The main mechanic is putting on shows for the public (despite the circumstances), and this is done through a simple worker assignment mechanic. Likewise, running your circus is simple and fun. The focus on balancing status effects, the position system, and the numerous abilities and classes make for combat with plenty of complexity and variety.

The turn-based combat is simple, easy to read, yet has plenty of depth. The general foundation of gameplay is just as solid. Presentation is always important in making yourself distinct, and Circus Electrique succeeds in spades.Īt the end of every day, you get one of the coolest end of turn summary formats I’ve ever seen. While I preferred the latter, I can’t deny that Circus Electrique wears its theme proudly and authentically. All of this is done in a manner almost identical to Darkest Dungeon’s, just with Steampunk themes instead of Lovecraft. You split your time between putting on shows for the public and leading your entertainers in turn-based battles against the crazed populace. And apparently, the only one who can save London is your circus. Due to an event known as the Maddening, citizens of London have been going crazy and turning into violent psychopaths. You run a circus, set in a Steampunky, Victorian-era London.

Yet, keep playing it and huge critical flaws become more and more apparent, bringing this promising game down to its proverbial knees.Ĭircus Electrique has seen plenty of comparisons to Darkest Dungeon, and for good reason. It’s a very thematic and well-designed game with smooth, simple, yet addicting gameplay.

At first glance, Circus Electrique appears to be an exception. It’s a formula that you would assume the gaming community would have down after playing them for over 40 years, but sadly it’s not to be. They’re among the oldest of genres that survived into modern gaming, beginning as they did in the 70’s/80’s with classics like Rogue, Adventure and Moria. As common as roguelike games are, few developers get them right.

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