Break into a master carpenter's home and you'll find traps, not enemies, are the greatest danger. Throughout Blackguards, the battles are consistently designed to align with their premise. Blackguards motivated me, playing as intelligently as I could, to make exactly the same mistake it said my characters were making.
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So many games resolve traps like this purely with a cutscene, or, if they allow us to get free ourselves, they do so with us starting the battle in a bad situation. The five-turn limit is just enough that, in order to win, you have to spread your characters dangerously thin. The Baroness will die if you’re too slow, so you have to hurry, but the level is designed to make hurrying difficult-there are bridges guarded by henchmen and covered in traps. The ensuing battle combines different components of Blackguards into a stronger experience. At one point, the bailiff captures a party member's Baroness lover, and, if you choose, you try to spring the trap and rescue her.
He or she breaks free with some companions, and in the first chapter, is pursued by the prison's bailiff. The premise is that the main character is friends with a noble's daughter, and is framed for her murder. The setting, story, and design work together with well-designed and often brutal scenarios that take advantage of characters’ mortality.
(The Witcher games are the most famous with low fantasy in them, and Dragon Age-and Game Of Thrones-both include notable low-fantasy elements.) But what makes the setting so crucial for Blackguards is that it's not just the world and story that reflect the story genre, but game design and mechanics as well. It’s a “low-fantasy” world, a setting characterized by gritty, characters who aren't world-saving heroes, and often aren't heroes at all. Despite its combat focus, arguably Blackguards' biggest strength is that it takes place in the universe of The Dark Eye, a popular German tabletop role-playing system.
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