Category: IGN

Logitech G (Logitech’s gaming-focused storefront) is offering a fantastic deal on its most popular racing wheel set. Right now the Logitech G923 Trueforce Racing Wheel and Pedal Set is down to $299.99 after a $100 off instant discount. Apply two coupon codes “F-SHIFT” and “DRLUPO” to drop the price to $214.99 and a free Driving Force Shifter is automatically added to cart. Finally, there’s an option to add a free pair of Trueforce Racing Gloves. This is far and away the best deal I’ve seen for this racing wheel and I highly doubt we’ll find a better deal for the rest of the year. There are all brand new, ship for free, and you’re buying it directly from Logitech so you’re eligible for the excellent 2 year warranty.

Logitech G923 Trueforce Racing Wheel Set for $214.99

Includes free Driving Force Shifter and Trueforce Racing Gloves

Star Wars fans, here’s a great deal on a LEGO Star Wars bundle that you don’t want to miss out on. Right now Walmart is offering the LEGO Star Wars AT-ST Walker (75417) and LEGO Star Wars Darth Vader Helmet (75304) together for just $210. Purchased separately you would have to pay $280, so you’re saving about 25% off. This is sold and shipped exclusively from Walmart directly with free delivery.

LEGO Star Wars Darth Vader and AT-ST Walker Bundle for $210

Disney Lorcana launched its ninth set, Fabled, last week, and from stunning Goofy Movie cards to new Iconic and Epic rarities, there’s an awful lot to like about it.

For starters, that includes the new Mickey Mouse – Brave Little Prince (Iconic), which’s already selling for over $1000 on resale sites like TCGPlayer and eBay, while its new “Iconic” pairing, Minnie Mouse – Sweetheart Princess, isn’t exactly cheap either, and currently fetching around $865 market price.

Prices will continue to fluctuate in the coming weeks and months, but with the full set out now, we’ve also been taking a deep dive into all the prettiest, priciest cards from it.

While the first-ever Iconic cards are, understandably, fetching sizeable fees, plenty of the other “Enchanted” cards are also reaching hundreds of dollars already, and are definitely worth chasing as well. Using data from our friends at TCGPlayer, here are the most expensive cards in the Fabled set of Disney Lorcana, and where to find them.

Powerline – World’s Greatest Rock Star (Enchanted)

Mickey Mouse – Brave Little Prince (Iconic)

Where to Buy Disney Lorcana’s Fabled Set

Thankfully, you don’t need to spend thousands of dollars to get started with Lorcana.

The Fabled set sees the debut of a new Collection Starter Set to help you get started with collecting the heroes and villains of the Disney universe, and it includes 4 booster packs (a total of 48 cards), a portfolio binder for Mickey Mouse – Brave Little Tailor, a collector’s guide, and a Glimmer Foil variant of Tinker Bell – Giant Fairy.

Then there are preconstructed decks, Illumineer’s Trove boxes, and boosters you can buy, too.

Disney Lorcana – New Epic and Iconic Rarities Explained

As I mentioned, Disney Lorcana has expanded its rarity system in the new Fabled set with two new tiers: Epic and Iconic. Epic cards sit between Legendary and Enchanted, making them rarer than the former but easier to find than the latter.

These are alternate versions of existing cards that reuse Standard artwork but get a premium treatment, including an “open air” frame, rainbow foiling, and glossy highlights.

Iconic cards, meanwhile, now take the crown as Lorcana’s rarest chase cards. Only two appear per set, each featuring alternate full-card artwork that continues behind the text box, along with a raised 3D hot stamp effect and a shimmering custom lore star foil.

Lloyd Coombes is an experienced freelancer in tech, gaming and fitness seen at Polygon, Eurogamer, Macworld, TechRadar and many more. He’s a big fan of Magic: The Gathering and other collectible card games, much to his wife’s dismay.

This article contains contributions from Robert Anderson.

A social hub in the vein of Destiny 2’s Tower is “on the feature list” for Helldivers 2‘s successor, developer Arrowhead has indicated.

Helldivers 2 uses spaceships as a small staging area where up to three players can prepare for missions, fussing over their appearance and loadouts. There is no larger scale social hub, which some fans have called for Arrowhead to consider given the social nature of Helldivers 2’s community-driven galactic war.

When a fan suggested on Discord that they would “really appreciate a social hub space station (like the tower in Destiny),” Arrowhead CEO Shams Jorjani responded with an unequivocal: “it’s on the feature list for the next one.”

That sounds pretty definitive, but we still have no idea when Arrowhead will get around to Helldivers 3. The studio has indicated that it plans to support Helldivers 2 for years to come, and only recently launched the Sony-published game on Xbox Series X and S. Indeed, it’s a particularly great time for Helldivers 2, whose Into the Unjust update added Hive Worlds.

In April, Helldivers 2 production director Alex Bolle told IGN “we want it to be around for years and years and years to come.”

“And it’s almost like, how do we stay true to the Helldivers 2 fantasy, challenging enough that we keep making amazing new features and new systems and all that while we stay true to who we are?” he continued. “And I think it’s something that is so motivating for the years to come.

“The more we figure out how to thrive in a live environment, and we still have a way to go to figure out a lot of things around that, the more we can let creativity loose on new systems that we would’ve never thought about a year ago when we released. I’ve worked on live games before and it’s where you feel like you have something you can figure out: what if I would do this cool thing I’ve seen in other games and adapt it to our sauce, that still makes it true to ourselves? I’m looking forward to this moment.”

Check out IGN’s review of Helldivers 2 on Xbox Series X and S to see what we think of the game as it is today.

Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.

Warning: Minor spoilers for Hollow Knight: Silksong follow.

At some point in your journey through Pharloom, the setting of Hollow Knight: Silksong, you may have the misfortune of running into a shrouded, wormlike bug called Greyroot. Hiding in a hole in Shellwood, an area located above The Marrow, she asks you to bring her a Twisted Bud – a “contorted mass of ashen vine” that “cries out incessantly,” as per its item description. When you give it to her, she tells you it’s weak, that it “must be nourished” before “the time of birth approaches.” Although she never mentioned a reward, previous fetch quests taught you to expect one. But to your surprise, Greyroot doesn’t hand you shards or rosaries. Instead, she wraps her body around you like an anaconda, pressing harder and harder until your neck snaps and everything goes dark. When you awake, you find yourself stuck inside a mysterious cave, only to learn you’ve been infected by a parasite that limits your moveset and prevents you from healing.

Does any of this sound vaguely familiar? If you’ve played Bloodborne, it should. In that game, tall, hooded enemies called Snatchers roam the streets of Yharnam carrying large bags. If they defeat you – which they will, especially on your first encounter – you don’t get the usual “You Died” screen, but are teleported to a dungeon in another, difficult-to-access part of the world. There are other déjà vu moments, too. The cries of the Twisted Bud evoke memories of Mergo, the invisible, infant Great One whose wailing can be heard throughout the Nightmare of Mensis, and Greyroot’s dialogue resembles that of Healing Church officials who – like her – anticipate the messy births of eldritch babies.

And that’s just the tip of the iceberg. Echoes of Bloodborne can be found throughout “Silksong”, from the game’s opening level to its secret endings. Team Cherry’s long-awaited follow-up to 2017’s Hollow Knight not only resembles FromSoftware’s gothic horror masterpiece in theming and visuals, but also in the way it shakes up gameplay mechanics introduced by its predecessor. By giving players control of a more agile character, and tweaking combat to favor bolder, more aggressive playstyles, Silksong builds on Hollow Knight in much the same way that Bloodborne built on Dark Souls, perfecting a blueprint its developers have stuck to ever since.

Connecting Silksong to Bloodborne is not as crazy as it sounds. Although Team Cherry has cited The Legend of Zelda as their primary source of inspiration, the original Hollow Knight shares a lot of its DNA with the Dark Souls games, from its corps run mechanic and oasis-like checkpoint system to its expansive roster of crushingly difficult boss fights, branching level layouts, emphasis on environmental storytelling, and narrative centered around gods, curses, and some kind of all-consuming abyss. Intentional or not, these features helped breathe new life into the tried and tested Metroidvania formula, turning Hollow Knight into an instant classic and Silksong, initially conceived as DLC, into one of the most anticipated games in recent memory.

Just as fans compared the original Hollow Knight to Dark Souls, so too are they comparing Silksong to other games in FromSoftware’s catalogue. Already, Reddit pages like this one display a variety of opinions. Some argue the game is like Dark Souls II – “much harder and more divisive.” Others say Hornet’s new running ability (more on that in a moment) reminds them of Sekiro: Shadows Die Twice, while others still see the sequel’s explosion in popularity as analogous to the mainstream success of Elden Ring. While all of these arguments are valid, comparisons to Bloodborne – both in terms of surface-level presentation and underlying design philosophy – cut closest to the bone.

Visually, several levels in Silksong bear an uncanny resemblance to levels from Bloodborne. Shellwood, a booby-trapped forest filled with suspended cages, brings to mind the Forbidden Woods. Greymoor, a sprawling township whose inhabitants dress in ragged brown robes and wander the streets carrying lanterns and pointy objects, evokes Central Yharnam or the Fishing Hamlet. The Citadel, Pharloom’s beating heart and the destination of Hornet’s journey, is Team Cherry’s answer to the Healing Church: a labyrinthine headquarters of a mysterious religious and political order that attracts pilgrims from insect kingdoms far and wide.

Although the game’s story has yet to be fully digested by dedicated lore masters, it appears that Silksong explores many of the same themes Bloodborne did. Just as Yharnam is consumed by a beastly scourge, so are Pharloom’s denizens afflicted by a “thread sickness” that turns them into mindless monsters. In both games, these afflictions are tied to sources of great power, with the scourge originating from the Healing Church’s use of blood, and the sickness being somehow related to the Citadel’s silk production. Both games treat might as treacherous and corruptive – something you wield at the cost of losing yourself. “What’s this twitching inside of you?” an NPC called the Hermit says to Hornet after she’s been infected with Greyroot’s parasite. “A slave within a slave! Given over your shell to something greater?”

Silksong and Bloodborne also share similar level designs, especially in the opening hours. While Hollow Knight, similar to Demon’s Souls and the first two Dark Souls games, eases players into the experience with relatively slow-paced opening levels before gradually ramping up the difficulty curve, Silksong and Bloodborne hit the ground running. Compared to the beginner-friendly Forgotten Crossroads, the Marrow – much like Central Yharnam – is a trial by fire, confronting the player with platforming and combat challenges that pick up right where the end of the previous game left off.

Speaking of challenges, both games make small yet meaningful tweaks to the iconic healing systems of their predecessors. While Silksong doesn’t shake things up to the extent that Bloodborne did by replacing the Estus flask with blood vials, the changes Team Cherry did push through end up having a similar effect on how people play. Where the Knight could only regenerate one mask at a time, Hornet – who can heal both on the ground and in the air – is initially able to regenerate a maximum of three. The catch: you can only heal once your meter is completely full. Like Bloodborne’s rallying mechanic, which lets players recover health if they retaliate immediately after getting hit, Silksong’s new system encourages an offensive as opposed to a defensive playstyle. Due to the new rules, the player can no longer afford to play it safe and heal incrementally. If you want to win, you’ll have to go about it differently than you did in the original. As one Redditor put it:

“I find myself playing like in [Hollow Knight], but it doesn’t work as well. Getting hurt matters a lot more in [Silksong], since Hornet can only heal at full meter. In that regard, it’s a lot like Bloodborne, in that always attacking results in healing being online more frequently. That’s not at all how I play in [Hollow Knight], and I’m struggling to retrain myself. I wonder if players new to the series are actually having an easier time, since they don’t have to unlearn the muscle memory from Hollow Knight.”

All that said, Silksong is most similar to Bloodborne in how it cranks up the speed. Even by the standards of their time, the early Souls games were slow. Player characters moved as if they were stuck in mud, attacked with windup animations that are long enough to rival those of certain Elden Ring bosses, and seemed to fat roll regardless of their equip load. Sure, the slower pace gave you ample time to react to your opponents, but there was also something frustrating about it. Often, deaths weren’t due to lack of skill so much as the fact that your character couldn’t do what you wanted them to.

By introducing faster attack animations and replacing the dreaded roll with a consistently snappy sidestep, Bloodborne got rid of that frustration. In Yharnam, players have no one to blame for their deaths except themselves, as the game gives them all the tools they need to take on even the game’s toughest enemies. But that’s not all. By changing the speed, FromSoft also changed the game’s appeal. Previously, combat had been like games of chess – methodical, requiring players to think ahead. Now, it was more like – well – combat: scrappy, chaotic, with decisions made on the fly rather than in advance. From Bloodborne onwards, Soulsborne titles were no longer tests of patience, but tests of reflexes – and they’re more popular (and, dare one say, enjoyable) for it.

Just as the hunters of Yharnam outpace the undead knights of Lordran and Drangleic, so does Hornet run circles around the Knight. Right out of the gate, she can walk faster, jump higher, and attack with greater range. These baseline qualities are enhanced by her new abilities, the most versatile of which are acquired comparatively early on in the campaign. Like the Knight, Hornet acquires a quickstep ability. But unlike the Knight, this ability can be extended into a run, which can itself be chained into a super jump and – finally – another, mid-air dash. She also learns to grapple, slow her descent with her cloak, and fly up air vents like a tiny, pointy rocket.

These abilities are not only used for traversal; they also come in handy during combat. Hornet’s downward thrust or “pogo jump” can be used to strike and bounce off enemies, just like in the original, but – because its direction is diagonal as opposed to vertical – it’s also a great way to quickly reposition yourself on the ground after a jump. Meanwhile, her run can be chained into a super jump to get over large enemies, or chained into a long-range special attack. These new abilities alter gameplay to such an extent that Team Cherry designed several early-game bosses that become a cakewalk when they are put to use, but a nightmare when you control Hornet the way you would the Knight. (If you’re stuck at that purple, hulking, club-wielding, Skull Ant mini-boss in the Marrow, now you know why).

That’s not to say Hornet’s greater speed makes the game any easier. For one, her new abilities come with significant drawbacks: the diagonal pogo requires strategic positioning, while the super jump locks you into an inescapable arc. More importantly, as in Bloodborne, you’re not the only one who becomes faster, stronger, and more aggressive. Enemies in Silksong have more health, bigger move pools, and often deal two masks of damage as opposed to one. The difficulty hasn’t changed – on the contrary, the game has only gotten more difficult. But because you’re faster and stronger, it’s also more enjoyable and replayable. I’ve beaten Gwin and Nashandra, yet I haven’t picked up Dark Souls or Dark Souls II in ages. Meanwhile, I’ve never defeated Gehrman and the Moon Presence, yet I still play through Bloodborne every Christmas. I suspect the same will be true for Silksong.

Years before Animal Crossing became a global success, Nintendo warned its localisation team how “difficult” it would be to make the game work outside of its native Japan.

Speaking to Time Extension, Nintendo localization manager Leslie Swann said bosses cautioned that the English-language launch of Animal Crossing, then titled Animal Forest, would be a huge job due to the sheer amount of in-game text within the title, as well as its numerous Japan-specific cultural references and items.

Indeed, Swan remembered then-Nintendo president Satoru Iwata discovering her team was working on bringing the notoriously odd and text-heavy game would be launched outside of Japan — something that left him in disbelief.

“We knew of Animal Forest, but we hadn’t really dinked around with it — we usually would get the Japanese versions of games and play through them,” Swann recalled. “But we hadn’t really messed around with that one very much. So, anyway, [Takashi Tezuka, Nintendo executive officer] basically said to me, ‘We’d like to have you localize it’ and I said, ‘Sure.’

“But then he said, ‘No, Leslie, I’m not sure you understand, it’s going to be difficult.’ And I kept having to assure him that we would make it happen.”

Animal Crossing’s earliest incarnation, known as Animal Forest, launched for N64 in April 2001 and never made it outside of Japan. It was only when the game was given an expanded GameCube launch that the decision was made to localise the title elsewhere — and even then, its arrival around the world took years.

“A month or two later, I was in a meeting with Mr. Iwata and some other heads of the development group,” Swan recalled, “and we were just kind of going around saying, ‘Here’s what we’re going to be working on,’ and I just said, ‘Well, Mr. Tezuka is asking us to work on Animal Forest’ and he just burst out in laughter. He just laughed and said, ‘I don’t know how you’re going to do this.’ And it’s true, just everything in that game was so specific to Japan.”

Okami and Bayonetta creator Hideki Kamiya recently weighed in on Hideo Kojima’s “lost” horror game demo P.T., and its lasting legacy.

A collaboration between Hideo Kojima and film director Guillermo del Toro, P.T. was released in 2014 on the PS4 as a free demo for their upcoming game Silent Hills. However, when series publisher Konami cancelled the game in 2015, they also delisted the demo from the PlayStation Store, making it impossible to redownload. This led to second-hand PS4 consoles with the critically acclaimed demo commanding high prices on auction sites like Ebay.

On X, where he regularly responds to (and blocks/unblocks) fans, Hideki Kamiya recently talked about P.T in response to a user expressing hope that either Kamiya or Kojima would try making another P.T.-style game. On September 5, Kamiya tweeted, “if it’s impossible to resurrect P.T., Kojima should make a new game in the same style,” adding: “if Kojima doesn’t do it, maybe I’ll give it a go. I hate horror though, so it wouldn’t be horror… plus, I have no ideas.”

It seems that Kojima’s upcoming experimental horror game OD might go some way to plugging the P.T.-shaped hole. First teased back in 2023 via a mysterious trailer, OD promises to “explore the concept of testing your fear threshold, and what it means to overdose on fear.”

Like P.T., OD is also a collaboration with a filmmaker, this time with Jordan Peele of Get Out fame. Hideo Kojima previously promised that OD will be something that “no one has seen before,” although details still remain scarce. Kojima will be holding a special event in Tokyo later this month to celebrate 10 years since his break with Konami, where he is likely to reveal more info about future projects (possibly including more about OD).

Although Devil May Cry and Bayonetta creator Hideki Kamiya kicked off his career at Capcom working on the original Resident Evil and its sequel, he has never made a modern, photorealistic horror game akin to P.T. In a series of tweets last October, Kamiya observed that P.T.’s delisting left a gap in the market, which Japanese indie hit The Exit 8 stepped into. “The Exit 8 went viral, but it’s basically just a watered-down P.T.,” Kamiya opined.

The Exit 8 is far less gory and objectively less scary than P.T., however it does share the delisted demo’s looping corridor mechanic, building a sense of dread in the player as they try to spot anomalies in its subway passage. Selling fast on Steam upon its release in November 2023, The Exit 8 has grown into such a phenomenon that it has even spawned a film adaptation (which recently generated some controversy in Japan).

Despite saying that he can’t play P.T. alone because it is “too scary,” Hideki Kamiya is full of praise for Kojima and del Toro’s demo. He even went so far as to say that the ‘8-like’ sub-genre (games with similar settings and mechanics to The Exit 8, which proliferated in the wake of its meteoric success) should really be called ‘P.T.-like.’ “P.T. was really that revolutionary – with an unparalleled uniqueness, and I think it has strongly influenced subsequent game creators,” said Kamiya.

Speaking of Kamiya, he’s busy working on Okami 2 for Capcom with his new development studio, Clovers. Kamiya left PlatinumGames in 2023 under something of a cloud.

Verity Townsend is a Japan-based freelance writer who previously served as editor, contributor and translator for the game news site Automaton West. She has also written about Japanese culture and movies for various publications.

Hollow Knight: Silksong developer Team Cherry has revealed details on the game’s first post-release patch, which it said mostly makes bug fixes and “slight” balance adjustments in the early game.

In a post on Steam, the developer said patch 1.0.28470 is set for all players mid-next week, so around September 17. However, PC players can access this version right now via the public-beta branch on Steam or GOG.

In terms of balance changes, it looks like the patch makes Silksong slightly easier, which will be welcome news to those who are struggling with the game. Silksong is one of the biggest launches of the year, hitting huge player concurrent numbers on Steam alongside a positive reception from critics. But amid the excitement over Team Cherry’s long awaited sequel is a debate within the community about whether the game is too hard — perhaps even unfairly so. It comes as no surprise to see Silksong’s early days mods dominated by those which make the game easier.

Over the weekend, we reported on how some Silksong players were expressing criticism across social media, subreddits, Discords, and Steam reviews about the game’s difficulty scaling and brutal runbacks. There’s even one very early miniboss causing a lot of players a whole heap of trouble, too.

“Is it just me, or are some of the things that make Silksong ‘difficult’ just cruel?” wondered redditor Machi-Ato. “The game has artificially inflated difficulty and playtime due to overtuned numbers and menial tasks/runback,” reads a post on Steam.

Thankfully, IGN is here to help. Here’s how to unlock and use the map, how to get Rosary Beads, Achievements and Trophies list, and our ever expanding Silksong Interactive Map. Also, you may need the Bell Beast boss fight guide. It’s a hard one!

Hollow Knight: Silksong update 1.0.28470 patch notes:

• Fixed situation where players could remain cloakless after Slab escape sequence.
• Fixed wish Infestation Operation often not being completable during the late game.
• Fixed wish Beast in the Bells not being completable when Bell Beast is summoned at the Bilewater Bellway during the late game.
• Fixed getting stuck floating after down-bouncing on certain projectiles.
• Fixed courier deliveries sometimes being inaccessible in Act 3.
• Fixed craft bind behaving incorrectly when in memories.
• Fixed Lace tool deflect soft-lock at start of battle in Deep Docks.
• Fixed Silk Snippers in Chapel of the Reaper sometimes getting stuck out of bounds.
• Fixed Claw Mirrors leaving Hornet inverted if taking damage during a specific moment while binding.
• Fixed Snitch Pick not giving rosaries and shell shards as intended.
• Removed float override input (down + jump, after player has Faydown Cloak).
• Slight difficulty reduction in early game bosses Moorwing and Sister Splinter.
• Reduction in damage from Sandcarvers.
• Slight increase in pea pod collider scale.
• Slight reduction in mid-game Bellway and Bell Bench prices.
• Slight increase in rosary rewards from relics and psalm cylinders.
• Increase in rosary rewards for courier deliveries.
• Various additional fixes and tweaks.

All fixes will apply retroactively, so players who’ve hit a significant bug that prevents progress may want to switch over to public-beta to receive the fix, Team Cherry said.

“Further fixes are already being worked on for a second patch. If you have an issue and you don’t see the solution in the list above, we may be working on it.”

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Single-player, story-based DLC that gives me an excuse to return to an impeccable single-player, story-based adventure that I adored the first time around? Unlike an out-of-his-depth Marcus Brody, MachineGames really knows how to speak my language. The Order of Giants is a roughly four-hour side quest for Indiana Jones and the Great Circle that’s heavy on puzzles and features a string of tremendously atmospheric caves, catacombs, and canals to explore through the belly of Rome. After not having visited The Great Circle for many months, I was quickly hooked all over again. Even if it’s just for an afternoon, The Order of Giants is an effective refresher on most of the things I love about MachineGames’ take on the finest fascist-hater to ever find himself under a fedora. However, I have to concede that its presentation as a belated quest from early in The Great Circle’s story does make it feel noticeably less special and crucial to play than a more overtly separate adventure could have been, and the final fight falls a little flat.

Slipping The Order of Giants directly into what’s basically the first act of The Great Circle’s story obviously spoke to the MachineGames team in an irresistible way and, to a degree, I can see the elegance of blending it into the existing game in this fashion. Accessing the mission actually happens from within the Vatican level itself – it isn’t an individual mode or level you can directly hop into via the main menu. It’s an interesting approach, since it makes The Order of Giants feel like a segment that was left on the cutting room floor. If you’re playing for the first time it’ll just be there from the outset, and for returning players it’s a little like watching a familiar film with a lengthy deleted scene re-inserted. It’s a neat and tidy solution, but it does have the unfortunate side effect of making the DLC feel a little inessential overall. That is, it wasn’t here initially, and it doesn’t change anything now that it is – whether you play it or not.

While The Order of Giants kicks off within the existing Vatican level, the mission quickly distinguishes itself by placing Indy into a previously unseen interior – and subsequently whisking him out of the Vatican entirely, and into Rome. Troy Baker’s performance as Indy remains hard to fault, and the music is again outstandingly faithful to the films. There are some really stunning underground locations throughout The Order of Giants, and I regularly found myself poring over the details of its crusty catacombs.

The action, meanwhile, is typical of The Great Circle itself: a mix of light first-person platforming, some puzzle solving, and some scattered stealth and brawling against Italian soldiers and a group of mysterious and violent red-robed cult members. This isn’t the sort of DLC that adds a radically different new layer of combat, so don’t expect them to display any new tricks.

The puzzles, though, are absolutely the highlight. I liked two of them in particular more than any in The Great Circle itself. One is a well-crafted water puzzle, and the other is essentially a giant marble maze you need to solve without losing your flaming ball and starting over. There is one particular text-based brainteaser where the link to the physical puzzle pieces seemed a little obtuse initially, but shortly afterwards made me feel like a mild idiot for not figuring it out sooner. Sometimes that’s the best kind of puzzle.

There aren’t any dramatic action sequences in The Order of Giants akin to the fighter plane skyjack in The Great Circle – or tobogganing down the Himalayas on a huge, Nazi battleship. It’s a slower-paced affair overall, but I don’t mind this since it’s seemed to have resulted in a pumped-up amount of puzzles to mull over. It does crescendo to a slightly unexpected miniboss fight in a very neat location, but it’s not a particularly inventive battle – it’s just run, ranged attack, run, ranged attack, run, etcetera. It probably went on a little long considering how repetitive it ended up being, wrapping up just as I’d started wondering whether what I was doing was even the right thing.