The results played out over a matter of excruciating minutes as I obsessed over the dwindling health and morale bars of every unit. Once I made a tactical decision in Pharaoh - to advance my left flank in the hopes of pushing the enemy into a marsh, for one - I had to live with it.
I don’t have any mages to melt large swaths of enemy troops, and I can’t deploy rat ogres or giant glacial bears as one-size-fits-all solutions. Based on the three scenarios I played in the game’s Bronze Age Egypt setting, battles are not only slower paced, but more deliberate than those of the Warhammer trilogy.
Total War: Pharaoh, which Creative Assembly announced last week, feels like a response to that shift. It sparked a trilogy that’s now about spectacle as much as it is about strategy. Total War: Warhammer, in keeping with the fantasy setting of Games Workshop’s tabletop universe, introduced magic, dragons, vampires, orcs, and the explosive kinds of battles all of those things imply. For 16 years, developer Creative Assembly had leapfrogged between historical settings, offering a general’s perspective on Sengoku-period Japan, the rise (and fall) of the Roman Empire, and aggressive 18th-century imperialism. In 2016, Total War: Warhammer marked a sharp turn for the long-running strategy series. It turns out I got pretty attached to eagle-mounted archers.
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