Many years ago, he made a game called "Another World", but even now, Eric Chahi's stuff always comes from another place. He is considering the same issues that other game designers have considered (in terms of his latest situation, physics, film, artificial intelligence and VR), but I think he fundamentally thinks about it all in a different way. He loves nature, but he also loves the trembling power of change, subversion and change. He loves mythology, but he also loves volcanoes, tides, and engines of ancient memory. His gods can do amazing things, but they must eventually work like the rest of us within the strict scope of the basic rules: fire burning, water being washed away, and earth and air can be fine-grained and terribly powerful .
Paper Beast Review
- Developer: Pixel reef
- announcer: Pixel reef
- Platform: Comments on PSVR, PS4
- Availability: Now on PS4
I am cautious about auteur's ideas. Chahi always works with a decent team, but there is no doubt that all his games run through unique themes. They feel very personal in the game, just like those who have returned to their favorite ideas, and they often change their ideas. Back in "Another World", he created a hero who attracted exotic scenery through a computer screen. In "Dust from", he is responsible for manipulating the earth, water, air and fire, making progress in a series of early environments. "Paper Beast" feels like a fusion, a reduction. There is hardly anything-VR often has it-but the tastes you are used to are also richer.
Put on PSVR and enter Chahi's cyberspace version-when there is a problem with the simulation you are running, you will be forced to enter the space. this place! Spiny, luxurious, and colorful. There is Dali Desert and Sega Sky. There are cliffs, mountains and sand dunes. And jeep! This world is alive, noble Jurassic beasts, their bones are made of paper and gemstones, origami is almost a tiger and almost a horse, and other things are just the clothes of newsprint mo, or maybe they are neurons, Shaking in a large number of dendrites. These animals! Their folded paper plane beautifully evokes the jagged polygonal creations of Chahi's early career.
The first of these things you encounter is a huge, silent giant, tall and wide, with a bleached fern nest on its head. Immediately falling in love, I looked up and watched it stride past me, the ribbed arched cathedral ceiling enveloped the way Gaudi used to cover up his building-glass and pottery fragments , Creating something like coral, it feels as if it was piled up by glittering sediments and it took centuries to complete. Is it an animal or a building? How can I forget this gentle monster?
At first it was overwhelming. You were thrown into a wasteland. But it's easy to move-I use DualShock for games, and I only need a trigger to teleport, just press your fingertips quickly-and the design is very good at guiding you without making it obvious. A ray of sunshine encourages you to move forward. A mountain is faintly visible, asking you to look up.
Interaction is also easy. Unless the beast is large, you can pick it up and hold it with other triggers to check it. With the face button, you can turn it off or send it to a distance, but it also has a physical meaning, so you can grab something and really plug it, or you can see something on the horizon and pull it near. In "Dust From", God is a vacuum cleaner. Here, you are no longer God, this time you get a fishing rod.
Eventually, despite this, Paper Beast continues to explore From Dust's theme and practicality. The game is designed to enable followers to cross from A to B, through deadly terrain-lower mountains, cool lava, and prevent flooding. In From From Dust, you do this by being powerful. In "Paper Beast", you can do it cunningly by using surrounding animals. And it means transferring them back and forth and making them do what they want, which also means spending time observing them first and understanding them and their relationships.
It is transformative-an Attenborough game for you. The typical paper beast level is not complicated. Crossing the landscape will become an obstacle, and there will be creatures wandering nearby. I think this is my favorite moment in each sequence, figure out where I want to go and what hinders me, and then just look at the wildlife and wait for its patterns, emotions and talent become meaningful.
