I was introduced to a range of interesting new creatures, at a gripping pace, as the story unfolded. The second tells the furious tale of a frogling slave and his escape from Baryan (desert) merchants. The first casts Cecila Stoutheart, of the Arleon faction (archers and knights), against Loth (skeletons and cultists), and alongside the chaotic Faey. The early access release consists of two campaigns, with four scenarios apiece. Rather, it forces you into fairly balanced fights, across detailed factions and might vs magic, with surprising success. Songs of Conquest is a worthy spiritual successor to HOMM, particularly because it does not remain faithful to HOMM’s cheesier aspects. It’s more like 50, or 10, depending on a creature’s tier. There’s scope to choose which kinds of creatures you want, and skills that will unlock (up to 8) empty stack positions for each Wielder (a hero with skills, statistics and spells to bolster their army), but commanding 10,000 peasants is firmly off the table, because each stack has a cap, and it’s not 1250. In any scenario, there will be a flexible – but definable and replenishable – maximum to work with. The very first thing I noticed about turn-based strategy game Songs of Conquest is that creatures are finite, in how they’re generated and managed. How strategic is a game, really, if it allows you to dominate via overwhelming numbers? I absolutely adore Heroes of Might and Magic (HOMM), the classic turn-based, resource management series but, especially in the earlier games, victory could usually be assured by securing more dwellings and being patient simply having the bigger army over time.
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