Saros might be a roguelite, but its definition of a "run" is definitely broader than most. The latest game from developer Housemarque shares plenty of similarities with the studio's previous game, Returnal--both are sci-fi third-person shooters with a bullet-hell tinge--yet Saros takes some bold swings that clearly differentiate the two. By flipping Housemarque's roguelite formula on its head, Saros builds and improves upon its spiritual predecessor in spectacular fashion, seducing you every step of the way with an enthralling marriage of mechanics and story that's not to be missed.
You're given very little to go on as Saros begins. On the planet of Carcosa, communication with the colony ships Echelon I, II, and III has been lost. Echelon IV and its emergency crew are sent to investigate. In addition to a pilot, crew commander, and engineer, the team also includes four armed Enforcers for reconnaissance and security purposes. Protagonist Arjun Devraj is one of these Enforcers, though that number has dwindled to two by the time you take control. With thousands of colonists missing, members of the emergency crew losing their minds, and Arjun able to come back from the dead, you're just as lost as the characters are when it comes to figuring out just what the hell is going on.
What you do know is that the Echelon program was sent to Carcosa by the Soltari corporation due to the presence of Lucenite, a compound with vast energy potential. Soltari is essentially Alien's Weyland-Yutani in all but name, placing Lucenite extraction above all else in the chase for trillion-dollar profits. This creates friction between the crew and those loyal to the company, especially Arjun, who also has personal reasons for being there. He knows someone who was on board Echelon I, so there's an impassioned determination behind his words and actions, even as he struggles to piece together the mysterious circumstances he finds himself in.
Even so, I was initially skeptical of this approach. A protagonist searching for their partner is a tired and overdone trope, yet Saros surprised me with the direction it takes. It's darker and more complex than I imagined it would be, while Arjun's character development over the course of the game proves captivating.
The entire cast is excellent, too, breathing life into characters you only encounter through audio logs and those you interact with each time you return from a run. Rahul Kohli (Midnight Mass, Gears 5), meanwhile, shines as Arjun, giving depth to his struggles and inner turmoil as he carries the weight of the game's narrative. The only misstep is that the character models during in-game conversations lack the fidelity to convey the same emotions as the voice performances. Usually, this isn't an issue, but there are a couple of hard-hitting moments where it veers into the uncanny valley.
Another thing I appreciated about Arjun's arc is the way it gradually folds into the planet's broader mysteries. You might be familiar with the name Carcosa. In Saros, it's a shape-shifting alien planet, but the name has appeared across media before in the likes of True Detective, Mass Effect, and the works of H.P. Lovecraft and George R.R. Martin. Each of these instances was inspired by the American writer Robert W. Chambers, who used Carcosa as a setting in several short stories featured in the 1895 book The King in Yellow. Saros is no different. In the book, Chambers describes Carcosa as a mysterious, ancient, and possibly cursed place, which is a fitting description for the hostile planet you find yourself stranded on.
There's more to it than just a name, although I won't delve any further into specifics. Just know that these allusions only add to the sense of unease. Saros might not be a horror game, but it quickly establishes an unnerving atmosphere that permeates throughout the entire experience.
You receive a drip-feed of information from run to run as you discover text and audio logs and converse with your fellow crew members each time you return to the game's hub. This lack of information creates a mystique around Arjun, the mission, and Carcosa, which Housemarque further blurs by showing you striking images and events for which you have no context. Even as the picture becomes clearer, the sense of dread doesn't dissipate as the game's mysteries slowly unravel, and the eventual context is all the more impactful.
Carcosa's aesthetic contributes to this feeling as well. Each biome evokes trepidation, whether it's the tumultuous nature of the planet itself or its ancient architecture--crafted at some unknown point in time by some unknowable entity. White marble walls are juxtaposed with statues and art installations that scream agony; there are large-scale depictions of arms clawing their way out of hell and poor souls forced to hold up structures like Atlas carrying the heavens on his shoulders. Underneath the earth is a sprawling network of pipes and metal, where fire spews out of whirring machinery, and H.R. Giger's influence is felt. There's a city, decimated by a long-forgotten war, where tight streets constrict your movement and ramp up the intensity of each firefight, while a murky swamp forces you to contend with toxic waters once the planet's eclipse fills the sky.
Saros builds and improves upon [Returnal] in spectacular fashion, seducing you every step of the way with an enthralling marriage of mechanics and story that's not to be missed.
Once you've left the relative safety of the hub and are exploring these biomes, that feeling of uncertainty in the pit of your stomach is also joined by a jolt of excitement. In Returnal, protagonist Selene dashed through incoming lines of explosive orbs, jumped over energy beams, and utilized a variety of weaponry to survive. In Saros, Arjun does the same, except he's not fighting just to survive; he's fighting to find his partner, and will kill whatever's in front of him to do so. While Selene was constantly on the back foot, Arjun plants his front foot firmly in the ground, and his arsenal reflects this.
You can jump and dash to avoid the barrage of enemy fire heading your way, but Arjun also comes equipped with a special shield that deflects damage and, most importantly, absorbs it, channeling this energy into Power that can be used to unleash your own devastating attacks.
Blue projectiles can be dashed through or absorbed, yellow ones can be dashed through but will rapidly destroy your shield, while red projectiles need to be avoided entirely--at least until you gain the ability to parry these attacks later on. This means readability is never an issue, though it's still easy to feel overwhelmed when the screen fills with a cacophony of bright energy beams and neon orbs. Not in a negative sense, but in a way that's challenging without feeling unfair.
It's a test of your reflexes and ability to position yourself so that you're not surprised by any unseen threats. It also makes sense that Housemarque rejects the bullet-hell moniker in favor of the more apt "bullet ballet." With active reloads and the way you weave into some projectiles while outright avoiding others, there's a rhythmic cadence to combat that feels somewhat like a chaotic dance.
Slipping into a flow state is incredibly easy, to the point where I often didn't realize how hard I was gripping the controller until the action had died down. It's thrilling stuff, mixing small-arms fire with melee strikes and a Power Weapon you can charge by absorbing projectiles, blasting away mobs, tough Alpha enemies, and the game's slew of fantastic bosses.
There are a few weapon types, such as assault rifles, shotguns, and crossbows, but, as with each procedurally generated biome, there are dozens of different permutations as well. One pistol might utilize burst fire, while another ricochets each bullet between multiple enemies. Every weapon has an alt-fire mode, too, letting you fire off shotgun shells with a more concentrated vertical spread, or add additional homing projectiles to a single crossbow bolt. I rarely found a firearm that wasn't satisfying to use, and they all feel viable, no matter the confluence of random modifiers and buffs.
You'll also find numerous Artifacts scattered across Carcosa. There's a limit to how many you can have equipped, but each one augments your abilities and grants different effects, such as automatic Power generation or a reduction in incoming damage. Unlike Returnal, you don't need a near-perfect mix of Artifacts and weapons to succeed. Saros is still a challenging game--and you can tinker with various modifiers to make it slightly easier or harder (within reason)--but it never feels like a successful run is predicated on which random pickups you receive.
This is also partly due to permanent upgrades that are more palpable and immediate. The Lucenite you collect by exploring and defeating enemies can be spent at the game's hub to purchase various upgrades from an exhaustive skill tree. Some of these are blanket improvements to attributes like armor integrity and maximum Power, and there's an instant sense of progression that stems from seeing your health bar expand or suddenly having more opportunities to use the Power Weapon. Other upgrades are more varied: You can add additional Artifact slots, start each run with keys to unlock doors and open locked containers, ensure that enemies drop more Lucenite, and boost your proficiency to gain access to higher-tier weapons earlier in a run.
That last upgrade is important, because Saros isn't structured like most roguelites. There's a throughline from one biome to the next that encompasses almost the entire game, but you can also travel to each biome individually from the game's hub. Obviously, you need to unlock an area first, but once you've reached a specific biome, you can fast-travel right back to it at the start of each run. This means you don't have to start from the beginning of the game each time and can pick up wherever you want, cutting out potential tedium while also giving you a ton of flexibility in how you approach the game.
When a boss was giving me a hard time, I decided to begin my run from the first biome rather than teleporting straight to the boss's domain. There are risks involved in this strategy, since I could've died before even making it back, but starting from an earlier point allowed me to build up enough temporary upgrades that I had an easier time defeating the boss. Other times, I didn't feel like I needed to revisit past biomes again, so I teleported to where I needed to go and went from there. Add in the fact that you can suspend a run (provided you're not in the middle of a boss battle), and Saros is much more generous with your time than Returnal was.
It might not be a direct sequel, but decisions like this and others elsewhere address every issue I had with Returnal. Housemarque's previous game is fantastic in its own way. Yet Saros elevates the studio's roguelite formula to another level. Its structure is surprisingly malleable, combat is deeper and more rewarding, and I couldn't resist being wrapped around the finger of its mysterious and foreboding narrative. I find roguelites hit-and-miss, but it didn't take long before I was utterly infatuated with Saros. It's an incredible game that does more than just refine what worked before. Even after rolling credits, I can't wait to dive back in.
