(Image credit: Owlcat Games) Hit and myth That kind of stuff happens just often enough to be distracting. Meanwhile, incognito in a demon city, I was labeled a "mystery knight" even though I was an extravagant bard in a domino mask and colorful hat.
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In a sidequest involving elven politics full of bespoke references to my character also being an elf, an unavoidable dialogue option had me call an NPC "elf" in a way every bit as artificial as if I called you "human". It's uneven though, going from paragraphs of evocative demonic grotesquerie and twisty pick-a-path storybook sequences to NPCs blandly spitting up long backstories, with the occasional sentence that reads like it was mangled by Google translate.Īnd all that dynamic dialogue makes moments that lack specificity stick out. The dialogue frequently references the choices you made in character creation, even which god you follow, and the companions chip in with their thoughts as you decide who to side with and whether to be a jerk or not. For some reason the framerate takes a dive when enemies die too, which makes the end of every fight a lurch. The framerate dropped significantly in big cities (one made of spinning floating islands in particular), and turning down the shadows and SSAO only partially improved things. Wrath of the Righteous runs better than Kingmaker, and saving and loading are both much faster. You may be a crusader, but you're also a spy who goes undercover in another dimension, as well as a mayor with council meetings to attend. Sidequests have surprising outcomes, and the main storyline takes you to besieged cities, wastelands where it rains blood, and even the Abyss itself, which is like Hell's older brother who is even more into heavy metal. These management systems are the bread in a sandwich with your actual adventuring in its middle, and that adventuring is tasty. You won't fall down one of those game-ending death spirals that the opaqueness of Kingmaker led to.
Another improvement is that when you're deciding which decree to pass, whether throwing a parade to raise morale or sacrificing a few hundred soldiers in a magical experiment, the results are spelled out explicitly. In Kingmaker, most of them felt like traps for new players to waste resources on. It doesn't have that game's constant flow of disasters to deal with, though, and the buildings you plonk down in settlements are more useful, which is a definite improvement. Maybe the mediocrity of the last two actual Heroes of Might & Magic games has lowered my standards.Īs well as managing the crusade, you end up governing several regions of the map in a version of the kingdom management system from Kingmaker. It even became a pleasant change of pace, a fine if slight imitation of Heroes of Might & Magic. Once I figured out the best tactics-ignoring opportunities to collect handfuls of useless specialists who just clutter the map in favor of building doomstack units of high-damage troops several hundred deep, then camping archers in the corner surrounded by knights-it stopped being such a hassle. You have to chip away at units representing hundreds of troops for turn after turn, long after it's obvious you've won. This strategy layer is a significant and demanding timesink. In an underexplained side game, your crusaders fight on a grid while their oversized general looks on from the left and occasionally casts a spell, like that one person in every group project who acts like they're contributing but isn't really pulling their weight, throwing some glitter across the poster board while the actual soldiers fight and die.
While those pop-ups are eager to help with combat and leveling, they thin out once you're handed whole armies to manage. (Image credit: Owlcat Games) Heroes of Might & Tragic
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