Elden Ring is just about everything that a player could want from a Soulsborne game with the scale turned up to 11. Read the full review here:
Tendrils of fog curl around the dilapidated shack I am taking shelter in, competing with the softly falling rain to see which can be the more forlorn and eerie. After my attempts to explore the nearby mountains of Limgrave were cut short by the concussive blows of a massive troll, I discovered the shack in the same way I have found much of the Elden Ring’s substantial map. That is to say, by running from the nightmares that seek to kill me and stumbling upon it by accident.
First, a Soulsborne game must set you a task without telling you how to achieve it. Secondly, the game must give you a destination with no instructions on how to reach it. Finally, the game must invite you to die. This is the most important, and often most misunderstood, element of the games. Soulsborne games do not kill you. They simply give you ample ways to die until you learn how not to.
For years, Miyazaki’s worlds have put me in mind of the work of Polish painter Zdzisław Beksiński. Beksiński was a surrealist, painting incredible inhospitable worlds, twisted masses of flesh, terrifying architecture, and maddening apocalyptic nightmares. The Lands Between, as Elden Ring’s world is known, uses these same elements to explore a living tapestry of life and death, destruction and decay, hope and fear.
Elden Ring is filled with a liberal dose of tragedy and travesty, and few characters in the game fall into the tired tropes of the strictly evil. Everyone here has been led astray in some way, seduced by power or inner voices best ignored. Most of the bosses you face, creatures of immense strength and terrifying power, will have walked a road of strange fragility to end up dying beneath your blade.
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