Arknights: Endfield

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Arknights: Endfield
Arknights Endfield.svg
Developers Hypergryph
Mountain Contour
Publishers
Series Arknights
Engine Unity [1]
Platforms
ReleaseJanuary 22, 2026
Genre Action-adventure
Modes Single-player, multiplayer
Arknights: Endfield
Traditional Chinese 明日方舟:終末地
Simplified Chinese 明日方舟:终末地
Literal meaningArk of Tomorrow: Land of the End
Transcriptions
Standard Mandarin
Hanyu Pinyin Míngrì Fāngzhōu: Zhōngmòdì
Aggregate scores
AggregatorScore
Metacritic PC:79/100 [29]
OpenCritic 77% [30]
Review scores
PublicationScore
GamingBolt7/10 [31]
TheGamerStar full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [32]
CGMagazine9/10 [33]
Gamersky8.7/10 [34]

According to review aggregator Metacritic, Arknights: Endfield received "mostly positive" reception; [29] in 14 reviews compiled by review aggregator OpenCritic, the positive reviews account for 77%. [30] GamingBolt reviewer Ravi Sinha gave the game an overall rating of "good". [31] TheGamer reviewer Harry Alston believed that although the game has excellent visuals and character design, it is "more style than content". [32] IGN commentator Sarah Thwaites said that there is more to explore in the game besides the "login loop", and that after about 20 hours of play, she would still be willing to continue exploring the character motivations, upgrades and "more rewarding depth". [35] Polygon commentator Paulo Kawanishi believed that while the science fiction theme and base building bring a sense of novelty, it is not enough to make it stand out in the crowded gacha game market. [36]

Reviews generally praised the visual and musical presentation of the game. Sinha praised its visual presentation and art style, the creation of sci-fi industrial scenes and the quality of music, and pointed out that although its semi-open areas are not a true open world, the content density is high and the exploration elements and side activities are plentiful. [31] Thwaites also mentioned that its cyberpunk visual background and atmosphere can immerse the player, and said that the battle performance after the later development is “visually attractive”. [35] Kawanishi also highlighted the character models and smooth action combat to create an attractive sci-fi world view. [36] CGMagazine’s Jordan Bioludi also affirmed the visual and musical presentation, believing that the overall content and system depth of the game exceeded his expectations for a gacha game. [33] Alston affirmed the attractiveness of the character design, world view and scene and audiovisual presentation, but believed that its external texture failed to translate into enough gameplay and narrative support. [32]

In terms of gameplay structure and exploration, Sinha believed that the design of combining action role-playing, exploration and factory building/automation system is quite unique, and the factory building system is closely linked to the main gameplay, and the tutorial reduces the threshold for getting started. [31] Thwaites pointed out that the game process mainly revolves around resource collection, simple environmental platform puzzles and area clearing, and unlocks base building and automation in the meta system; she believes that the content of puzzle-solving and area advancement is "not particularly imaginative", but it is still easy for players to be immersed for a long time under the vivid visual atmosphere. [35] Bioludi praised the " Factorio -like" factory building/automation and the "environmental engineering" design in exploration as being interconnected, and pointed out that these mechanisms make exploration and building form a tighter cycle, citing zip lines, energy relays and puzzle devices as examples; he also mentioned that the game adds asynchronous shared construction similar to Death Stranding, making the world more connected. [33] On the other hand, Kawanishi argued that while the base building and production system exists and appears complex, it is not "critical" enough in the narrative and main storyline progression. Many of its mechanisms are more like variations of similar game systems: for example, mining devices are similar to quick gathering/dispatch missions, ziplines become less important after fast travel is unlocked, and building elements such as power towers are often more like "pieces of the puzzle to advance the campaign". [36] Alston also criticized the factory/automation system, although it appears complex, but in reality it is "complex but not deep," involving a large amount of repetitive data collection. The refining process turns it into another form of wear and tear; he also pointed out game progress and character development rely excessively on time-consuming daily tasks and resource grinding. The new waiting period lacks a sense of reward and therefore does not respect the player's time. [32]

In terms of the combat system, Biorudi affirmed that its action combat, centered around a four-person squad, is fast-paced and maintains a smooth but not overly complex rhythm through mechanisms such as perfect evasion, stance breakage, and chain attacks. [33] Thwaites also called its combat "glamour" and had a distinct visual feedback, and praised the feel of switching members and connecting light attacks and special attacks to form combos. [35] In contrast, Sinha criticized the combat for being repetitive and lacking tactical depth, often falling into a fixed style of play based on skill and combo cycles. [31] Alston believed that the combat was long, boring, and highly repetitive, with enemies being tough but lacking a satisfying "power growth" feedback, and mentioned that cluttered screen information made dodging and parrying more frustrating. [32] Kawanishi pointed out that although its action combat could support the world-building narrative atmosphere, it was still difficult to resolve the homogenization problem of the work within the gacha framework. [36]

In terms of narrative, Thwaites believed that the beginning was laid out with a lot of explanatory text, and the pacing was awkward. However, after players got through the dialogue-heavy beginning, the game gradually unfolded and made up for the shortcomings with atmosphere and combat performance. [35] Biorudi praised the game's narrative scale and emotional presentation as being of a high standard, believing that it was friendly to new players and could provide more world-building information for fans of the series. However, he also pointed out that some narrative atmospheres were slightly incongruous, such as non-player characters (NPCs) praising the protagonist excessively, and that the general NPCs had a rather standardized appearance. [33] Sinha criticized the low plot tension, the sometimes dragging narrative pace, and the stiff dialogue (some information was repeatedly explained), and believed that the protagonist's characterization was not distinctive enough. [31] Kawanishi pointed out that the work can provide space for reflection on technology and ethics, but its "thought-provoking story goals" and card-based structure are difficult to reconcile, resulting in insufficient overall recognizability. [36] Alston also said that the narrative concept itself is interesting, but it is dragged down by a lot of explanatory dialogue and clichéd villain tropes. [32]

Regarding payment and system complexity, Thwaites mentioned that the game includes a large amount of currency and resource systems, and has a paid battle pass to accelerate development; she said that she has not encountered strong obstacles to payment in the short term, but still believes that it remains to be seen whether it will create pressure to "have to spend money" in the later stages. [35] Biorudi pointed out that there are still multiple currencies in the game, but the overall paid economic design is not confusing or overly annoying; [33] Alston emphasized that the game still lacks substantial depth to support long-term investment due to the stacking of multiple systems, with impressions of "numerous menus" and "tutorial bombardment". [32] In addition, Alston also mentioned that the game includes a tower defense mode, but its experience is more like additional content and has not yet shown enough depth to support the overall experience. [32]

Charts

Before the game's public beta, the official game company announced that Arknights: Endfield had over 35 million pre-registrations worldwide. [37] [38] On the first day of the public beta, Arknights: Endfield ranked 2nd on the iOS App Store's free app chart. [39] The game was downloaded over 1 million times on the Google Play Store. [40]

Notes

  1. Chinese :明日方舟:终末地; pinyin :Míngrì Fāngzhōu: Zhōngmòdì; lit.'Ark of Tomorrow: Land of the End'

References

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