KIBORG

My first few runs in KIBORG felt genuinely hostile, and not in the way good roguelites feel hostile. You are dropped into a circular hub with almost no onboarding, pointed at a prison tower, and told to punch your way to the roof. There is a tutorial terminal you can read, or you can just hit things. Most players will hit things, get destroyed, and wonder what the game is even doing. That early friction is real, and worth naming honestly before anything else. Once you get past that cold opening, though, KIBORG reveals its actual pitch: a third-person brawler built on the bones of old arcade beat-em-ups, threaded through a roguelite loop of cybernetic upgrades and branching floor layouts. You play as Morgan Lee, a wrongly imprisoned soldier serving a 1,300-year sentence on a grim galactic prison planet. His only exit is The Last Ticket, a televised death-gauntlet hosted by a showman named Volkov. Death reconstructs you so you can keep serving time, which neatly justifies the run-and-die structure without much fuss. The fiction is thin but functional. Combat is the reason to be here. Light attacks, heavy attacks, circular sweeps that clear crowds, last-second parries, dodge rolls that burn shield charges, and a separate firearm system covering sidearms and main weapons - it is a busy control scheme, and it does take time to internalize. When it all coheres, the fights feel genuinely physical: bone-crack audio, violent finishers, limb severance, the satisfying thud of a combo landing clean. The cybernetic implant system, the core roguelite hook, lets you gradually reshape Morgan into something inhuman. Implants belong to classes and reward synergy thinking, not just grabbing the highest number. Picking a fire-path dodge implant and then building around it across a run produces a meaningfully different character than stacking the Guardian set. The build variety here is the game's strongest quality, and the branching skill tree in the hub compounds it across sessions. Melee weapons break down frustratingly fast without upgrades, and ranged ammo is scarce enough that firearms feel like emergency tools in early runs rather than a genuine parallel system. Difficulty balance is also genuinely uneven: early floors can feel trivially easy once you find a broken synergy, while later floors spike in ways that feel less designed than accidental. The voice acting, particularly an alien announcer character who yells at you constantly, is widely criticized for good reason. These are not fatal problems, but they are real ones. Sobaka Studio previously made Redeemer and 9 Monkeys of Shaolin, both of which showed a clear affection for brawler DNA. KIBORG is their most ambitious genre fusion, and the Steam community response has settled at a broadly positive place, with players who push into the mid-game praising the build depth and combat fluidity, while those who bounce off the early hours point to the rough onboarding, repetitive encounter design, and uneven difficulty curve. Both camps are describing the same game accurately. This is the kind of title that rewards the player who commits to learning its systems rather than the one who wants a smooth ride from the first button press. Kai, Scout Team