City of Brass

It's an insanely fun pick-and-play kind of game, it's not a huge time commitment which is a plus for me, need more games in my library I can just boot up for an hour and have fun.

The whip is insanely satisfying, kinda feels like you're bullying the enemies at a certain point which is the kind of vibe I adore. Sweep the legs, knock the sword out of their hand, whip their head to stun them, push them into spike pits, into other projectiles etc it's just really enjoyable seeing all these mechanics play off each other.

The art is incredible, I love this setting and this style, it manages to feel unique and grounded at the same time. I'm very picky when it comes to fantasy, I have a huge aversion to over designed stuff with tons of spikes and glow etc so something like this with a consistent aesthetic just calls to me.

It's the kind of game I grew up with, it's not littered with systems and currencies, there's no eternal treadmill of content. You get a solid game that's fun and complete, and doesn't try to be your next hobby. It's happy to entertain you until you move on to the next game.

I'd love to see/play a sequel one day, would just love more of this

I enjoyed every moment I spent in it. It never felt slow to me; you just need to get used to the whip.
If there is a downside, it is that once you figure things out, it goes by fairly quickly, but that is also part of the charm of its simplicity.
At the discount it often goes for, I can definitely recommend everyone to at least give it a try.

This game is fun from the start, when you have no idea what your doing, to the moment you really get used to the whip and mechanics. It's one of the few games where I actually use the environmental hazards against enemies because this game makes it feel cohesive and simple. Got this while it was on sale but in hindsight, it's worth it's full price. Overall, one of the best FPS roguelike game's I've played.

used the whip to swing my self then got hit by a skeleton with a bow and got flung off the map and stuck in a void now 10/10 game would play again

City of Brass a rogue like survival game in which you kill skeletons Djin and Arab mages through corridors of a sultan place similar to Taj Mahal.
The Game is 1st person and it also has souls like elements.
Waited for a long time to get this on discount.
I really recomand this game to everyone especially on discount.
Equipped with a scimitar and a whip you have to survive traps mobs form rooms to room, and if you die its perma death you have to start from scratch!
Very very positive review to this game and worth checking out!

TL; DR: a solid rogue-like that, while outclassed amongst the best of the bunch, is unique and satisfying enough to have players keep coming back to play "just one more game".
Pros:
-unique, engaging, and at times stunning art direction
-satisfying gameplay loop with interesting characters/class types and good risk/reward "wish" system (use a wish on the genie that disables traps as soon as you find one, trust me)
-combat, while not wholly necessary (you can run past enemies every level if you possess the skill), is still fun and varied enough to be enjoyable learning the nuances with each character and their upgrades
-while no in-game map, the "compass" that guides you to the exit is accurate enough to allow you to follow it blindly if you don't wish to explore
Cons:
-due to their mechanics most of the bosses can be cheesed; the first and final boss fights are the only two that can't be, and the other three are easily beaten from a safe distance well outside their "arenas" using the right character or throwable object
-the movement is awkward at first, as if the devs originally wanted to make this with movement shooter capabilities but then nerfed player speed and responsiveness, and even once you get used to the dodge, whip, and traversal mechanics to blow through levels it never really feels "right"
-while reskinning enemies to have more powerful variants in later levels is standard practice, the enemy variety is quite low overall and makes those later reskinned enemies feel like cheap inclusions instead of part of a balanced bestiary; especially when each set of levels only has one or two truly unique enemies
-no in-game map with no real reason to explore each level; defeating enemies does not normally net you anything in-game, and collecting gold is only important in effecting if you can buy equipment/upgrades from the genie "shops" that are scattered in each level...while combat and gold do factor into your post-death XP gain, gaining levels only rewards you with the occasional character and meager equipment unlocks, so the mechanic is more a cumulative score rather than character improvement
Overall, this rogue-like possesses a unique hook, solid execution, and great art direction. Is this amongst the best in the genre? No. Does it possess the almost addictive ability to have you keep playing past when you should? Yes. Buy this on sale if you're skeptical of its staying power in your library, but especially with the soundtrack combo I think it worth a full-price purchase.

City of Brass, developed and published by Uppercut Games, is a striking and inventive first-person roguelike that combines the mystique of Arabian folklore with the punishing rhythm of procedural dungeon crawling. It thrusts players into a cursed city filled with traps, treasures, and vengeful spirits, challenging them to survive its shifting labyrinths while mastering an unconventional combat system built around agility, timing, and precision. Unlike most first-person action games that rely on ranged combat or brute force, City of Brass emphasizes fluid movement, environmental awareness, and improvisation. Every encounter feels like a dance of risk and reward, with every room presenting a new opportunity for death or discovery.
The game opens with a simple premise: you are a thief lured by the promise of riches into the lost city of brass, a mythical metropolis doomed by its own greed. What begins as a straightforward treasure hunt quickly turns into a desperate struggle for survival. Each level is procedurally generated, meaning no two runs are identical. Corridors twist unpredictably, traps are repositioned, and enemies lurk in new combinations. This constant variation keeps players alert, demanding adaptability rather than rote memorization. The city itself feels alive—walls gleam with gold, flickering lanterns illuminate dark hallways, and the hum of supernatural energy seems to follow your every step. Yet beneath this beauty lies relentless danger: spike pits, swinging blades, collapsing floors, and explosive urns all conspire to end your journey at any moment.
At the heart of City of Brass lies its distinctive combat system, built around two key tools—a scimitar and a whip. The sword delivers close-range strikes, while the whip functions as both a weapon and a traversal device. You can use the whip to disarm enemies, pull them toward you, trigger traps from a distance, or swing across gaps to reach hidden treasures. This dual-weapon design is what sets the game apart from its peers; combat is not simply about hitting harder but about manipulating the battlefield to your advantage. The whip in particular encourages creative play. You can trip a charging undead soldier, lure him into a pit, or yank a weapon out of his hands before closing in for a finishing blow. The interaction between the player, enemies, and environment creates a dynamic combat rhythm that rewards skill and experimentation.
Despite its engaging mechanics, the combat can feel inconsistent at times. Hit detection occasionally falters, with strikes that appear to connect failing to register. The whip, while versatile, can be tricky to control in tight spaces, and its aim-assist system sometimes targets the wrong object in chaotic encounters. These small issues accumulate in a game that punishes mistakes harshly; every run is bound by a strict time limit, pushing players to keep moving forward rather than cautiously clearing each room. This timer adds urgency but can also feel restrictive, cutting short the pleasure of exploration. Death is permanent, meaning that one misstep can erase significant progress. Yet this unforgiving structure is part of the game’s identity—it’s a roguelike built on the thrill of risk, the satisfaction of surviving just one room longer than before.
The city’s design deserves special recognition for how it melds atmosphere with function. Uppercut Games crafts a world that feels simultaneously ancient and hostile, inspired by tales from One Thousand and One Nights. The architecture glitters with wealth and decay; golden statues line crumbling halls, and ornate fountains sit beside cursed relics. The lighting and color palette shift subtly between areas, moving from dusky courtyards to glowing catacombs, lending each stage a distinct tone despite procedural generation. Still, over time the repetition of modular assets becomes noticeable. As you push deeper into the city, the sense of mystery diminishes, and the once-magical environments begin to feel familiar. This repetition extends to enemy variety as well—while the game introduces new foes gradually, many share similar attack patterns, which can make longer sessions feel predictable.
The sound design complements the visuals beautifully, creating an auditory layer that heightens immersion. The whisper of wind through the streets, the clinking of distant chains, and the faint echoes of your own footsteps make the city feel alive. The music swells during combat, fusing traditional Middle Eastern melodies with modern percussive beats to evoke both wonder and tension. Audio cues also play a functional role, warning players of traps, approaching enemies, or hidden dangers. This reliance on sound encourages careful listening, turning every faint noise into a potential clue for survival.
Progression in City of Brass operates on a roguelike framework: each death resets your progress but unlocks new blessings, curses, and relics that gradually expand your capabilities. These modifiers let you tailor your experience—some make traps deadlier, while others boost your health or increase treasure rewards. This meta-layer gives the game longevity, encouraging repeated runs and experimentation. However, the structure also exposes the game’s limited variety. After several hours, new modifiers and items start to blend together, and the loop of explore-loot-die-repeat loses some of its tension. The difficulty curve is sharp but fair, relying more on player learning than grinding, and reaching the final stages demands mastery of both movement and trap manipulation.
City of Brass is as much about atmosphere as it is about action. Its blend of mythological storytelling, high-stakes gameplay, and exotic visuals create an experience that feels both timeless and fresh. It channels the spirit of classic adventure tales while grounding itself in the modern roguelike tradition. For all its repetition and occasional technical stumbles, it remains an original and rewarding challenge. Few games capture the feeling of being both hunter and prey so vividly—the thrill of cracking a whip in a collapsing corridor, dodging blades while grabbing glittering loot, and escaping a cursed tomb with seconds to spare.
Ultimately, City of Brass succeeds because of its vision. It isn’t just another roguelike dungeon crawler—it’s a game about rhythm, reflex, and reckless courage set against the backdrop of a city that punishes greed. Each run tells a small, self-contained story of hubris and survival, driven by tension and discovery. While it may not have the polish or variety of bigger-budget titles, its heart lies in its creativity and charm. Uppercut Games has built a world that invites players to dance through danger, to improvise their way through a living labyrinth of beauty and death. City of Brass rewards boldness, punishes hesitation, and stands as one of the more distinctive entries in the roguelike genre—a dazzling, dangerous journey through a city that gleams with both treasure and peril.
Rating: 8/10