Fall of Light

There is an extremely labile limit which divides citationism from the plotting. Cinematographically speaking, the idea is unanimous that no one has ever been able to kidnap and amalgamate the most disparate situations better than Quentin Tarantino has done for twenty-five years.


Instead, inside the videogame industry, what we tend to recover as much as possible in these years is the “difficult” RPG setting that Miyazaki and From Software have made great with the various Souls and the Bloodborne spin-off.


The talented Italian RuneHeads team makes a further big step, inserting a mechanism similar to that of Ico, called to carry the ball to the Yorda foot in this citation broth. This choice leads inexorably to the twofold consequence of raising Fall of Light to its most inspired, but risking equally to bury it brutally.



The narrative assumption from which Fall of Light is part is certainly not among the most original. In a world in which light and darkness exist, we are called to live the fourteenth age of men, the first dark, which came after thirteen cycles of peace and prosperity.


Already the intro is a tribute to the initial scenes of the various Dark Souls, complete with a narrator and related acting, which masterfully remind the narrative voice that a year and a half ago had introduced us to Lothric and the flames dormant. Assimilated the setting, what you will find in front of you will be nothing but the struggle of a father who is trying to save his daughter Aetherin order to bring his world back to light.


We are not going to tell you more than you could discover or infer with the first few minutes of play, this for the simple reason that Fall of Light owes so much to its ability to effectively narrate the story: also borrowed from the titles of From Software, is divided into a few dubbed scenes and a myriad of documents to be recovered around, useful to fully understand the background of the world in which we live and instill the right curiosity, at least until a turn that will put a second floor on the plate narrative.


It will be up to you to discover these elements, reassuring yourself that if Fall of Light can be said to be essentially successful, it is right from the narrative point of view.The relationship between Nyx and Aether, initially inconsistent and pretentious, will soon turn into the main reason for your journey.


What unfortunately works less is all that instead has to do with the mere gameplay: between lack and mechanical only sketchy, the total independence of the product has radically undermined the success.


What is really strange is not the excruciating need to carry the ballast named Aether as we try to clean up rooms and corridors of dozens of enemies.


The real point against Fall of Light is the choice of an isometric Diablo setting.If as you said before you will be able to wait for the relationship between father and daughter to take shape and justify some bitter tears, it will be impossible to digest a combat system that seeks irremediably to


trace the situations that have made Hidetaka Miyazaki great, but that an isometric view tends to make it often incomprehensible. What makes the Dark Souls fight the current yardstick for the genre, is its incredible precision and ability to return feedback on the blow that borders on the miracle.


This particularity is what has overshadowed any other Souls like come in the years to follow (with the sole exception of the masterful NiOh of Team Ninja).Finding yourself to fight with a view so far from your alter ego, but that requires a precision of movement and counterattack superfine, is the most unbearable the game has to offer. 



The limited availability in terms of inventory and the total absence of the characteristics of your opponent – was also the only vital bar – only accentuate a sense of frustration that often will risk to make even the most hardened of the players. In itself this would not be a problem, but only a further stimulus: