begins with a dizzying spin on its pseudo-familiar narrative, but it's the slower, more methodical pace of its story that really establishes it as a must-play RPG. The second installment in the trilogy that began with has the same quality and polish that permeated its predecessor, and the decision to pay greater attention to its cast pays off at nearly every turn. For Square Enix, it's another mark of excellence for a franchise that has seen no shortage of Game of the Year contenders in recent years; for the trilogy of games following Cloud, it's reassurance that the segmented release schedule is the right call.
The Inquisitor Review
06.02.2024 - 17:31 / ign.com
Video games can be great vehicles for mysteries. The idea of gathering clues, questioning witnesses, and giving dramatic speeches where you stun an array of suspects with your intellect makes for an exciting fantasy. But lots of games stumble trying to fit the inherently open-ended, red-string-connecting fantasy of the detective into traditionally linear story structures. The Inquisitor is a game like that — it starts with the compelling concept of playing as a medieval church cop hunting a vampire, but it always puts the strings on the board for you, and thus never really lives up to the potential of its premise.
It is quite a premise, though. As inquisitor Mordimer Madderdin, you've been dispatched to investigate the citizens of a European town called Koenigstein. What's more, the story is based on the dark fantasy novels of Polish writer Jacek Piekara, imagining an alternate religious history of Christianity in which Jesus Christ wasn't a martyr, but instead broke free of his crucifixion and led a vengeful army to conquer the Roman Empire.
It feels a bit like you've stepped into Star Trek's Mirror Universe as you begin The Inquisitor, with characters describing how mercilessness, retribution, and the ends justifying the means are virtues of their religion. For a story-driven game that promises tough decisions to make in conversations and interrogations, it's an excellent setup. Lots of games will put "moral" questions to you, but I've never seen another use its worldbuilding to change the rules underlying that morality. What you consider moral in our reality may not be what characters consider moral in this one, and you might need to worry about how others will interpret your actions in ways you don't expect.
At least, that's the underlying idea of The Inquisitor, but it doesn't ever really land that feeling. The consequences of your actions shake out pretty much the way you'd expect them to whether you’re nice to people or mean to them — or at least, that's how it seemed to me over two complete playthroughs, the first of which took me around eight hours. How and when your choices affect the story isn’t particularly clear in most cases in The Inquisitor, and its mostly linear, straightforward structure makes it really difficult to tell if and when you're able to move things in different directions.
That said, the story The Inquisitor tells is a fairly compelling one, at least for most of its runtime. The writing is largely solid, with interesting characters that are mostly portrayed pretty well by the large voice cast, although a few look at you with animatronic-like eyes that seem like they're trying to escape their heads. But Koenigstein’s art direction successfully gives it a dirty, lived-in
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