Darkness, which, beyond visual similarities, is often regarded as a precursor to the Dark Souls genre in its careful use of stamina and deliberate action.

While this makes it perhaps unfair to compare a game refining these 2001 ideas to Dark Souls, it’s hard not to see their implementation, and many other mechanics not found in Severance but introduced to this game are clearly inspired by the industry’s wholesale embrace of the beloved FromSoftware title. Players have limited flasks of health potions that can only be restored by resting at anvils, this game’s thematically fitting equivalent to bonfires, and upon death, players must return to the location they were felled in order to rescue their weapon.

Even if we were to credit these ideas to Severance and not an attempt to create a Soulslike adventure, Blades of Fire’s level design and enemies feel best suited to a style of action opposite to the plodding action and unstoppable attack animations of both titles. In battles against undead hordes, you can at times be facing close to a dozen enemies at once, and even your fastest weapons are useless with the rate at which your attacks are interrupted.

As this game lacks the punishment of lost resources or the risk of losing your weapon forever if you die before reclaiming it, recovering your weapon feels more like a chore and an obligatory feature to adhere to the formula than a design suited to the pace of this adventure.

A search for souls

It contributed to an overwhelming feeling that the embrace of so many Souls-isms only served to hinder the natural flow of the game, rather than enhance it.

This is before we discuss the game’s cumbersome map, which, through its lack of dimension, can become nearly useless when navigating more complex, multi-level terrain for the next objective.

This is only compounded by the fact that there’s no clear indication in the environment on where to go next, and even the optional objective markers activated by navigating menus and automatically disabled upon clearing that specific objective, unless reactivated, are often useless in more complex multi-level areas. If you’re navigating a multi-floor fortress and miss an inconspicuous door you must unlock with a newly-obtained key, even a marker won’t stop you wandering in circles for 20 minutes or longer, lost and frustrated.

Yet despite my complaints, I felt just enough charm to find myself soldiering forward. There’s an unabashed gamey nature to this world and cast, imbued with a quirkiness reminiscent of mid-budget adventure games abundant in the Xbox 360 and PS3 era, like Enslaved: Odyssey to the West, but non-existent in this modern era of spiraling budgets.

For all I can complain about Soulslike inspirations that these days induce more groans than excitement, there’s a simplicity to this quest to go and kill the queen while offering just enough mechanical depth without bogging you down in an overwhelming number of unnecessary systems.

You craft weapons, you fight enemies, you move forward. Simple, but the sense of a human hand touching every asset rather than some overcautious executive or an overzealous focus group drew me even to its flaws.

Blades of Fire is charming, even if its soulslike eccentricities were more of a hindrance to the characters and adventure housed within. This blend of retro simplicity and modern flair won’t be the best game you play in 2025, but it’s likely going to be one of the more charming (and as such memorable), and isn’t that just as good?

Should you play Blades of Fire?

Play it if...

Don't play it if...

Accessibility features

Accessibility features in Blades of Fire are limited. Camera shake and motion blur can be adjusted, alongside the size and color of subtitles but otherwise, the default text is small, and it lacks many commonplace accessibility features such as colorblind modes.

How I reviewed Blades of Fire

I played just over 30 hours of the game on a base PS5 model using a standard DualSense controller on standard difficulty, getting all the way through the game to the latter stages of the main story.

I utilized an ASUS VG27AQL1A gaming monitor, while for audio, a mix of Denon speakers and a wireless audio adapter, and AirPods Max were used.

First reviewed May 2025

Billed as a ‘hardcore action RPG’ (role-playing game), The First Berserker: Khazan from developer Neople lives up to its description by offering a back-breaking, taxing, and demanding soulslike game that doesn’t ever let up, for better and for worse.

With some impressive combat and progression tweaks to the genre’s formula mixed in, it also has some solid ideas of its own. Dozens of hours of content, optional side missions, and secrets to find are backed up by some excellent voice work - even if the narrative doesn’t quite match the performance quality.

However, for long-running Soulslike fans, The First Berserker: Khazan’s combat feels on par with Lies of P’s quality. We are now at a point in the genre where developers are able to make combat that is on par with FromSoftware’s work on the iconic Dark Souls series, Bloodborne, and Elden Ring, et al. What is even more impressive is that this is Neople’s first soulslike - and you can’t tell at all.

A familiar formula

The setup of The First Berserker: Khazan is a familiar one for the genre. General Khazan wakes up after narrowly escaping death upon being branded a traitor and mercilessly tortured. Frail and weak, he stumbles upon an entity known as the Blade Phantom), providing him with grand, otherworldly powers, and allowing him to get back to his full strength.

On that journey, he will regain powers and abilities allowing him to use one of three weapon types while meeting a cast of characters that join him in a hub called The Crevice. They can upgrade his gear, improve his stats, and offer equipment to purchase, from weapons to armor pieces and your usual batch of consumables you can find in a soulslike game.

Khazan then journeys from level to level to seek revenge and become The First Berserker. While the game is set within the Dungeon & Fighter (DNF) universe, I have no experience with the other projects in it, but I found the story to be initially intriguing, offering impressive world design and great visuals and environments that grabbed me from the get-go.

It also helps that the voice performances from Ben Starr as Khazan and Anthony Hell as the Blade Phantom, the two main characters you are with for most of the game, are fantastic. The rest of the supporting cast, bosses, and human characters you fight are also just as good. Everyone here does the best they can with the writing which often underdelivers.

As the story goes on, the game piles on lore and terminology that makes it a bit hard to follow for newcomers. The world you are exploring and the rules of it just sort of become an amorphous blob of stuff interjected between each level and boss fight. I’m sure it's really cool for fans of the DNF universe to see their world brought to life in a way it never has been before, but The First Berserker: Khazan doesn’t do a great job of keeping new players invested in it past the first few hours.

A brutal battering

While I wasn’t thrilled by the story, the combat in The First Berserker: Khazan is just exquisite. No soulslike has challenged me this consistently since I got into the genre with Bloodborne. There are so many adjectives I could use to describe the combat’s difficulty but it is simply one of the hardest soulslikes I have ever played. However, I loved every second of getting slaughtered.

The First Berserker: Khazan is heavily reliant on blocking, parrying, and dodging at the right times to avoid attacks, with even one hit doing significant damage. Precise dodge timing is required and parry windows are even shorter. Missing these will also lower your stamina with each block as you take damage, leaving you vulnerable and unable to move for a few seconds as your stamina fully recovers. It is grueling and there aren’t ways to get around these requirements either, unless you opt for the easier difficulty mode which lessens the effects of a lot of these punishing mechanics. You can’t simply out-level a boss or area.

The game also doesn’t opt for the build flexibility and customization that many soulslikes do these days, instead letting you develop and deepen combat with the three main weapon types (dual blades, greatsword, and spear) as you play. As you kill enemies and bosses, you earn skill points that unlock abilities that you can activate that vary up a weapon's moveset, as well as other moves and passive bonuses that are imbued into the weapon once activated.

I opted for a Greatsword in my playthrough and that allowed me to unlock abilities such as Breakthrough which let me charge into an enemy push them back away from a group and then slam down. Other abilities like Inner Fury summoned an explosion underneath where I was standing, dealing area of effect damage to everyone around me acting as a stun, building up an enemy’s stun meter to land a Brutal Attack while they were immobilized. It also helped with crowd control.

Within the skill tree, there are also additional combat moves that you can seamlessly slot in between attacks, such as being able to use a charged heavy attack with some added reach after performing the first hit in a light combo or being able to guard as you charge your heavy attack. There is even a ranged Spear attack that you can use.

This is the first time I can remember a skill tree and traditional combat abilities working this well in soulslike and I loved the fluid, dynamic nature of fighting in The First Berserker: Khazan as I unlocked more skills with a weapon. There’s an exceptional flow I got into as i combined attacks and seamlessly interweaved moves that became addicting. It’s all supported by excellent sound design and music, with the clink of a parry and the swoosh of a perfect dodge being especially satisfying.

Of course, combat is nothing in a soulslike without enemies, and The First Berserker: Khazan has a wealth of them. Skeletons, humans, demons, dragons, and more litter the game’s 16 levels and many bonus missions. They all have a great, varied selection of attacks and I never had issues with struggling to understand which moves were being telegraphed. The only downside is there are a few too many brown and grey villages and areas where you fight these enemies, that lack the flair seen early on and towards the end of the game.

Bosses, however, are exceptional and always a spectacle. The way their attacks and the visual effects combine together to create grand, herculean challenges is an aspect of the game that never gets old. Each one also challenged me in entirely different ways, requiring different approaches almost every time and forcing me to adapt to new combat styles.

Endure and try to survive

However, the sheer amount of attacks to learn, the parry timing, and the damage these bosses do, combined with the demanding combat is a lot to endure. I spent several hours on every single boss, sometimes spending more than five hours trying to finish them off. For example, Aratra, a giant spider has a number of stabs and swipes it can perform with its legs, a few jumping grab attacks, as well as a charge that requires you to block half-a-dozen successive hits. It also can inflict poison with its attacks, forcing you to manage a poison meter at the same time.

Another boss Rangkus, offers a unique blend of both ranged crossbow atatcks and melee attacks, forcing you to adjust to his constantly shifting moveset that switches between the two styles. You not only have to block, parry, dodge, and close the gap on him, but you also need to manage your position in the arena to stay close to him, preventing him from doing his more punishing area of effect attacksor charged crossbow shots that are almost impossible to dodge.

The First Berserker: Khazan has some of the hardest bosses I’ve ever experienced in the genre because they all ask so much of the player. While it felt like being in the trenches in the moment, the exhilarating jubilation I felt after beating each one is a feeling I haven’t felt in the genre in a very long time. Combat is really quite exceptional and to have something of this quality come from a studio’s first soulslike game is impressive.

Ideas of its own

While The First Berserker: Khazan definitely borrows a lot from the games that came before it, there are a few interesting twists to the formula, most of which work. For example, you can actually provide larger damage and stamina recovery boosts to Khazan beyond the traditional five stat upgrades you get from the currency enemies drop. By finding Vengeance Points, you can boost these stats universally across the game’s levels which encourages you to explore thoroughly as there is a meaningful reward for doing so.

You can also perform similar upgrades by using items gained from the red enemy summons or spirits to boost your own summon, enhancing their damage and strength during boss fights, giving you a reason to actually fight them and invest in your summon if you want. Although the AI isn’t that great on your summon, they can be used as a punching bag for a boss to let you land some free hits.

There are also a lot of fun twists and optional bonus missions, such as fighting a boss again in a new form or exploring an area from a main level in a new way. There are also a few collectibles to find in these and the main missions that can provide a variety of extra bonuses, armor pieces, or gear. I really enjoyed doing these and chasing these items. Being encouraged to explore in this way for tangible rewards made the linear-level design more intriguing as I scoured every crevice for secrets.

The one area that the game offers a twist on the soulslike formula here - that doesn’t really work - is the amount of gear (weapon and armor) customisation options. You can craft gear, upgrade gear, rework attributes and stat bonuses on gear and entire gear sets, sell that gear for money and buy other gear, and even dismantle gear.

It’s a lot of ways to use your unwanted items, but I never felt the need to engage with any of them meaningfully. I was still just using everything I obtained while exploring and making use of gear sets and the bonuses granted by them. I never felt a need to actually think about crafting a gear set or dismantling gear to save up for a specific item from the blacksmith. It largely just feels tacked on because I got so much gear as I was playing.

Should you play The First Beserker: Khazan?

Play it if...

Don't play it if...

Accessibility features

The First Berserker: Khazan includes aim assist for ranged weapons and an easy difficulty for those who are finding the combat too challenging. However, once you choose easy difficulty, you can’t change the difficulty back to normal, and the game doesn’t have any fine-tuning options for combat such as adjusting the parry window. The combat also doesn’t have much wiggle room to make things easier with upgrades and you can’t customize button mappings outside of the two default templates.

There are also no options for people who are colorblind, visually impaired, deaf, or have motor and reaction time problems besides some very minor adjustments such as hold to sprint, turning screen shake off, and basic subtitle options.

How I reviewed The First Berserker: Khazan

I played The First Berserker: Khazan for 30 hours completing the majority of the game’s main missions and finishing most of the side content. I played the game mostly in performance mode on PS5 with a DualSense Edge PS5 controller on a Gigabyte M28U gaming monitor and using SteelSeries Arena 3 computer speakers.

The First Berserker: Khazan tested me in much the same way Bloodborne did when I tried the genre in 2015. Since that year I have played almost every game in the genre including Sekiro: Shadows Die Twice, Elden Ring, Demon’s Souls, Lies of P, The Surge, Lords of the Fallen, Ashen, Darksiders 3, and more.

First reviewed March 2025.

If I had a nickel for every time a soulslike was inspired by Italian source material, I’d have two nickels. Which isn’t a lot, but it’s weird that it’s happened twice. This second time around it’s Enotria: The Last Song, following on from 2023’s excellent Lies of P.

Enotria is more inspired by Italian folklore rather than a single piece of media, however, and it forms the backdrop of a visually striking world with loads to love about its setting and worldbuilding. To many, this alone is worth playing Enotria for - just to see how gorgeous and creative its environments get.

It’s a game that’s otherwise sadly let down by a convoluted mess of gameplay systems - from swathes of equipment and ability categories to the use of Italian nomenclature for items and status effects. It can be quite to wrap your head around, and that’s before getting to some rather weightless-feeling combat and lackluster boss encounters. However, I still think Enotria is worth a playthrough for its stunning environmental design and occasionally clever level layouts. 

Life of the party

In a world inhabited by puppet-like humanoids, you are the Maskless One, a being that can assume various forms (and thus playstyles) by wearing a variety of masks you find throughout the game. Said masks change the Maskless One’s appearance and provide unique bonuses. One mask, for example, might boost heavy attack damage, while another can increase the number of replenishable healing items you can carry.

Masks form the base of your loadouts, of which you can set up to three. Within a single loadout, you can equip up to two weapons, four active skills (known here as ‘Lines’), six passive abilities which can be unlocked via a skill tree, a parry stone that grants unique effects upon successfully guarding, as well as an ‘Aspect’ which can boost or take away from the game’s five governing stats.

It’s all rather a lot to take on board, and Enotria doesn’t do a particularly good job of explaining it all - even in its early tutorial segments. As a result, you can spend a lot of time wondering just how each individual piece of your loadout will actually benefit you. This is exacerbated by the game’s tricky terminology. 

Elemental damage effects, item names, and even the speed at which a weapon is swung are all written in Italian. I can’t complain about this too much, as it fits with the game’s overall setting and themes, but it does have an impact on readability. By the end of the game, I still had to glance at tutorial notes to remember what effects like ‘Fatuo’ or ‘Gratia’ did to enemies. Maybe I should’ve just booted up Duolingo...

Thankfully, the four main status effects - Dizzy, Wicked, Radiant, and Sick - are easier to understand. But beyond that, they’re much different and more interesting than your usual poisons, paralysis, and so on, in that they all carry a beneficial effect in addition to a negative one.

Dizzy, for example, reduces your overall defense, but also buffs your damage and stamina regeneration rate. Radiant is super cool, causing you to regain health points (HP), but being attacked will trigger an explosion that will deal massive damage to you. I absolutely love this and shows that Enotria does think outside the box in many of its gameplay aspects; I just wish it was all explained a little better in-game. 

All the world's a stage

One thing that doesn’t need explaining is Enotria’s stunning world design. Its sun-drenched environments pop with vivid color, something I’m really not used to seeing in the best soulslike games which are usually suitably dour in tone. Definitely play Enotria on an HDR-capable display if you can; the game is certainly suited for it.

I was also really impressed with Enotria’s level design overall. While not quite reaching FromSoftware levels of intricate, Enotria presents plenty of winding streets, alleyways, nooks, and crannies that encourage the player to go off and explore, all while keeping the critical path easy to follow. It strikes a great balance between linearity and optional exploration.

The game does sadly fall quite short in the combat department. While serviceable for a soulslike, weapon strikes often feel lacking in impact, leading the whole affair to feel fairly listless. It’s not awful by any means, but not as engaging as some of its contemporaries including Lies of P and of course Elden Ring. 

The game is also fairly easy overall; upgrade materials are plentiful, as is experience (EXP) needed to level up. In fact, I’d hit level 60 just a handful of hours into my first playthrough. It’s a relatively short game, too, especially for a soulslike. You can handily clear the game within 20 hours, which enables Enotria to execute very good pacing, and the game does not outstay its welcome.

Sadly, boss fights are also quite a let down with many encounters following the Dark Souls 2 formula of ‘big dude in armor’. There are some standouts with really striking designs - like Zanni The First Mask with his twisted, monstrous form - but even they fall short in the difficulty department. Going up against a towering major boss, only to clear it in less than a couple of minutes on my first attempt was a common occurrence, which certainly felt anticlimactic. 

Accessibility

There aren’t a ton of accessibility options in Enotria: The Last Song. However, what’s here is welcome. There are colorblind modes for deuteranopia, tritanopia, and protanopia and you can even adjust their strength on a scale of zero to 10. There is also subtitle support for 13 languages (as well as an Italian dub for voiced audio, which is a nice touch).

Should I play Enotria: The Last Song

Play it if...

Don't play it if...

How I reviewed Enotria: The Last Song

My playthrough of Enotria: The Last Song lasted about 14 hours and I experienced most of the game’s boss fights and locations with plenty of exploration and item hunting mixed in. I also endeavored to try out a bunch of different loadouts via the Mask system.

I played Enotria on PS5 with a DualSense Edge controller on an LG CX OLED TV, almost exclusively in its 60fps performance mode which I found to hold up extremely well with little if any frame drops at all. The 30fps graphics mode is similarly stable and provides an impressive bump in detail, though I found the game to be more enjoyable and fluid at the higher framerate option.

First reviewed October 2024.

Chinese games are increasingly making a name for themselves on a global scale, although their impact beyond domestic borders has been mostly limited to the free-to-play scene through titles heavily influenced by Japanese anime. This is in part reflective of tastes within the Chinese market generally, a sector dominated by PC, mobile and free-to-play gaming, although as a result of this divergence in tastes it has made it difficult for titles beyond those like Hoyoverse’s Genshin Impact to resonate internationally. Could Black Myth: Wukong change all that?

It’s difficult to say. While the game has certainly captured imaginations pre-release for its richly-detailed worlds inspired by historical China and Journey to the West, even as it has dealt with controversy over its sexist and misogynistic remarks against female players, from a gameplay perspective the final experience is one that feels lacking in numerous key areas. While it certainly looks capable of standing toe-to-toe with the biggest Western AAA titles of the moment, actually sitting down with the game is a different story.

Although no means without merit, this is a game that is screaming for more polish and refinement in its moment-to-moment gameplay. Instead of feeling truly immersed in this journey through classical China, every strength the game had is compounded and diluted by a plethora of other issues that accumulated in a frustrating case of form over function.

Mythol-ouch-ical

Playing as the Destined One, you face various Yaoguai that roam this mythical world, exploring everywhere from barren desert-like landscapes to towering mountains and dense forests as you face and harness the powers of Chinese mythological beings and enact revenge. The journey of the novel which inspired it has been adapted cross-culturally and across every medium for centuries, so it should come as no surprise that the tale of revenge and into new worlds feels right at home in a game. It’s perfect subject matter for adaptation, although in this case its adaptation is surprisingly lacking in story and character.

Narrative is certainly not the focus here. Mythological beings both friend or foe rarely feature for more than a single-scene cameo, and without deep prior knowledge of Chinese myth, the fact each is meticulously recreated from Chinese legend means little. The game barely builds these beings to feel as omnipotent or powerful as they really are; a surprising choice when emphasizing their status would certainly have elevated the stakes of some battles. Journey to the West tales are dominated by the joys of the characters accompanying Son Wukong, and with creatures of myth barely more than an obstacle for a single boss fight before being forgotten and without a companion by your side, this is stripped for something solitary and unfortunately cold. 

Worse, this lack of character and lack of true introduction to any mythological being we fight robs the game of drive or a clear end goal, and it often feels aimless as you wander through environments unsure what the point is of continuing on our path. It feels unbalanced, an issue which permeates much of the game far beyond its lacking story.

Although often described as a soulslike adventure, this is much more of a typical action adventure in the realm of titles like Bayonetta in terms of action (albeit with a staff as your solitary weapon of choice). A few familiar mechanics pioneered by Dark Souls have clearly influenced and been integrated into the title: your flask in this instance is a gourd you consume in the heat of battle to restore your health. 

Still, this is otherwise a traditional action title, fast-paced and combo-driven without the deliberately-laborious nature of uninterrupted animations that allows for more reaction-based action and freedom. A well-timed dodge and a good counter means more, but learning a boss’ strategy is similarly key to victory - button mashing won’t be enough.

Yet it is possible to have too much of a good thing, and the impact of overcoming a boss fight is lost when your game is little more than a 30-40 hour boss gauntlet. For all the world is visually impressive at a glance, it soon becomes clear that much of its beauty is mere set dressing, as we continue through a railroaded corridor with little room for deviation from the path for much of our adventure. In the moments where players could diverge from the path, it felt almost discouraged due to the game’s baffling lack of a map, often leaving me lost on where to go next or fighting waves of enemies thinking I found the answer, only to reach a dead end.

Then again, even if we did have a map, it would simply emphasize how little time we have to adore the stunning scenery. It’s only by getting lost that there’s time to appreciate these environments, as you otherwise spend little more than a minute or two walking through a few brief corridors before being thrust into yet-another battle arena for a mini-boss or major opponent. Boss fights are an overabundance to the point of robbing us of exploration and puzzles, with many chapters hitting double-figures and throwing them at you in such frequency they merge into an amorphous blob where few are memorable by the time the credits roll.

Boss Myth: Wukong

The bosses that do stick out in my memory unfortunately do so for the wrong reasons. A lack of polish in some fights leaves them feeling unfair, especially when it comes to the game’s numerous optional side-bosses. In the Black Bear Guai fight I felt I finally turned a corner in my struggles to overcome this boss as I understood his pattern of abilities. As he jumped in the air, I moved out of the way of his momentum, sure I would dodge, only for him to contort his momentum to my new location in a way that would seem impossible considering his movement and trajectory.

In a fight against the electrical Tiger Vanguard I would find it difficult to dodge his attacks without reaching higher ground on rocks placed inside the arena. Yet it would also be possible for him to destroy these platforms and leave no solace from his attacks, often causing my inevitable demise in a manner that felt undeserved.

In cases where these boss fights don’t feel unpolished, they simply lacked an excitement or edge to make them feel anything more than average. It’s an unfortunate summary for much of the game. There’s little here that will offend, and indeed it's easy to find joy in aspects of Black Myth: Wukong’s world, visuals and combo-driven action. One of the major factors that got me through the game to its end was how refreshing it felt to see this Chinese setting come to life, bringing to life a world and mythology so rarely portrayed and explored in the medium despite the rich tapestry any game in this setting can explore. At times the way this culture is brought to life left me slack-jawed in awe.

At others I’m merely left frustrated. It’s a lack of polish and time that makes this a game difficult to recommend without numerous caveats. The groundwork for greatness is here. With fewer, more refined boss fights, more expansive environments accompanied by a map to help players when they’re lost, and a bit more story to give the whole adventure direction and purpose, I truly believe there is potential for something special in Game Science’s next project provided the lessons from this experience are internalized.

As things stand, I’m reminded of a nostalgic era of PS2 AA action titles with exceptionally high levels of polish and that’s no bad thing! These were not always the most refined games in the world, often lacking a spark to elevate them into the realm of greatness, but there was always fun to be had in such experiences. I expected more, and don’t think I’m alone in this. 

Accessibility

The game is mostly lacking in accessibility settings, with controls unable to be customized except when using keyboard and mouse, though it does offer a colorblind mode. Subtitles are available for dialogue, but text is small, difficult to read in many circumstances, and can’t be altered. 

Should I play Black Myth: Wukong?

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How we reviewed Black Myth: Wukong

I completed the game in just over thirty hours using an Asus ROG Ally on its 30W Turbo setting at Medium-Low graphics. The game was able to run at 60fps with only occasional drops in this configuration. This setup also allowed for the game to be played both on a large monitor and on the handheld device itself. 

I realized something while playing through Elden Ring: Shadow of the Erdtree; it’s been a proper long while since we’ve had an honest-to-goodness FromSoftware soulsborne expansion or installment of downloadable content (DLC). Seven whole years, to be exact, since Dark Souls 3’s The Ringed City expansion, and while that’s certainly a fondly remembered content pack, it pales in comparison to the overwhelming scope and ambition present in Shadow of the Erdtree.

Simply put, Shadow of the Erdtree is massive. Game director Hidetaka Miyazaki has compared the size of the DLC’s map to that of the base game’s Limgrave area. This isn’t inaccurate (so long as you’re also factoring in the Weeping Peninsula and maybe even a bit of Caelid), but the sheer variety of biome design and a smattering of huge legacy dungeons make Shadow of the Erdtree feel so much larger than that aforementioned size comparison.

With that in mind, it’s also accurate to say that Shadow of the Erdtree is absolutely just ‘more Elden Ring,’ and that includes both the good and the bad. Compelling new weapon types and phenomenal level and boss design are occasionally marred by performance issues and the odd 10-string-hitting standard enemy that made me want to yeet my controller into the abyss.

Still, such issues aren’t nearly enough to muddy the experience I had with Elden Ring’s DLC. Most DLC packs, at best, typically offer a handful of extra levels or bits of gear to unlock. But Shadow of the Erdtree isn’t ‘most DLC packs.’ There’s enough content here to practically be considered a game in its own right; now I just wish there was a standalone version available. 

Between the Lands Between

The narrative of Shadow of the Erdtree takes place a good ways into the base game; you’ll need to have beaten Starscourge Radahn and Mohg, Lord of Blood before access to the DLC area opens up in the latter’s arena. There, you’re greeted by a new non-player character (NPC) by the name of Needle Knight Leda, who invites you to the Shadow Realm in an ongoing search for Miquella the Kind. If you’re even remotely brushed up on Elden Ring’s lore, you’ll know that Miquella is one of the game’s most impactful characters despite never once making an in-game appearance… that we know of, at least.

The search for Miquella will take you all across the Shadow Realm, which feels like a compact, dark reflection of The Lands Between. In place of the Erdtree, the colossal Scadutree looms in the far distance, appearing far more broken and warped when compared to the shining radiance of the former. 

Similarly, areas in the Shadow Realm are typically analogous to Lands Between counterparts, but they always feel a little off. Deliberately so. The Gravesite Plains, for example, appear to be a more run-down and wartorn variant of Limgrave, while the Cerulean Coast by contrast feels like an amalgamation of Liurnia’s waterlogged environs and Caelid’s rot-stricken swamps. There are still plenty of surprises to be had in terms of environmental design, however, with some late-game areas in the DLC looking utterly breathtaking visually and unlike anything we see in the base game.

It’s worth noting, though, that these are some of the most detail-dense areas in the entirety of Elden Ring, and that means that performance often takes a hit on both console and PC. One area in particular, later in the DLC, is particularly dense with objects and plenty of foliage, causing the framerate to noticeably plummet. It’s far from unplayable, though do expect your framerate to occasionally dip to around 30-40fps on the console version’s Performance mode while you’re here. 

Fight like a lion

Shadow of the Erdtree’s art direction is unsurprisingly on point, then, but how are the dungeons? As in the base game, Shadow of the Erdtree features several legacy dungeons spread throughout the map, named so for their being what you’d expect from classic FromSoftware level design.

FromSoftware is on point here once again in Shadow of the Erdtree, with dungeons made up of intricately-woven pathways, rooms infested with monsters and valuable loot, and intelligently-placed shortcuts that make backtracking much less of a pain. And while there’s very little here to match the sprawling, mazelike, and ingenious design of the base game’s Stormveil Castle or the Academy of Raya Lucaria, Shadow of the Erdtree’s legacy dungeons nonetheless offer more of that treacherous, exploratory level design you’ve been craving for two-plus years since Elden Ring’s launch.

The first legacy dungeon you’re likely to visit is Belurat, a clearly once prosperous city populated by the beastlike Omen, now brought to ruination by war and tyranny at the hands of Messmer - the DLC’s flagship antagonist. As mentioned, Belurat and legacy dungeons like it fall just shy of the intricacy found with some of the base game’s locales. That is until you reach the Shadow Keep and Specimen Storehouse - a sort of two-parter legacy dungeon that combines a dangerous fortress with towering verticality. It’s one of the highlights of the DLC and took me hours (and not an insignificant number of deaths) to fully explore and pick clean of lootable goodies.

Friendship ended with Ranni the Witch, now Dryleaf Dane is my best friend

Shadow of the Erdtree, like all prior FromSoftware expansions, features a generous collection of new weapons, armor sets, and items for you to obtain, all littered throughout the Shadow Realm. And much like the base game, you’ll need to pick the map apart with a fine-toothed sawblade if you want to find its most valuable treasures.

Naturally, the new weapons are the highlight here, and I ended up swapping between a bunch of them by the time I finished the DLC. An early stalwart was Milady, a light greatsword that manages to balance the power of a chunkier weapon with the agility of lighter ones. I was also a huge fan of the Dancing Blade of Ranah, a pair of swords that come with a unique Ash of War skill that turns your Tarnished into a whirling dervish of death (provided you remember to dodge attacks in time).

But for me, the cream of the crop has to be the Dryleaf Arts - a weapon in the form of handwraps obtained early on from a monk NPC named Dryleaf Dane. I’ve wanted a true hand-to-hand weapon option in Elden Ring since launch. And unlike fist weapons like the Caestus, the Dryleaf Arts offer a unique martial arts fighting style that feels exceptionally powerful. It’s what I ended up running with for the majority of my playtime with the DLC, and I’m really looking forward to bringing them into a fresh New Game Plus run.

One last thing to note on the weapon front is that FromSoftware has rather generously made most stat requirements to be on the lower side. This means that no matter your build going into the DLC, you’ll by and large have the stats to give everything a go, making it very easy for players to find a new favorite to bring back into the base game.

And, if you’re finding the Shadow of the Erdtree’s enemies and bosses to be a little too tough, new items within the Shadow Realm - namely Scadutree Fragments and Revered Spirit Ash - can boost your attack and defensive stats permanently (though only while you’re in the DLC area). I found these helped to even the odds in the most difficult encounters, but I also felt like I needed them to even stand a chance, thus highly encouraging thorough exploration of the map to find these items. 

18 inches of Messmer, and his friends

I’ve saved the best element of Shadow of the Erdtree for last - that being its almost universally excellent boss fights. One thing that was apparent as I progressed through the DLC is that there’s a great amount of variety when it comes to its strongest opponents.

For example, Belurat’s boss, Divine Beast Dancing Lion, is astoundingly creative, angrily hurling its body in all directions in an attempt to hurt you. As you whittle away at its health, it’s able to bring several elemental effects into the arena, including lightning storms and icy blizzards. And in a very nice touch, if you defeat the boss while one of these elements is in play, its associated weather effect will remain after the fight.

Then, capping off the Castle Ensis legacy dungeon is Rellana, the Twin Moon Knight. This towering humanoid foe wields a pair of swords that are imbued with Fire and Magic elements as the fight progresses, unlocking her deadliest abilities. I spent a long while on Rellana, and if I had to guess, I think she’ll be the ‘gatekeeper’ boss of this expansion, presenting an early difficulty spike similar to Bloodborne’s Father Gascoigne or Dark Souls’ Ornstein and Smough - albeit much harder than either of those encounters.

Overall, the high quality of these fights had me begging for a boss rush option for Elden Ring, each one managing to throw in surprises when it comes to their design and move set. Some of them do still suffer from a particularly irksome post-Dark Souls 3 design element in that they’ll have seemingly endless combos that are a nightmare to fully avoid. However, as in the base game, a huge part of these fights is the learning process, and boy does it ever feel good to finally put down a boss that’s been giving you hours of conniptions.

Overall, Shadow of the Erdtree is must-play content for fans of Elden Ring. It manages to condense that open-world experience elegantly on a smaller scale. There’s more than enough content here to justify the higher price tag (relative to your average piece of DLC), and the experience was so fulfilling that I’m dying to tackle it all again with a completely different build in mind. If you loved Elden Ring, you’ll simply adore what’s on offer in Shadow of the Erdtree. 

Should I play Elden Ring: Shadow of the Erdtree?

Play it if...

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How we reviewed Elden Ring: Shadow of the Erdtree

My playthrough of the Shadow of the Erdtree DLC took just over 30 hours on Xbox Series X using the Victrix Gambit controller. This included thoroughly exploring most areas and defeating all bosses required for progression as well as many optional ones. After besting the DLC’s final boss, there were still some parts of the map left unexplored. So if you’re a completionist, expect to spend upwards of 50 - possibly even 60 - hours in order to see and do absolutely everything.