The Thaumaturge on Steam - User reviews, Price & Information
The Thaumaturge is a character-driven RPG with a rich story, morally ambiguous choices, and turn-based combat. In a city on the brink of change, use your mystical powers to read emotions, uncover motives, and command folklore-inspired demons — while resisting the temptation of your own pride.
The Thaumaturge is a rpg, singleplayer and crpg game
developed by Fool's Theory
and published by 11 bit studios.
Released on March 04th 2024 is available only on Windows
in 7 languages: English, French, German, Spanish - Spain, Polish, Russian and Simplified Chinese.
It has received 3,740 reviews of which 3,131 were positive and 609 were negative resulting in a rating of 8.1 out of 10. 😎
The game is currently priced at 34.99€ on Steam, but you can find it for 14.39€ on Instant Gaming.
The Steam community has classified The Thaumaturge into these genres:
System requirements
These are the minimum specifications needed to play the game. For the best experience, we recommend that you verify them.
Windows
- Requires a 64-bit processor and operating system
- OS: Windows 10 (64-bit)
- Processor: AMD Ryzen 5 3600 (6 core with 3,5 Ghz) or Intel i5-10400F (6 core with 2,9 Ghz)
- Memory: 16 GB RAM
- Graphics: Radeon RX580 (8GB) or Nvidia GTX 1050 Ti (4GB) or Intel Arc A750 8GB
- DirectX: Version 12
- Storage: 25 GB available space
- Additional Notes: SSD (Recommended), HDD (Supported). Framerate might drop in graphics-intensive scenes. Ultrawide screen supported.
User reviews & Ratings
Explore reviews from Steam users sharing their experiences and what they love about the game.
Pokémon The Thaumaturge is a story-driven game where you capture creatures bind demons and make them fight for you against other trainers a bunch of drunk people. It's definitely a bit weird, but it's got a lot of heart, and a very unique and interesting setting. The setting is pretty much what saves this game, really. It's set in Warsaw in 1905, and it just feels really authentic. Granted, I've never been to Warsaw, and I'm not Polish, so I can't tell how authentic it is, but it feels like it was made by people who understand this period in Poland's history, the culture, the politics, the population, etc. It really felt like a glimpse into the past, albeit with magic and demons. I also really enjoyed the inclusion of the Jewish community, which gets quite a bit of the spotlight, with "Kabbalah" being branded as their own secret school of Thaumaturgy. Not something you see in many games. Unfortunately, other than the setting, the story is kind of lacking. It starts off pretty promising, and some of the side quests were interesting, but I found it didn't really ever grip me. The characters were fine, but the writing and voice acting were a little iffy and made it harder to connect with them than it should have been. The story doesn't really feel like it goes anywhere, and this was mostly evident in act 3 when I'm supposed to make a big choice between 2 options, that will decide how the climax will play out, and I found I don't really care either way. If there was a 3rd option, to just walk away from this conflict, I'd have 100% chosen that. It just doesn't do enough to make it personal , you know? I was just kind of wondering why I am even involved in any of this. To make matters worse, this game does what I consider a very big no-no in RPGs. It sometimes take control of your character away from you. Basically, the idea is, you have a Flaw (as all Thaumaturges do) that kinda pushes you to act a certain way. Choose the option connected with it, and you feed the Flaw, making it stronger. In the lead characters' case, this Flaw is Pride. Now, I didn't really make a conscious choice at any point between giving in to my pride or avoiding it, I just chose whichever dialogue option felt right to me at the time. I did often choose myself above others, because... like I said, it was kinda hard to connect with the characters, so I mostly cared about growing my own power. This resulted in choosing the "Pride" dialogue option more often than not. As the game progressed and my pride grew, dialogue options started being locked out - with the caption "Your pride is too high to choose this option". That's fair. I don't really like it, but I get it, and I typically had other options, not just the Proud one, so I could manage to say or do the thing I wanted to. This changed in act 3. Suddenly, things just happened. I wasn't given a choice. The game just said something like "Your pride chose for you" and made me do things I didn't actually wanna do. Suddenly my character was acting in ways I didn't agree with, and it didn't feel like my character anymore. I was now just going through the motions, playing with the mechanics - performing combat, interacting with objects, etc - but I was not really role playing anymore. I did not appreciate that at all. I think one of the biggest examples of where this really harms the narrative is one scene where a character died because of a selfish choice I made earlier in the game. I was there, watching him die, and... there wasn't even an option to apologize. My pride was too high for that. I could only basically mock him and say something like "well that's what you get". That's not what I wanted at all. That was the first time in the game, maybe even the only time, where I saw serious consequences to my actions. It kinda made me rethink things. It made me want to do better and make up for my mistakes... but the game wouldn't let me. You were a proud a**hole at the start, so you're a proud a**hole till the end. Why? Have they not heard of character development? In contrast, one of my fondest memories of any game, ever, is from my first playthrough of Mass Effect 3. I was playing full Renegade, until a scene where a former crewmate stands up to me and basically says "I'm not letting you do this, you're gonna have to shoot me". I decided not to. The first time in the whole trilogy where I didn't choose the renegade option, because the scene and the character just got to me. It felt right, it was a moment of growth, and I let it change how I played the rest of the playthrough. Meanwhile, the Thaumaturge puts you in a similar position, but doesn't give you the option of growth. You've chosen who your character is, now sit back and watch. One other issue I've got is with the combat. Not the system itself - it's fine. It's not great but it's serviceable, and building an arsenal of demons to choose from was kinda nice. The issue is rather with... who you fight. It's like the developers made this combat system and then thought - "wait, we don't really have any reason for combat to be in this game". The result is... you fight drunks. That's almost exclusively it, at least in acts 1 and 2. You walk into a bar as part of an investigation - a bunch of drunks show up and say "we don't like outsiders here" and a fight starts. You try and get onto a carriage to travel to another part of the city - a bunch of drunks show up and say "that's our carriage!" and a fight starts. You question a kid about a murder he was a witness to - a bunch of drunks show and say "why are you talking to this child? are you a pedophile?" and a fight starts. F*cking hell. You can't go anywhere in this city without a bunch of drunks showing up and starting a fight. Why was this necessary? At first I thought it was just because I'm starting out, these are the low level fights and the combat system is just being introduced with easy enemies - but no, like 95% of combat in this game is against drunks who start a fight for stupid reasons. It just feels like a complete waste of time. To end this review on a high note, I'll mention some other things I did like, other than the setting which I already stated is the best part. I enjoyed the soundtrack, I enjoyed some of the ideas and themes in the story very much, I enjoyed the diversity of demons who come from a variety of different folklore, I liked the fact your actions do have consequences that feel significant (I would have even considered doing another playthrough with different choices if I could be bothered to beat up every single drunk in the city again), and I thought it did a good job of building up a mystery and slowly unfolding it (though, sadly, the mystery is solved quite a while before the ending, and then the game just... keeps going). It's a decent game, it feels like it was someone's passion project, and I definitely appreciate it for what it is. However, it's flaws are quite significant and do often impact the experience negatively. In the end, I do recommend it, but it's certainly not for everyone. And if you think the Pokémon comparison I opened with was kinda silly? Well, the game itself acknowledges it - There is a point where you're asked to make a wish, and one of the dialogue options is "to be the very best, like no one ever was". Thaumaturges are just Pokémon trainers. I said what I said.
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I highly recommend Thaumaturge but with some major caveats: Play this game if: - You enjoy deep rich setting and story; - You don't mind turn-based JRPG style combat (think Persona); - You like unusual settings (in this case 1905 Warsaw); - You don't mind inconsistent voice acting and sometimes janky animations. Don't play this game if: - You hate linear stories (there are choices to be made in this game but it is mostly linear); - You genuinely like solving mysteries and putting together clues (this game will spoonfeed you clues and conclusions - your real choices are about what you do with those conclusions); - You need deep and rich character customization and extensive skill trees (you won't find either of these here). Overall I really enjoyed The Thaumaturge for its story, vibes, and a setting that's quite unique in gaming, but it's not for everyone.
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A city is a marvellous thing. It is the organic culmination of persevering, inattentive marks left by millions of insignificant people throughout the years. It is the human psyche in its most concrete form. A city, despite its composition from non-natural materials, such as stone, rock and asphalt, is as natural as humans that inhabit it. There is a sense of comfort that can only be found between the walls and fences and utility poles, the spontaneous laughter that rises from seeing graffiti only saying Miley Cyrus, not even making a statement like “ftw” or “sucks”, in a neighbourhood where most walls are adorned by revolutionary slogans and calls to action, or the invocation of memories caused by revisiting the crevice where I hid the cool rocks I found and seeing its still there even though I left my hometown many years ago. Nevertheless, even if these were to last a lifetime, a city is organic and bound to change, and so do its inhabitants. Most significant changes happen when the human condition is in disarray and upheaval, manifesting directly on the cityscape, creating some of the most interesting events of our collective history. The Thaumaturge’s brilliant setting, Warsaw in 1905 is one of those times. Poland at the time was under Russian occupation and Warsaw’s various factions; Marxists, social democrats, Jews and anarchists were preparing for the inevitable showdown against the Russian state apparatus, the Okhrana and Polish collaborators, ultimately reshaping the cityscape in the image of social unrest. Fool’s Theory’s reconstruction of Warsaw is quite brilliant as unlike most open-worlds, it does not treat the urban space as a static behemoth that only acts as a set dressing, but recognizes that it is in constant state of flux. It is aware that the city was rapidly changing due to technological progress and simultaneous development of philosophical ideas and manages to convey this understanding without being unnecessarily educational or didactic. I loved how one side quest and one unmarked quest was directly related to the sewage system, and I am not talking about mind-numbingly boring sewer quests that seem to be all the fuss in gaming. Dealing with people’s reactionary response to the construction of sewers and resolving a strike of construction workers which left one of the largest avenues in Warsaw as a literal shithole hits all the right spots for me. As a sucker for urban spaces whether it is digital, fictional or real, the setting is not just intriguing but also looks amazing. I am not sure if this is the achievement of Fool’s Theory or the Unreal Engine 5, but Warsaw, even with its bleakness and impending sense of doom, looks incredibly beautiful. Facades, interiors, parks, ports and bazaars are all quite detailed and remarkable enough that I even started to learn the unintelligible Polish street names and quite comfortably found addresses that were given as part of urban discovery quests. If you enjoy the bleakness of The Witcher, you will find a tingling sense of familiarity while you are going through various districts of Warsaw. The resilience of the various, quite likeable comrades we find through our adventure, and their belief in the progress of history is the only counteract against this oppression caused by the space, creating an intriguing contrast between the city and its inhabitants. While the game follows the story of a bourgeois thaumaturge in an alternate reality and is obviously not a completely faithful retelling of events which took place in 1905, the chaotic mental state of Warsaw at the time is quite fitting to this alternate reality, especially the game’s concept of thaumaturgy. In accordance with the rising positivism of the early 1900s, the human psyche was considered as the last unconquered island of knowledge and psychoanalysis was a new science that would conquer this new land, exciting almost all strata of society. In the game, psychoanalysts are a class of professionals called thaumaturges, who can expose and cure the personality flaws and diseases of the mind, especially if they are contagious as salutors, the game’s version of mischievous folklore creatures, attach themselves to a flaw and deteriorate the overall mental well-being of a community. Even though I would have loved further expansion of this idea, possibly even creating a conflict between traditional thaumaturges and scientific psychoanalysts or showing Wiktor doing more actual thaumaturge work akin to Witcher to show the full extent of what is possible through this alien science, what Fool’s Theory has here is an amazing proof of concept. I will not go into details of what I did find lacking in The Thaumaturge, not only because I tend to favour unique and ambitious games even with their flaws, but I also like to highlight what is amazing rather than nitpicking their mistakes. But it will suffice to say that gameplay mechanics and the quality of voice-acting is hit and miss. Detective work is largely automated and combat, even though has a solid foundation, needed a balancing and variety pass to be actually challenging and engaging. Voice acting performances for the main cast is decent and Rasputin’s voice actor, Brian Dobson, did one of the best voice-acting performances I have ever heard in gaming, but I cannot say the same about minor characters. This is why I am inclined to say The Thaumaturge is an amazing proof of concept rather than an amazing game. Overall, Fool’s Theory has some very interesting ideas and an incredible setting, fully realising their vision here and there, not quite so in other places but in the end The Thaumaturge is just a small slice of what is possible in this alternate reality. I completed the game devoting 43 hours in the span of just three days, enjoying every second of it but I could not stop thinking about what could be improved upon more. There is something poetic about the devs taking charge of the first Witcher remake, because the first Witcher was not a perfect game and very much open to improvement, but it was unique and ambitious enough to leave its mark and make people ask for more. Just like The Thaumaturge. On the cusp of greatness/10 P.S.: How perplexing it is to not include the anthem of Polish Socialist Party, Warszawianka (1905) adapted after thirty workers were killed during May Day demonstrations in 1905, in Warsaw, in a game that takes place in Warsaw, 1905. Soundtrack is quite good on its own and there are records of the songs you can collect, but this should have been a must to include. P.P.S.: Thinking about how urban spaces cause change on the human psyche, it is incredible how Warsaw, 1905 inadvertently influenced a person living in a completely different place more than hundred years later. I was quite in love with Hemingway’s For Whom the Bell Tolls when I was around 12 or 13 and read obsessively about the Spanish Civil War, and eventually discovered A las Barricadas, which I adapted as my nickname since then was an adaptation of Warszawianka by the anarchists.
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I recommend this game if you want a good narrative experience, and aren't super squeezed for time. If you are really busy and require something truly exceptional, I would take your picky demands elsewhere! WHAT IT'S LIKE PLAYING THIS GAME -(YOU CAN'T ROLEPLAY A CHUBBY TIEFLING PALADIN.) You play as WIKTOR SZULSKI, and only WIKTOR SZULSKI. Your WIKTOR SZULSKI might be different than my WIKTOR SZULSKI, but he is still WIKTOR SZULSKI. He is a quite-literally flawed aristocrat with a definite history. How you move forward with that history depends on the choices you make in the game. But you are very much inhabiting a specific role. -(It's in the ISOMETRIC STYLE.) But that is more of an aesthetic choice. The isometric style is more of a camera angle thing. There's no party to manage, or an inventory really, or even a shop. It's not that crunchy kind of game with lots of stats. You don't pick up metal boots that grant you .000003% more resistance to stuns. Your "inventory" is basically a really detailed journal where you store character biographies, quest goals, drawings, item descriptions, and blurbs from newspapers you can pick up and skim. -(It's WHACKIER than you probably think.) I don't know why, but I expected the game to be kind of grim and self-serious and sort of faux-philosophical and heavy with the Nietzsche quotes. And it's not like super cheery or anything--sad things happen; it takes place in 1905, which is 10 years before the apocalypse in European history. But there's kind of this zany undercurrent of humor throughout this whole thing. Nobody farts or anything. And nobody gets whacked in the nuts. But it's the sort of thing where you'll suddenly be in a fisticuffs with some big-nosed boozer, and you'll be all like, "Wait. Who the f#%$ is this guy????" -(YOU FOLLOW A RED TRAIL A LOT. You click on lots of items and read lots of short snippets.) There's a map and you travel around different sections of the city via old-timey horse and carriage. But you basically run around the streets of Warsaw in the isometric style and click on things to read. The things you click on can be hard to spot if you don't constantly use your Thaumaturge thumb-snap thing that makes sparkly red lights appear. -(THE COMBAT IS BIZARRE, IN GOOD AND BAD WAYS.) You'll be walking around and you'll see a posh lady sitting on a bench. You start talking to her, when out of no where, some Russian or Polish dwarf will intrude and start besmirching you. And suddenly you'll find yourself in a turn-based fistfight with like a triplet set of these Polish bums. One guy will smash you in the nose with his elbow and you'll lose like 11 health points. The next guy will shoot your guts out, but you'll only lose 2 health points from it. Unfortunately, the combat encounters can be pretty repetitive. There's a puzzle-like element to it where you have to plan ahead. But each encounter feels pretty much the same, except the major boss fights. But the major boss fights are not radically different from each other, and aren't that radically different from the usual encounters. Very pretty art with the boss battles, though. Once I adjusted the combat animations to "very fast," I enjoyed them and found them amusing. DID I EVER WANT TO QUIT THIS GAME? No. This game didn't have some long sewer level or underwater thing where I had to grit my teeth to just get through. WHY I THINK OTHERS MIGHT CLICK ON THE RED THUMB -They are very short on time and demand something absolutely exceptional. "Good" is not good enough for them. -They hate, hate, hate the combat and can't get past it. -It's a narrative adventure. It felt like I was reading a neat novella, and the world and gameplay brought it all more vividly to life. However, someone else might want to flip that balance between story and gameplay. They might be seeking great gameplay with a sprinkle of story to bring it more vividly to life. If you don't like the story, I don't think the gameplay is engrossing enough to keep you around. It's not one of those games where you can ignore the story just to mess around and engage with the mechanics. -If you play this on Steam Deck, the game might initially launch in Polish. You just gotta be patient and fiddle around in the settings until you find the language option for English or whatever. WHY I CLICKED ON THE BLUE THUMB -I didn't always understand what was going on. But I was intrigued by the story and legitimately wanted to see how it all played out at the end. -Great art all around. -I'm a goofy person, and I greatly appreciated the bizarre humor. -The setting is very unique and beautiful. I kind of felt like a time-traveling tourist. I don't think I've ever played a game in this setting before. As an American, it felt very foreign, and I loved that. -The quest for unlocking the sad mermaid Salutor lady was really awesome. The setting felt different than the other parts of Warsaw, and there was lots of rain and bizarre characters. It left a long impression. When I think back on this game, I'll definitely remember that whole section. -I loved the characters and felt like Wiktor Szulski was a real person. I purposely played this game as an arrogant jerk my first time around. And I'm bummed by the ending I got. I care enough about the characters to eventually do another more ideal run where I give everyone better endings. -I feel like I've gained something by having these characters and this world floating around in my imagination. It feels more like I've gained something neat, rather than that I've lost time.
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Ever since the success of Disco Elysium there has been a small resurgence in more story focused RPGs, the Thaumaturge is another game in that style. Set primarily in Warsaw during the late Congress Poland era, when the city was a part of an ailing Russian Empire, The Thaumaturge tells the story of Wiktor Szulski, a Polish expatriate gifted with extraordinary powers who returns to the city of his birth to settle family matters. As a fan of RPGs, good stories and history in general, this was a game I could not possibly resist playing. So I did play it and now, a few dozen hours later, it's time to write down a few thoughts. The game's setting is largely historical but there are twists. In the game's world demons, called Salutors, exist. Drawn to people's flaws and influencing their behaviour. Superstitions and legends are explained as often being the work of those Salutors. There is also people that can perceive and form bonds with them, called Thaumaturges, which gives them incredible powers of perception and awareness. The idea may not be too original, but it's clever enough and well-executed. The historical aspect is also quite intriguing. The setting is not one often explored, though with the recent rise of the Polish gaming industry, I do expect that to change. Either way, the setting is well presented and fairly rich. A lot of time can be spent enjoying the sights and taking in life in early 20th century Warsaw. The game is heavily story focused. Following the death of his influential father and while trying to reclaim his legacy and repair his relationship with his sister, the protagonist finds himself at the epicenter of a struggle for the future of Warsaw. All that in the shadow of the teetering Russian empire and the plots of its would-be saviour, the charismatic Grigori Rasputin. Yes, that Rasputin, whom somehow Wiktor befriends. This mix of historical events with fiction works well and keeps the tension high. The player has many choices to make and things can often take unexpected turns. Most of the principal characters are well developed and complex. The various factions are often given ambivalent and conflicting appraisals. Combat is the other main aspect of the game. It has a turn based battle system where actions are queued and happen one after the other. The player character can use his Salutors and their various abilities to gain an advantage in combat, summoning them to do his bidding. Combat is not particularly complex, but it does have a fair amount of variety. There are negative effects that can be applied, a focus system which allows for special powerful attacks when the enemy's focus gets broken and so on. I did like the combat, but not overly so. The various animations can get repetitive after a while and there really is a lot of fighting. Surprisingly, the options provided to avoid fighting via dialogue are often quite ineffective. Rather uncharacteristic for a story-focused RPG. Negatively so. Focusing a bit more on the negatives, the game does come with a number of issues. The quest trackers for example are not always particularly helpful, some questlines don't follow organically and parts can be missed. Sometimes you just have to guess where to go next, when the game doesn't really cultivate a guessing style of gameplay. The obtuse map system is also partly to blame for this. The repetitiveness of battles was mentioned earlier, but the same can be said for general exploration. The game expects you to right-click both for tracking and to uncover hidden elements using the protagonist's powers. After a while that does reach a few clicks too many. Finally, on the story-side some choices feel somewhat railroaded and, particularly on minor encounters, rather illusory. All in all, the Thaumaturge is a nice package alright. Flaws and all. The setting, story and characters deliver and despite some mostly minor issues the game stays entertaining throughout. It is quite obvious that whoever created this game cared a great deal for Warsaw and its history, though I rather doubt they were big fans of tsarist Russia. Whatever the case, I do recommend this game to all fans of story-driven RPGs, fans of history and anyone who has an interest in this not often explorer era.
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Online players
41
Developer
Fool's Theory
Publisher
11 bit studios
Release
04 Mar 2024
Platforms
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