Voice of Cards: The Beasts of Burden

My first hour with The Beasts of Burden confirmed something I suspected after The Forsaken Maiden: this series knows exactly what it is, and it has no interest in pretending otherwise. You get a game master narrating your every move over a world built entirely from face-down cards, a party pawn sliding across a virtual tabletop, and turn-based combat where gems function as a resource you spend to play increasingly devastating skill cards. What changes here is the hook that makes the third entry feel genuinely distinct: protagonist Al'e carries the rare ability to trap defeated monsters inside cards and assign them as active skills to any party member. There are 54 monster cards to hunt down, and higher-rarity variants exist on top of that, so the incentive to grind random encounters is more meaningful than in either predecessor. The story is a coming-of-age revenge arc with a darker palette than what the series has served before. Al'e grows up underground, never having seen the sky, until a monster attack wipes out her village and kills her mother on the night of her fourteenth birthday. She escapes with L'gol, a brooding outsider boy, and eventually picks up scholar Pulche and ex-circus performer Tralis as party members. The four of them are the best reason to keep playing. Their interactions carry genuine warmth and friction, and the late-game thematic swing - preconceptions, prejudice, and what it actually means to be monstrous - lands harder than you might expect from a game played on virtual cardboard. The narrative takes its time getting moving, and there is filler backtracking across a long desert stretch that tests patience. But the final act earns it. Combat works on a gem economy: each turn generates one gem, standard attacks cost nothing, and the more powerful monster and skill cards scale up in cost accordingly. Elemental affinities matter, buff and debuff cards have real strategic weight, and boss encounters are visually striking because the game stacks multiple cards together to suggest scale it could not otherwise depict. The poker-style side minigame returns, though the AI is not particularly sharp at it. Random encounters are the series' most persistent nuisance, and The Beasts of Burden is no exception - dungeon pacing suffers when battles fire every few steps. The speed-up option exists but cuts animations so aggressively it loses the charm that the whole presentation is built around. Keiichi Okabe's soundtrack, mixing somber piano with strings that lean slightly sleepy, is the right companion for a game that moves at its own unhurried pace. The new female game master in the English version, voiced by Carin Gilfry, gives Al'e's story a warmer and more intimate register than the previous entries. Art direction stays consistent with the series, which means gorgeous card illustrations and readable combat states, but do not expect any visual evolution over its predecessors. If you have played neither of the first two Voice of Cards games, this is a reasonable place to start - the story is standalone and the mechanics tutorial is, unfortunately, mandatory regardless. If you bounced off the pacing of The Isle Dragon Roars or The Forsaken Maiden, this entry will not change your relationship with the format. At around ten to eleven hours for a thorough run, it is not asking a lot of your calendar. What it is asking is that you accept a game with clear mechanical ceilings, minimal side content (three optional quests, one of which is a real quest chain), and a filler problem that even a Yoko Taro story hook cannot fully rescue. Accept those terms and you will find a genuinely affecting little RPG with one of the more interesting party dynamics the series has produced.

Monika · Scout Team

RPGs

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