StrifeRobber
2017
Ruiner: A Review
Ruiner is a pulpy cyberpunk action movie that takes the form of a video game. Its action is filled with brutal executions and flashy shootouts committed by a determined, mask-wearing man. Ruiner is a visually stylistic work of cyberpunk fiction that doesn’t delve too deeply into its story, but adequately shows enough of its setting’s sinful undercurrent. This is a game straight out of 80s Cyberpunk media.
Ruiner is a simple twin stick shooter that uses an isometric setting. The gameplay feels similar to 2020’s Hades, where the goal is to kill all enemies in a room, dodging every attack and gunshot funnel through its spaces. The player obtains weapons and skill upgrades to enhance the efficiency of the carnage, resulting in some satisfying gameplay. While the initial levels don’t get your blood pumping, presumably to acclimate the player to the gameplay loop, the final four levels become challenging and very entertaining. It's a fittingly bloodsoaked festival of speed and death that will keep you excited. While the combat isn’t the most satisfying or even fun in the beginning, the final levels show what it's truly made of and it was great.
The story of Ruiner is also a simple affair. The story revolves around the nameless protagonist, often called “Puppy” by Her, the game’s assistant character. “Puppy” embarks on a dangerous mission to save his brother, who is kidnapped by a megacorporation known as Heaven, which controls many of Rengkok City’s systems.
The story never goes for a deep or philosophical angle for the majority of its runtime. Instead, Ruiner frames its story as a gory and violent cyberpunk tale of a one man army. It uses the typical cyberpunk cliches, but they’re used well enough. It's only by the tail end of Ruiner’s story where it finally tackles more profound themes found in the Cyberpunk genre. By its end, Ruiner takes the time to criticize Capitalist Exploitation and the dangers of Corporate Power in a very direct and visually interesting manner. The narrative of Ruiner is not only simple, but it is also short. As a result, the game never overstays its welcome.
The stylized graphics are practically eye candy and always visually pleasing to the eye. The use of its lighting and its constant use of the color red are fantastic. They help with evoking a grimy and nihilistic mood in a world ruled by capital and escapism. There’s a beauty in the world accompanied with a boiling anger exemplified by its protagonist. Great stuff.
Its graphical fidelity and use of mood is used best in the game’s central hub area, South Rengkok, a poverty stricken and shady part of Rengkok City. In this district, you get to meet a solid amount of interesting and quirky characters accompanied by well drawn character portraits. The streets are packed with people and some intriguing conversations that imply a world larger than the perspective you inhabit.
In South Rengkok, the setting of Ruiner gets to breathe as you explore this little slice of the city. South Rengkok is not a large hub, but it's where the game’s moody atmosphere kindles the best. It is a reprieve from the bloody massacres of the typical gameplay loop and serves as the memorable part of Ruiner. A place where you become absorbed by the world.
And I wish it stayed here, forever. This is a land brimming with great potential for rich stories and satisfying creativity. Sadly, this may be a spark that remains unlit as the developers, Reikon Games, had to lay off 80% of its workforce and turn to an uncertain future. I am hoping that those who got laid off will land on their feet and obtain secure livelihoods. I am strongly rooting for you.
Ruiner is a good Cyberpunk game straight out of the 80s with brutal action and in-your-face storytelling. A fun action game that lays down the foundation of a formula that could have been fantastic if it was developed in a future game.
7/10.
Ruiner is a pulpy cyberpunk action movie that takes the form of a video game. Its action is filled with brutal executions and flashy shootouts committed by a determined, mask-wearing man. Ruiner is a visually stylistic work of cyberpunk fiction that doesn’t delve too deeply into its story, but adequately shows enough of its setting’s sinful undercurrent. This is a game straight out of 80s Cyberpunk media.
Ruiner is a simple twin stick shooter that uses an isometric setting. The gameplay feels similar to 2020’s Hades, where the goal is to kill all enemies in a room, dodging every attack and gunshot funnel through its spaces. The player obtains weapons and skill upgrades to enhance the efficiency of the carnage, resulting in some satisfying gameplay. While the initial levels don’t get your blood pumping, presumably to acclimate the player to the gameplay loop, the final four levels become challenging and very entertaining. It's a fittingly bloodsoaked festival of speed and death that will keep you excited. While the combat isn’t the most satisfying or even fun in the beginning, the final levels show what it's truly made of and it was great.
The story of Ruiner is also a simple affair. The story revolves around the nameless protagonist, often called “Puppy” by Her, the game’s assistant character. “Puppy” embarks on a dangerous mission to save his brother, who is kidnapped by a megacorporation known as Heaven, which controls many of Rengkok City’s systems.
The story never goes for a deep or philosophical angle for the majority of its runtime. Instead, Ruiner frames its story as a gory and violent cyberpunk tale of a one man army. It uses the typical cyberpunk cliches, but they’re used well enough. It's only by the tail end of Ruiner’s story where it finally tackles more profound themes found in the Cyberpunk genre. By its end, Ruiner takes the time to criticize Capitalist Exploitation and the dangers of Corporate Power in a very direct and visually interesting manner. The narrative of Ruiner is not only simple, but it is also short. As a result, the game never overstays its welcome.
The stylized graphics are practically eye candy and always visually pleasing to the eye. The use of its lighting and its constant use of the color red are fantastic. They help with evoking a grimy and nihilistic mood in a world ruled by capital and escapism. There’s a beauty in the world accompanied with a boiling anger exemplified by its protagonist. Great stuff.
Its graphical fidelity and use of mood is used best in the game’s central hub area, South Rengkok, a poverty stricken and shady part of Rengkok City. In this district, you get to meet a solid amount of interesting and quirky characters accompanied by well drawn character portraits. The streets are packed with people and some intriguing conversations that imply a world larger than the perspective you inhabit.
In South Rengkok, the setting of Ruiner gets to breathe as you explore this little slice of the city. South Rengkok is not a large hub, but it's where the game’s moody atmosphere kindles the best. It is a reprieve from the bloody massacres of the typical gameplay loop and serves as the memorable part of Ruiner. A place where you become absorbed by the world.
And I wish it stayed here, forever. This is a land brimming with great potential for rich stories and satisfying creativity. Sadly, this may be a spark that remains unlit as the developers, Reikon Games, had to lay off 80% of its workforce and turn to an uncertain future. I am hoping that those who got laid off will land on their feet and obtain secure livelihoods. I am strongly rooting for you.
Ruiner is a good Cyberpunk game straight out of the 80s with brutal action and in-your-face storytelling. A fun action game that lays down the foundation of a formula that could have been fantastic if it was developed in a future game.
7/10.
This review contains spoilers
Some Minor Spoilers for Y6
Like A Dragon Gaiden: The Man Who Erased His Name is a conclusion to a Saga that should have definitively ended in 2016's Yakuza 6: The Song of Life.
Yakuza 6 is by all means not a “bad” game and definitely not a terrible conclusion to Kazuma Kiryu's story. Instead, it is remembered as a game that didn't have the proverbial guts to end the Dragon of Dojima’s seven game journey. Yakuza 6 did numerous things correctly by establishing Kiryu as a grandfather and introducing us to a new cast of supporting characters in Onomichi, Hiroshima. Unfortunately, The game seemed allergic to using legacy characters in the Saga and relegated most of them to the wayside in favor of a new supporting cast. In consequence, Kiryu's final game feels smaller and intimate, for better or worse.
If this truly was the end of Kiryu's story, then Yakuza 6 should have been a celebration of the same. Instead, The end product was just another mainline Yakuza game and not the emotional climax of the journey. As we watch Kiryu walk down that street, fans are instead teased for more. The Dragon never dies. And the tease bore fruit. Kiryu returns as the sole playable protagonist of Like A Dragon Gaiden. Once again described as Kiryu's send off, Gaiden is set with the task of providing its audience with a smaller, intimate, and emotionally satisfying ending for one of gaming's greatest protagonists and it does so successfully.
Gaiden's story places Kiryu in an interesting setting, practically divorced from his legendary life and past relationships. Over the course of the game, Kiryu forges new bonds, fights against a new bunch of baddies, and eventually enters an ideological battle for the future of the Yakuza. In the midst of all this crime ridden chaos, Kiryu's emotional journey remains at the forefront even if it doesn't seem obvious. Kiryu doesn't show a lot of emotions in the story, the logic of its plot makes it necessary to do so. But when Kiryu's stoic veil falls, the writers really make it count.
Takaya Kuroda brings his performance of Kazuma Kiryu to new heights, delivering a beautifully human performance for a historically stoic character. For the first time in years, the writing truly allows Kiryu to become incredibly vulnerable, giving Kuroda a chance to show us a side of Kiryu never seen before. At one point, I was convinced that there were no stories left to tell with this character until Takaya Kuroda proved me wrong. There is much to tell with this character, even if this is the final stretch. It's one of the greatest voice acting performances in the video game canon and leaves its ending as the best in the series. Kudos to the facial animations as well, the emotional scenes would have been hollow without the fantastic work behind them.
Speaking of the ending, I can definitely say that the final chapter is an all time great experience. Upon its arrival, the game fires on all cylinders to deliver a climactic and emotionally resonant experience filled to the brim with fist fights, team ups, hype moments, climatic showdowns, and a greater degree of emotional vulnerability for Kiryu. It’s seemingly the end of a Saga until Infinite Wealth finds a way to top it. While I cannot say much about the ending, what I can say is that it is a fantastic ending. An explosion of emotions built up over several games. Jacob Geller in his "The Best Games of 2023" video, once called the final hours a “transcendent experience.” I am inclined to agree. This is amazing stuff and they saved the best for last.
If it's not obvious by now, the characters are the biggest strength of The Man Who Erased His Name. All of them are memorable in their own right, even if some are more developed than others. Within the short runtime, the story is able to develop its cast of new characters with varying degrees of success. Characters like Akame and Shishido are standouts and have already become fan favorites. This is thanks to the lovely character writing and great acting from their voice actors, delivering the human qualities this franchise is known for.
However, other characters such as Hanawa are written in a strange way. Hanawa typically doesn't show much emotion, but he does reveal some humanity in rare and interesting moments. Upon further examination, this is by design. But you would have to play the game to see it yourself. Despite the interesting writing and time spent, it was hard to fully invest into Hanawa. A true shame as the character makes a substantial appearance in Infinite Wealth.
Unfortunately, Gaiden has pacing issues in the story. The game mandates the player to engage with the game's side content such as The Akame Network and the Coliseum before moving onto the main story throughout the various chapters. This results in an inorganic and frustrating introduction to side content that takes away the narrative momentum of the story.
The strangely slow pacing is saved by the fun of Gaiden’s combat that I absolutely loved. This is the best brawler combat the franchise has ever done. It’s smooth, responsive, and incredibly fun to play. The game provides the player two fighting styles to toy around with. The first is the Agent style, which turns Kiryu into a methodical and elegant fighter and provides him with gadgets such as Flying drones and the Spider rope. His movement is swift and can transform a battle from a brawl to a fluid dance if done right. A far cry from the destructive, forceful, and familiar Dragon of Dojima fighting style that is also provided as the second fighting style in the game. The fighting styles serve to show Kiryu’s development as a character, that he has become refined and patient as shown with the Agent Style.
While some of its plot elements remain underdeveloped, some characters aren’t that interesting, and its pacing is somewhat of a mixed bag, the story of The Man Who Erased His Name remains to be a good and rewarding experience. The focus on Kiryu pays off spectacularly and the Saga is capped off nicely. The gameplay may be typically “Yakuza”, but it remains fun and polished to play.
Like A Dragon Gaiden: The Man Who Erased His Name is a conclusion to a Saga that should have definitively ended in 2016's Yakuza 6: The Song of Life.
Yakuza 6 is by all means not a “bad” game and definitely not a terrible conclusion to Kazuma Kiryu's story. Instead, it is remembered as a game that didn't have the proverbial guts to end the Dragon of Dojima’s seven game journey. Yakuza 6 did numerous things correctly by establishing Kiryu as a grandfather and introducing us to a new cast of supporting characters in Onomichi, Hiroshima. Unfortunately, The game seemed allergic to using legacy characters in the Saga and relegated most of them to the wayside in favor of a new supporting cast. In consequence, Kiryu's final game feels smaller and intimate, for better or worse.
If this truly was the end of Kiryu's story, then Yakuza 6 should have been a celebration of the same. Instead, The end product was just another mainline Yakuza game and not the emotional climax of the journey. As we watch Kiryu walk down that street, fans are instead teased for more. The Dragon never dies. And the tease bore fruit. Kiryu returns as the sole playable protagonist of Like A Dragon Gaiden. Once again described as Kiryu's send off, Gaiden is set with the task of providing its audience with a smaller, intimate, and emotionally satisfying ending for one of gaming's greatest protagonists and it does so successfully.
Gaiden's story places Kiryu in an interesting setting, practically divorced from his legendary life and past relationships. Over the course of the game, Kiryu forges new bonds, fights against a new bunch of baddies, and eventually enters an ideological battle for the future of the Yakuza. In the midst of all this crime ridden chaos, Kiryu's emotional journey remains at the forefront even if it doesn't seem obvious. Kiryu doesn't show a lot of emotions in the story, the logic of its plot makes it necessary to do so. But when Kiryu's stoic veil falls, the writers really make it count.
Takaya Kuroda brings his performance of Kazuma Kiryu to new heights, delivering a beautifully human performance for a historically stoic character. For the first time in years, the writing truly allows Kiryu to become incredibly vulnerable, giving Kuroda a chance to show us a side of Kiryu never seen before. At one point, I was convinced that there were no stories left to tell with this character until Takaya Kuroda proved me wrong. There is much to tell with this character, even if this is the final stretch. It's one of the greatest voice acting performances in the video game canon and leaves its ending as the best in the series. Kudos to the facial animations as well, the emotional scenes would have been hollow without the fantastic work behind them.
Speaking of the ending, I can definitely say that the final chapter is an all time great experience. Upon its arrival, the game fires on all cylinders to deliver a climactic and emotionally resonant experience filled to the brim with fist fights, team ups, hype moments, climatic showdowns, and a greater degree of emotional vulnerability for Kiryu. It’s seemingly the end of a Saga until Infinite Wealth finds a way to top it. While I cannot say much about the ending, what I can say is that it is a fantastic ending. An explosion of emotions built up over several games. Jacob Geller in his "The Best Games of 2023" video, once called the final hours a “transcendent experience.” I am inclined to agree. This is amazing stuff and they saved the best for last.
If it's not obvious by now, the characters are the biggest strength of The Man Who Erased His Name. All of them are memorable in their own right, even if some are more developed than others. Within the short runtime, the story is able to develop its cast of new characters with varying degrees of success. Characters like Akame and Shishido are standouts and have already become fan favorites. This is thanks to the lovely character writing and great acting from their voice actors, delivering the human qualities this franchise is known for.
However, other characters such as Hanawa are written in a strange way. Hanawa typically doesn't show much emotion, but he does reveal some humanity in rare and interesting moments. Upon further examination, this is by design. But you would have to play the game to see it yourself. Despite the interesting writing and time spent, it was hard to fully invest into Hanawa. A true shame as the character makes a substantial appearance in Infinite Wealth.
Unfortunately, Gaiden has pacing issues in the story. The game mandates the player to engage with the game's side content such as The Akame Network and the Coliseum before moving onto the main story throughout the various chapters. This results in an inorganic and frustrating introduction to side content that takes away the narrative momentum of the story.
The strangely slow pacing is saved by the fun of Gaiden’s combat that I absolutely loved. This is the best brawler combat the franchise has ever done. It’s smooth, responsive, and incredibly fun to play. The game provides the player two fighting styles to toy around with. The first is the Agent style, which turns Kiryu into a methodical and elegant fighter and provides him with gadgets such as Flying drones and the Spider rope. His movement is swift and can transform a battle from a brawl to a fluid dance if done right. A far cry from the destructive, forceful, and familiar Dragon of Dojima fighting style that is also provided as the second fighting style in the game. The fighting styles serve to show Kiryu’s development as a character, that he has become refined and patient as shown with the Agent Style.
While some of its plot elements remain underdeveloped, some characters aren’t that interesting, and its pacing is somewhat of a mixed bag, the story of The Man Who Erased His Name remains to be a good and rewarding experience. The focus on Kiryu pays off spectacularly and the Saga is capped off nicely. The gameplay may be typically “Yakuza”, but it remains fun and polished to play.
2020
Umurangi Generation is a declaration of dismay against the government and corporations that have failed to save the world. It burns brightly and there's nothing we can do but watch. This is the central premise of Umurangi Generation, one of the few games that spoke loudest to the COVID Generation.
Umurangi Generation is a first person photography game. You play the role of a photographer, who documents the chaotic end of New Zealand. Beautiful landscapes are replaced with dystopian cities, ruins, and a red sky. These are the subjects of your photos, a world gone to hell because of government failure. Anger and frustration flow through many of the game's levels.
I feel that Umurangi and I share the same anger against government incompetence. In 2020, the world shut down as COVID ruined everything. I saw neighbors die, businesses shut down, and the corrupt thrive. The country suffered as we watched our geriatric government leadership conduct the most useless nightly “talk shows”. All talk, no game. Millions infected, and thousands dead in the nation. It was the most powerless I have ever felt and I wasn't alone. Perhaps you feel the same, reader?
It's okay, the world can't kill us yet. However, I can't say the same for Umurangi’s end times.
It's very easy to see that Origame Digital experienced the same revolting feelings we all did. All the revulsion and anger against the status quo that keeps us down. Besides, the game was released in the middle of the chaos in 2020. What resulted is a generational piece of art that expresses the same powerlessness we felt then and now. Umurangi speaks to the times.
The game evokes this punk-rock aesthetic in this near future setting. There’s a fury seeping through its tone, but there’s also a chill hangout vibe that flows against it. Yes, the end of the world is here and we can’t do anything but take pictures and hangout with the crew. These are the last days of a chaotic world.
However, I will not speak of what ails the setting of Umurangi Generation, doing so would only ruin half the fun. What is obvious from the beginning is there’s something that dooms the world and there is nothing you can do but watch.
As the game continues, the player slowly takes the role of a historian of sorts, documenting a crisis in progress. In light of this, Umurangi tasks you with taking photos of… Cats, birds, candles, graffiti, and much more. The subjects of your photos feel normal, which adds to the initially chill vibes. However, this ordinary set up eventually contributes to an entirely different tone, a feeling of desperation to hold onto normalcy. It’s a relatable feeling because we did that during the pandemic and even today.
The gameplay is very good and simple to pick up. As mentioned earlier, the game tasks you with capturing photos of several things such as cats or cars. There’s a ten minute timer, but it feels inconsequential. There is nothing stopping you from taking your time, exploring the level, and getting the best shots possible.
Umurangi Generation doesn’t make use of cutscenes or dialogue to tell a story. Instead, it uses environmental storytelling to great effect. The game invites the player to assemble its story, creating an engaging narrative experience that forces its players to seek out pieces of story. Throughout the levels, you’ll come across newspapers, graffiti, television sets, and posters that each detail the maddening situation that afflicts the world. As a result, the narrative never feels disruptive and the player is always in the middle of things. It's an immersive way to tell this story and the most fitting way to do so.
The OST by the magnificent ThorHighHeels should be praised. Not only does this man make banger video essays, but he’s also creating banger music as well. The music of Umurangi Generation is nothing short of fantastic, always expressing this “Sophistifuture” tone (as he would say) that really adds to the atmosphere. The music always feels nostalgic, relaxing, and also disruptive in some tracks due to the presence of robotic sounding voices. It all fits perfectly with the game.
The game also shows a unique Maori perspective that I would love to see more in video games. Diversity is the spice of life after all. While I can’t speak much to its Maori identity as I’m not one myself, I can definitely say its expression of identity and culture adds so much humanity and creativity to the game.
Umurangi Generation is a protest in the guise of a video game. It’s never shy about its disruptive and frustrated attitude. There's a lot of righteous anger that the story directs straight at its in-game governments as they continue to fumble important work. Thanks to its solid gameplay loop, great environmental storytelling, and a fantastic soundtrack, Umurangi Generation is able to lift a mirror that lets us see the madness.
Umurangi Generation is a first person photography game. You play the role of a photographer, who documents the chaotic end of New Zealand. Beautiful landscapes are replaced with dystopian cities, ruins, and a red sky. These are the subjects of your photos, a world gone to hell because of government failure. Anger and frustration flow through many of the game's levels.
I feel that Umurangi and I share the same anger against government incompetence. In 2020, the world shut down as COVID ruined everything. I saw neighbors die, businesses shut down, and the corrupt thrive. The country suffered as we watched our geriatric government leadership conduct the most useless nightly “talk shows”. All talk, no game. Millions infected, and thousands dead in the nation. It was the most powerless I have ever felt and I wasn't alone. Perhaps you feel the same, reader?
It's okay, the world can't kill us yet. However, I can't say the same for Umurangi’s end times.
It's very easy to see that Origame Digital experienced the same revolting feelings we all did. All the revulsion and anger against the status quo that keeps us down. Besides, the game was released in the middle of the chaos in 2020. What resulted is a generational piece of art that expresses the same powerlessness we felt then and now. Umurangi speaks to the times.
The game evokes this punk-rock aesthetic in this near future setting. There’s a fury seeping through its tone, but there’s also a chill hangout vibe that flows against it. Yes, the end of the world is here and we can’t do anything but take pictures and hangout with the crew. These are the last days of a chaotic world.
However, I will not speak of what ails the setting of Umurangi Generation, doing so would only ruin half the fun. What is obvious from the beginning is there’s something that dooms the world and there is nothing you can do but watch.
As the game continues, the player slowly takes the role of a historian of sorts, documenting a crisis in progress. In light of this, Umurangi tasks you with taking photos of… Cats, birds, candles, graffiti, and much more. The subjects of your photos feel normal, which adds to the initially chill vibes. However, this ordinary set up eventually contributes to an entirely different tone, a feeling of desperation to hold onto normalcy. It’s a relatable feeling because we did that during the pandemic and even today.
The gameplay is very good and simple to pick up. As mentioned earlier, the game tasks you with capturing photos of several things such as cats or cars. There’s a ten minute timer, but it feels inconsequential. There is nothing stopping you from taking your time, exploring the level, and getting the best shots possible.
Umurangi Generation doesn’t make use of cutscenes or dialogue to tell a story. Instead, it uses environmental storytelling to great effect. The game invites the player to assemble its story, creating an engaging narrative experience that forces its players to seek out pieces of story. Throughout the levels, you’ll come across newspapers, graffiti, television sets, and posters that each detail the maddening situation that afflicts the world. As a result, the narrative never feels disruptive and the player is always in the middle of things. It's an immersive way to tell this story and the most fitting way to do so.
The OST by the magnificent ThorHighHeels should be praised. Not only does this man make banger video essays, but he’s also creating banger music as well. The music of Umurangi Generation is nothing short of fantastic, always expressing this “Sophistifuture” tone (as he would say) that really adds to the atmosphere. The music always feels nostalgic, relaxing, and also disruptive in some tracks due to the presence of robotic sounding voices. It all fits perfectly with the game.
The game also shows a unique Maori perspective that I would love to see more in video games. Diversity is the spice of life after all. While I can’t speak much to its Maori identity as I’m not one myself, I can definitely say its expression of identity and culture adds so much humanity and creativity to the game.
Umurangi Generation is a protest in the guise of a video game. It’s never shy about its disruptive and frustrated attitude. There's a lot of righteous anger that the story directs straight at its in-game governments as they continue to fumble important work. Thanks to its solid gameplay loop, great environmental storytelling, and a fantastic soundtrack, Umurangi Generation is able to lift a mirror that lets us see the madness.
2012
Journey: A Review
If one were to describe the story of Journey, it would be an odyssey of a robed figure through an unknown land. The rest of its philosophical and literal meanings are left to the interpretation of the player. The game does not seek to overwhelm the audience with great amounts of lore and an abundance of expository dialogue. Instead, they are invited to unravel its narrative, allowing them to have a substantial amount of interpretive autonomy over the story. There is no death of the author when one is merely invited to ponder independently. That is where much of Journey’s narrative strength lies.
The story of Journey takes a minimalist approach, opting to use visuals and sound to express its narrative. Hence, the game is a wordless experience. Dialogue has no room here. Because of this, the developers have crafted a brilliantly memorable world filled with deserts, icy mountains, and ancient structures. All of them communicate to the player a forlorn aspect to the world of Journey and also provide exposition. It is a world of ruin and solitude, and this makes the appearance of other players so memorable. You are only one speck of sand, standing in awe of the great formations around you.
Speaking of visuals, Journey is the most cinematic game I’ve played in years and most of its cinematic quality is derived from gameplay moments. Cut scenes are in rare supply in Journey as you are thrust right in the middle of the action with rarely any interruptions. Every set piece is delivered through the gameplay, never taking control away from their hands. Whether they’re being hunted down by giant machines or sliding down sand dunes, the player experience comes first and foremost. The game understands and employs cinematic language so brilliantly without compromising the video game medium.
The gameplay of Journey consists of the player exploring different areas such as deserts and abandoned cities in a bid to reach the peak of a mountain. This mountain always remains in view, reminding the player of a goal to reach. Journey encourages exploration and curiosity and frequently employs platforming mechanics to make it all fun. The gameplay is simple and great.
The graphics look gorgeous and have lasted the sands of time. Being released exclusively on the PS3 in 2012, Thatgamecompany has created a fantastic and distinct art style that sits right at home with the older Playstation game catalog. The visuals emphasize scale and small details such as specks of sand or snow pellets, which stood out in the initial playthrough.
The music must be HIGHLY praised for it is Journey’s other half. It is the game’s second language of expression. If this music did not exist, then Journey would be missing half a heart. Composed by Austin Wintory, the sounds of Journey kindle feelings of wonder, hardship, hope, and rebirth. The music is used to communicate with the player on the meaning of its moments, whether they be triumphant or gloomy. This is an incredible orchestral soundtrack that tugs at your heart strings, always reeling you in at its highest peaks. It is one of the greatest video game soundtracks of all time.
However, Journey’s greatest achievement has to be the multiplayer component. Despite the game laying down a linear path for the player to follow, you can still meet other players in this abandoned world. Through the multiplayer aspect, each playthrough of Journey is never exactly the same. The presence of a real person on your treks remains the sort-of unpredictable variant of Journey.
The multiplayer mechanic is reminiscent of games such as Ico (2001) and The Last of Us (2013), both of which center on the relationship of two main characters in a written and heavily curated narrative. Journey applies the same narrative structure with its multiplayer component. When another player joins your adventure, the narrative transforms into the trials and tribulations of two robed figures trekking across these peculiar lands. It is such a beautiful experience.
The second player does have the power to ignore you. But if they do join, Journey elevates itself to an even greater experience. As you hike through these lands together, you begin to form a bond and rely on each other. By the end, you become fully invested in this relationship as you march into the great unknown together. Goodbyes have never been sweeter with people you never knew.
In the end, the multiplayer component serves to show the beauty of human bonds. It showcases how a shared experience can result in the blossoming of a beautiful memory, even if one is not acquainted with the other. I never knew the name of the person who I finished this game with, but they will forever remain in my fondest memories. Thank you, whoever you are. The musical notes we shared struck a wonderful cord within me.
The final fifteen minutes of Journey are a transcendent experience. The gameplay, visuals, music, and the multiplayer came together to form a masterful crescendo that made me burst with emotions. I cannot say much except for the fact that it is unforgettable. This is worth the tears.
Journey is one of the greatest games of all time. Every aspect of the game is carefully considered and wonderfully crafted. The story’s interpretation is left for the player to ponder and the multiplayer component is a bridge that can create memorable bonds. This is a lovely game and it won’t take much of your time. Play it, you won’t regret it.
If one were to describe the story of Journey, it would be an odyssey of a robed figure through an unknown land. The rest of its philosophical and literal meanings are left to the interpretation of the player. The game does not seek to overwhelm the audience with great amounts of lore and an abundance of expository dialogue. Instead, they are invited to unravel its narrative, allowing them to have a substantial amount of interpretive autonomy over the story. There is no death of the author when one is merely invited to ponder independently. That is where much of Journey’s narrative strength lies.
The story of Journey takes a minimalist approach, opting to use visuals and sound to express its narrative. Hence, the game is a wordless experience. Dialogue has no room here. Because of this, the developers have crafted a brilliantly memorable world filled with deserts, icy mountains, and ancient structures. All of them communicate to the player a forlorn aspect to the world of Journey and also provide exposition. It is a world of ruin and solitude, and this makes the appearance of other players so memorable. You are only one speck of sand, standing in awe of the great formations around you.
Speaking of visuals, Journey is the most cinematic game I’ve played in years and most of its cinematic quality is derived from gameplay moments. Cut scenes are in rare supply in Journey as you are thrust right in the middle of the action with rarely any interruptions. Every set piece is delivered through the gameplay, never taking control away from their hands. Whether they’re being hunted down by giant machines or sliding down sand dunes, the player experience comes first and foremost. The game understands and employs cinematic language so brilliantly without compromising the video game medium.
The gameplay of Journey consists of the player exploring different areas such as deserts and abandoned cities in a bid to reach the peak of a mountain. This mountain always remains in view, reminding the player of a goal to reach. Journey encourages exploration and curiosity and frequently employs platforming mechanics to make it all fun. The gameplay is simple and great.
The graphics look gorgeous and have lasted the sands of time. Being released exclusively on the PS3 in 2012, Thatgamecompany has created a fantastic and distinct art style that sits right at home with the older Playstation game catalog. The visuals emphasize scale and small details such as specks of sand or snow pellets, which stood out in the initial playthrough.
The music must be HIGHLY praised for it is Journey’s other half. It is the game’s second language of expression. If this music did not exist, then Journey would be missing half a heart. Composed by Austin Wintory, the sounds of Journey kindle feelings of wonder, hardship, hope, and rebirth. The music is used to communicate with the player on the meaning of its moments, whether they be triumphant or gloomy. This is an incredible orchestral soundtrack that tugs at your heart strings, always reeling you in at its highest peaks. It is one of the greatest video game soundtracks of all time.
However, Journey’s greatest achievement has to be the multiplayer component. Despite the game laying down a linear path for the player to follow, you can still meet other players in this abandoned world. Through the multiplayer aspect, each playthrough of Journey is never exactly the same. The presence of a real person on your treks remains the sort-of unpredictable variant of Journey.
The multiplayer mechanic is reminiscent of games such as Ico (2001) and The Last of Us (2013), both of which center on the relationship of two main characters in a written and heavily curated narrative. Journey applies the same narrative structure with its multiplayer component. When another player joins your adventure, the narrative transforms into the trials and tribulations of two robed figures trekking across these peculiar lands. It is such a beautiful experience.
The second player does have the power to ignore you. But if they do join, Journey elevates itself to an even greater experience. As you hike through these lands together, you begin to form a bond and rely on each other. By the end, you become fully invested in this relationship as you march into the great unknown together. Goodbyes have never been sweeter with people you never knew.
In the end, the multiplayer component serves to show the beauty of human bonds. It showcases how a shared experience can result in the blossoming of a beautiful memory, even if one is not acquainted with the other. I never knew the name of the person who I finished this game with, but they will forever remain in my fondest memories. Thank you, whoever you are. The musical notes we shared struck a wonderful cord within me.
The final fifteen minutes of Journey are a transcendent experience. The gameplay, visuals, music, and the multiplayer came together to form a masterful crescendo that made me burst with emotions. I cannot say much except for the fact that it is unforgettable. This is worth the tears.
Journey is one of the greatest games of all time. Every aspect of the game is carefully considered and wonderfully crafted. The story’s interpretation is left for the player to ponder and the multiplayer component is a bridge that can create memorable bonds. This is a lovely game and it won’t take much of your time. Play it, you won’t regret it.