Not only I’m interested in people telling the history of their places, away from the USA and Japan, in videogames, but here you also have at least the influence of an older person that I think it’s very necessary in a medium as juvenile as this. And sure, I can understand where some of the critiques of the game regarding a voyeur or a tourist approach come from, the end credits telling you that you don’t see the same thing in every playthrough and a scene selector with places locked behind a question sign unfortunately give weight to this argument. But ultimately, I think the game really comes from a more honest place. To have a touristic voyeur approach to these kinds of places we already have too many action games that disregard the rest of the world as cool setpieces at best or amusement parks at worst. To me the slow pace of your walking in Promesa seems to be a responsive contrast to such a fast paced careless view (maybe it’s representing someone who cannot move as fast anymore too).
Even thinking that Promesa is honestly interested in the places and histories that it contains, I also think that the game doesn’t trust those enough. Julián Palacios puts a lot of care into recreating something that is, or was, existent and habited. It’s when the game just puts you in a mundane place with mundane sounds in the background where I feel it achieves the most. The street that you walk each day or the home where you have lived for years tell more about the life of someone than anything else.
But in its insecurity of not believing in the inherent expressive strength of these places, numerous abstract sections will appear oftenly. Not only seeing a distorted view of the aforementioned real places while flying strips any of the mundane sense that there could be, but the evocative aspects are also a lot weaker in comparison. When you lose someone that has been living with you for all your life it isn’t hard because you see a floating dress in your dreams. It’s hard because you turn your head while sitting in your own home and you’ll notice that they are not there anymore.
Even thinking that Promesa is honestly interested in the places and histories that it contains, I also think that the game doesn’t trust those enough. Julián Palacios puts a lot of care into recreating something that is, or was, existent and habited. It’s when the game just puts you in a mundane place with mundane sounds in the background where I feel it achieves the most. The street that you walk each day or the home where you have lived for years tell more about the life of someone than anything else.
But in its insecurity of not believing in the inherent expressive strength of these places, numerous abstract sections will appear oftenly. Not only seeing a distorted view of the aforementioned real places while flying strips any of the mundane sense that there could be, but the evocative aspects are also a lot weaker in comparison. When you lose someone that has been living with you for all your life it isn’t hard because you see a floating dress in your dreams. It’s hard because you turn your head while sitting in your own home and you’ll notice that they are not there anymore.