The Giant Squid developer was born from the members of the team who created a journey from 2012. The founder of Giant Squid and Sword of the Sea, Matt Nava, is recognized as the artistic director of Journey, but to be sincere, you could guess, looking at the screenshots of this page. This is the third game Giant Squid, but it is probably the one that seems to be the most grateful when traveling – and this is a compliment. It certainly has its clear atmosphere, history and, when you act deeper in the game, the artistic style, but in some respects it seems that this Landmark video game 2012.
https://www.youtube.com/watch?v=0vzfxycnlvw
The sea sword is not a story without a word. Sometimes you meet stone tablets that offer a mysterious prose about what can happen in this world, but for the most part your recognition of the narrative comes only from visualization. You are a sword who prefers to ride a sword like a hoverboard, instead of swinging him to an adventure to restore water life to a desiccated world covered with rolling sand.
The star of the series is a sense of sword driving. Getting speed and jumping from gigantic dunes is liquid and swift. New skills unlocked during the game only make the movement feel better, and different types of surfaces lead to slightly different approaches to gain speed and height to achieve the next destination. Finding these rhythms on the hills is sings Sword of the Sea, and the perfect pace of this experience means that you rarely snail-paced down. I finished my first game in less than three hours, but I immediately started a recent game mode to unlock the last few skills and see how quickly I can get to the stimulating game finale again.
While the ease and speed of movement is the main attraction of the sea sword, its visualizations are close. I loved the loop to see what would happen next and stop in wonderful monuments. Periodically, the game takes over the camera control from the player, because they leave the hill to focus on the landscape in the distance, and I always gladly passed it to make sure that I can pay attention to what I saw without worrying about jumping in a timely manner.
The direction of oceanic art also leads to unexpected moments that are strange in the right way. Sword of the sea likes to play with your expectations and I was often surprised by what I did and what was happening.
Perhaps the only drawback is that I did not recognize particularly emotional narrative. It is arduous to create moving moments between characters that do not speak and exist in an abstract world, and the sea sword does not quite stick the landing. I would not define my experience with this part of the game as disappointing, but rather that the implications of the narrative could not keep up with how good the game looks like, it feels and sounds. I wanted more.
I appreciate Sword of the Sea’s Brevity and Visual goals. He never approaches stretching or extending his greeting. It moves at the pace of the magic sword rushing through the dunes on a floating blade at 170 miles per hour (the speedometer is unlocks after defeating the game) and never gives you a reason to look away. I wanted to feel more of history, perhaps only because every other element of experience raised him so high that my expectations were with them.
