Showing results for tags 'exploration'. - Extra Life Community Hub Jump to content

Search the Community

Showing results for tags 'exploration'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Categories

  • Extra Life News
    • Extra Life Updates
    • Best Practices
    • Community Content
    • Why I Extra Life
    • Fundraising
    • Contests
  • Gaming News
  • Features
  • Podcast

Discussions

  • Extra Life Discussions
    • General Extra Life Discussion
    • Local Extra Lifers
    • Fundraising Ideas
    • Live Streaming Tips & Tricks
    • Official Extra Life Stream Team Discussion
    • Extra Life JSON Code Discussion & Sharing
    • Extra Life United
    • Extra Life Q & A
  • Articles & Extra Life Announcements
    • Announcements
  • Official Extra Life Guilds
    • Guild information and Discussion
    • Canada
    • Northeastern US
    • Southeastern US
    • Central US
    • Western US
  • Gaming Discussions
  • Other Stuff
  • Denver Extra Life Guild's Recent Posts

Calendars

  • Extra Life Community Calendar
  • Extra Life Stream Team
  • Akron Guild
  • Albany Guild
  • Albuquerque Guild
  • Anchorage Guild
  • Atlanta Guild
  • Austin Guild
  • Bakersfield Guild
  • Baltimore Guild
  • Birmingham Guild
  • Boston Guild
  • Burlington Guild
  • Buffalo Guild
  • Calgary, AB Guild
  • Morgantown Guild
  • Charlottesville Guild
  • Chicago Guild
  • Cincinnati Guild
  • Cleveland Guild
  • Columbia, MO Guild
  • Columbus, OH Guild
  • Dallas Guild
  • Dayton Guild
  • Denver Guild
  • Des Moines Guild
  • Detroit Guild
  • Edmonton, AB Guild
  • Fargo-Valley City Guild
  • Fresno Guild
  • Ft. Worth Guild
  • Gainesville-Tallahassee Guild
  • Grand Rapids Guild
  • Halifax, NS Guild
  • Hamilton, ON Guild
  • Hartford Guild
  • Hershey Guild
  • Hudson Valley Guild
  • Houston Guild
  • Indianapolis Guild
  • Jacksonville Guild
  • Kansas City Guild
  • Knoxville Guild
  • Lansing Guild
  • London, ON Guild
  • Los Angeles Guild
  • Milwaukee / Madison Guild
  • Minneapolis / Twin Cities Guild
  • Montreal / Quebec City Guild
  • Nashville Guild
  • Newark Guild
  • NYC & Long Island Guild
  • Oakland / San Francisco Guild
  • Omaha Guild
  • Orange County Guild
  • Orlando Guild
  • Ottawa, ON Guild
  • Philadelphia Guild
  • Phoenix Guild
  • Pittsburgh Guild
  • Portland, OR Guild
  • Portland, ME Guild
  • Raleigh-Durham Guild
  • Richmond Guild
  • Sacramento Guild
  • Salt Lake City Guild
  • San Antonio Guild
  • San Diego Guild
  • San Juan, PR Guild
  • Saskatchewan Guild
  • Seattle Guild
  • Spokane Guild
  • Springfield-Champaign, IL Guild
  • Springfield, MA Guild
  • St. Louis Guild
  • Syracuse Guild
  • Tampa / St. Petersburg Guild
  • Toronto, ON Guild
  • Vancouver, BC Guild
  • Washington DC Guild
  • Winnipeg, MB Guild
  • Denver Extra Life Guild's Events
  • Extra Life Akron's Events

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Hospital


Location


Why I "Extra Life"


Interests


Twitter


Instagram


Twitch


Mixer


Discord


Blizzard Battletag


Nintendo ID


PSN ID


Steam


Origin


Xbox Gamertag

Found 6 results

  1. A Kickstarter that succeeded in 2015 will be paying off later this year when Shape of the World releases on PC, PlayStation 4, Xbox One - and now the Nintendo Switch, too. "I’m thrilled to officially announced that Shape of the World is coming to Nintendo Switch this year," said Hollow Tree Games' founder Stu Maxwell, "nobody on the team expected the game to look so nice on the Switch, we’re really happy with it… We can’t wait to see what everyone else thinks." Maxwell also works as a senior VFX artist at The Coalition, the studio behind Gears of War 4. Part first-person exploration and part surreal art piece, Shape of the World places players in a technicolor world filled with psychedelic flora and fauna. That world expands and grows as players progress through it. Waterfalls, mountains, mysterious monoliths, and more procedurally sprout from the surrounding terrain, making each foray into the world. Shape of the World is intended as a relaxing, stress-free experience. There won't be any enemies or challenges beyond the thrill of evergreen exploration. Players can interact with animals, plants, and the various ruins that dot the world to uncover its secrets. Hollow Tree Games has also included a soundtrack that follows progress through the procedurally generated world. Shape of the World will launch on PC, PS4, Switch, and Xbox One in the next few months. View full article
  2. A Kickstarter that succeeded in 2015 will be paying off later this year when Shape of the World releases on PC, PlayStation 4, Xbox One - and now the Nintendo Switch, too. "I’m thrilled to officially announced that Shape of the World is coming to Nintendo Switch this year," said Hollow Tree Games' founder Stu Maxwell, "nobody on the team expected the game to look so nice on the Switch, we’re really happy with it… We can’t wait to see what everyone else thinks." Maxwell also works as a senior VFX artist at The Coalition, the studio behind Gears of War 4. Part first-person exploration and part surreal art piece, Shape of the World places players in a technicolor world filled with psychedelic flora and fauna. That world expands and grows as players progress through it. Waterfalls, mountains, mysterious monoliths, and more procedurally sprout from the surrounding terrain, making each foray into the world. Shape of the World is intended as a relaxing, stress-free experience. There won't be any enemies or challenges beyond the thrill of evergreen exploration. Players can interact with animals, plants, and the various ruins that dot the world to uncover its secrets. Hollow Tree Games has also included a soundtrack that follows progress through the procedurally generated world. Shape of the World will launch on PC, PS4, Switch, and Xbox One in the next few months.
  3. Daniel Jones

    Review: Abzû

    With 2012’s Journey, thatgamecompany succeeded in creating a type of interactive tome, replete with all the self-reflective ambiguity of an abstract painting. Debates over video games as art notwithstanding, Journey could hardly be described as anything but. While it wove an astoundingly rich visual tapestry, the surprisingly effusive weight of its anonymous multiplayer carried the brunt of its artistic meaning. So it’s impressive that developer Giant Squid—founded by Journey’s Art Director, Matt Nava—has created a game in Abzû that not only sparkles with aesthetic brilliance, but also finds its own voice as an emotionally driven work of artistic expression. The fact that it occasionally feels slight in the shadow of Journey’s monolithic legacy is something I struggle to hold against it, especially when the overall experience feels so singularly divine. Abzû’s wordless story begins in a serene corner of its ocean setting, as your avatar, a wet-suit-clad scuba diver awakes on the surface. Subtle visual cues and camera tricks help to guide you along your trek through underwater caverns, dense kelp forests, and even some less organic structures that I dare not detail further. Along the way, you’ll interact with all manner of sea life from the smallest clownfish to blue whales the size of a naval submarine. It’s in the interaction with these creatures that Abzû sets itself apart from any game I’ve played before. Each of the game’s environments is its own mini ecosystem, teeming with aquatic inhabitants that interact with each other and the player in fascinating and believable ways. Sharks will chomp on smaller fish, dolphins flip and twirl in their pods, and giant squid spray ink when you come near. These interactions are rarely scripted, often relying on your input to trigger, such as enticing a massive humpback whale to breach the surface or hitching a ride with a turtle. Finding new ways to play around with Abzû’s wildlife proves fun and engaging, while nicely complimenting the game’s naturalistic themes. Just as playful is the game’s soundtrack from Austin Wintory, whose work composing Journey earned him a Grammy nomination. The lively strings, twinkling harps, and celestial choir simply sound exactly like Abzû looks. Wintory’s scores have an exquisite knack for capturing the essence of a game’s visuals and themes, and his work on Abzû is no exception. This inimitable, ever-present music ties into the gameplay and adapts appropriately to your actions, making it as vital a part of the experience as the vibrant visuals and the smooth controls. As you might expect from the art director behind Journey, Abzû’s visuals inspire awe, a true sight to behold. Each area exhibits a distinct color palette with what can almost be described as a bouquet of marine wildlife. Seeing thousands of fish all animated on screen at once is jaw dropping more so for its audacious beauty than its technological achievement. Abzû has much in common with thatgamecompany’s earlier title, Flower, as you spread life through the world, making each new area more vibrant and lively than it was when you first waded into its waters. This is more than just pretty visuals at thirty frames per second; it’s emotion through gameplay and gameplay through art. Abzû’s ocean is not all smooth sailing, however, as a few questionable design decisions muddy the otherwise clear waters. Each area has a few hidden shells that you can collect, much like the scarf pieces from Journey. But whereas those pieces granted your avatar with a longer jump and eventually—if you were able to find them all—a white robe with an infinitely regenerating scarf, Abzû grants the player no such rewards, besides a gold trophy. A sense of progression would have served Abzû well, and would’ve made the already enjoyable movement even more gratifying. Though it may seem unfair to hold Abzû to the standards set by its predecessor, the corollary couldn’t be more apt. Make no mistake about it, this game—though not designed by Journey mastermind Jenova Chen—is a clear successor to that modern classic. Though the visual stylings and game design present a unique twist on the sub-genre, the level structure and pacing are lifted almost wholesale from Journey. As someone who has played through that game more times than I can count, I often found myself predicting what would happen next. Though the beats are familiar, each new area still kept me engaged as the game floated towards its conclusion. It’s just disappointing that Giant Squid chose to stick so vehemently to a previously established formula for a game that otherwise presents wonders I had never experienced before. That statement’s not completely true actually; I do have some experience with the grandeur of our planet’s oceans. I have been snorkeling on a few occasions, off the coast of Maui and Hawaii, and though it was over a decade ago, the adventure has hardly faded from my memory. Never have I been so humbled by nature as when I found myself surrounded by all manner of sea creatures, from turtles to barracudas to massive manta rays that dwarfed my six foot frame. This is the type of feeling Abzû so deftly replicates; that of a stranger in a strange land, discovering wonders your eyes weren’t meant to see. I never expected a game to make me want to don the flippers and goggles again, but that’s exactly what Abzû has accomplished. Despite that, Abzû isn’t a scuba simulator, and it never attempts to be. You don’t need to manage oxygen levels, or worry about depth pressure, or fear any of the predators that lurk in the deep. While the fish are all modeled after real species in both design and behavior, this is a stylized version of underwater ecosystems, not a perfect replication. So in place of realism, Abzû fosters a wondrous sense of respect for the species that exist in our oceans, and it’s all the better for it. Conclusion: After my second playthrough, I still haven’t uncovered all of Abzû’s marvels, and I can’t stop thinking about my next dive in its magical world of color and life. I want to unlock all of the fish species, collect all of the mollusk shells scattered in the hidden corners of the world, and I want to find every last meditation statue. Mainly, though, I look forward to revisiting Abzû anytime I just need a break from the noise and bustle of human life on the surface of this Earth. The flaws that keep Abzû from being an unequivocal masterpiece are of little import when fully submerged in the adventure’s calming beauty and spectral wonder. Abzû was reviewed on PlayStation 4 and is now available on PS4 and PC
  4. I played through the preview build of Heart Machine’s Hyper Light Drifter not once or twice, but four times. The abandoned laboratory called me back again and again because one playthrough wasn’t enough to see every area in the build. Each run through the test tubes swirling with dark pixelated horrors revealed fresh paths, more enemies, and new weapons. Thorough investigation revealed secret paths to keys that would open a special door holding the bloodied body of a fallen wanderer very much like the titular Drifter. The molding halls into the depths of the facility led me to glimpses of far off giants, long dead and decayed, but still unnervingly present. One of the highest compliments that I can pay Hyper Light Drifter is that it captures the unique blend of disturbing unease and excitement of Super Metroid, but repackages it as an isometric action title with a gorgeous pixel art aesthetic. It is beautiful, creepy, and fun. Hyper Light Drifter was previewed on PC. The preview build I played began in an open area outside of an alien laboratory. This gave me a chance to experiment with the controls. I quickly found that the Drifter has a laser sword, the ability to dash short distances, and can use his robot companion to check inventory. Continuing into the facility I encountered a prone skeleton with a laser pistol close by its boney hand. The pistol was still in working order so it quickly became a part of my arsenal. In addition to the laser sword, the Drifter may only have two items equipped at any given time. A large door with four locks prevented progress through the main lab, but a side passage offered a way forward. That’s when I encountered Hyper Light Drifter’s first enemies. The Drifter has a limited amount of health and can usually only take five or six hits before dying. This makes every enemy encounter a tense exercise in patience and reflexes. Even the grunts, green, goblin-like creatures, can quickly whittle down health if you’re not careful. Every new area is accompanied by an auto-save, which is handy because death should be expected. There is a measured timing to how combat works. Enemies telegraph their attacks, giving time to dodge or counter their advances. However, it is important to remember that the Drifter’s attacks also have a strange timing to them. While the laser sword is a powerful tool, it can only quickly strike three times before pausing. Special weapons like the pistol, shotgun, laser cannon, or remote controlled bomb rely on slowly regenerating energy for their use. They also have their own timing to how they work. After some time is spent mastering combat, battles take on the cadence of a dance. It feels empowering, smoothly moving from enemy to enemy, but also sad. The beautiful artistic style that Heart Machine has employed is a pleasure to look at, but it also shows the capacity for great violence. Taking a great deal of damage causes the Drifter to leave puddles of blood while walking. Defeating enemies leaves their blood and bodies scattered around the battlefield. Successfully landing a series of attacks without taking damage charges a critical strike which can decapitate foes. The mechanics are fun, but the visuals feed into the grotesquely melancholy atmosphere. There is weight to combat. Exploration seems to be a core component of Hyper Light Drifter. Numerous paths can be taken to reach the end of the preview build. Each path introduces different challenges and experiences. Diligent explorers will be able to unearth powerful weapons like the laser cannon and new cloaks for the Drifter. Unfortunately, exploration can also be frustrating. The dashing mechanic while certainly useful in combat, is primarily used to traverse gaps in the terrain. These pitfalls are instant death to anything that falls. Due to the angle of the camera, sometimes the edges of platforms are hard to see or covered by taller piece of the environment. This wasn’t a huge problem when I was going through the preview build the first time, but when I was trying to find secrets and hidden crannies. A number of times I fell out of the stage through walls. It is a cheap way to die, though at least a few of those deaths could be attributed to the fact that the game isn’t complete quite yet. Even without the enemies or platforming challenges, wandering the environment is a lesson in how much mileage a game can get out of a great ambient score. It feels alien, at times beautiful, but often strange and disconcerting. Sometimes it can seem more like mechanical heart beats than music. It succeeds in setting you on edge. Overall, the slice of Hyper Light Drifter sent to me by Heart Machine had me excited at the prospect of the full game. Every element in the build I saw was an essential part of the whole experience. It was able to convey meanings and emotions without the use of dialog. Outside of the initial loading screens and the pause menu, there wasn’t any text or voice work present in Hyper Light Drifter, but it still succeeded in being a compelling game with a world that left me itching to explore and understand. Who is the Drifter? What are these monstrous behemoths and what killed them? Perhaps we’ll have our answers when the full game releases. Hyper Light Drifter's release date has been pushed back into early 2015.
  5. I played through the preview build of Heart Machine’s Hyper Light Drifter not once or twice, but four times. The abandoned laboratory called me back again and again because one playthrough wasn’t enough to see every area in the build. Each run through the test tubes swirling with dark pixelated horrors revealed fresh paths, more enemies, and new weapons. Thorough investigation revealed secret paths to keys that would open a special door holding the bloodied body of a fallen wanderer very much like the titular Drifter. The molding halls into the depths of the facility led me to glimpses of far off giants, long dead and decayed, but still unnervingly present. One of the highest compliments that I can pay Hyper Light Drifter is that it captures the unique blend of disturbing unease and excitement of Super Metroid, but repackages it as an isometric action title with a gorgeous pixel art aesthetic. It is beautiful, creepy, and fun. Hyper Light Drifter was previewed on PC. The preview build I played began in an open area outside of an alien laboratory. This gave me a chance to experiment with the controls. I quickly found that the Drifter has a laser sword, the ability to dash short distances, and can use his robot companion to check inventory. Continuing into the facility I encountered a prone skeleton with a laser pistol close by its boney hand. The pistol was still in working order so it quickly became a part of my arsenal. In addition to the laser sword, the Drifter may only have two items equipped at any given time. A large door with four locks prevented progress through the main lab, but a side passage offered a way forward. That’s when I encountered Hyper Light Drifter’s first enemies. The Drifter has a limited amount of health and can usually only take five or six hits before dying. This makes every enemy encounter a tense exercise in patience and reflexes. Even the grunts, green, goblin-like creatures, can quickly whittle down health if you’re not careful. Every new area is accompanied by an auto-save, which is handy because death should be expected. There is a measured timing to how combat works. Enemies telegraph their attacks, giving time to dodge or counter their advances. However, it is important to remember that the Drifter’s attacks also have a strange timing to them. While the laser sword is a powerful tool, it can only quickly strike three times before pausing. Special weapons like the pistol, shotgun, laser cannon, or remote controlled bomb rely on slowly regenerating energy for their use. They also have their own timing to how they work. After some time is spent mastering combat, battles take on the cadence of a dance. It feels empowering, smoothly moving from enemy to enemy, but also sad. The beautiful artistic style that Heart Machine has employed is a pleasure to look at, but it also shows the capacity for great violence. Taking a great deal of damage causes the Drifter to leave puddles of blood while walking. Defeating enemies leaves their blood and bodies scattered around the battlefield. Successfully landing a series of attacks without taking damage charges a critical strike which can decapitate foes. The mechanics are fun, but the visuals feed into the grotesquely melancholy atmosphere. There is weight to combat. Exploration seems to be a core component of Hyper Light Drifter. Numerous paths can be taken to reach the end of the preview build. Each path introduces different challenges and experiences. Diligent explorers will be able to unearth powerful weapons like the laser cannon and new cloaks for the Drifter. Unfortunately, exploration can also be frustrating. The dashing mechanic while certainly useful in combat, is primarily used to traverse gaps in the terrain. These pitfalls are instant death to anything that falls. Due to the angle of the camera, sometimes the edges of platforms are hard to see or covered by taller piece of the environment. This wasn’t a huge problem when I was going through the preview build the first time, but when I was trying to find secrets and hidden crannies. A number of times I fell out of the stage through walls. It is a cheap way to die, though at least a few of those deaths could be attributed to the fact that the game isn’t complete quite yet. Even without the enemies or platforming challenges, wandering the environment is a lesson in how much mileage a game can get out of a great ambient score. It feels alien, at times beautiful, but often strange and disconcerting. Sometimes it can seem more like mechanical heart beats than music. It succeeds in setting you on edge. Overall, the slice of Hyper Light Drifter sent to me by Heart Machine had me excited at the prospect of the full game. Every element in the build I saw was an essential part of the whole experience. It was able to convey meanings and emotions without the use of dialog. Outside of the initial loading screens and the pause menu, there wasn’t any text or voice work present in Hyper Light Drifter, but it still succeeded in being a compelling game with a world that left me itching to explore and understand. Who is the Drifter? What are these monstrous behemoths and what killed them? Perhaps we’ll have our answers when the full game releases. Hyper Light Drifter's release date has been pushed back into early 2015. View full article
  6. With 2012’s Journey, thatgamecompany succeeded in creating a type of interactive tome, replete with all the self-reflective ambiguity of an abstract painting. Debates over video games as art notwithstanding, Journey could hardly be described as anything but. While it wove an astoundingly rich visual tapestry, the surprisingly effusive weight of its anonymous multiplayer carried the brunt of its artistic meaning. So it’s impressive that developer Giant Squid—founded by Journey’s Art Director, Matt Nava—has created a game in Abzû that not only sparkles with aesthetic brilliance, but also finds its own voice as an emotionally driven work of artistic expression. The fact that it occasionally feels slight in the shadow of Journey’s monolithic legacy is something I struggle to hold against it, especially when the overall experience feels so singularly divine. Abzû’s wordless story begins in a serene corner of its ocean setting, as your avatar, a wet-suit-clad scuba diver awakes on the surface. Subtle visual cues and camera tricks help to guide you along your trek through underwater caverns, dense kelp forests, and even some less organic structures that I dare not detail further. Along the way, you’ll interact with all manner of sea life from the smallest clownfish to blue whales the size of a naval submarine. It’s in the interaction with these creatures that Abzû sets itself apart from any game I’ve played before. Each of the game’s environments is its own mini ecosystem, teeming with aquatic inhabitants that interact with each other and the player in fascinating and believable ways. Sharks will chomp on smaller fish, dolphins flip and twirl in their pods, and giant squid spray ink when you come near. These interactions are rarely scripted, often relying on your input to trigger, such as enticing a massive humpback whale to breach the surface or hitching a ride with a turtle. Finding new ways to play around with Abzû’s wildlife proves fun and engaging, while nicely complimenting the game’s naturalistic themes. Just as playful is the game’s soundtrack from Austin Wintory, whose work composing Journey earned him a Grammy nomination. The lively strings, twinkling harps, and celestial choir simply sound exactly like Abzû looks. Wintory’s scores have an exquisite knack for capturing the essence of a game’s visuals and themes, and his work on Abzû is no exception. This inimitable, ever-present music ties into the gameplay and adapts appropriately to your actions, making it as vital a part of the experience as the vibrant visuals and the smooth controls. As you might expect from the art director behind Journey, Abzû’s visuals inspire awe, a true sight to behold. Each area exhibits a distinct color palette with what can almost be described as a bouquet of marine wildlife. Seeing thousands of fish all animated on screen at once is jaw dropping more so for its audacious beauty than its technological achievement. Abzû has much in common with thatgamecompany’s earlier title, Flower, as you spread life through the world, making each new area more vibrant and lively than it was when you first waded into its waters. This is more than just pretty visuals at thirty frames per second; it’s emotion through gameplay and gameplay through art. Abzû’s ocean is not all smooth sailing, however, as a few questionable design decisions muddy the otherwise clear waters. Each area has a few hidden shells that you can collect, much like the scarf pieces from Journey. But whereas those pieces granted your avatar with a longer jump and eventually—if you were able to find them all—a white robe with an infinitely regenerating scarf, Abzû grants the player no such rewards, besides a gold trophy. A sense of progression would have served Abzû well, and would’ve made the already enjoyable movement even more gratifying. Though it may seem unfair to hold Abzû to the standards set by its predecessor, the corollary couldn’t be more apt. Make no mistake about it, this game—though not designed by Journey mastermind Jenova Chen—is a clear successor to that modern classic. Though the visual stylings and game design present a unique twist on the sub-genre, the level structure and pacing are lifted almost wholesale from Journey. As someone who has played through that game more times than I can count, I often found myself predicting what would happen next. Though the beats are familiar, each new area still kept me engaged as the game floated towards its conclusion. It’s just disappointing that Giant Squid chose to stick so vehemently to a previously established formula for a game that otherwise presents wonders I had never experienced before. That statement’s not completely true actually; I do have some experience with the grandeur of our planet’s oceans. I have been snorkeling on a few occasions, off the coast of Maui and Hawaii, and though it was over a decade ago, the adventure has hardly faded from my memory. Never have I been so humbled by nature as when I found myself surrounded by all manner of sea creatures, from turtles to barracudas to massive manta rays that dwarfed my six foot frame. This is the type of feeling Abzû so deftly replicates; that of a stranger in a strange land, discovering wonders your eyes weren’t meant to see. I never expected a game to make me want to don the flippers and goggles again, but that’s exactly what Abzû has accomplished. Despite that, Abzû isn’t a scuba simulator, and it never attempts to be. You don’t need to manage oxygen levels, or worry about depth pressure, or fear any of the predators that lurk in the deep. While the fish are all modeled after real species in both design and behavior, this is a stylized version of underwater ecosystems, not a perfect replication. So in place of realism, Abzû fosters a wondrous sense of respect for the species that exist in our oceans, and it’s all the better for it. Conclusion: After my second playthrough, I still haven’t uncovered all of Abzû’s marvels, and I can’t stop thinking about my next dive in its magical world of color and life. I want to unlock all of the fish species, collect all of the mollusk shells scattered in the hidden corners of the world, and I want to find every last meditation statue. Mainly, though, I look forward to revisiting Abzû anytime I just need a break from the noise and bustle of human life on the surface of this Earth. The flaws that keep Abzû from being an unequivocal masterpiece are of little import when fully submerged in the adventure’s calming beauty and spectral wonder. Abzû was reviewed on PlayStation 4 and is now available on PS4 and PC View full article
×
×
  • Create New...