The last time I reread The Divine Comedy, I couldn’t have imagined that a couple of years later I’d be running around Limbo with a spear in hand, listening to an amnesiac anime Dante yelling at Virgil. But here I am. And God forbid, I’m thrilled.

AstralShift—the same guys from Portugal who brought us Pocket Mirror and Little Goody Two Shoes—decided that magical girl horror aesthetics weren’t enough. They took Dante, stuffed him into a skirt, added card mechanics, enlisted Mili for the title track, and an Early Access version that’s already making me lose sleep.

And no, this isn’t another Vampire Survivors clone. It’s something more. And more on that in order.

I didn’t expect Hell to be so beautiful. Hell Maiden isn’t just a run-and-gun game. It’s an ambitious symbiosis of bullet-heaven dynamics, strategic decking depth, and a visual aesthetic that will make those who missed the 90s year nostalgic.

At the same time, the game manages to be a deeply respectful adaptation of Dante’s poem. It’s not just “they took the title and made it into a background for the game.” Every detail is imbued with Dante’s symbolism: from the circles of hell to philosophical dialogues and real historical facts from the Florentine poet’s life. And it’s astounding! How long has it been since you read/reread the Divine Comedy? I, for one, reread it all after a couple of runs…

Yes, at the time of writing, the game only has two of its nine circles. Yes, there are bugs and rough edges. But even so, it’s already 15 hours of pure joy. And I’m willing to bet that in a year or so, this will be one of the genre’s crown jewels.

Visuals: Sailor Moon meets Touhou in hell. Rating: 10/10. Seriously. I’m not kidding.

You launch the game and are immediately greeted by a two-minute intro animation. This isn’t a pre-rendered video. Every frame was hand-drawn by Rosatrium studio. The developers even made the creation process publicly available—they’re so confident in their product. And rightfully so.

The style is AstralShiftPro’s signature style. It’s reminiscent of Sailor Moon and Touhou Project, but with a dark, gothic edge. The contrast of light and dark is just like in The Divine Comedy. Anime girls in puffy dresses, but with bat wings and glowing eyes. It simply works.

Their signature style has already been established for two games, and I thought their next game would be like their previous ones—cute games with a horror core—but no, they took a beautiful work of art and built on it.

Here are some examples: 

• Card illustrations. Each card is a miniature work of art. Choose an upgrade—and your eyes are filled with joy. You can feel the hand of a master instead of a generic neuroslop at work.
• World and enemy design. From Limbo to the Circle of Lust, everything is recognizable, nuanced, and literally brimming with Dante’s symbolism. Each one has its own enemies, instantly recognizable and representative of their circle. I hope the other seven circles will be the same.
• Characters. All the poets of Limbo—Homer, Ovid, Horace—have their own character, their own story. And yes… They are all cute anime girls. Even the bosses.

Music and Sound: Mili Has Done It Again

I adore Mili and their music ever since Limbus Company and Ender Lilies, it has been giving me goosebumps. And when I heard the title track, “Not My Paradiso,” my jaw dropped. It’s not just a track. It’s an anthem.

The soundtrack seamlessly blends solemn, almost church-like melodies with tense battle rhythms. In quiet moments, it’s meditative. In battle, it’s adrenaline-pumping. And it perfectly captures the game’s mood.

The voice acting is in full English, full of soul. Each character sounds alive and emotional. Virgil is wise and calm. Beatrice is sublime. Dante has a touch of despair and hope. Even the minor dialogue of the Heroes and Bosses doesn’t sound like “just text.” This truly helps immerse you in the story.

When I hear the term “adapted classics,” I usually brace myself for a farce. But AstralShiftPro has outdone everyone. This is a truly profound reimagining of “The Divine Comedy,” with elements of philosophy, history, and even Dante’s personal tragedy.

The poem’s structure is woven into the gameplay. Descending through the circles of Hell feels like the spiritual journey of the original.The game uses historical facts from Dante’s life. His exile from Florence, his longing for Beatrice—all of this is reflected in plot twists and dialogue. Not only that, but there are direct quotes and verses from “The Divine Comedy.” Not for the sake of pathos, but to convey that very academic depth.

The relationship between Dante and Virgil is subtly and touchingly written. They’re not just a duo of “teacher-student,” they’re almost kindred spirits.  Rescuing poets from Limbo—Homer, Ovid, Horace—isn’t just a “unlock a new character” mechanic. It’s a direct reference to the episode where the poets form a literary circle.

At the same time, the game doesn’t descend into a boring lecture. Light humor, warm yuri elements between the girls, and the intrigue surrounding Dante’s memory loss bring the plot to life. I genuinely want to find out why she was banished from Paradise. I want to save the poets. I want to complete all nine circles. And that’s the best praise one can give the narrative.

When it comes to gameplay, Hell Maiden is bullet heaven with deckbuilding elements. You run around the arena, killing hordes of enemies, collecting experience, choosing cards to upgrade, and trying to survive until the boss arrives. Everything sounds just like it does in Vampire Survivors.

But the devil, as they say, is in the details.There are three types of cards:

• Weapon cards (up to 4) determine your attacks. Spears, magic beams, explosive arrows, each weapon has its own mechanics.
• Mods improve a specific weapon. Damage, speed, and projectile count, up to 3 slots per stack.
• Beatrice’s Blessings are global buffs. Health, defense, and movement speed.

Other unique features that were mind-blowing in a good way include positioning that absolutely matters. Some mods only buff adjacent cards. You sit and think, “If I put this card on the left, it’ll boost all the other weapons, but then I’ll lose the crit buff.” This turns slinging cards into a mini-puzzle.

There is also the Fusion system. Two tier 1 cards can be combined into a tier 2, two tier 2 cards into a tier 3. This adds depth and forces you to plan your upgrades, not just grab everything you can. And then there are Curses. Powerful upgrades, but with serious side effects. For example, “double your damage, but lose health with every shot.” And you really weigh it: “Do I need this?”

Of course, cards have their synergies and anti-synergies. For example, Ovid’s weapon doesn’t accept ammo count mods. You’re forced to adapt, not just copy the build from the guide.

The combat system is lively and dynamic:

• Active mouse aiming (you can enable auto-aim, but switching in combat is a real quest).
• Ultimates. Each weapon grants a unique superpower, from a golden chariot to a total screen clear. But the ultimate token drops randomly, and you never know if you’ll have a nuke at a critical moment.
• Bosses have bullet-hell-style final phases. You whittle down their health, and they start hurling projectiles with all their might. And then you either dodge like a god or simply die in disgrace. I once pushed my build so hard that I took down a boss in 12 seconds, but in the final phase, I forgot about dodging and died. The game punishes insolence. It’s fair.
• After defeating bosses several times, their unique abilities are added to the map pool. This motivates you to replay circles again and again—not for the “damage boost,” but for the new tool.
• Even after leveling up your global stats, the second circle remains a serious challenge. Rescued poets unlock new builds, and the scarcity of slots forces a painful choice. Each run is unique.

Unfortunately, I have to be honest. The game is in Early Access. And it shows. There are some things that are downright annoying.

The interface and controls are a personal pet peeve of mine. The cursor is the size of my head. It’s clunky and unresponsive. Clicks often don’t go through. Meanwhile, the controls are confusing. Some interface elements look clickable, but require pressing keys on the keyboard.

Dragging cards is an entire circus. Cards get stuck, don’t want to move the first time, and you click five times until everything clicks into place. In a game where card positioning is a key mechanic, it’s simply stifling.

But when it comes to larger gameplay, Hell Maiden has too much visual noise and not enough legibility. At times, I literally couldn’t see where to run. The VFX effects of my own attacks and enemy projectiles merge. The red zones on the floor become invisible. I died multiple times because I simply couldn’t see the danger.

Similarly, there’s no hitbox marker. It’s standard in danmaku games to show the point where you can be hit. This isn’t the case here. The character moves irregularly, attacks fly from all directions, and I just wonder, “Am I supposed to dodge at this point, or am I safe?” There is also the problem of getting stuck in the landscape. Trees, the edges of the map—I’m constantly clinging to them. It’s annoying.

Weapon balance is non-existent, and the content/duration is way too short.

• Carpe Diem and Judgement Beam are so much stronger than the others that if they drop, you simply have to take them. Otherwise, you’ll feel like a loser.
• Some ultimates (like the spear) grant invulnerability. This devalues ​​difficult boss phases. You just mash the button and ignore the mechanics.
• Runs are short—12-15 minutes to the boss. There’s no endless mode.
• When all the cards are level 3, new levels stop providing anything useful. You just sit and wait for the boss.

The last but not the least: technical bugs. Where would you be without them?

• Repeated card selection when rerolling cards.
• Direction lock after using some ultimates.
• Cards getting stuck in the interface.
• Tutorial – why is it even necessary? It’s stretched out over 6 pages. It explains obvious things instead of immediately introducing strategic nuances. You read and read, yawn, and then die in the very first battle because they didn’t properly explain how card positioning works.

Let’s take a quick look at what’s next for Hell Maiden’s Early Access. At the end of 2026, the developers promise the Third Circle of Hell: Gluttony, new poet and new cards. Note that the full version of the game (that will likely take at least a couple of years) will feature all Nine Circles.

Other promised improvements include a difficulty ramp-up system, balance changes, possibly an endless mode. The developers actively communicate with the community and quickly patch critical bugs. This inspires confidence. But I wouldn’t recommend waiting for the full version right now. It’s better to buy it and put it on the shelf for a year.

Hell Maiden is a gem in the making. In its current form, it is ready to offer 10-15 hours of deep, varied gameplay with a high level of replayability. The visuals, music, and literary foundation are on par with world-class masterpieces. Technical rough edges and a small amount of content are typical ailments of Early Access, and the developers are demonstrating a willingness to address them.

I received the game from the developers, and I’ve spent a dozen hours with it. I’ve already thoroughly enjoyed it. And I know that in a year, when they add new circles and poets, I’ll come back and experience even more. This isn’t just a game. It’s a cultural experience you want to experience.

Final Score: 8.7/10 (with potential to reach 9+/10 in the final version).

This game is FOR YOU if:

• You’re a fan of Vampire Survivors, but want more strategy and depth.
• You appreciate the 90s anime aesthetic and are ready to admire every card and frame of animation.
• You love decking and synergies. If you enjoy building builds in Hades or Slay the Spire, you’ll be in heaven (figuratively speaking).
• You’re a fan of Mili’s work and high-quality music.
• You value a bullet-heaven story. Yes, that happens.
• You’re a literary enthusiast and want to experience “The Divine Comedy” in an interactive format that respects the source material.

This game is NOT FOR YOU if:

• You’re looking for the full game with nine circles and aren’t willing to wait two years.
• You’re annoyed by the clunky interface and awkward card dragging.
• You dislike early access and bugs.
• You’re unforgiving of weapon imbalances.