《湮滅之潮》由中國成都的日蝕邊緣工作室（Eclipse Glow Games）開發，是將現代都市廢墟與亞瑟王傳說交織在一起的原創3D動作冒險遊戲。舞台設定在異世界入侵而變得支離破碎的倫敦，城市的地標與街道被扭曲、侵蝕和切割，現實與阿瓦隆的神話空間互相滲透，整個世界呈現出既熟悉又不安的奇異景觀。玩家扮演的主角格雯德琳在倖存的混亂中覺醒出特殊能力，她能夠召喚並指揮來自圓桌騎士傳說的靈體，因而踏上尋找聖杯、拯救妹妹與恢復現實秩序的旅程。劇情在復仇與救贖之間拉扯，隨著格雯德琳接近真相，玩家會發現入侵並非單純的災難，而牽涉到阿瓦隆中半神般存在的陰謀與歷史傷痕。

在玩法設計上，遊戲的核心在於所謂的「雙重前線戰鬥系統」，既保有硬派動作遊戲的即時操控感，也揉入隊伍編成與策略管理的深度。除近戰與施展技能外，還能召喚十多位具有各自定位的騎士靈體，並在戰鬥中自由切換與配置這些騎士。每位騎士在戰場上扮演不同角色：有的擅長突擊、有的擅長連段輸出、有的偏向防守與控場，依照敵人特性或關卡需求組合出自己的騎士團 Build。在激烈的戰鬥中可切換騎士以接續連段或突破防線，並且透過技能樹、武器與裝備的成長體系來強化個人與騎士的能力，整體呈現出動作介面與輕度角色扮演元素的融合。開發者在公開展示中亦強調，某些首領戰需要玩家同時操控主角與特定騎士來配合解謎或打破特殊屏障，這種雙線協作的設計讓戰鬥更像一場指揮與操作並存的史詩級對決。

除了地面戰鬥外，世界探索也具有尺寸感與奇觀性的特色，最具代表性的就是「巨像騎士」：它們龐大如山，不僅是可遭遇與交戰的巨大Boss，也能攀爬其表面、穿越其內部的宮殿結構以探究背景故事與解鎖內容。玩家在這些巨像之間來回穿梭，感受到從垂直延展到地表的場景層次變化，既有高空攀爬的驚險，也有深入內部解謎與戰鬥的節奏轉換。美術上，製作團隊以虛幻引擎5打造遊戲，嘗試將東方水墨的朦朧與凋零感融合進末世倫敦的視覺，使城市既有現代感的殘骸質地，又充滿古典神話的詭異氣息，這種東西合璧的美術路線成為本作一大辨識點。

就市場與媒體反應而言，《湮滅之潮》尚未正式發售，但自首波宣傳以來便引起國際遊戲圈的高度關注。許多評測與報導對開發團隊作為中國新興工作室挑戰西方經典傳說表示肯定，特別是團隊有意尊重原典、進行跨文化研究並邀請專家顧問，以及實地到倫敦考察的做法，被視為誠意十足。媒體對遊戲的創新戰鬥系統、巨像結構以及東方美學的融入給予正面評價，而玩家社群則對騎士編隊的自訂潛力與大型首領戰充滿期待。當然，也有聲音關注敘事能否在文化重構中取得平衡、以及玩法是否能在戰術深度與操作手感之間拿捏得當；這些問題通常出現在對尚未上市作品的期待評估中。整體來看，本作被定位為中國工作室試圖躍升國際市場，向3A級動作冒險挑戰的重要作品之一，若能在劇情敘事與戰鬥平衡上持續打磨，極可能成為國際上關注的原創力作。

日蝕邊緣工作室以此作為首發作品，並在技術上採用Unreal Engine 5、獲得資金與資源支持，這使得外界普遍對其最終表現抱持謹慎樂觀。遊戲計畫登陸PlayStation 5、Xbox Series X|S與PC，發行日期尚未最終確定，市場期待將在後續實機試玩、評測版或實際上市時走向明朗。

Tides of Annihilation is an upcoming 3D action-adventure game developed by Eclipse Glow Games, a studio based in Chengdu, Sichuan. Although it does not yet have a confirmed release date, the game has already gained wide attention for its ambitious world-building, its reinterpretation of Arthurian myth, and its combination of modern urban ruin with high-fantasy elements.

The story takes place in a version of London that has been violently fractured by a sudden invasion from another world. Streets, buildings, landmarks, and entire districts have been twisted, sliced apart, or fused with foreign matter, leaving behind a surreal landscape where reality and the mythical realm of Avalon bleed into each other. Gwendolyn, the sole survivor of this catastrophe, awakens in the ruins imbued with mysterious power: the ability to summon the spectral forms of the Knights of the Round Table. Driven by grief, vengeance, and the hope of saving her kidnapped sister, she heads into the broken city to uncover why Avalon’s demi-gods invaded, how their world is merging with Earth, and where the fabled Holy Grail lies hidden.

The game’s identity rests heavily on its distinctive combat system known as the Dual Frontline Battle System. While players directly control Gwendolyn’s real-time action combat—her dodges, weapon attacks, spell-like abilities, and mobility—she can simultaneously command the ghostly knights who fight alongside her. More than ten unique knights can be acquired during the adventure, each inspired by legendary figures such as Sir Lamorak, Sir Kay, or other iconic companions of King Arthur. Every knight occupies a particular role, such as sustained damage, burst attack, shielding, crowd control, or support. The player can assemble two teams of knights, creating a four-knight rotation that can be switched on the fly in the middle of combat. This flexible structure allows for fluid combo extensions, layered tactics, and a variety of builds that can be customized through skill trees, weapon upgrades, equipment choices, and accessory loadouts.

Battles are not limited to small arenas or straightforward encounters. The world is inhabited by enormous entities known as Colossal Knights, towering structures as tall as mountains. They roam between worlds, serving as both environmental set pieces and full-scale boss encounters. Players can climb along their bodies, explore the palace-like interiors hidden within them, and uncover the ancient histories tied to Avalon’s demi-gods. These living monoliths add verticality and spectacle to exploration, contrasting with the claustrophobic, labyrinth-like streets of the broken London map.

Eclipse Glow Games built the entire project on Unreal Engine 5, merging a modern photorealistic cityscape with an art style influenced by East Asian ink-wash painting. This visual direction creates a sense of decay and mysticism, where crumbling London boroughs are covered by drifting “grey mist” and the shifting motifs of Avalon. The developers have stated in interviews that, as a Chinese studio working with British mythology, they invested significant time in studying Arthurian lore, consulting cultural experts, and traveling to London to conduct on-site research for both story accuracy and environmental detail.

Even before launch, the game has been widely discussed in the gaming community and media. Early previews have praised its artistic ambition, its reimagining of Arthurian figures, and the potential depth of its combat system. Critics have highlighted its attempt to bridge Eastern and Western aesthetic traditions, while players have shown interest in the mix of fast action gameplay with tactical knight-management mechanics. Some cautious voices question whether a new studio can achieve balance in such an ambitious system, or whether the dual storytelling—modern apocalypse mixed with medieval myth—can be executed with coherence. Nevertheless, most impressions have been optimistic, regarding the game as a bold international debut for a Chinese team attempting to enter the high-budget action-adventure market.

Tides of Annihilation is currently planned for release on PlayStation 5, Xbox Series X|S, and PC, with the final launch window still to be announced. If you want, I can also prepare an English version focusing strictly on the plot timeline, characters, gameplay build analysis, or a deeper cinematic-style retelling of the story.