It feels like what the original Darksiders would’ve done, had it not been constrained by technology at the time. You’re constantly making your way through lengthy dungeon-crawl sections, popping out the other side, and somehow realizing you’re back where you were two hours ago-only now there’s a shortcut. You know that feeling when you open an unassuming door or trigger an elevator in Dark Souls and you’re like “Oh wow, I’m back here?” Darksiders III loves that feeling. Darksiders III combines the traversal powers of its predecessors with the intertwined level design of a Metroid or more recently a Dark Souls. The two inspirations meet in the environment. My favorite of the latter is Sloth, a massive bug who sits on a throne carried by smaller bugs. Combat in Darksiders III is faster-paced, but you’re fragile and have to rely on dodging a lot, especially against the Seven Deadly Sins with their creative boss designs. Dying makes you spawn back at the nearest safe-spot, there to try and return to the point of your death and regain your Souls. You collect Souls from your enemies to level up. Maybe the team was afraid to say that because “It’s like Dark Souls” is so played out now, but it’s true. The more prominent inspiration is Dark Souls. You do unlock new powers over the course of the game, allowing you to hover, triple-jump, attach to magnetic walls, walk through flames, freeze water, and so on. In the lead-up to Darksiders III, Gunfire continuously cited Metroid as an inspiration. Darksiders II went open-world, replacing Zelda with a Diablo-style loot grind. The original took cues from Zelda, leading War through a series of puzzle-filled dungeons with plenty of combat along the way. Darksiders tries to reinvent itself with every new game. The smart move is to play it safe-but no. Here’s this cult classic, this series that should’ve died and somehow miraculously was brought back. But with no real progression, hinging this story on her makes an already weak tale feel even less substantial. Death was too edgy for my tastes, but at least he and War had some depth to their characters. It doesn’t help that Fury is the least likable of the Horsemen by far. ![]() It’s the worst sort of prequel, giving additional context where none was asked for or needed, and meanwhile I have to hope THQ funds two more of these games before we ever see any semblance of a conclusion. The Apocalypse happens, Fury finds out she’s been set up just like her brothers before her, and so on. Darksiders III doesn’t really advance what we know. ![]() IDG / Hayden Dingmanīut “hypothetical” is the problem. ![]() There are also some excellent throwbacks to War and Death’s adventures, plus a few teases of what’s to come in a hypothetical Darksiders IV with Strife. ![]() Pulpy as ever, but the designs of the Seven Sins are a true highpoint for the series. This time we play as Fury, the youngest Horse(wo)man of the Apocalypse, on a quest to imprison the Seven Deadly Sins. (Rest in peace, Halt and Catch Fire.) But no, Darksiders III sticks to the plan. You’d think a near-death experience might kick Gunfire into gear, like a beloved-but-flailing TV show given one more season to wrap it up.
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