Then Flynn: Son of Crimson gives you the capability to interrupt actions mid-animation, so that you’re never caught with your pants down. These rules take you all the way through to the end, including the bosses. This gives you a period of time to whack them like a pinata. If you hit them enough, then they will stagger, spinning stars around their head. Enemies will attack you, and when they do, they will flash. The controls are tight as they come, and the responsiveness is better than anything we could have asked for.Ĭombat lays down some ground rules immediately. Once again, Flynn: Son of Crimson isn’t as linear as it first seems.īut let’s accentuate the positive, as playing the levels can be an absolute dream. So, you’re hopping back into older levels, except – generously – they have completely different layouts, and share wallkits and themes with what was there before. Occasionally, levels get attacked by ‘The Scourge’, a purple goo that’s effectively the big-bad of Flynn: Son of Crimson.
#OKAMI SWITCH SERIES#
There’s a touch of Shantae about these free-form moments, and it makes it more complicated than just riding the bullet train through a linear series of levels. A few of the levels have the words ‘Multiple Exits’ tagged on them, so you’ll have a choice about where you emerge. It’s a familiar template, but Flynn: Son of Crimson has some fun with it. And most of the time it’s just a plain old platforming level interspersed with enemies. There are towns to chat with people, collect side-quests and generally take a breather from the manic platforming.There are occasional boss levels, sometimes stapled to a level, other times standing on their own. Despite this the combat is not a highlight of the game, since it’s rather too easy and often repetitive.This chase takes place over your traditional Super Mario World or Donkey Kong Country map, as you are following a mostly linear path from level to level. As well as brush attacks you can use a range of other weapons, swapping between primary and secondary slots at will. In docked mode you can use the analogue stick or Joy-Con motion controls but in handheld you can paint straight onto the touchscreen, which works much better than it ever has before.Ĭombat in the game is initiated by moving close to a generic demonic banner, at which point you become enclosed in a small circular arena. How exactly you control the brush though has always been a point of contention and it’s never quite worked perfectly in any version.
As you progress you learn new magical shapes that allow you to create objects in the world, make plant life bloom, or set off giant bombs.
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The structure of the game is very similar to the pre-Breath Of The Wild 3D Zelda games, as you gradually open up access to a large overworld and a series of dungeons.Īlthough Amaterasu can jump and headbutt, her primary interaction with the world is via the celestial brush, as she paints on the screen with her tail. Throughout the game you control the goddess Amaterasu, who appears as a white wolf (okami is a pun on the Japanese words for both wolf and god). And even if the Switch version lacks the 4K resolution of last year’s Xbox One and PlayStation 4 editions the visuals are still incredibly impressive, with the only real technical shortcoming being the somewhat awkward camera.
The low polygon count does betray the game’s age, but that’s no real issue. The effect is still as unique as it is beautiful and is perfectly exploited by both the gameplay and the storyline – which sees you returning colour and life to a world cursed into darkness. Using a variant of cel-shading, that mimics the Japanese art of Sumi-e, the whole game world looks like it is painted in sumptuous water colours. It’s pointless to discuss anything else in the game without first mentioning the stunning visuals.
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