While the broader strokes of fighting battles and building cities will be familiar to veteran Total War players, there are several areas of the campaign where Troy makes key changes. To do either of these, you first must bring your half of the ancient world into line, capturing or allying with other Greek or Trojan city states, amassing enough power to launch ships across the Aegean and bring your enemies to heel. Whichever character you decide to play as, the ultimate goal remains the same, to either capture or defend Troy. I love the way distant lands fade into the bronze and black abstraction of Greek pottery. But Helen can also be captured by enemy states, which puts Paris in a massive sulk, impacting his whole faction.
A TOTAL WAR SAGA REVIEW PORTABLE
Acting essentially as a portable upgrade, Helen provides stat boosts to Paris' army and any city she resides in. Lover boy fights best when close to Helen. One of the most interesting heroes, strangely enough, is the man responsible for the whole war, Paris. Agamemnon's favourite trick is to make vassals of his enemies and then drain resources from them in the form of tribute, while the heroes of his armies double as court politicians, conferring bonuses onto his faction when emplaced. Meanwhile, King Agamemnon's campaign is all about power politics. But Achilles is also a right moody git, and his volatile temperament makes him an unreliable statesman, his economy and military strength swinging with his moods. Winning battles and performing great feats as Achilles means cheaper armies and more political influence. Play as the legendary warrior Achilles, for example, and your campaign will be driven by rollercoaster emotions and a lust for glory.
For the campaign, you can choose from several leaders on both sides of the war, each of whom has a distinct play-style moulded around their character.
A TOTAL WAR SAGA REVIEW DRIVERS
This approach begins with the strong personalities who become the drivers of Troy's conflict. It isn't quite as successful, but the resulting systems are nonetheless fascinating to grapple with. The characters, the creatures, and the conventions of the Iliad and wider Greek myth. Much like Three Kingdoms, Troy delves deeply into the themes of its pseudo-history. It's this unusual, nuanced perspective that elevates Troy from being another, smaller Total War game. These legendary units are exceptional warriors, but ultimately human ones. But the harpies are presented as fleet-footed, spear-throwing women who decorate their battle-dress with feathers, while your centaurs are painted tribesmen who excel at fighting on horseback.
Hence, your army may have spearmen fighting alongside centaurs, slingers lined up beside harpies. Troy offers us the first mythic Total War, but does so with an eye that's less poetic and more forensic, trying to figure out the possible fact behind the obvious fiction. Instead he's simply a big dude with a big axe who has a penchant for bovine millinery. See, Troy's Minotaur isn't the one Theseus encountered in the Labyrinth - half-man, half-bull, perpetually lost.
It wasn't simply the fact he could smash through a unit of spearmen like a cannonball through a cake. Then I recruited my first minotaur, and that changed things. But the deeper into time Total War delves, the less it has to work with, and fielding armies of clubmen and slingers on the precipice of history doesn't exactly make for the most thrilling military encounters. Troy might sound like an awesome setting for a Total War game - the Iliad is the font from which all other war stories drink, after all. A thousand-year step backward, to be precise. Total War heads to the Bronze Age for an entertaining and evocative brand of strategy.Īfter the colourful characters and political machinations of Total War: Three Kingdoms, Troy: A Total War Saga initially feels like a step backward.
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