Flintlock: The Siege Of Dawn Review - Gunpowder and Deicide

Flintlock: The Siege of Dawn has been marketed as a souls-lite rather than the more common souls-like, which I assumed meant it would be more approachable while still retaining many of the genre's core tenets. This is partly true in that it's nowhere near as punishing as From Software's games, and features familiar elements like bonfire-esque checkpoints and an Estus Flask-style healing system. Yet the game's style is more akin to something like Star Wars: Jedi Survivor than any Dark Souls game. Flintlock feels like a mashup of sensibilities between a souls-like and a more traditional action game, bridging the gap between the two with its own delightful approach to fast-paced combat and high-flying traversal.

One area in which Flintlock immediately stands out amongst its contemporaries is its unique setting. Mixing magical high fantasy with elements from the 17th to 19th century and the advent of gunpowder, Flintlock's world is immediately intriguing. For your part, you're strapped into the boots of protagonist Nor Vanek, a sapper in the Coalition army who unwittingly breaks a seal to the Great Below, unleashing malevolent Gods and their armies of the dead upon the lands of Kian. This act sets in motion a fairly straightforward story as Nor--wracked with guilt over condemning her home to near-annihilation--sets out on a path of vengeance to kill the Gods and retake the world. She's joined by a mysterious fox-like companion called Enki, who's keen to share his knowledge of the Gods while aiding Nor's efforts with a host of magical abilities.

The narrative's simple, laser-focused approach works in the game's favor, giving you a clear end goal to pursue that aligns with the snappy pacing of its action and movement. There are moments of interpersonal conflict, but the story never deviates from its deicidal path, lending the narrative a purposeful sense of forward momentum that carries it through to the end. The trade-off, however, is that you're unlikely to feel any attachment to its small cast of one-dimensional characters, despite enjoyable performances from Olive Gray (Halo), Alistar Petrie (Sex Education), and Elias Toufexis (Deus Ex: Mankind Divided).