Nighthawks, the 2026 vampire RPG, takes inspiration from Edward Hopper's iconic painting, exploring themes of connection amidst isolation. While the game occasionally succeeds in crafting poignant sub-stories, its overall narrative and RPG mechanics often falter, leading to an uneven experience.
The game places players in the role of a newly-made vampire who rapidly ascends to power, taking control of the titular Nighthawks nightclub. Each in-game night, players can explore three distinct city districts—Cradlebridge, Angelbreach, and Fountaincourt—to engage with dozens of smaller narratives. These stories are navigated using a system of levelable traits, such as brawling and seduction, and unique skills, like the ability to glean echoes from deceased bodies.
Nighthawks heavily relies on its narrative, with painterly backdrops, characterful portraits, and atmospheric sound effects contributing to the city's depth. However, these elements, along with the catchy but repetitive music, primarily serve to enhance the story rather than stand as primary attractions. The game's atmosphere is effective in evoking a sense of grit and tension.
The narrative is primarily delivered through vignettes spread across five acts. While the overarching story progresses, it often feels fragmented into individual segments. Some of these vignettes are particularly strong, notably those involving the liberation of women from restrictive obligations. These stories effectively blend ancient themes with the game's modern setting, exploring how historical power structures persist today or, in the case of recently revealed vampires, how new societal dynamics are formed.
However, the game's struggles are also highlighted by these standout quests. The attempt to tie together the overarching narrative with anti-vampire sentiment proves less convincing. Despite the presence of human supremacist groups and random street encounters, these elements do not feel particularly impactful, especially as the player character quickly becomes powerful enough to render them a minor threat. The narrative also grapples with the inherent difficulty of portraying an oppressed group when the group in question is fundamentally dangerous.
Furthermore, the placement of the game's strongest quests early in the middle acts means that the narrative momentum built is not sustained. The first act, in particular, is described as dry, lacking meaningful character development or intrigue for companions. While most companions are readily available, their motivations and future plotlines are not hinted at, leaving the early hours of the game without significant hook. The exception, Veronica, who actively seeks new experiences, receives one of the game's more compelling personal quests.
Pacing issues persist throughout the game. Each act spans a single month, with players only having nighttime hours to address personal, companion, and city-wide quests. The lack of real time pressure leads to periods where players may find themselves with little to do, even when actively pursuing objectives. This absence of urgency reduces the strategic element of approaching tasks and discourages role-playing decisions, as there is little consequence or reward for engaging in diverse activities, from preying on the innocent to funding social programs.
The RPG elements also suffer from a lack of meaningful impact. Players are rarely locked out of outcomes due to skill limitations, and by the later acts, most skills can be maxed out, diminishing the importance of character builds. Companions, clothing, and special items often fail to make a significant difference, particularly those that require substantial effort to acquire, as they are typically unlocked only after the player has already reached peak effectiveness.
These combined issues prevent Nighthawks from coalescing into a focused experience. While moments of detailed storytelling evoke the intimacy of Hopper's painting, the surrounding world often feels less like deliberate emptiness and more like an unfinished sketch. The game's principle developer is Richard Cobbett, a former contributor to Rock Paper Shotgun.