![]() ![]() The geometry of its simple cut-outs mirrors the unassuming ways of its rural setting, yet affords enough nuance to leave a quietly unsettling impression. Like a dream, the art sits close to reality but is littered tiny surreal flourishes the high, jaunty waists of its characters, their soft but discernible features. It feels like drifting through a place you once visited but no longer remember, sitting somewhere between nightmare and deja vu. Perhaps the most curious thing about the art of Kentucky Route Zero is how masterfully it mimics the experience of playing the game. Developed around Nava’s love for scuba diving, it also masterfully mimics the atmosphere of a tropical fish tank, glowing with rich aquatic blues and playful shards of penetrating light filtering through an open ocean of vividly rendered fish and sea creatures. Like its predecessors, Abzu is simultaneously vibrant and calming, bright yet unobtrusive, soothing even as it is stimulating. As a JRPG it does the genre justice by reinforcing its reputation as one of the most visually beautiful in the medium.Īs the first project from studio Giant Squid, Abzu is the offspring of art director Matt Nava, who previously worked on Flower and Journey. ![]() Leaves of scarlet and amber peek through soft caps of snow, wistfully illustrating the life lurking beneath the land’s perma-winter with the delicate but nebulous stroke of a fine watercolor painting. ![]() The artistic style of I Am Setsuna is in keeping with the game’s continuing themes of sadness. This year there were some truly beautiful titles that debuted on a variety of platforms, visual treasures that should be enjoyed not just for the gameplay they offer, but the atmosphere as well. But some games have core aspects of their design that stand out so strongly from the rest, they deserve their own category of praise. When discussing the “best” games of the year, our discussion often hinges on assessing games as a full, finished product, the sum of all its parts. ![]()
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