Combat starts to establish a rhythm, now, with Lucas rushing into the main force while I hang back, cast my healing flames on the ground and nuke them from a relatively safe distance. If anything gets close, I fend them off with my spear or phase away and kite them. It works well, and so long as we play to our strengths, there’s little challenge. There’s none of the instant death from something like Diablo, and enemies soak up more damage than you expect. But that gives you a little time to think about where next to go, rather than wearing out your mouse with incessant clicking. There’s even a little enemy variety, with the Skeleton Mages raising new troops if we don’t take them out first. Priorities, priorities.

Whenever the game’s been shown before, the levels shown have always been set in some grand cavern, or on top of some gargantuan mountain. The house feels very different, with claustrophobic walls funnelling us down a path and occasionally giving way to larger rooms. Still, the level is vast, coherent, and perhaps more importantly, conveys the kind of room-by-room feel of Dungeons & Dragons. It doesn’t wait around, setting a scene and having you ogle at the environment; it presents you with a scenario, and gets you slaying immediately.

The combat works, the levels look pretty, but the most exciting moment happens at the end of the Mansion, when you find the ‘Heart of Nigog’, a big, evil, green glowing orb thing. It’s binding the spirit of the girl to the house, and causing all of this evil. Again simple enough, right? Destroy it and you’ll be sorted. Except that’s not the only option.