There are few comeback stories in the gaming industry as impressive as that of the Fire Emblem series. After very nearly going cold the grid-based, SRPG was single-handedly saved by 2013’s Fire Emblem Awakening and has since gone on to prosper as one of Nintendo’s most well-recognized IP’s. Now, after more than a decade, the storied franchise makes its return to home consoles with Fire Emblem: Three Houses, an entry that takes bold steps forward in promoting it above and beyond anything the series has seen to date.
Three Houses, Three Countries, One Path
Fire Emblem: Three Houses takes place on the continent of Fodlan and consists of three major countries. At the center of the three territories is the Garreg Mach Monastery which simultaneously houses the Military Officer’s Academy as well as The Church of Seiros, the land’s primary religion. The game picks up with your self-named protagonist being appointed a professor at the Monastery after protecting some of its students from a bandit attack. At the same time, an enigmatic young girl named Sothis begins appearing in your dreams who alludes to ominous events to come.
The gameplay of Fire Emblem: Three Houses can be split into two categories — The traditional turn-based grid combat familiar from past titles and the teaching and guidance of students at the monastery. Teaching and school life are brand new to the franchise and are the foundation on which the entire game is built upon.
In the early goings of the game, you are asked to choose between the three classes, or houses, to instruct and guide in your time as a professor. These three houses — The Black Eagles, The Blue Lions, and The Golden Deer — each correspond to one of the three countries of Fodlan and consists of students from those territories. Your selection of which house to lead will have ramifications that permeate practically every aspect of the game including the story, units available in combat, and interactions within the school; this lends the decision a weight that goes beyond choosing who has the prettiest faces.
The school year is divided into months with school activities taking up the bulk of the time that culminates with an assigned battle at the end. As a professor, you are tasked with teaching your students the art of war and this is accomplished primarily in the classroom.
Each week begins with establishing a lesson plan for your class. You can work with students one-on-one to develop specific skills of various weapon types, assign them to group tasks to forge bonds and other proficiencies, and help them establish goals that they will work towards on their own time. Doing so allows them to equip better weapons and, most importantly, acquire new class types through certification exams.
Small events such as students asking questions on subject matter or seeking advice on their goal paths are evocative or actually being a teacher. It’s easy to grow attached to your students as you guide them from a lowly Commoner class to something as grand as a War Master over the course of the game. While Three Houses does a good job of easing the player into these intricacies, there is an Auto-Instruct option available as well for those who find it daunting or don’t care for perfect optimization.
The end of each week features a free day that can be spent in one of three different ways. You can host a seminar with another faculty member that provides a large amount of skill experience or embark on battles for quest rewards and character-specific paralogues that help flesh out their backstories. The option to explore the monastery, however, is the most interesting and involved of the three as it gives you free rein to roam about the campus in a fully 3D environment.
All In a Day’s Work
Garreg Mach Monastery is sprawling, with numerous buildings explore, courtyards to walk through, and facilities to take advantage of. While the graphics of Three Houses aren’t necessarily something to write home about from a technical perspective — there are even moments of noticeable slowdown in particularly populated areas — the vibrant art style and eye-catching medieval architecture give the monastery a beauty that makes it a pleasure to wonder about it. Small details such as pegasus knights flying in the sky and messenger owls flitting about between buildings breath life into the campus and lend credence that this is an academy in a fantasy world.
There are a plethora of activities to do while roaming the premises and Three Houses does an admirable job of easing you into each of them. Tasks such as gardening various crops and fishing for the biggest catch not only provide valuable resources but also go towards increasing your professor level which increases your maximum Activity Points you can spend in a day.
Meanwhile, sharing meals with students in the dining hall, inviting them out to tea parties, and returning lost items all serve to build bonds between pupils and increase their motivation for further studies. Interacting with them in such ways or even just talking to them on the school grounds also offers insight into their thoughts and feelings on current events in the world, which goes a long way towards developing their character in addition to Fire Emblem’s long-established support conversations.
As characters spend time together in the monastery and fight together on the battlefield their support levels will rise, granting various bonuses in battle such as increased hit rate and evasion. These supports are accompanied by conversations that flesh out each character’s personality and provide valuable backstories not found in the main story.
In typical Fire Emblem fashion, the cast of Three Houses is unique and distinct with multiple layers of complexity over initial arch-typical natures. Peeling back these layers over the course of the game serves as some of the most satisfying intrinsic rewards it has to offer, with macho, good guy Raphael and self-doubting Marianne being particular standouts in my play session. This is accentuated even more since every single line of dialogue, no matter how minor, is fully voiced, a rarity for JRPG’s. The English acting ranges from good to exceptional, but the Japanese voices are also available for those who prefer it.
It’s a shame the same level of polish can’t be said about the main story, however. The plot is rather straightforward and doesn’t do much to push the boundaries of expectations outside a mix-up here and there. Many scene transitions are nonexistent and jarring and the stilted movements of CG scenes reserved for important moments detract more than they add. That said, the stellar character and world-building that take place within the monastery more than makeup for the lukewarm story-telling and give ample reason to become invested. Not to mention the curiosity of seeing the story from the other houses’ perspectives encourages subsequent playthroughs.
Bonding and interacting with students outside of your class is worthwhile as well as it’s possible to recruit them into your own house. Convincing a student to join your class takes a large amount of effort over a long course of time, making the moment they finally give the “Ok” feel much more earned than recruitment has in past Fire Emblems. This not only gives you another unit to use on the battlefield but also avoids potentially seeing them as an enemy down the line when things aren’t quite so peaceful in Fodlan anymore.
It’s easy to fall into a routine when going about the monastery in Three Houses. The constant loop of every action taken feeding into accomplishing another is positively addicting. It encourages you to make the most out of each day while also emphasizing the steady march of time. For a game that places such importance on the passage of time, however, it is slightly off-putting how the seasons in the monastery never change from its default bright, sunny day, especially with talk of snow and colder weather abound in later months.
All time spent at school is ultimately in preparation for combat, though, and Three Houses presents some of the finest and most refined form of it the Fire Emblem series has ever seen.
Applying Theory to Practice
The fundamentals of combat in Fire Emblem: Three Houses are the same as all of its predecessors but numerous additions and changes cast it in a whole new light. Encounters take place on grid-based maps and you move each individual character to attack enemies, assist allies, and position them for counter-attacks, among other things. Once all of your units have moved the enemy gets their turn to retaliate and the process repeats.
Before initiating combat a combat forecast appears that tells you the damage each side will inflict, the chance of landing that attack, and the chance of dealing a triple damage critical hit. Utilizing this forecast to calculate risk vs reward of various engagements becomes routine as deaths of characters are permanent when playing in Classic mode, although Casual mode makes its return that brings back lost units after the mission as well. The fight then plays out automatically with characters fluidly moving in unique and organic ways depending on how the battle plays out. While you have no control during these segments, there’s something viscerally satisfying about seeing someone like burly Raphael deftly dodge an attack and roundhouse kick the enemy to the face in retaliation.
The weapon triangle — a series mainstay that gave rock-paper-scissors qualities to weapon types — has been done away with in Three Houses, requiring players to think beyond simply matching enemies with their direct counters. In its place come Combat Arts, a system that’s been taken from 2017’s Fire Emblem Echoes: Shadows of Valentia. These special skills are obtained by gaining proficiency in weapon types through teaching sessions and combat and grant each character different ways to approach combat.
The set of Combat Arts learned are unique to each character. For example, Claude and Bernadetta are both proficient with bows but only the latter learns the far-reaching snipe art “Deadeye,” while only the former learns the blessed imbued “Monster Blast”. This applies to magic as well, with every character learning a different set of spells as they grow more proficient. While there is some overlap in spells and arts learned between characters, they nonetheless make them feel more distinct from one another as opposed to simply using the ones with the best stats, minimizing the problem previous entries have of “dead weight characters”.
Another wrinkle to combat is the addition of battalions and Gambits. Battalions are a unit of generic soldiers that can be assigned to each character to confer various stat bonuses. Each battalion grants the use of their special Gambit, powerful abilities that typically hit multiple enemies in an area, thus weakening their stats and preventing movement for a turn. Support type gambits exist as well, such as letting allies sustain a lethal hit once or making it so they take and deal only one damage for a turn. Not only do Gambits open up new strategic possibilities by introducing a form of crowd control to the series, but they are also pivotal in taking down Three Houses’ new enemy type: Monsters.
Monsters have been in Fire Emblem games before, but never in this form. Monsters are gargantuan beasts that take up four squares on the grid, sometimes more. They have multiple health bars to drain, devastating area sweeping attacks, and barriers that diminish damage taken and prevent critical hits. The key to slaying these beasts is to utilize battalion Gambits to attack multiple parts of the monsters at once and systematically whittle down their barriers.
Unlike regular enemy and boss types that can usually be taken down by one reasonably powerful unit, monsters require the brunt of your military force to slay. Contending with both monsters and regular enemies as they barrel towards your army provides for some of the tensest moments in the game that then result in blissful satisfaction for overcoming them; all the more emphasized by Three Houses’ phenomenal soundtrack that amplifies feelings of triumph to remarkable heights.
Map designs, on the other hand, leave something to be desired as many take place in large, open areas where strategy ultimately boils down to careful positioning of units on defensive tiles. Even maps with branching paths feel like little more than an excuse to give your units an opportunity to equally distribute experience gained from combat. The lack of gimmicks and terrain variety leads to missions sometimes blending together, a problem exacerbated by the fact that nearly every victory objective is either “Route the enemy” or “Defeat the commander.” It’s never so dull as to become mind-numbing, but having more variety in the 60-80 hour long campaign would go a long way towards solidifying what is otherwise an incredibly tight combat experience.
Lessons Learned, Experience Showing
Fire Emblem: Three Houses is a grand culmination that takes a deep, introspective look into what makes the series so great and evolving it in meaningful and impactful ways.
The monastery and professor role not only fit right at home in such a character-driven game but also breath fresh life into the school setting that has long been regarded as “the graveyard of creativity.” The main story may not be the most engrossing but never has it been easier to grow intimately attached to such a large and varied cast of characters. Those attachments manifest in battles as a drive to persevere and the various tools the game gives you, old and new, give the power to do so. Fire Emblem: Three Houses is no doubt, the triumphant return to home consoles that fans have been waiting over a decade for and a sterling lesson that for a game series, class is always in session.
‘The Touryst’ Review: Vacation, All I Ever Wanted
There’s an acceptance of a certain rhythm when traveling alone: often an itinerary-less trip will be filled with quiet solitude and uneventful meandering; yet, when those exciting moments of interaction and discovery are inevitably stumbled upon, they tend to be of the highly memorable variety. The latest offering from Shin’en Multimedia, The Touryst, shrewdly captures this relaxing, energizing roller coaster. It’s a quirky little getaway that encourages players to explore its gorgeous voxel island delights at their own pace, letting them bask in the peaceful surroundings and doling out treasure for those curious to seek it out. The result is a soothing weekend sojourn of puzzles, platforming, and mini games under the sun that is also winds up as one of the best indies on the Switch.
There’s no doubt that atmosphere plays a big part in what makes The Touryst so successful, as the vague setup and sparse narrative casts a mysterious aura over the proceedings. Who our mustachioed vacationer is or why he agrees to find glowing blue orbs for some random old man is pretty much left to the imagination. Is the player curious about what they could see and find out there among the green palm trees, sandy beaches, monolithic temples, and sky blue waters? Then they will follow their nose regardless of the lack of any story motivation, and The Touryst has sprung its trap. The urge to see the sights and have an adventure is a must here, and so the wandering begins.
Luckily, The Touryst is filled with charming things to stumble upon around almost every corner, be that a scuba diving boat operator on a Greek isle that facilitates swimming with the fishes, a seaside dance party in need of a hi-tech energy boost, or a bustling business center complete with an arcade, art gallery, and movie theater (for those times when you just need to sit down for a while). Personality abounds, as long as friendly players aren’t shy about talking to strangers (the best way to get the most out of a trip to a new place). No matter where one’s feet take them, there are plenty of mini-stories at play thanks to the native inhabitants and fellow tourists, with these weirdos offering interactions both puzzling and profitable.
But there’s more to life than racking up coins via side quests; there’s something eerily odd buried beneath the tropical destinations of The Touryst that beckons to be uncovered by just the right explorer. Towering mounds filled with ancient devices and clever puzzles hold secrets that promise that this vacation will be one for the scrapbook. These short ‘dungeons’ are the meat of the game, providing a variety of platforming and logic challenges that range from overt to opaque; sometimes even finding the way in to these ominous structures is a puzzle in itself, which only further drives an overarching sense of discovery.
Smartly, The Touryst rarely telegraphs solutions to its tests (or in some cases, that there even is a test), and instead encourages experimentation. Inside temples, players need to determine why certain lights are glowing and others aren’t, understand how sequences work, pay attention to rumbling feedback, and decide just how to deal with once-dormant mechanical creatures that now awaken to stand in the protagonist’s way. Things can seem opaque at times, but Shin’en has managed to hit that sweet spot that keeps poking around from getting too frustrating. But just in case, there are plenty of beach chairs and cabana beds to lie down on and think. Or, just soak in some rays and enjoy the scenery.
Regardless of the difficulty players may or may not have with the crafty puzzles or surprisingly challenging mini games (good lord, surfing and those 8-bit arcade throwbacks can be tough), The Touryst is still a sight to see. Shin’en has created a buttery smooth island-hopping environment that is a pleasure to peruse. Go off the beaten path and enjoy the gorgeous sunsets, gently pixelated waves, crunching grains of sand, and flopping flora. The visuals seem so simple, yet at times can be stunning to behold, especially when spotting some of the smaller details that have been added to make these place come alive. A depth of field style entices players to see just what that blurry landmark off in distance is, and the soundtrack seamlessly shifts between relaxing and intriguingly uncanny. That developers have achieved this with what are surely the shortest load times on Nintendo’s console makes the experience all the more immersive.
Like most vacations, The Touryst is destined to be over too soon for some players, but trips like these aren’t meant to last forever. The five hours or so it takes to see all there is to see is highly satisfying throughout, and the vague hint at the end of a followup will have many Switch-owning puzzle fans looking forward to getting future time off.
‘Shovel Knight: King of Cards’ and ‘Showdown’ Review: Really Spoiling Us
It’s a Yacht Club Games overdose this holiday, as the Kings of Kickstarter are back with two new entries in the Shovel Knight franchise.
It’s a Yacht Club Games overdose this holiday season, as the Kings of Kickstarter are back with, not just one, but two new entries in the Shovel Knight franchise. Not content with just releasing another new character’s twist on the original formula, Yacht Club has also developed their own fighting game in the Shovel Knight universe. It’s to the developer’s credit that two simultaneous releases can be of this quality, but valid questions can also be asked as to whether the original formula has gotten stale, and whether Showdown’s new concept does the series justice. Fear not, for both questions will be answered in this bumper, two-for-one review!
Shovel Knight: King of Cards
King of Cards is the latest re-tread of Shovel Knight, and this time the emperor’s new clothes are the regal duds of King Knight, who is on a quest to become the greatest player in the kingdom of the card game Joustus… without really having to beat that many people at it. After the stoically heroic Shovel Knight, the dastardly cunning Plague Knight, and the broodingly enigmatic Spectre Knight, King of Cards’ protagonist embodies an enjoyable dose of pompous entitlement. His quest isn’t all that noble, and he really can’t be bothered to do a lot of hard graft to reach his goal. Thanks to the typically witty script, King Knight shines as a loathsome oik who doesn’t pay attention to any advice he’s given, and would rather have a fight, or cheat, than actually get better at Joustus.
Joustus might not really be all that important to King Knight, but it adds an entirely new element to the traditional Shovel Kinght gameplay. Those players who are a sucker for built-in card games (myself included) will find a lot to enjoy when stepping away from all the platforming and fighting to engage in a round of Joustus. The game is played by placing cards, one at a time, onto a grid with the goal of having more of your cards placed on top of gems than your opponent.
All cards contain abilities and can be used to shove opposing cards out of the way (and off the gems), with advanced cards used to blow up, slam or recruit those of the other player. It all starts off simple enough, but can get really brain-taxing as the story progresses, and grows to be a real highlight of the game – and one of the better card-games-within-a-game I’ve played. Cheat cards can be bought to give you a leg up for trickier opponents, especially as the winner of each game gets to take one (or three if you control all gems at the end of the round) card from the loser.
Outside of Joustus, King of Cards will feel pleasingly familiar to fans of the series. As in previous entries, the levels all share the same look and gimmicks as the original Shovel Knight, but are reshaped to adapt to the new abilities of King Knight. He has a shoulder barge attack that launches him forward, across gaps if need be, and will send him into a spin on contact with enemies or certain types of walls and blocks. This spin move acts very much in the same way as Shovel Knight’s shovel pogo attack, and allows King Knight to bounce around levels with impressive finesse. Anyone who’s played Shovel Knight before knows the drill now – try and clear every screen by chaining together as many bounce attacks as you can. It’s the law.
It also wouldn’t be a Shovel Knight game if there weren’t a ton of unlockable moves and buffs. Amongst the best unlocks for King Knight are a Tazmanian Devil-esque tornado spin that allows him to climb walls and smash up enemies, a hammer that produces hearts with each wallop for precious HP, throwable suicide bomber mice, and the ability to stand still and have a big ol’ cry to regain HP. Something we can all relate to.
The world map returns, and is in its best guise in King of Cards. Levels are now a lot shorter than you’d expect – there’s typically only one checkpoint in the non-boss levels – but there are a lot more of them, and a large number have secret exits to find. They’re interspersed with the multiple opportunities to play Joustus, and with the seemingly random appearances of traditional Shovel Knight bosses who show up, Hammer Bros. style, on the map to block your progress. It makes for a really tight campaign that’s filled with a ton of variety.
It seems almost arbitrary to say, but if you like Shovel Knight and you’re not tired of the standard gameplay, there’s so much to enjoy with King of Cards. He’s probably not the most fun character to play as (for me, that’d be Spectre Knight), but his game is easily the most diverse. He’s just such an enjoyably unlikeable idiot that you’ll constantly be playing with a smile on your face, bopping along to the classic Shovel Knight chiptunes, pogoing around levels and pausing for the occasional game of cards. Who could ask for more?
Shovel Knight Showdown
Who likes Shovel Knight boss fights? Everyone does, right? How about fighting three of them at once in an amalgamation of Smash Bros. and Towerfall? It’s as chaotic as you’re imagining, and seems like a total no-brainer as a second genre for Yacht Club to transpose their blue, spade-loving hero into.
What seemed like an obviously smart move doesn’t necessarily play out in an ideal way. The one-on-one fights in Showdown are as tightly-contested and entertaining as ever, but the multi-man rumbles are absolute mayhem. There are a few different stipulations applied to fights, and these typically involve simply whittling down your opponents’ lives, or depleting their health bar to briefly kill them off and steal any gems they’ve collected from around the level, with the winner being the first to an assigned number.
Standard fights are more enjoyable, as the simplicity of smacking seven shades of snot out of the competitors keeps things manageable amongst the cacophony of onscreen visual noise. The gem-collecting levels, especially with multiple opponents, are frankly a bit of a mess that I rarely found enjoyable.
Perhaps I’m just not very good at Shovel Knight boss fights, but the game felt overly difficult even on the normal setting. Playing story mode often sees your chosen character up against three opponents on the same team, and when it comes to collecting gems from around the level, they’ve got way more of the space covered and you barely get a chance to breathe with them swarming you from the word go. It’s basically an exercise in getting wailed on while you try to run away and scramble for gems, and it’s just not that fun.
What does add a layer of fun to the game is the chance to play as the complete ‘Knight’ roster of Shovel Knight characters, and the best part of Showdown is learning new moves and trying to find your ‘main’. Perhaps, with more time to sit down and learn the move sets in the practice mode, the game would feel more rewarding than if you just jump in and try to slog through the chaotic story mode as I did.
With a four-player battle mode as the only other gameplay option, Showdown was clearly never meant to be anything other than a brief little curio to give fans of the series’ boss fights an overdose of what they love, but as a complete experience, I found it lacking in both modes and reasons to keep plugging away at the arcade fighter-style story mode. It turns out that the boss fights in Shovel Knight are more fun at the end of a platforming level rather than in the middle of enclosed space filled with flashing lights, random effects, environmental hazards, and three bastards all chasing you down. If you can handle all that stress, you’ll have a much better time than I did.
‘Disco Elysium’: A Thought-Provoking Mystery
For the most part, the majority of games are easy to classify, but from time to time a game is released that defies conventional rules and resists simple categorization. Disco Elysium is just such a game. On the surface of it, it’s a topdown, isometric RPG of the oldest of old schools. It draws upon long-established systems, structures, and mechanics that make it comfortably familiar. However, beneath that patina of tradition lies something completely unexpected and utterly unique.
Developed by the small, independent studio ZA/UM, with a story penned by Estonian novelist, Robert Kurvitz, and a painstakingly detailed world crafted by artist Aleksander Rostov, Disco Elysium stands apart from most RPGs in that it is startlingly realistic whilst simultaneously being grimly fantastical. Set on an isolated archipelago in the wake of a failed communist revolution, the game casts players as a detective sent to solve the murder of a man found hanging in the backyard of a rundown boarding house/cafe. It’s a simple setup made all the more complex by the fact that the player character is suffering from a severe bout of alcohol and drug-induced amnesia. The mystery that needs to be solved concerns piecing together exactly who the player character is, as much as it involves reconstructing the chain of events that resulted in a brutal death.
Arriving at conclusions to both conundrums requires navigating complex webs of social and political intrigue. Along the way, players will encounter union bosses, disgruntled workers, war veterans, and all manner of extraordinary and mundane citizens just trying to go about their daily lives in a place that seems designed to thwart their ambitions at every turn. More than that though, players will be required to engage in continuous internal dialogues that involve the protagonist gradually putting themselves back together. The result is character customization in a quite literal sense of the word. Rather than the standard array of physical options that most games of this type present players with, the options are entirely psychological. Player actions and choices determine the overall structure of the internal workings of their character. Whether they decide to be a high-minded idealist trying to better themselves and the world around them in whatever way they can or opt to descend into anarchic, hedonistic self-obliteration such choices determine exactly who and what their version of the character is.
The foundation of stats and skills that are usually inert background components that all RPGs are based on is firmly in place. However, rather than being a numerical bedrock upon which all gameplay is based, Disco Elysium takes those sets of modifiers and statistics and makes them an active part of character progression and world development. As you progress through the game, skills points can be used for a variety of purposes. They can be used to upgrade core character stats, of which there a total of twenty-four covering a whole range of mental, physical, and social attributes, that govern player’s ability to immediately interact with the game world. However, they can also be used to learn or forget particular thoughts These thoughts develop depending on how players decide to approach situations and solve problems and can unlock semi-permanent bonuses and even penalties.
Much as in reality, the things the character is capable of are largely dependent on their frame of mind. If players opt to make a character that is brash and uncouth then they will find it difficult to subtly manipulate interactions to their benefit or arrive at unobtrusive solutions to various situations. On the other hand, if they elect to play a character that is more thoughtful and introspective, or cunning rather than crass, then they will find it difficult to emerge unscathed from more physical challenges. It’s an interpretation of character development and player progress that feels much more organic than in any other game of this sort. This is probably where Disco Elysium does the most to stand out from other such titles. Such a flexible approach to progress is hopefully something that other companies will emulate going forward, as it allows the character to develop a true personality that goes a step beyond the mathematically-oriented, incremental statistical increases that are usually the norm.
The ways in which player action, character interaction, and game reaction combine together is probably the closest it is possible to get to a truly curated dungeon master-guided play experience in an RPG. There is such a wide and unpredictable variety of moment-to-moment options that players can never be certain what exactly is going to happen next. This sense of improvisational unpredictability is a quintessential element of any RPG, but it is often lost in translation from tabletop rules to computer game mechanics. This pitfall is avoided thanks to the fact that the world of Disco Elysium was conceptualized as a tabletop game but doesn’t actually exist as one yet. As such the developers were able to implement systems without the expectation of adhering to pre-existing mechanics. This expectation has often been the downfall of many such games in the past, such as the much-maligned Sword Coast Legends which was lambasted for its apparent butchery of the 5th edition Dungeons and Dragons ruleset. It will be interesting to see if Larian Studios can avoid similar problems with Baldur’s Gate 3.
As intriguing and unconventional as Disco Elysium is, and no matter how deserving it is of the accolades it won at 2019’s Game Awards, it’s hard to recommend it as something to play if you’re looking for fun. It’s relentlessly grim even when it’s trying to be funny, and its stream of consciousness style makes even the most basic of interactions a minefield of potential disturbing possibilities. With its biting combination of continental existentialist ennui, pseudo-Lovecraftian undercurrents, and socio-political critique it isn’t a game that you play for the sheer joy of it, but rather for the esoteric and unusual experience that it offers. That being said, in a market that’s full to bursting point with crowd-pleasing blockbusters and oftentimes strictly by-the-book sequels or carbon copy titles, it can be incredibly rewarding to delve into a game as intricate and nuanced as Disco Elysium.
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