City of Brass opens with an ominous warning about the many dangers lurking within its populous town, before dropping a tantalizing tease of amazing wealth should you figure out how to conquer all of its obstacles. You play as a thief trying to reach the epic treasure through unlimited foes and creatures that are dangerous, and if you are in a position to overlook some specialized and presentation shortcomings, there’s a lot of fun to be had with City of Brass’s thoughtful combat and first-person dungeon crawling.
City of Brass is a roguelike that takes place over 12 procedurally generated levels and one final boss battle, and each playthrough is different. Changing level designs, enemy spawn points, along with different trap types need you to be on your toes, and keep the game engaging and always surprising. But though it’s fascinating to experience”new” levels in each playthrough, the presentation leaves much to be desired.
Every one of the twelve levels is broken down into four unique backdrops–cities including desert, overgrown, and extravagant motifs, as well as underground catacombs. They are initially striking to look at, however, repeating textures and assets quickly become evident, leading to stages that are virtually indistinguishable from the other. The Arabian Nights-inspired sound design is minimalist and fitting to your match aesthetic, however is usually unremarkable. Oud and flute-heavy topics feature greatly, but such as flat assets, are reused again and again. The shortcomings in the demonstration also extend into the menu–cumbersome vents make learning regarding City of Brass’ degrees, enemies, weapons, and gear frustrating and unhelpful.
The shortage of stage variety usually means that City of Brass sometimes feels as a four-level game being cushioned into 12. However, while they may be dull sometimes, that the first-person combat plays a massive part in alleviating the tedium. You are armed with a hammer in 1 hand and a sword in the other, and the interplay between them is superbly executed. If you are unable to break into a foe’s defenses, then there’s the option of using the whip to pull their feet out of before dashing in for the last blow with your blade, which feels unbelievably great to do.
When overrun in conditions where your sword and creep are simply not enough, you can use randomly scattered things or the numerous available cubes to turn the tide of their battle. Things such as a volatile jar or a lamp can help clear out a big horde of enemies; forcing an enemy into a venom jug can make them easier to kill; docile enemies could be lured or pulled into traps like ground spikes and bottomless pits. There’s a satisfying quantity of tactical thinking and creativity allowed within City of Brass’ combat. There is also a sizable roster of enemies and also mini-bosses scattered throughout each place, most of whom require various strategies to overcome. The enemy designs are not particularly motivated, but the basic AI provides up a lot of a struggle to keep you alert, particularly through moments when big groups of enemies relentlessly chase you down.
Memorable and heart-stopping fight minutes are also liberally sprinkled through City of Brass. One particularly notable experience has you tailed with a near-indestructible enemy statue which simply comes to life once your back is turned and can only be ruined by explosive jars. The moment you’re within the proximity of an enemy statue, the audio immediately strikes high notesand you’re on border trying to keep sight of the statue whilst searching for an explosive jar or the depart.
Death will be a normal occurrence, but the brief stages and favorable learning curve assist promote perennial efforts. City of Brass also allows you to liberally tailor difficulty according to your skill level. A total of twenty five modifiers aimed toward buffing or nerfing both you and enemies alike are available from the beginning, allowing you to be as flexible with the issue as you .