Until recently, I saw alpinism only as a typical extreme sport. A physically demanding, adrenaline-pumping activity that affects the psyche in an interesting way. However, reading the records and thoughts of the climbers themselves, it becomes clear that behind those climbs lies a completely different way of looking at risk. And it’s not the classic pursuit of excitement, but concentration, silence and tactics of correct placement are key when climbing, in order to recognize possible mistakes in time.
For those of us who look at mountains from the foothills or stick to marked trails, it’s hard to really feel the intensity and uncertainty that climbers experience, especially in movies and documentaries. That’s where Cairn comes in, a game that through itself gameplay wants to convey the climber’s lifestyle and allow us to experience it without risking our lives.
| Initial price | Reviewed version | Reviewer copy |
| 30€ | PC | Provided by publisher |
In Cairn, we will not experience Mount Everest, the summit of which is often crowded like a tourist attraction. Instead, we head for the fictional Mount Kami, a peak that no one has yet reached. Professional climber Aava lives for the climb and all the consequences it brings with it. Her story is not about fame, recognition, sponsors or external circumstances, but about an inner need to climb to the top, no matter the cost.
The story is not about fame, recognition, sponsors or external circumstances, but about the inner need to climb to the top, regardless of the cost.
As we move away from the foot of the mountain, Aava receives voice messages from her friends and family through her helper robot, who tell her about everyday life on the ground, their lives and small worries, but at the same time make it clear that they cannot fully understand her obsession and need to be exactly where she is. On her way, she gradually discovers that she is not the first mountaineer to go on this expedition, and the ascent also leads her to meet unexpected companions, through whose conversations and views on life we slowly get to know the different reasons why people decide to climb in the first place.
The mechanics and basic climbing experience here do not rely on a familiar solution, but combine different ideas that we have seen in other games over the years. It is precisely in this combination of familiar concepts and a different application of them that the feeling of something fresh lies. Climbing in Cairn is not seen as a routine, but as a process of mastering a skill without which there is no further progress.
Climbing in Cairn is not seen as a routine, but as a process of mastering a skill without which there is no further progress.
You might associate Cairn with Jusant 2023, which is understandable since the two games share a theme and focus on climbing. However, the difference in approach between the two games quickly becomes apparent. Here you do not control the character as a whole, but constantly think about the position of the arms and legs, about where to place them and in what order to move them. Literally every part of the body has its own weight and role, because a wrongly placed arm or poorly supported leg can throw you off balance. The approach itself is more reminiscent of what Bennett Foddy’s games do.
Another major difference compared to Jusant is that there is no set path in Cairn. It’s up to you to choose where to start climbing and how. Although it is not an open world in the classic sense, the walls function as semi-open spaces where there is almost no single correct path. From the very first step, it is clear that the game does not push you forward, but expects you to assess the terrain yourself and make a decision on how to approach it.
From the very first step, it is clear that the game does not push you forward, but expects you to assess the terrain yourself and make a decision on how to approach it.
The rocks are dotted with small protrusions, cracks and surfaces that at first glance seem decorative, but actually form the foundation of the whole gameplay system. Hands and feet need to be consciously placed on these supports, similar to the older Assassin’s Creed games, only here there is no automatic sticking to the wall. The only small complaint here is that the game does not allow dynamic jumping from ledge to ledge while climbing, nor free wall running while connected by a rope, which would further increase the feeling of freedom and intensity of the climb.
The most interesting part comes with choosing the route. There are almost always more than one way to the top, but that doesn’t mean that the path in the direction of the line is the best solution. In practice, this means that proximity can often deceive you. For example, the flat ledge itself can only be a few meters above, so that at the end of the game the game will quickly show that physically it simply cannot be reached so easily, but one has to look for detours. There were several moments when I was convinced that I had chosen a good route, only to realize later that there was an easier way or that I had to turn back, losing up to half an hour.
There are almost always more than one way to the top, but that doesn’t mean that the path in the direction of the line is the best solution.
Constant planning is the biggest challenge, but also part of the attraction. In addition to limb positioning, climbing requires thinking several moves ahead, assessing safe places to rest, moments when the risk becomes too great, for example due to slippery surfaces after rain, and deciding when it is wiser to change direction, even at the cost of extra effort.
To make things even more interesting, the whole experience is further deepened by survival mechanics. During the ascent, I had to take care of hunger, thirst, cold, my life, the level of exhaustion, but also the condition of my own hands, where finger injuries can make each subsequent grip significantly more difficult. To survive the journey to the top, I often stopped to explore small passages and hidden places and save my adventure progress, came across interesting details such as letters from former climbers, maps or practical items that I could use for the adventure.
During the ascent, I had to take care of hunger, thirst, cold, my life, the level of exhaustion, but also the condition of my own hands, where finger injuries can make each subsequent grip significantly more difficult.
Every now and then I collected resources for food and drink, from flowers to snacks in bags and other necessities for easier climbing, where I carefully placed them in my backpack to make room, while a small personal robot was at hand, carrying ropes and pegs.
At one point I was convinced that I had finally grasped everything, that I was reading the field properly and that there were no more surprises. It didn’t take long for the mountain to dissuade me. After a few wrong assumptions, I realized how much I had relaxed too soon and how much I still had to learn. It is precisely in those moments that the shift occurs, when you stop looking for quick solutions and accept the rhythm that the mountain imposes. And when it finally works out, the feeling of success is so loud when you pull yourself out onto a safe footing. At the end, you can stop, take a breath and realize that you have crossed another serious section of the climb.
Cairn’s visual style is based on clear lines and strong contrast between the characters and the environment, just like in the comics. On the other hand, the music in the background is unobtrusive, but it can emphasize the tension when necessary. The sounds of nature, and especially the sighs during and after climbing, are so realistic that you don’t even have to look at the interface to understand the character’s state.
However, the experience was not so smooth and I often had situations of minor slowdowns, but also large and sudden hiccups of the image. Besides, quite a lot glitcheva in the very animations of the limbs and their sticking in the rocks. Also the physics were weird when I was climbing without my chest facing the wall. The sheer difficulty of the game wasn’t as exhausting as I used to struggle with the system automatically suggesting which arm or leg to place. That system would simply go wrong and offer me the wrong option, so I had to manually choose which limb to grab the rock with next.
The combination of adrenaline and physical exertion makes Cairn a unique game, because rarely does it convincingly convey the realistic feeling of climbing and surviving weather conditions. In addition to the classic mode, there is also roguelike an option that seriously tests skills. For those who find the experience too demanding, there are discrete assists that turn off the hunger and thirst options or provide backtracking options, while independent climbing and reflection still remain necessary.
Cairn offers a huge space to explore, where even after a minimum of 15 hours of gameplay, I found only a small part of everything the mountain hides, and with each new climb I encountered hidden details, objects and stories that encourage me to return to the game and continue exploring. Considering the amount of content, the unique feeling of climbing and the depth of the experience, the price of €30 on PS5 and PC seems more than justified, and Cairn definitely deserves the attention of anyone looking for something different from standard adventures or simulations.