![]() ![]() However, what is on point is the sound design. I sometimes found it quite difficult to differentiate whether or not the ground that you are trying to walk to is even on the same height as the ground that you’re already standing on, which, in turn, can make the maze-like stages even more confusing and somewhat frustrating. The visual flatness of it all can become a bit more of a problem when it comes to understanding the distance and perspective of certain structures. This does break the magic of the world slightly as it soon becomes obvious that the majority of the landscapes are just giant static images mounted behind the characters. Despite presenting us with gorgeous backdrops, there’s actually very little interaction with the environments. There were a few moments where I felt things didn’t blend quite as well together. In fact, a lot of the dangers found in the mazes are usually either environmental or hide a single stalking presence looming over you. They’re set out to provide a build up for the battle ahead, without the need to throw countless enemies in your direction. You can easily get lost in these mythical lands which will definitely frustrate some but will very much intrigue others. The mazes accessed through the purgatory overworld of Ginnungagap are healthy in variety and design. It’s a simple trick of the lens, but one that leads you to believe that you are gaining incredible heights above land. A good example of this is seen in a maze where you run along the branches of the giant Yggdrasil tree. The backgrounds too are wonderfully crafted, complimented with some nice camera work to pull you into the essence of it all. ![]() Just watching the animation of Hagalaz, the thunder Jotun, twist and turn into shape from his slumber always gave me another opportunity to study the sketchy lines at work. It all plays out in a very traditional manner of remembering sequences and timing actions which may certainly be a safe design choice, but one that works fittingly well enough on this occasion.īesides the lengthy loading screens, I never really got tired of restarting a boss battle. As for the battles themselves, they provide a difficulty that’s challenging but easy to learn. The animation just flows beautifully, with an intentional stutter that looks as though they are coming to life through the pages of a flipbook. They also make way for some incredible, hand-drawn character artwork. It is clear to see that the boss battles themselves are the main focus here. Thora must conquer all, with nothing but a double-edged battle axe that can be swung laterally in swift strokes or anchored overhead with a walloping plough. A Jotun of harvest, a flower who is fueled by the very nature that surrounds her. A 100-foot shieldmaiden with a taste for gold – as does the many dwarfs that follow her. There are five of these colossal guardians to fight, each with their own elemental trait. The trials laid before you usually consist of two mazes, each housing a rune that must be obtained to prove worthy of facing its Jotun. A chance to impress the Gods, regain her honour and to be accepted in by Odin’s Valkyries. Yet she has been granted a second chance to redeem herself. As for her final breath, Thora would not fall quite as gracefully. This is the tale of Thora, a warrior in her own right, soaked by the wisdom and courage bled into her by her parents. To to be sacrificed or die fighting would be perceived to as a worthy deed to the Gods. Every Viking warrior strives to see their place within the glorious gates of Valhalla. ![]()
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