Baladins

My first instinct when I saw Baladins was that someone had pressed a children's storybook flat against a screen and breathed life into it. The paper cut-out characters, the diorama towns of Gatherac, the lightly whimsical score that never demands your attention but quietly colours every room you enter - this is a game that was clearly built by people who cared about every centimetre of its canvas. Seed by Seed, a small French studio, describes itself in the work before a single word of marketing needs to. What you are actually playing is something harder to categorise than the RPG label suggests. There is no combat. Every quest resolves through dialogue choices, dice rolls against five skills - physique, finesse, knowledge, creativity, and destruction - and careful budgeting of your movement and action points each turn. You pick one of five classes at the start of each loop: the Bard, the Cook, the Pyro, the Dancer, or the Luxomancer (yes, the ancient art of being very good at fixing lamps). Each class leans hard into one stat cluster, so the Luxomancer breezes through trivia and labour-rights debates while the Dancer is your person when someone needs a jar opened urgently. The world is structured like a board game - four regions, weeks divided into turns, a growing web of 35 or so rumours to uncover, more than 80 NPCs to meet, and somewhere north of 135 items to discover. Every six in-game weeks the dragon Colobra arrives at the Peace Festival, eats almost everything in your inventory, and sends you back to week one. Only the Baladins remember. Everyone else is blissfully, repeatedly, obliviously fine. That time-loop tension is Baladins at its cleverest. Because stats reset but knowledge does not, each run feels like a planning session informed by the last one. You know which rumour lives in the winery, you know which NPC hands over the item Colobra actually wants, and you can route your movement points with quiet confidence. The satisfaction of watching your efficiency grow across loops is real, and the writing keeps the repetition from feeling punishing - most quest endings land a genuine joke, and even Colobra's hunger-fuelled monologues carry a dry wit that earns the reset. Reviewers flagged a few freeze bugs around certain item interactions at launch, worth noting if you are mid-loop and attached to your progress. Here is where honesty requires a hard turn. Baladins was designed around a party. With three or four players, movement points and action points effectively multiply, you can split across the map, pool stats on shared skill checks, and the banter engine runs hot. Solo, the math quietly punishes you - one player cannot cover the same ground as four, random encounters required to unlock certain quest branches can take multiple loops to trigger, and the absence of Steam Remote Play pass-and-play means pulling friends in casually is less frictionless than you might hope. The characters themselves, despite charming animations, stay thin on personal lore; they are vivid types rather than deep individuals, which makes them ideal party props but slightly hollow companions for a solo crawl. If a regular co-op group is in reach, this opens up considerably. The soundtrack sits in that rare zone where it is not so memorable that you hum it later, but not so absent that you would notice the mute button had been pressed. The whimsy never tips into saccharine, and the witty little asides the game hides in its quest text - a geyser explosion tied to a very bad festival plan, commentary on misinformation and worker rights tucked inside kid-friendly packaging - give it a soft intellectual texture. Baladins knows when to end a joke and when to let a quiet moment land, which, for a game this size, is no small achievement.

Kai · Scout Team

Indie & narrative

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