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November 12, 2013 05:30 pm GMT
Once in a while a game comes along that blends gameplay and aesthetic design to such a degree that it’s hard to tell where one ends and the other starts. It was true of Limbo, and it also describes exactly the experience of Monument Valley, a forthcoming iPad title fromLondon design studio, ustwo, which uses the perception-bending drawings of Dutch graphic artist MC Escher as its jumping off point. Monument Valley’stricks of the eye don’t just toy with you aesthetically but serve as subtle keys to unlocking the puzzles that make up each scene and segment the game into chapters. These chapters are named for the isometriclandscapes they depict, such as The Garden (pictured below) or The Water Palace. Or else they hint at the gestures required to slip the puzzle’s knots and progress to the next level (e.g. GripRotate, Draggers). These architecturallandscapes — they are the title’s eponymous monuments — consist of a jumble of passageways, towers, stairs and so on. These passageways don’t immediately appear to connect up, and the character you control, a small lost-looking girl called Ida, has to make the links between what’s real and unreal to journey from one end of the scene to the other — rotating portions of passageway to bridge gaps, for instance, or flipping a set of stairs to climb. Portions of the landscape that can be rotated or moved are signposted by handles, colour changes or bumps resembling the connectors on Lego bricks. Normal rules absolutely don’t apply, with Ida able to press buttons allowing her to defy gravity and walk on a wall, or pass through one apparently disconnected tower door and appear out of another at the opposite side of the screen. Except when they do — Ida can’t just clamber anywhere she fancies; if there’s a wall, she needs a ladder to go up it. Or a gravity switch to flip her perspective. The weird physics of the world is based on playing with spacial perception, allowing your eye to bridge gaps that could never be so traversed in reality. It’s a surreal and otherworldly experience, with a lonely protagonist who remains silent and leaves little trace as she progresses. The adversaries she encounters, called the Crow People, crop up as sporadic guardians of certain routes — marching up and down like automatons, allowing Ida to time her passage so she can slip by. 
Original Link: http://feedproxy.google.com/~r/Techcrunch/~3/mKf6nHt635c/
Meet Monument Valley, The iPad Game Inspired By Escher That Wants Every Screen To Be An Artwork
Once in a while a game comes along that blends gameplay and aesthetic design to such a degree that it’s hard to tell where one ends and the other starts. It was true of Limbo, and it also describes exactly the experience of Monument Valley, a forthcoming iPad title fromLondon design studio, ustwo, which uses the perception-bending drawings of Dutch graphic artist MC Escher as its jumping off point. Monument Valley’stricks of the eye don’t just toy with you aesthetically but serve as subtle keys to unlocking the puzzles that make up each scene and segment the game into chapters. These chapters are named for the isometriclandscapes they depict, such as The Garden (pictured below) or The Water Palace. Or else they hint at the gestures required to slip the puzzle’s knots and progress to the next level (e.g. GripRotate, Draggers). These architecturallandscapes — they are the title’s eponymous monuments — consist of a jumble of passageways, towers, stairs and so on. These passageways don’t immediately appear to connect up, and the character you control, a small lost-looking girl called Ida, has to make the links between what’s real and unreal to journey from one end of the scene to the other — rotating portions of passageway to bridge gaps, for instance, or flipping a set of stairs to climb. Portions of the landscape that can be rotated or moved are signposted by handles, colour changes or bumps resembling the connectors on Lego bricks. Normal rules absolutely don’t apply, with Ida able to press buttons allowing her to defy gravity and walk on a wall, or pass through one apparently disconnected tower door and appear out of another at the opposite side of the screen. Except when they do — Ida can’t just clamber anywhere she fancies; if there’s a wall, she needs a ladder to go up it. Or a gravity switch to flip her perspective. The weird physics of the world is based on playing with spacial perception, allowing your eye to bridge gaps that could never be so traversed in reality. It’s a surreal and otherworldly experience, with a lonely protagonist who remains silent and leaves little trace as she progresses. The adversaries she encounters, called the Crow People, crop up as sporadic guardians of certain routes — marching up and down like automatons, allowing Ida to time her passage so she can slip by. Original Link: http://feedproxy.google.com/~r/Techcrunch/~3/mKf6nHt635c/
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