Housemarque's upcoming title Saros is technically a roguelike, but its creators openly resist genre labels, signaling a conflicted relationship with the very mechanics that made its predecessor Returnal a cult hit.
The game pares back roguelike elements to broaden appeal, leaving it in a discordant middle ground. This ambivalence has sparked questions about Housemarque's direction.
"Labels are ephemeral. It's hard for me to categorize Saros because we didn't set out to be in a genre or defy a genre," art director Simone Silvestri told Game Informer. Creative director Gregory Louden echoed the sentiment, admitting the game has "rogue elements" but avoiding direct classification.
Background
In 2017, after Matterfall's release, Housemarque declared "arcade is dead" in a candid blog post, pivoting from its signature arcade style that had defined the studio for over two decades.
Returnal emerged as a roguelike third-person shooter, earning critical acclaim and a cult following. Now, its spiritual sequel Saros retains roguelike DNA—randomized weapons, resources, perks—but hesitates to fully commit.
The studio's shift mirrors its 2017 manifesto, but the new game's reluctance to embrace roguelike tropes marks a departure from Returnal's praised formula.
What This Means
Saros's identity crisis reflects Housemarque's struggle to reconcile its arcade roots with mainstream appeal. By downplaying roguelike elements, the studio risks alienating fans who embraced Returnal's challenge and chaos.
Creative director Gregory Louden's vague description of "rogue elements" suggests intentional ambiguity, possibly to attract a wider audience. This strategy may, however, create a game that satisfies neither hardcore roguelike enthusiasts nor newcomers seeking clarity.
For context on Housemarque's previous pivot, see the background section above. The success or failure of Saros could define whether the studio fully commits to its post-arcade identity or continues to hedge its bets.