The camera pulling back is only used when it is needed, and it makes it ever more impressive when it pulls out to show you a big and beautiful environment. The game lets you see enough that you can find your way around the immediate area, and then in specific locations pulls out to give you a better view. Moving on, in the beginning the camera angle annoyed me with how much it limited sight, but Jotun made me realize the benefits quickly.
This vista is amazing, letting you look down on a level you will soon be exploring. For example, in the first area, there is a giant sea snake that tries to attack you from beneath the ice and you have to avoid it while trying to get to the rune. Instead of just giving you a direction and telling you to go find a boss by walking there, each environment engages with a dynamic challenge or interesting obstacle. The exploration sequences, where you look around large areas for runes that you need to collect in order to progress, are extremely strong and interesting pieces of the game in their own right. I was a bit worried, noting the similarities between this and Shadow of the Colossus going in (only boss fights for combat), that Jotun would fail to capture the spirit of that game on a 2D plane. This is how you assemble a fantastic game. Rather, every other element of the game enraptured me – the pieces of Jotun, from the stylized art to the gorgeous music, from the intriguing exploration sequences to the fearsome boss at the end. It might be important in the main game, but it’s not really why I was enamored with it. It’s a simple premise, and from what I gathered from the Alpha I played, the story is straightforward and minimalistic. In Norse mythology, that of course means a giant hall located in Asgard. You play as Thora, a recently deceased Viking who “died an inglorious death,” who must triumph over the challenges presented to her by the gods so that she can impress them enough to enter Valhalla. Jotun, like a lot of games recently, draws upon Norse mythology as its inspiration.
0 kommentar(er)
