Saros: why it can’t live up to roguelike expectations

Saros is the latest addition to Housemarque’s portfolio, a studio best known for its arcade-style games. The company has its roots in traditional arcade development, but it has since moved across several genres, especially after the release of Returnal, a roguelike third-person shooter that earned widespread praise. Saros is being positioned as a spiritual successor to Returnal, but it appears to be avoiding the very foundations that made its predecessor successful.

Development and history

In 2017, Housemarque declared “ARCADE IS DEAD” on its blog, marking a shift away from arcade games and toward other genres. After Matterfall, the team began exploring new directions, which eventually led to the acclaimed Returnal. That game blended chaos and visual flair with roguelike elements, earning cult status in the process. Saros, however, seems to be dialing those same roguelike elements back in an effort to reach a broader audience.

Gameplay and structure

Saros features levels that vary in threat and includes randomized weapons, resources, and perks. Even so, the game gives the impression that it is hesitant to fully commit to the roguelike genre. Art director Simone Silvestri says Saros is difficult to pin down to a single genre, while creative director Gregory Louden admits that although the game has “rogue elements,” it is not specifically designed to meet genre expectations.

While the absence of features such as shops, consumables, and in-run currency — all of which helped define Returnal — may feel like a loss, Saros does not appear to replace them with new systems. That lack of layered mechanics limits the player experience and removes the kind of strategic buildcraft that makes traditional roguelikes so compelling.

Challenges and criticism

One major criticism of Saros is its limited build variety. While roguelikes typically give players the freedom to create powerful builds, Saros seems to restrict that potential to a small number of perks with little synergy and a limited weapon pool. That lack of depth makes it hard for players to make meaningful strategic choices across multiple runs.

Although Saros does offer teleportation between levels, those choices have led to an uneven difficulty curve. New or inexperienced players may find the game too easy, while veterans are met with much tougher enemies. That creates an asymmetry in challenge that is not typical of the roguelike genre.

Story and narrative

Saros’ narrative elements are also up for debate. While game stories in roguelikes often draw strength from the cycle of death and rebirth, Saros seems to neglect that structure. The story follows protagonist Arjun as he confronts his failures, but returning to the starting point after a boss fight makes the dramatic progression his arc needs feel less effective.

Although Saros explores themes of change and growth, the gameplay systems do not reflect the depth of scenarios commonly associated with conventional roguelikes, as seen in Returnal. That disconnect between narrative and gameplay weakens the story’s impact and leaves players feeling underwhelmed.

Conclusion

All in all, Saros looks like a game that is neglecting its promise to elevate the roguelike experience. While it may offer a more accessible entry point for newcomers to the genre, it does so at the expense of the depth and rich interactivity that roguelike fans expect. Housemarque clearly has roots in the legacy of its past successes, but the inconsistency between its design choices and player expectations creates surprises that are not always welcome. Saros may have the skills and controls to make it stand out on its own, but by forgetting the power of the roguelike at its core, it risks falling short of Returnal’s standard.