Death himself complete with scythe and Set during the mythical End of Days,
Death sets out to clear the name of his brother and fellow Horseman of the Apocalypse, War.
The events of this sequel run in parallel to those of its forerunner but you don’t need any prior knowledge of the first game.
Darksiders III begins with a fairly sizable open world environment to explore.
This continues to grow as you unlock new areas and, by the end of the game, you’ll have dozens of dungeons and different worlds at your disposal.
Your path through the game’s central story is relatively linear but you are free to explore any area at any time; doing so frequently rewards you with side quests, hidden items and collectables.
Darksiders III is not afraid to borrow, but it always borrows from the best.
The game’s main structure, for example, appears to be based on a Zelda-like adventure format, where a series of fresh powers bestowed at intervals during the game provide access to new areas and abilities.
Meanwhile, in an obvious nod to The Prince of Persia, Death’s surprising agility sees him running gracefully along walls and leaping from pillar to post.
Later in the game you get the ability to shoot ‘in’ and ‘out’ portals onto specific surfaces in order to reach awkward areas.
There’s little attempt to disguise the inspiration, either – Darksiders III’s portals are even colour-coded orange and blue as they are in Portal itself.
The game has a distinctive comic-book art style that ties the look of the various different environments and enemies together, though the actual quality of the graphics looks a little dated. The game’s musical score is good too and voice acting is unusually strong.
Though it’s a single player-only title, Darksiders III still provides hours upon hours of entertainment for your money – arguably too much.
At times, Death’s journey feels a little too epic for its own good and a shorter, more focused campaign might have made for a better all-round experience.