The Land of the Magnates

Nice visuals, but the controls are awful and the game just lacks any gameplay polish at all.

About 6 hours of playtime (it shows I have 8 hours but 2 of those were AFK for various reasons). I got this for a real good deal so it was hard for me to leave a negative review as I did finish the game and I did enjoy parts of it. It is just lacking in many areas that I can't leave a positive review. The major flaw is the voice acting and the dialogue. For the most part, the voices sound like bored people yanked from the street and asked to read some lines. Some of the dialogue is down right confusing and strangely poetic when there could be easier ways of telling the story. It is too bad as this really detracts from what could have been some nice story telling. Most of the platforming is fun but there are places where camera movement and 3D makes for difficult timing of jumps. The ryhtym sections at first were a bit of a chore but luckily they are short. I almost wished for a "skip" option as I didn't really enjoy them. I did play on the easy difficulty as I didn't feel like struggling in combat. The combat isn't too bad as you have to match the pattern of the enemy with what ever note you play. There is a capable dodge and good jumping for tactics. Again, I did play on easy so I never got frustrated vanquishing enemies. Another strange "feature" is when the game decides to save your progress. Several times I defeated a level, had a cut scene, got to the next level, decided to quit and take a break only to find that, when I returned to continue the game, it put me back to the previous level before the cut scene. What?!? Never have I had a game do that. At least most the the saves/checkpoints are not too far back from where you die. Falling does remove a life but usually puts you almost right back where you attempted your misaligned jump. Usually when I have mixed feelings about a game, I tend not to leave a review but since this game tends to have more positive reviews I wanted to balance it out. I do think the developers have the bones of a good game here. It really needs a few rounds of quality polishing and a whole revamp of voice acting. Maybe there is some translation to English issues here and those could be fixed as well. I think having AI do some voice work would be an actual improvement. The graphics are probably the best part of the game. Well, at least the initial level. It looks like they went all out for the first level and each level after that had less attention to detail. The cutscenes are comic panel style which is okay but even those could have been better. Am I glad I played it? Mmmm...there are better games out there but there are many many worse ones. It was only 6 hours and I did enjoy it to a degree. If the developers ever decide to revamp the game (which I doubt), I will take a look and re-review it. Get it on steep sale or part of a bundle. Play it for 6 hours and toss it aside.

作为武器的琴和音乐攻击更多是包装性质的设计，很难说它最终呈现出了有创意的机制。 平台的机制在2024/2025的游戏设计看来十分简陋，包括但不限于固定攀爬点、频繁地开关开门，滑索和梯子的设置也像是例行公事般的：这个游戏有这样的动作哦。 动作和战斗欠细节打磨，关卡设计像学生作品：节奏起伏平淡、引入新机制后未能一步步引导挑战水平的提高、过于白开水的探索、一步一个固定解题方法的枯燥感。 甚至控制也没有打磨好：在一处横板镜头+攀爬梯子时，我想让角色往上爬竟然需要按右方向键。诸如此类的细节问题还有很多，总的来说在游戏并不令人惊喜的前提下，还有不少体验问题，很难说的上推荐。

The Land of the Magnates, developed by Permanent Way Game Co. and published by indie.io, is an ambitious action-adventure platformer that draws deeply from Middle Eastern folklore and mythological storytelling. Rather than leaning on generic fantasy tropes, it builds its world around cultural inspirations reminiscent of Arabian, Persian, and Byzantine traditions, crafting a setting that feels distinct within the indie action-adventure landscape. At its center is Malik Shahbaz, a prince forced into exile who embarks on a journey to cure his poisoned father and restore balance to a fractured kingdom. The narrative framework is steeped in themes of betrayal, redemption, and destiny, giving the game a mythic tone that guides the entire experience. From a structural standpoint, the game blends 3D platforming, environmental puzzles, and combat encounters across interconnected regions. Each area presents a unique thematic identity, ranging from lush enchanted forests to grand marble cities and mechanical realms infused with mystical energy. Exploration is encouraged through vertical level design, hidden pathways, and collectible-based progression that rewards curiosity. Traversal mechanics include wall-running, precise jumps, and timed environmental interactions, demanding both spatial awareness and steady control. The pacing alternates between movement-heavy sequences and more deliberate puzzle-solving moments, offering variety while maintaining a steady sense of forward momentum. One of the game’s most distinctive features is its musical combat system. Shahbaz wields a sitar not only as a symbolic artifact but as a functional weapon. Attacks and abilities are rhythm-infused, tying combat mechanics to musical patterns and timing. This design choice reinforces the cultural tone while differentiating the combat from standard hack-and-slash mechanics. Players must pay attention to timing and flow rather than button-mashing, and certain encounters emphasize sequencing attacks in rhythm to maximize effectiveness. While the system is creative and thematically cohesive, its execution may require adjustment for players unfamiliar with rhythm-based mechanics. Visually, The Land of the Magnates leverages modern engine technology to deliver vibrant environments and dramatic lighting effects. Ornate architecture, intricate textures, and dynamic particle effects create a sense of grandeur that supports the mythological scale of the story. The art direction emphasizes color and contrast, with glowing magical elements standing out against richly detailed backdrops. The game’s aesthetic commitment to folklore-inspired design gives it a memorable identity, and even quieter moments benefit from atmospheric lighting and environmental storytelling. The soundtrack plays a central role in shaping the experience. Traditional instrumentation blended with cinematic orchestration reinforces the emotional weight of Shahbaz’s journey. Musical cues accentuate exploration and intensify boss encounters, ensuring that audio remains intertwined with gameplay. Voice acting contributes personality to the supporting cast, though performance consistency can vary. Still, the combination of music and environmental sound design enhances immersion and underscores the game’s thematic focus on harmony and disruption. Combat encounters vary in scale, from skirmishes with corrupted creatures to elaborate boss battles that test mastery of movement and rhythm-based mechanics. Boss fights often emphasize pattern recognition and precise timing, rewarding players who adapt quickly and learn enemy behaviors. While some encounters may feel demanding due to limited checkpoints or punishing mechanics, they serve to reinforce the epic tone of the adventure. The challenge level generally escalates gradually, allowing players to grow comfortable with the core systems before facing more complex scenarios. Despite its strong artistic direction and innovative concepts, the game can exhibit occasional technical roughness. Platforming precision may sometimes feel inconsistent, particularly during camera shifts or tight jumps. Pacing in certain sections may extend longer than necessary, and some puzzle sequences risk repetition. These elements suggest that while the game’s vision is ambitious and cohesive, its execution occasionally falls short of its potential. However, such imperfections do not overshadow the creativity and cultural distinctiveness that define the experience. Ultimately, The Land of the Magnates stands as a heartfelt and imaginative indie project that blends folklore-inspired storytelling with rhythm-infused action and exploration. Its strengths lie in its world-building, musical integration, and visual atmosphere, offering a setting rarely explored in mainstream action-adventure games. While mechanical and technical inconsistencies may temper the experience for some players, the game’s thematic identity and ambitious design make it a noteworthy entry in the genre. For players drawn to narrative-driven platformers with cultural depth and experimental combat systems, it offers a unique and memorable journey through a mythic land shaped by music and legend. Rating: 7/10

pointless

El diseño grafico bello. La historia buena. Aqui mi review: https://youtu.be/xRhjSe0UCGs

the environment and graphic look good, but the control not fully developed and little bit handy. The check points just make sick, because really too far from another.

无聊至极，视角难受就算了，毕竟跟印度神话游戏raji类似，优化差就算了，毕竟是虚幻5，用的steamdeck，游玩，画质设置为中，帧率也只有20几，游戏首章各种无聊的跳跳跳，没有任何抓住人的东西，然后这种伪3D的界面，跳转抓取绳索和柱子时，一次次的失败，我决定退款和卸载。顺便提一下，这游戏bug可以说肉眼可见，但是似乎正式上线后并没有任何更新~

On the good side: - Nice gameplay ideas for a fair price. - Looks really good. - Interesting mechanics. On the bad side: - Controls with ps5 controller are VERY clunky. I am jumping into the lava... wallrun does not feel good, I miss the start of the wallrun many times.. it's overall not smooth... - Sounds of the guitar sound not really good for my ears... - Balancing is not finished. I just ragequitted on the first boss because the meteors are oneshotting you at easy difficulty (???) I think it would have been good for the game to get some beta testing and more polishing before the release.

What if Prince of Persia was also a musical rhythm game? Well, that game exists. It’s called The Land of the Magnates and it’s made by two indie devs from Turkey. Which is a big deal to me because if you’re going to have a Middle Eastern aesthetic, it might as well be authentic. This, of course, is a platformer. And while it’s fairly indebted to Prince of Persia, it’s actually not quite like the Apple II original nor the Sands of Time reboot by Ubisoft—but somewhere in between. It’s a 3D platformer, but you don’t have camera control, and it’s got a fixed isometric perspective. There’s polygons, but they’re cel-shaded. And the cutscenes are full of hand-drawn watercolour paintings. A big part of this game is jumping from ledge to ledge. But there’s also wall-running, and sliding. What’s makes this unique is the musical aspect. You fight enemies and solve puzzles with the power of music, which demands precise timed inputs. Which is so damn charming. The voice acting is over-the-top. But this reminds me of early 2000s titles when, yes, games were expected to have a bit of ham. Devs want you to play with a gamepad. Which is indeed the better experience. Keyboard controls are a little too dependent on the left hand to the point you could cramp up, but it’s serviceable. And there’s the occasional bug. I won’t pretend this game is perfect. Sometimes I experienced frame drops, and a few assets out of place. However, did I have fun? Definitely. And I think most people would enjoy it too. Too bad about the title, which would make you think it would be a real estate simulator. It is, instead, a pleasant 3D platformer with parkour and music aspects.