In 2017, developer Housemarque released a blunt manifesto on their blog, declaring in all caps: “ARCADE IS DEAD.” This statement signaled a massive shift for the studio, as they moved away from the arcade-style games they had specialized in for over two decades to explore new territory.
That pivot led to the creation of Returnal, a cult hit that successfully blended Housemarque’s signature chaos with a third-person shooter framework. However, their latest project, Saros, seems to take a different direction by actively pushing back against the very genre that brought them such massive success.
The Identity Crisis of Saros
While Returnal embraced its identity as a high-octane action game, Saros appears to shun its foundation. By paring back many of its core mechanics in an effort to broaden its appeal, the game feels somewhat discordant—as if it is ambivalent toward the legacy left by its predecessor.
Despite this internal tension, the gameplay loop suggests that Saros is technically a roguelike. The title features several hallmarks of the genre:
- Procedurally generated suites of levels
- Randomized weapon drops and loot
- Cycling threats and enemy encounters
- Variable resources and player perks
Avoiding the Roguelike Label
Even though the mechanics are present, Housemarque seems hesitant to embrace the roguelike label officially. During an interview with Game Informer, art director Simone Silvestri noted that genre labels are "ephemeral," adding that it is difficult to categorize the title because the team "didn't set out to be in a genre or defy a genre."
Creative director Gregory Louden was equally non-committal regarding the game's classification. While he admitted that Saros contains "rogue elements," he remained elusive about what the game ultimately aims to be. This refusal to settle into a niche makes Saros a unique, if slightly confusing, evolution for the studio.
