Presentation - The game has a stunning art style that I can't really do justice with words, along with equally beautiful music. Its honestly one of the game's strong suites.

World Design - To talk about the open world briefly, its one of those worlds you appreciate more over time as you play the game; the interconnected of the world is just real neat and it feels rewarding exploring Zenozoik.

Writing - The game's narrative has some shockingly good high points and doesn't really have any big low points to hold it back. Probably one of the things I was shocked the most by.

Gameplay - There's a lot to talk about, but I'll be brief. As far as the good, the combat is really, really fun and sort of feels like a mix between a Souls-like and a fighting game. There's a lot of fighting styles to choose from and customizable moves, that once again make you feel good for exploring the world, however that is not to say I don't have critiques. For one, I find the camera to be the clunkiest part of this game; there's just way too many moments in fights, particularly in tight rooms, where it feels like I'm fighting the camera. I'm not sure what could've been done, but it did feel like a shortcoming. Secondly, I ran into a number of bugs where the repetitiveness of those bugs made me feel there was a lack of polish, the most offensive of these being a bug I found twice where in Pseudo's double kick special, he'd just start doing the kick indefinitely without stop. Notably, though not a gameplay bug, there was a moment in the final, final boss where Pseudo's head wildly stretched out twice. The experiences here are different from my friend who doesn't have nearly as many bugs.

Basically, if you want a bite sized game (like about 20 hours) that offers you a lot of ways to fight, is visually impressive, and can surprise you with its endearing writing, Clash: Artifacts of Chaos, is more than worth it. The polish in some areas and some shortcomings with the camera hold it back for me, but its still a great time.

Reports of the mid-budget game’s death have been greatly exaggerated. They’re generally now something you have to more actively be on the lookout for, but there are still plenty of them with all the same hallmarks cynics’d have you believe we don’t get anymore – navigation by way of unique geographical landmarks as opposed to UI widgets, obtuse systems you only learn the inner workings of by throwing yourself into the deep end, visual design and mechanics strange enough to ward off the easily disoriented and more. Few games in recent memory exemplify it all better than this.

While that clip works a rough vertical slice of what you can expect from Clash’s combat, its little nuances aren’t immediately obvious at a glance. The way its blocking system works feels especially distinctive from other action games with parries, temporarily slowing down the enemy you block almost like a localised version of Witch Time, but key to the balance it strikes between complexity and accessibility is how it lets you cancel any light punch at any point into one of a special attack, jump or dodge. It’s a narrow but malleable core which enables a bunch of playstyles simultaneously; you can help speed along Zenozoik’s death by manipulating these mechanics to absolutely wombo combo its denizens, be less committal and whittle them down while dodging away and luring them into each other’s attacks, focus on filling Pseudo’s attack gauge to spend as much time in his superpowered first person mode as possible or take any number of other approaches. Chuck in unlockable combat styles you can find through exploration (complementing its revamped, Bloodborne-inspired level design) alongside some light moveset customisation and you’ve got the type of game you’ll be reloading saves before boss encounters just to replay them differently, this all being before you get into modifiers brought about by the Ritual.

This is essentially an in-universe dice game that you can challenge bosses to before the fisticuffs start, during which the pair of you offer up an artifact to either somehow alter the fighting area, debuff one’s opponent or introduce some other advantage to one’s side depending on who has the most dice remaining by the end. The effects can get pretty creative, thick fog rolling in and obscuring your vision in exchange for causing enemies to swing blindly at whatever’s nearby being a suitably chaotic standout, though my favourite has to be the paired Pact and Summon artifacts. Winning the Ritual with the former active lets you store the boss you’ve beaten as an ally which you can then summon to help you by upon winning a second game with the latter equipped – if you stack up enough of both, you can essentially turn an unusual beat ‘em up into an even more unusual version of Pokemon, pitting cannibalistic mushroom men against tripedal bright blue elk with faces growing out of their chests and all manner of other weird and wonderful mercenaries I’ve no idea how these guys’ concept artists dreamt up. It does sometimes feel tedious that there’s no way to forfeit the Ritual once you’ve challenged someone to it, but it’s a worthwhile exchange for the sheer variation it enables in combat encounters. It’s everything I mentioned in the first paragraph dialled up to 11, fostered by an almost totally optional minigame. How cool is that?

I’m already predisposed to love any fictional world conceptually bizarre enough to feature something like this as its sole governing law, but it helps that it’s got the art direction to match. It’s one thing to be able to point your camera anywhere in a game and have a new wallpaper on your hands, another entirely both to craft such a genuinely alien environment and render it consistently readable without anything resembling objective markers. It’s perplexion with a purpose: it’d have been much easier to just let the player’s map or some other immersion breaking visual cue do all the thinking for them, but instead, the environmental artists and modellers gave it their all and went the extra mile to make this nutcase’s fever dream a believable place you’re expected to organically learn the lay of. Their creativity even benefits the enemy design in a way – certain opponents not having a particularly big or varied moveset is offset at least a bit by how you can never really be sure how something as uncanny as a technicolour lion with the face of an elderly man (for example) is going to attack. It easily joins hands with Bayonetta Origins and Inkulinati on the podium of some of 2023’s most unique visual design, none of which received any industry recognition in this regard because why would those with large platforms ever try to raise awareness of anything actually interesting?

How or why any given game flies under the radar varies too much to pin it on a singular cause, it’s just a particular shame that it’s happened in this case because of the extent to which Clash is stuffed with things people commonly claim to want. It might sound like a hodgepodge of disparate ideas when you’re just reading about it, but to me there are clear throughlines connecting all of its esoteric mechanics, outlandish art, intimidatingly loopy level design and litany of music I can’t do justice to with words – a willingness to be different and respect for the player’s intelligence. You can only put so much stock into how a game’s number of plays correlates to its actual popularity on a site where Gravity Rush 2 has more than Starcraft and Minecraft has only about three times as many as a Yakuza game, but only managing double digits even in a place of relative enthusiasts wouldn’t seem to bode well for its prospects (or, at least, as well as something with these traits deserves).

That’s why I challenge you, whoever’s reading this, by the One Law: please take a chance on this game you may have missed. They don’t make them like this anymore, except when they do! And when they do, you’ll be reminded of how much we could still do with more games like it.