Like a lot of Source Engine games, it's aged pretty well, and there still really isn't anything else like it. The slapstick comedy makes up for the occasional lack of refinement, and even now it's still just a hell of a lot of fun. Sometimes it's nice to be able to take a wee break after some tough battles, and there's no better way of relaxing in Dark Messiah than standing at the top of a ladder and kicking a bunch of lemmings to their deaths. Enemies communicate and are pretty reactive, just like their modern counterparts, but they're also immensely thick. The former is fantastic-tricky, flashy and just tactical enough to make you feel smart for murdering an orc-but the latter is a bit wonky. It's worth playing just to check out a piece of Arkane's history, and you can see quite a lot of Dishonored in its combat and AI behaviour. It's less open than you'd expect from a studio that's famous for letting you experiment, but the elegant simplicity of kicking your way through problems is almost as appealing. In Dark Messiah, there are usually a few ways to solve a problem, but with a much more limited set of tools it's usually easy to identify the most satisfying way to overcome any hurdle. I always get a serious case of FOMO when I'm playing immersive sims, because I know that no matter what I do, there's always the chance that I'm missing something potentially even better. In a world of magic and dragons, it's reassuring-and a bit ridiculous-that your foot proves to be your most useful tool.
You can kick down flimsy walls to open up a new path, for instance, or knock down some supports, causing barrels and other heavy objects to crush some gormless guards.
Here is this simple, accessible and intuitive ability that you can use in all sorts of situations, on both enemies and the environment. Dishonored and Prey give you a wide array of powers to let you engineer your victories, but Dark Messiah's kick feels like the purest expression of Arkane's immersive sim design philosophy.
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