This humble soundtrack offers the scaled-down experience of the Souls series consistent with the rest of the game’s design nods.
As your fight nears its end, the drums thump and the horns reverberate – the stakes feel so goddamn high. Sound is sparse between showdowns as players are immersed in this lifeless world lost to time and the corruption of imprisoned gods, but composer Sergio Ronchetti has pulled together a soundtrack so grand, energetic, and sometimes even ethereal.
This means the final foes are a true test of all the skills learned from previous fights. In a nice show of consistency, mechanics from earlier bosses will return and evolve as fights proceed.
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Now I’ve got a new, full health big bad to take care of in the same fight! Rather than feeling like punishment, this was an exciting development that once again tested my familiarity with the game’s established boss mechanics up to that point. Despite testing my skills with established mechanics, upon thinking I had defeated this god (which I shan’t spoil), a new monster entered the arena and obliterated the remains of my former opponent. My favourite fight involved a god that I had read about in transcripts collected as I explored the citadel between battles. Each boss is mechanically unique, frightening, and surprising, and encounters often evolve once whittling down a god to half health, a la Dark Souls 3. The benefit of this fight is that, like the Soulsborne games, it makes sure to drip-feed mechanics to the player in the first hour and test you throughout on those fundamentals.īoss design is exceptional, making the sparse roster of nine bittersweet. As we are a lowly crusader with no special endowment or abilities, many players will have barely stepped foot on the docks of the citadel and come to grips with movement/dashing and basic/charged sword attacks before getting whooped by the towering, sword-wielding canine (Sif this is not). Wielding a great sword, players stumble into an arena against The Watchdog.
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