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You know that feeling when a game comes out of nowhere and just grabs you by the collar? That was Lies of P for me. Back in 2023, I remember seeing the trailer and thinking, 'Another Pinocchio-inspired Soulslike? Sure, why not.' But then I played it, and wow. It wasn't just another clone; it had soul—pun intended. Fast forward to 2026, and the game, along with its DLC Overture, has cemented itself as a titan in the genre. And recently, I had the chance to chat with four of the actors who brought this world to life: Aliona Baranova (Veronique), Alix Wilton Regan (Lea), Rasmus Hardiker (Gemini), and Joseph Balderrama (Arlecchino). Let me tell you, it was a ride.



When Lies of P first launched, it was a gamble. A new IP from a relatively unknown studio, Neowiz, and a dark twist on a children's tale. But the buzz was immediate. Steam player counts climbed for five straight days, and critics couldn't stop praising its tight combat and haunting atmosphere. It became the most beloved non-FromSoftware Soulslike, and its DLC, Overture, which dropped in 2025, smashed records within hours. An 85 on Metacritic? That's top-tier. And the actors? They saw it coming.

The Phenomenon That Is Lies Of P

"I'm never normally sure if something is going to be successful," Rasmus Hardiker admits, "but I had so much fun doing this, I could tell it was going to be a really good game." Joseph Balderrama echoes that: "It felt like the whole package. The creative team was so good: the visuals, the sound, all of it. Everyone was just at the races with it." That kind of confidence is infectious, and it's why Aliona Baranova and Alix Wilton Regan jumped at the chance to join the DLC. "I don't really say no to many auditions," Baranova laughs, "but this one was a no-brainer." Wilton Regan, a veteran of Mass Effect and Dragon Age, was equally hooked. "She was described as tough on the outside, soft on the inside, but what I loved was she was called a lazy genius," she says. "I was like, 'I've got this.' Well, I'm lazy, and a mild genius."



Baranova actually auditioned for Wilton Regan's role first, losing out to the more experienced actor, before finding Veronique. "I just remember thinking, 'Wow, what an incredible character.' I haven't had a chance to play someone like that. And her scenes are so intense. You can't go half-hearted. I knew I had to really commit, and sound like I'm 6'6". I think I'm believably that tall," she jokes. The character descriptions were detailed, with rich histories and psychology, which helped the actors "learn to love the character." But that depth can be a double-edged sword. "You can't distill two pages of notes," Wilton Regan says. "You have to cherry-pick your moments, constantly adapt and refocus your energy."

Getting Into Character

The preparation for video game acting is unique. Often, scripts arrive the day of recording, or the day before at the earliest. For Balderrama, that's freeing. "I've got a new habit with TV and film where I don't look at the script until the week before. That's what make-up is for." Hardiker takes it further: "I prefer not even having the script and just going in the booth on the day. You'll only ever have one chance to do that. I'm reacting as I'm learning what's happening—that's about as real as it gets." Baranova, however, admits she has "a lot to learn" from the others, but she has a secret weapon at home: her partner, Jennifer English (Baldur's Gate 3, Clair Obscur: Expedition 33). "If you had someone at home who was known for brilliant performances, you would be silly not to ask them. I definitely did that for Veronique."



For Baranova, the jump from Baldur's Gate 3 NPCs to a 6'6" warrior was jarring. "On Baldur's Gate, I played a comic relief squirrel for 40 minutes. This was the most physical role I've ever done. I lost my voice afterwards, as you can imagine." Wilton Regan, on the other hand, is no stranger to strong leading women—she's voiced the Female Inquisitor in Dragon Age: Inquisition, Alt Cunningham in Cyberpunk 2077, and Aya in Assassin's Creed Origins. But Lea offered something new: "They wanted a lot of rage from me, a lot of very deep, primal emotion. That's what I like to explore as an actor. That's kind of what I get off on, I guess." Balderrama, returning as Arlecchino, was just happy to be more than a voice: "I was just psyched that I wasn't disembodied anymore. That was a big plus for me."

A Shift In The Gaming Landscape

The industry is changing. Smaller studios are producing some of the best games, from Baldur's Gate 3 to Clair Obscur: Expedition 33 to Lies of P itself. "These big franchise stories are saturated," Balderrama says. "People are desperate to experience something they haven't done 150 times. That's only going to come from underdog devs, because they're the ones that don't have the constraints." Baranova agrees: "Audiences are definitely becoming fatigued. Unique visions that games like Lies of P have brought are important. It's a Korean game, Kingdom Come: Deliverance 2 is Czech, Clair Obscur is French; it's exciting to get stories from parts of the world we're not necessarily used to."

But there's still a long way to go for female representation. Wilton Regan praises games like Baldur's Gate 3 and Dragon Age: The Veilguard for their inclusive leads, but behind the scenes, change is slow. "If you have a male character and a female character, very often the man will do the full performance capture and the woman will be brought in simply to replace his lines. That's a terrible choice. A woman would not fight a 7-foot-5 man the same way a male counterpart would." She recalls pre-Covid days where she was given exactly 4.2 seconds to say a line, with no room to make it her own. "The talent comes when you make it your own, but we're constrained. You have to find a way to prove your brilliance within these constraints."



Baranova adds, "You're not treating your players as observant enough. They think that when a male actor records mo-cap, then it's just replaced with a female voice that the audience isn't going to notice. It's so obvious when a woman is walking with her shoulders locked and her hips not moving. It really irks me." Wilton Regan also calls out marketing: "The male character choice will still often be the default on the poster, or the man's voice in the trailer. We need to get women's voices in there. It's not that complicated to have one pass with the female voice, and one with the male voice."

We've come a long way from when the industry was reluctant to cast powerful leading women, but there's still work to do. With actors like Wilton Regan, Baranova, and English proving their worth, it's hopefully only a matter of time. As for Lies of P, it's more than a game—it's a testament to what happens when you take risks, trust your instincts, and let a puppet sing. And I, for one, can't wait to see what Neowiz does next. ?

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Like many players, I came to Hollow Knight: Silksong expecting a masterclass in metroidvania design. I got that, but I also got a game that understands something most soulslikes overlook. Silksong is defined by constant backtracking, powerful movement abilities, and steady, meaningful progression, putting it in conversation with Blasphemous, Ender Lilies, Metroid, and Castlevania. Yet it also owes a huge debt to Demon's Souls and Dark Souls. The bonfire-like checkpoints, the corpse-running mechanic, the grimdark world full of characters slowly going insane, the brutal boss battles that reward pattern learning and i-frame dodging after upgrades—all of it is here. But there is one area where Silksong excels, not just against its predecessor but against some of the best soulslikes ever made.



The Soulslike Shortcut I Used to Take

A typical soulslike splits into two broad categories: boss battles and exploration sections filled with lower-level enemies. Those fodder foes can be tough, acting as mini challenges before the area boss. This structure has served the genre well, but it has one glaring shortcoming. Players can simply avoid these lower-level enemies en route to the boss, especially on subsequent attempts once they know the layout. Have you ever sprinted past a dozen hollows, dogs, or soldiers just to throw yourself at a boss again? I know I have. In Dark Souls, that is not the ideal way to play, but it is possible. In Hollow Knight: Silksong, it is virtually impossible.

Inescapable Gauntlets Change Everything

Silksong adopts a structure similar to classic FromSoftware games, but it punctuates many areas with inescapable enemy gauntlets. The fodder-type foes of the area converge on me in a coordinated attack. Often, defeating this onslaught is the only way to progress to the next area, and there is usually no option for escape either. If I repeatedly run past these same enemies during exploration sections, then I will be ill-equipped to face them in the gauntlet. I will not have learned their attack patterns or weaknesses. So why does this matter? Because it turns every enemy placement into a lesson.



I remember the first time I tried to rush through a later area. I had mastered Hornet's movement, or so I thought. I dashed past a cluster of enemies, only to hit a locked arena. The gate slammed shut. Suddenly, I was surrounded. I panicked, wasted my silk, and died. On my next attempt, I slowed down. I studied each enemy type in the rooms before the gauntlet. I learned which ones lunge, which ones spit projectiles, and which ones punish greedy attacks. By the time I reached the arena again, I was ready. That is the genius of Silksong's design.

Combat Design Makes It Work

On its face, the formula of exploration passages plus basic enemy gauntlets is simple. But it only works because of Silksong's sterling combat design. To beat a series of enemies, I need a solid grasp on my movement and attack styles. I must identify openings, clock safe moments to heal, and get parry timing right. The only feasible way to do this without being immediately overwhelmed is to engage with these same enemy types before the gauntlet. That makes me better prepared. It also makes the world feel dangerous in a way that few soulslikes manage. I cannot treat enemies as scenery. They are part of the challenge, not just speed bumps on the way to a boss.



Here is a quick comparison of how Silksong handles common soulslike elements:

Soulslike Convention
Typical Implementation
Silksong's Twist

Checkpoints
Bonfires reset enemies
Bench-like checkpoints, but gauntlets reset too

Corpse runs
Retrieve lost currency
Retrieve your cocoon and silk

Fodder enemies
Often skippable
Forced into arenas, cannot skip

Boss learning
Pattern recognition
Gauntlets teach patterns before boss

Difficulty
Brutal but fair
Brutal, fair, and relentlessly educational

Why This Respects My Time and Skill

Some players might argue that forcing enemy gauntlets is too punishing. I understand that. Silksong is not an easy game. But it is certainly conquerable, given the right level of attention and effort. This tough but rewarding design is par for the course for most soulslikes. The option to simply run past fodder enemies, most of whom will never be seen again, has always been a bit awkward. It makes enemy placement feel disposable. Silksong fixes that. By reincorporating fodder-type enemies within boss-like challenge arenas, it ensures that none of its enemies, nor its enemy placements, go to waste.



In 2026, after multiple playthroughs and post-launch updates, I still find myself appreciating this design more than ever. I no longer see a room full of enemies as an obstacle to sprint past. I see it as a classroom. I see it as a chance to sharpen my parries, test new tools, and prepare for the inevitable ambush ahead. Does that make Silksong harder than Dark Souls? In some ways, yes. But it also makes every victory feel earned. And that is exactly what I want from a modern metroidvania-soulslike hybrid.

So if you are like me and you used to run past every enemy on the way to a boss, Silksong will break that habit. It will punish you, teach you, and then reward you. And once you clear a gauntlet without taking a hit, you will understand why this game sidesteps a problem that has haunted soulslikes for years. It turns fodder into fundamentals. That is not just good design. It is essential design.

That hunger for the next challenge tends to arrive the moment the credits roll. Suddenly you are scrolling storefronts at 1 a.m., comparing the price of every metroidvania-soulslike hybrid that might scratch the same itch, only to find the same game listed at wildly different prices depending on the platform, the region, and whether a sale is quietly running. Keeping track of that manually is its own kind of grind, and not the rewarding kind.

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