Revolutionary VR Odyssey • iGamesNews.com

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.

I want to spoil an early person. I was deep underground, and the path ahead was blocked by sand dunes. There is a creature wrapped in paper hair nearby-the benign horror film "Douglas" from "Magic Roundabout". After a while, I noticed that Dougal tended to dig hair out of the sand when he moved-he left a ditch behind him. Can I seduce him to stop me from going forward? Can I make his hair serve as a huge comb and clear the road?

There are many wonderful creatures here-a hovering lamp, a beetle but used for sand, a pipe with two mouths and a real creeping talent. In the end, they all work for you, but no one thinks they just work for you. They are all personalized, whether they are initially unwilling to move them to where they want, or because they have a light personality that makes them miss the mark.

You have to use these animals during the game, and then you will think a lot. Not because the game forces you to agree to its manifesto, but because it creates some scenes, you sometimes only need to think about what you are willing to do to get what you want. For me, "Paper Beast" is a game about burdens and strange things that people give priority to, and the most important thing is a game about interconnection. In the end, you will never really consider a creature, but the entire biosphere. You consider them in your environment: how can I get these paper boys out of the wind? How do these beetles feel about water or ice? Why do I suddenly have the ability to dig trenches, and how can I stop those hunched guys from leaving dunes on the road I need to open? (The game contains a cute sandbox mode, but the whole thing is sandbox TBH.)

On one level, I stole a biological baby because I wanted it to change direction and follow me. Did it work? Tough question. Technically, yes, it worked-this creature started following me. But I couldn't bear what I was doing, so I reloaded and tried something that was not terrible. For games, this is a very impressive thing-when I try to solve puzzles in a virtual space, I am the laziest. It makes a lot of sense for me to do something time-consuming without imposing any obvious in-game consequences.

Because it is VR, you do live with these creatures. They are in the same position as you. When they are bound and you release them, you are actually the person who released them. When you are high above and the road is steep, you will indeed feel sinister. This is a scenery full of wonderful surprises, but VR can make it feel full and convincing. As the game progresses, you will see the world from some surprising vantage points. This is a game full of curiosity.

It's abominable and strange. In Chahi ’s world, a miracle will never be empty or stale-it will never be merely an awesome thing, it can shock people by its size or volume. Chahi's games take you from A to B because they are about the tyranny of time passing and the unchangeable conditions of the conditions. They are about things that coexist with each other but do not merge-fire and water, analog and digital, things that cannot be compromised, and must simply coexist in the deadlock of battle. He loves nature and is full of awe.

Frankly, this shocked me. These creatures and that world make me subtly different. I will not forget them, or the nature of the game's obsession with nature and focus on their own behavior and behavior. Sometimes it blinks, and "Paper Beasts" may be mistaken for something like "journey"-you change over the landscape. However, I never felt the focus of the test during the journey, nor did I have a sense of beat purely designed to extract specific reactions as cleverly as possible. "Paper Beast" definitely makes me feel everything, but I can take you through the entire chaotic thought process allowed by the game. This makes me think, but it is essential that I can draw my own conclusions. In the final process, it made me very uneasy, I think this is a high praise.

I have played amazing things in VR, and in the best games, this is a bit sad. These games are so transitive and transformative that you want everyone to play them. However, part of the reason they perform well and do so much is that they understand the nuances of technology-they must be VR, VR, which means they will become a niche market. However, you should do your best to play "Paper Beast", using the same method is worth taking a less fun port to play "Flying from the Dust", using the same method to spend 11 hours in economy class To Bradbury House. Chahi always does things his own way. In VR, he met comrades.