Gangs of Sherwood

My first impression of Gangs of Sherwood was genuine surprise at its setting. Appeal Studios takes the Robin Hood folklore and shunts it roughly five centuries forward, anchoring the world around a magical gemstone called the Lionheart that has turbocharged medieval England into an industrial dystopia complete with dropships, energy shields, and RGB-lit enemy armour sitting right next to stone cottages and crossbow bolts. It is genuinely odd, frequently charming, and for the first couple of hours it works. The four playable characters, Robin, Marian, Little John, and Friar Tuck, each handle distinctly: Robin builds golden arrow charges for ranged burst, Marian uses throwing daggers and a whipsword with nimble mobility, Friar Tuck swings a massive mace for ground-shaking area hits, and Little John leans into melee combos that feed a supercharged heavy strike. Robin and Marian can squeeze through tight gaps in levels; Little John and Tuck can smash or lift obstacles to open alternate paths. On paper, and honestly in practice for the first act, the character variety holds up. The structure is mission-based, each run lasting around twenty minutes, with a hub called Major Oak sitting between missions for upgrades, skin unlocks, and spending gold at merchants. You can donate loot to free townsfolk to unlock ability augmentations, which is a nice thematic touch. Combat has light and heavy attacks, dodges, parries, and a Rebel Instinct meter that temporarily supercharges your abilities when full. Letter grades after each encounter and a per-run power scaling system keep early missions feeling kinetic. The problem is that the game never meaningfully builds on any of this. Combos unlock too slowly, enemy AI is passive enough that ranged characters trivialize most encounters, and boss fights that should feel climactic tend to fold embarrassingly fast even on harder settings. The target lock-on system is unreliable, breaking at the slightest camera movement. Play it solo and you face a punishing gold-based resurrection system that can force full mission restarts from late in a twenty-five minute stage, which stings. The co-op side is where the game has the best chance of landing. With three other people covering different character archetypes and syncing Rebel Instinct bursts, the chaos has a certain infectious energy. The puppet-show cutscenes narrated by minstrel Alan-a-Dale between missions are a genuine creative highlight, delivering the story with more wit and personality than the in-mission dialogue manages. Visually, the environments look good, the steampunk-industrial mix is cohesive, and the music holds up through repeated mission runs. But the campaign is done in six to seven hours, replay incentives are thin, and the same encounter template, push through a corridor, clear a wave arena, push again, repeats without variation until the credits roll. Who is this for, exactly? If you have three friends who want a couch-style brawler with a light RPG upgrade loop and nobody is expecting Vermintide-level depth, there is a decent evening here. The nostalgia for mid-2000s co-op action games is real and the setting is more interesting than it has any right to be. Solo players or anyone expecting the combat system to grow into something substantial will hit disappointment well before the final act. With Mixed Steam reviews and critical consensus landing squarely in the "passable but shallow" zone, this one lives or dies on your crew and your expectations. At a significant discount it earns its place as a low-commitment brawl. At anywhere near launch pricing, the brevity is hard to justify.

Alex · Scout Team

Catch-all

Be the first to comment on Gangs of Sherwood.