He’s aided on this quest by a handful of allies.īehind the yin and yang of Lilith and Inarius lies a further layer of spiritual fiction. As the player-controlled character, the Wanderer, becomes embroiled in the cosmic conflict between the exes, he works to thwart Lilith. The complexity of these protagonists, neither of whom is entirely good or wicked, adds subtlety to their story and proves engaging for gamers. While Lilith is angling to seduce humans with the promise of power and a place by her side, Inarius is selfishly scheming to return to the High Heavens, no matter what the cost to his abandoned mortal worshippers whom he arrogantly holds in contempt. There’s little to choose between the two former spouses, though. Now changing circumstances seem to offer Lilith a chance not only to return but to gain permanent dominion over Sanctuary. Their chaotic relationship failed to last, however, and Inarius eventually banished Lilith. Together, they created the world of mortals, here referred to as Sanctuary. It ascribes the origin of humanity to the union of the two spiritual beings already mentioned, Inarius (voice of Gabe Kunda), an outcast from the so-called High Heavens, and Lilith (voice of Caroline Faber), an exile from the underworld known as the Burning Hells. The mythos of the series has been spelled out across this installment’s three predecessors. The moody narrative unfolds within a bleak environment haunted by the past. The prevailing mood, moreover, is one reminiscent of gothic fiction. As even such a brief plot summary indicates, the game makes free use of religious imagery in a way that might confuse the impressionable.Īdd to this potential disorientation numerous sights not for the squeamish and it’s clear that the game is suitable only for grown-ups and, perhaps, mature teens. The latest title in a franchise that’s been going strong since 1997, “Diablo IV” (Blizzard) sees an epic confrontation between a rogue angel and a fugitive demon, with the fate of humanity hanging in the balance.
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