Soulbringer

I went into Soulbringer expecting a dusty relic and came out with more opinions about damage types than I had going in. This is a year-2000 action RPG from Gremlin Interactive that landed in the same release window as Diablo II, Icewind Dale, and Planescape: Torment, which tells you almost everything you need to know about why most people never heard of it. That context matters, because judged purely on its systems, Soulbringer has ideas that still hold up as interesting on paper. The combat is the clearest example. Rather than picking a class at the start, you distribute six points per level across five stats: strength, speed, combat, health, and magic, up to a ceiling of 41 levels. Investing in combat unlocks higher-tier attack moves for each weapon type, so that knife you start with eventually opens up a proper stab that actually does damage. Weapons deal one of three damage types, piercing, slashing, or crushing, and the game enforces them mechanically: skeletons laugh at slashing, and some enemies can only be hit by low attacks while elevated opponents require high ones. The custom combo system lets you chain attacks and spells to a hotkey, which means mid-game you can have purpose-built sequences for humanoids, undead, and spiders respectively. That is a legitimate mechanical depth that most action RPGs of the era skipped entirely. Magic runs on a circular school system where leaning too hard on fire leaves you brittle against water, which keeps elemental decisions feeling consequential rather than cosmetic. Where it falls apart is everywhere else. The pathfinding is genuinely painful: the character stutters through movement transitions, the combat AI miscalculates distances often enough to feel like a recurring bug, and there is no in-game map of any kind. You navigate largely on memory and instinct through environments that share a lot of the same grey-brown texturing. The looting system is similarly rough; herbs and mushrooms cannot be identified until they are in your inventory, potions require a separate identification step, and the shops dry up almost immediately after Madrigal. The save system gives you exactly five slots with no quick-save, which in 2000 was annoying and in 2026 feels like an act of hostility. A known missable rune event tied to Crux's manor can strand a playthrough without any warning, which is the kind of thing that turns curious explorers into people who never finish. On the story side, the bones are serviceable high-fantasy: orphaned young man, reincarnation reveal, six demon kings to ultimately imprison, parallel worlds to traverse. The journey takes you from the snowy streets of Madrigal through the ruins of Horath, the empire of Thardolin, and the lost city of Talendrah. The voice acting is one of the game's genuine wins, praised consistently even by critics who disliked everything else. The writing itself is not the kind that rewards a second read the way a Disco Elysium or even a Planescape does, and the protagonist is a fixed personality with no real dialogue agency, so narrative replays are driven purely by build curiosity rather than story payoff. The build variety does offer a reason to replay: a pure warrior and a mage who actually manages the circular magic economy feel like meaningfully different games, and the combat combo construction gives a tinkerer something to play with. But the interface friction is real, and anyone who bounces off it in the first hour is not wrong to do so. This is a game for people who find the archaeology of slightly broken old systems rewarding in itself. If you need the camera to cooperate, the map to exist, or the save slots to number more than five, Soulbringer is going to fight you every step of the way. Monika, Scout Team