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Other annoyances like poor pacing for the sake of more content do harm my appreciation of what's an otherwise rich fantasy world and an interesting story structure. Then again, the final act has to resort to the method of making a clear villain - who's unsurprisingly the most British ponce of them all - so the comparison isn't clear-cut. The multi-perspective foundation succeeds in providing context to each faction's dilemma in fact, my hottest take on this would be I came away respecting Falconeer's lens into understanding each warring side more than I did for The Last of Us Part II. Just that something extra to breathe more life into the world.ĭespite the deflating limitations such projects tend to have, I had to see what happened next on The Great Ursee.
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That isn't to say I expected flashy cutscenes however, I wonder what could've been done with having free time to discuss your situation with the loremaster or perhaps your wingman too. Each playable character, regardless of chapter, is an empty vassal to complete orders, and conversations are radio chatter about the mission a la Star Fox. The issue comes in not connecting with anyone personally. It's neat to have flexibility with appearance and status choices for your falconeer further, hopping between chapters in non-linear fashion made me appreciate what outcome led to *x* or what news does another faction know about *y* that you personally did during a different faction quest. What serves as both a benefit and hindrance is the multiple perspective structure. It's trimmed down compared to Martin's tomes, but there are enough intricacies to appreciate. The various hostile, friendly, and neutral parties scattered across multiple islands is like a hybrid of Waterworld and A Song of Ice & Fire (Game of Thrones). Stepping into the shoes of battered House Dunkle (Chapter 1) gets you invested in both their valiant and morally-questionable actions. But once you get into selecting any of the four main chapters (available at the start), the multi-faceted narrative was spoiling the lore-devouring part of my brain. Sure, the opening salvo of intentionally-vague allusions by the described "seachantress" isn't the best ground on which to place your audience. The biggest surprise with Falconeer was actually its story. As she continues monologuing about time and fate, this thaumaturge reveals how one's history is contained within these strange orbs called 'splinters.' By unlocking these, this unknown patient relives the experiences of someone from each prominent faction. While resting on a stone plinth, clinging to life, an enigmatic enchantress discusses events that've befallen The Great Ursee, a fantasy world composed almost entirely of water. For all that there is about such a fascinating backstory to admire - and more from the game itself - this aerial dogfighter doesn't quite reach the heavens due to uncoordinated design.
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I, for one, didn't think an ostensibly solo project honoring PC flight combat games could ascend to this level of popularity today.
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From the Moonpath to Elsweyr mod for Skyrim to a new IP, creator/developer Tomas Sala deserves recognition for this story alone.
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Whether this is more a criticism against the Xbox Series X|S list of new games or a praise of indie developers' potential in the modern era, The Falconeer has perched itself in a unique spot for this next-gen launch. In a candid chat Tomas shares advice for aspiring devs and the challenges of solo development, and goes into the engine to show the process he used to create the gorgeous graphics for this singular open-world aerial combat game.By Lee Mehr, posted on 09 December 2020 / 3,463 Views We’re joined by solo developer Tomas Sala on Twitch for deep-dive into the development of The Falconeer.
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