So. Pros
The game introduces several mechanics that stand out positively. The parrying system, similar to Sekiro, feels incredibly satisfying and is a welcome feature. The ranged attack mechanics are both unique and interesting, and the Umbra lantern mechanic is simple yet refreshingly organic, fitting seamlessly into the game.
The first real boss, an angelic woman with clearly telegraphed attacks that can be parried, is an excellent example of a well-designed boss for this type of game. The decision not to give this boss a second phase was smart, as the initial fight is challenging enough without unnecessary complications. Design-wise, the boss might seem cliché, but it’s still very well done. Additionally, it’s great that this boss continues to be a character after her defeat, switching to the player’s side. Stories of characters losing their way but later realizing their mistakes resonate well, though the transition happens too quickly after the boss fight. It would have been better to allow some time before she becomes an ally.
One of the game’s standout features is how it handles magic. Without irony, the magic system here is better than in Elden Ring. Although you have few slots, pressing a button lets you switch to spell-casting mode without having to change your weapon - everything is within reach. This is both unconventional and highly convenient. The way the game handles world-crossing, both for platforming and combat, is also very well done. Sometimes, you turn on the lantern and see a horde of enemies approaching, but switching it off keeps you in your world. The rendering of two worlds simultaneously is excellent, although occasionally it feels cheap. The game also offers satisfying environmental and level design. While it doesn’t reach the genius of Dark Souls 1, it does a commendable job of linking locations on a large map, leading to moments of discovery when you find a door at the beginning of the game that you can’t open until 20 hours later, from what seemed like a completely different location.
The combat mechanics add layers of depth, such as enemies dodging charged heavy attacks, which brings additional challenge and realism. The variety in the move sets, despite the game's somewhat slow pace, makes it feel like a slasher at times, which is always a positive. Ranged attacks can be used from a long distance, and while enemies can also attack you from afar, it’s a fair balance.
Another aspect worth noting is the interconnected world. It’s satisfying to explore and find paths that loop back to previous areas. The New Game+ mode with multiple modifiers and world-reset options at different difficulties is a fantastic addition. It slightly simplifies the game but adds replayability and keeps things fresh. The inclusion of a built-in randomizer is a particularly brilliant idea, offering a unique challenge and encouraging multiple playthroughs.
But, cons
Despite its many strengths, the game has significant drawbacks. It is overloaded with mechanics, and at the beginning, you’re constantly bombarded with tutorials—how the lantern works, how to travel between worlds, and so on. Unlike games where you adapt over time, here the mechanics remain overwhelming, and you can easily lose track of what to do or press. This isn’t helped by the need to hold down keys for many menu and inventory functions, which feels unnecessary and cumbersome.
The «first» boss, whom you’re not supposed to defeat, is incredibly frustrating. Unlike Sekiro, where you have a balanced fight with Genichiro, this boss kills you outright, making it nearly impossible to win. This is a weak narrative-gameplay device, and it’s disappointing to see games still using it. Death from falling is also poorly handled. Some might argue that falling should result in an instant game over, but we’ve seen better implementations in Sekiro and other games, where falling results in a loss of health. Here, the character dies but respawns in the world of Umbra—a cheap move that would have been better handled like in Sekiro, especially given that the game includes platforming sections, particularly in the early levels.
The mimics in this game are another major issue. They have no indicators, are scattered in random locations, and the only way to identify them is by using the lantern - but you can’t distinguish a regular item from a mimic, and they kill you with one hit. This feels like a deliberate attempt to frustrate players, and the lack of a proper counterplay is a significant design flaw.
The game also suffers from a lack of originality in certain aspects, borrowing heavily from Blasphemous in both design and narrative, to the point where it feels like blatant plagiarism. While inspiration from other works is common in gaming, this game takes it too far. The armor-changing feature is another unnecessary addition, and it’s unclear why many menu and inventory functions require holding down a key instead of a simple press.
Additionally, the game’s decision to make most important characters and bosses women, while perhaps a nod to diversity, feels out of place in the grimdark fantasy setting and can break immersion. It becomes almost comical at times, especially when you realize that many of the bosses who feel the same in terms of design are simply copy-paste female knights. The inclusion of a burly German woman as the blacksmith, for example, feels forced and detracts from the overall atmosphere.
The game’s environmental design, though visually appealing, contributes to gameplay that can feel jumbled and disjointed, making it easy to get lost or confused about what to do next. The maps, with their primitive sketches, seem like a joke designed to tease players, and it would have been better if they weren’t included at all. The final boss is another letdown, feeling like a dull gimmick battle akin to the Deacons of the Deep from Dark Souls 3, and the underwhelming pre-final boss doesn’t do much to redeem the situation.
In conclusion
Lords of the Fallen 2 is a game that’s difficult to pin down. It features a mix of interesting and unusual mechanics - some that work well, and others that fall flat. While the game is overloaded with mechanics and makes some questionable design choices, it’s also a game with a lot of heart and ambition. The evolution from the first, frankly awful, Lords of the Fallen is evident, with clear efforts to innovate and experiment. Despite its flaws, it’s a game that doesn’t deserve harsh criticism. The developers took many interesting risks, and for that, they deserve praise. For fans of the soulslike genre, this game offers a unique, experimental experience that isn’t overly long or repetitive. It’s not the best game, but it’s certainly an interesting one, and it shows the potential for growth and creativity in future titles from the developers.