Western history loves to employ mythology as building worlds, but sets Greek, Roman and Nordic myths so often that it is basic to forget about other parts of the world, such as American South, they also have a lot of folklore. To the south of the North, the recent platformer of the Action from the Forced Games uses this insufficiently represented list of cryptids for great success, telling true stories focusing on the girl and her mother. His decent fight and platform are elevated to great heights by a star visual and music presentation, which results in a game that I can’t stop smiling.
To watch Game guide Review south of the north:
https://www.youtube.com/watch?v=dgyihjobevw
Hazel Flood, a girl from tardy teenagers, trying to track her mother after a hurricane. Along the way, he discovers that she is a weaver, a magical person who can employ ethereal bands to fight, pass and see the vision of the past. Unlocks’ magical abilities are used to fight, pass and solve the puzzle, which are capable from the perspective of the game and narrative; Each aspect of Hazel’s life becomes strange and magical, and she must learn how to deal with it. During her journey, she meets several mythical creatures from southern folklore and teaches tragic stories that led to their curses. I have always liked these flashbacks because they develop the world in a unique way and smoothly integrate myths with the main story. Despite this, the narrative remains justified, thanks to the relationship of Hazel with his mother, grandmother and a giant sum companion. In addition to some problems with the pace most often given in snail-paced starts and sudden ending of the game, it is a touching story that I remember tenderly.
The cutscene scenes and fight are woven together using linear platform sequences. Hazel can twice jump, soar, grab and run on the wall to traverse the world. You can also go below the path to search for Flofof, the currency of the game in the field of skill updating, but I never think that exploration is involved. When you get to the intersection, you can click the right rod to see the direction of the main goal, so “exploring” comes down to detecting the side path when it appears, briefly heading down to collect the floof, and then turning and returning to the main path. Despite this, I was hungry enough for the improvements to be looking for floopes whenever possible. Fortunately, various traffic techniques make experience not too obsolete. Traversal ultimately does not resemble an invigorating mechanic himself and more like a means to move between attractive environments, one of the attractions of the game.
Hazel grabs his weaver magic.
The best elements south of the north are his art and music. The characters are animated with deliberately omitted frames, creating aesthetics that falls somewhere in between Spider-Man: to the spider version and Stop-Motion animation. Despite these clear artistic inspirations south of Midnight, it is distinguished by beautifully designed characters, monsters and environments. It is visually impressive at the technical level, winning its place on current consoles and computers. Regardless of whether they are sunlight by dirt at sunset or haunts visualizations of the intensive battle with the boss, I was impressed by wonderful visualizations south of the north.
The sound design is equally robust, thanks to the inspiration it draws from the story settings. The south has a opulent musical history, from Bluegrass to Jazz to folk, and a properly diverse list of playback of species wins Hazel’s journey. The unusual banjo, cacophonous trombone and dramatic down of the violin are equally likely that they will appear on the soundtrack of any level.
Historically, these songs are also a way in which stories are conveyed for generations, and south of the north it pays tribute to the songs of the bosses. These original songs play in the background of the climax with texts about this moment in the story, often from the perspective of one of the characters in the battle. “Cinematic” is an adjective used to describe games with vast sets or dramatic performances, but these soundtracks are movie in a different sense. The sequences of action in movies are often emphasized by the appropriate songs played in the background, so every time I heard that the lyrics come to the boss battle, I felt like I was sitting in the theater, watching the choreography of the fight.
Hazel fights with an intimidating volume from two fingers.
Therefore, the fight south of the north is not its strongest aspect, but it grows in complexity at the end in a way that radically improves its quality. Initially, his uncomplicated action of the third person seems to be derived. Although I did not hate it, I never waited for it and I did not find it particularly satisfying. His most unique element is the mechanic of discovering: when you defeat the enemy, you can separate his long -lasting spirit, slightly healing cracks and shave a few seconds from the time of renewal. These abilities are unlocked by history, including one that pushes enemies, the second that attracts them, and the third, which affects their status called Weave, blocking them on the spot and lowering their defense. They are useful and should be used as often as possible, but usually do not feel like changing the play of powers.
This does not apply to tardy game. When each skill is updated, it unlocks recent conditions for attacking weave and acceleration of renewal, sometimes completely removing them. For example, you can immediately reset the Push ability by hitting many enemies at the same time, making a move with a 15-second Timer, becoming part of your ordinary arsenal. Such improvements encourage players to consider positioning and adding risk and prizes to power. After adding a second dashboard and exploding the fights are swift, crazy and amusing, when you move quickly to maximize your skills, refresh your renewal times and solve enemies quickly enough to regain health. I would like this complexity to be present earlier than the last five hours of the game, but I was mainly cheerful that he had achieved these heights at all.
Hazel is staring at Rougarou.
Thanks to her live art, music and telling stories, I had a great time with the south from the north. His narrative goes to some surprisingly shadowy places, but he still encounters a whim, which makes it an appropriate adaptation of a similar tone of source mythology. I couldn’t tell you how Rougarou was a few weeks ago, but thanks to this game I have a catchy melody of his name, which plays in my head. It is good that, like the stories and songs that he tries to honor, south of the north successfully donated the southern folklore to a recent, wider audience.
