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Review: Star Wars Jedi: Fallen Order Successfully Channels Dark Souls

Fallen Order is powerful in ways that Star Wars hasn’t been in video game form in over a decade.

Justin Clark



Star Wars Jedi: Fallen Order
Photo: Electronic Arts

Just by virtue of being a single-player game, with no multiplayer, no online component, no microtransactions, and no planned DLC, Star Wars Jedi: Fallen Order feels like a relic from a more civilized age. The game hearkens back to the weird old days when former publisher LucasArts would just throw wild game concepts to the wall to see what sticks, often ending up with “It’s [blank] but with Star Wars” mash-ups of wildly varying quality.

In this case, the reductive elevator pitch is “Dark Souls but Star Wars.” And like most blatant Souls-likes, it’s fairly successful at aping the mechanics of FromSoftware’s titles. Death has consequences, and unless you can land a single strike against the enemy that kills you, your experience points are gone forever. Combat requires patience, and players must be smarter about how and when to strike at all times. Yet none of that is a surprise here. The surprise is that the game is often able to match up tonally with FromSoftware’s strongest efforts.

On the surface, Fallen Order is a glorified MacGuffin chase. The game takes place a few years after the events of Star Wars: Episode III – Revenge of the Sith, and our hero, Cal Kestis (Gotham and Shameless’s Cameron Monaghan) is a former Padawan who managed to escape the Empire during the Jedi Purge, cut off his connection to the Force, and now makes a quiet living stripping downed spaceships for parts. When Cal pops back on the Empire’s radar after using his powers to save a friend during a site accident, he’s picked up by Cere Junda (Debra Wilson), a former Jedi Master who’s also suppressed her connection to the Force for much more dire reasons, and Greez, an ornery pilot mostly looking to avoid some serious gambling debts by staying on the run. Cere tells Cal her plan to rebuild the Jedi Order with the help of an old artifact, called a holocron, which can locate Force-sensitive children across the galaxy.

It’s a relatively straightforward experience early on, with Cal slowly regaining basic Force proficiency, sneaking his way into grandiose temples across beautifully rendered, Empire-occupied alien planetscapes using feats of acrobatics, and solving large-scale physics puzzles akin to those in Naughty Dog’s Uncharted series. There’s more platforming involved, and developer Respawn’s endless, albeit welcome, obsession with wall-running has managed to wedge its way in here, but this is a game that has far more in common with Sekiro: Shadows Die Twice than Titanfall. Landing blows requires a deliberate balance of parrying, relentless attacks at every opening, and careful utilizing the limited pool of Force powers.

That’s all rather tense and exciting when you’re fighting people and droids, less so against the various creatures of each planet, who excel at cheap hits and tend to attack in numbers. For much of its first third, it seems that Fallen Order might fall into an appreciable but basic rut of plotting and gameplay, and it’s right around that moment that the game narratively lowers the boom. The search for the holocron is, in fact, the weakest element in a much more intimate and melancholic tale of loss, and all the varying traumas that stem from it.

The Jedi Purge, which officially began with Order 66, has always been, essentially, the Star Wars universe’s thinly veiled Kristallnacht allegory, but no other piece of work in the franchise, not even the grim Revenge of the Sith, has ever delved as intensely as Fallen Order does into what living through such a thing does to a person. Exemplified by an outright bravado sequence where a frightened Cal and his Jedi master must escape execution when Order 66 is called in, it’s made obvious that all of Cal’s early swagger and Cere’s stiff-upper-lip determination reveal themselves to be Band-Aids over still-bleeding emotional wounds.

Survivor’s guilt plays a major factor in how this story plays out over time, with the plot holes inherent to the search for the holocron being addressed as both characters over-rely on the Force for protection, and have no choice but to confront their memories, their failures, and the consequences of their actions. The main villains—all former Jedi turned Sith Inquisitors through torture and intimidation—represent a true Dark Side, the anger and guilt turned outward. No one still alive to witness the Empire’s rise to power is drawn without a level of emotional damage, and it’s fascinating to watch that aspect of the narrative live side by side with gameplay that asks players to wield their power so carefully going forward.

All of those character elements are, however, dissonant with gameplay that does still rely on rewarding the death of one’s enemies. And unlike Dark Souls or Bloodborne, the world of this game doesn’t necessarily stand in judgment of the protagonists for their failures in that regard. But there’s still immense emotional gratification in watching each character rise above their failures, to come together with other broken people, to heal properly, to face the varied atrocities of the world and find a chosen family at the end of it all.

Fallen Order tries to have its cake and eat it too, giving players the power trip of the best lightsaber combat of this generation of games, while still delivering a deeply introspective journey of forgiveness and recovery along the way, and the twain don’t always meet. Still, that the game is even attempting to thematically go where it does is nigh commendable, and powerful in ways that Star Wars hasn’t been in video game form in over a decade.

The game was reviewed using a review code provided by fortyseven communications.

Developer: Respawn Entertainment Publisher: Electronic Arts Platform: Xbox One Release Date: November 15, 2019 ESRB: T ESRB Descriptions: Mild Language, Violence Buy: Game

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