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ABZU Free Download GAMESPACK.NET Perfectly matching these visuals is one of the most serene and melancholy soundtracks we’ve heard in gaming, expertly weaving in elements of mystery, excitement and foreboding as you journey deeper. Music is all orchestrated and some tracks even integrate the angelic tones of a choir, and there’s an element of interactivity that few games attempt to implement. The music will ebb and flow like the tide according to what’s happening on the screen; a rousing track that plays in the colourful midst of a school of fish will slowly transition to something lower and more relaxed as you enter a nearby cave. We’d highly recommend you play this in portable mode and use earphones, as the usage of 3D sound adds a notable extra element of immersion to further transport you into these aquatic worlds. Those of you looking for a lengthy experience won’t find much here, as Abzû only takes about three hours to clear; five if you take the time to find the collectable seashells scattered throughout each environment. From a more practical perspective, it may not seem like this is a game that’s very much worth your time, but we can’t emphasize enough the quality of the atmosphere and world that’s so carefully crafted across those few hours. Abzû is a game in a league of its own, offering up an experience that’s unique, memorable and mildly spiritual in how it weaves together visuals and sound. TOP/BEST ADULT VIDEO GAMES IN UNITED STATES OF AMERICA (USA)

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The mystery Abzu presents at the start is intriguing, but the end of story is a little too abstract – even relative to other wordless storytelling adventures like Journey. There are a few cutscenes, but it mostly leans on environmental storytelling to fill in the gaps of what happened to an ancient, alien-looking civilization we find here. But what happened and why were very unclear, and on my first time through there wasn’t enough context to give the ending the power it seemed to aim for. I couldn’t quite place what Abzu wanted me to feel, so it just left me puzzled because I wasn’t entirely sure what had happened. But considering the entire thing is just three hours long, it’s short enough that I didn’t mind diving back in for another swim through to piece together the story, which revealed significantly more meaning now that I knew what to look for. Abzu’s intriguing underwater world is presented with little introduction – you’re a mysterious diver who awakens and begins to explore – but it generates enough mystery to propel you through a series of stunning locations. From seaweed swaying in the current to mysterious sunken shrines, each area shows off Abzu’s fantastic art direction, attention to detail, and an impressive sense of scale as you swim through enormous chasms under the sea.

Playful in very shallow water

This journey feels remarkable because of the way it constantly dangles the next intriguing area in front of you. I found myself traveling through its underwater rabbit hole into a strange, unfamiliar world full of cryptic iconography and ambient life such as fish, turtles, and whales. I was constantly wondering what I would find around the next bend, and each new area I discovered kept the surprises coming with fantastic architecture and some incredibly large spaces to swim in. And while nothing (including some intimidatingly large sharks) wants to actually eat you, it’s still a fish-eat-fish world down here, and you can observe the convincingly recreated circle of life by meditating at a shark statue if you want. Abzu’s journey into the deep is conveyed primarily through pretty graphics, but its rousing, evocative musical score really steals the show. Each new area you explore is bookended by music from Journey composer Austin Wintory, and his contributions sound absolutely wonderful. The stirring ensemble of strings and flutes bounces back and forth between soothing tunes and rousing orchestral melodies that stayed with me hours after I put down the controller. The orchestrations are carefully used to punctuate emotional moments in a way that I’ve seen few games do, with the tempo rising and melting away into the background appropriately. And whenever the music dissipated, the ambient sounds of the sea served as a constant reminder that I was mostly alone in this world. It all makes Abzu the closest thing to a playable version of Disney’s Fantasia that I’ve seen produced by a video game. Grand Theft Auto V

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But what are we actually doing here, other than taking in the sights and sounds? Abzu never makes that clear, either from a story perspective or with gameplay depth. I did enjoy my time swimming from the start because simple controls make is easy for almost anyone to pick up and enjoy moving around. Abzu uses a familiar control setup that resembles a driving game: holding the R2 button dives deeper and constantly moves you forward. You can boost to push through through areas quickly. Within minutes I could effortlessly maneuver in the water, do loop-the-loops, or break through to the surface and pull off a quick mid-air trick like a dolphin. And what limited interactions there are with the environment focus on helping you get around: you can grab onto fish when you want to move faster or slower. Indeed, if you’re the kind of player that needs some motivation in your gaming, like an objective or a goal to strive towards, Abzû might not be the game for you. This isn’t a game about beating levels or conquering a challenge; it’s about slowing down, paddling around and taking your time. This is the perfect game to play if you’re looking to get something in just before going to bed. Checking out colourful fish and mysterious caves while floating around these idyllic environments is entrancing and immersive, creating a sense of involvement that many games can’t muster; the word “atmosphere” is thrown around a lot as it relates to horror, but Abzû does a fantastic job of showing how atmosphere can be used to create a sense of all-encompassing tranquillity.

More than just rippling background music

At the heart of Abzû lies a subtle story, too, about the rise and fall of an ancient underwater civilization that was destroyed by a sinister mechanical pyramid. There are no dialogue or cutscenes to be found here; all narrative is explained through environmental details like algae-covered murals on cracked cave walls or a great white shark that guides you from place to place. As one would expect, this narrative style can only go so far, but it’s rather surprising how much emotion the developers are able to coax from the silent performances; the joys and sorrows of the story hit hard in equal measure and create a real sense of investment in what happens next. Journey changed the game when it released back in 2012, bringing a distinctly serene experience to PlayStation owners that championed the experience of play, rather than the goal of conquering challenges. Journey generated all sorts of acclaim for its atmosphere and pace, so it comes as no surprise that Matt Nava – Journey’s art director – wanted to return to this type of gameplay when he was given the chance to direct his own title, Abzû. Trading the sandy deserts for deep aquatic environments, Abzû excels at immersing the player in an unforgettable, painterly world of life and mystery, one you’ll want to explore again and again. Abzû isn’t a game about having ‘fun’ in the traditional sense that one thinks of that term as it relates to gaming; there isn’t really a way to win or lose. After a seamless introduction, you’re taught the basic controls for a nameless diver and are then allowed to explore the ocean environments at your leisure, going wherever you please and enjoying the gorgeous scenery.

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Lazily winding around, going this way and that, is the bread and butter of Abzû; it’s about the experience of swimming around and interacting with all manner of aquatic life around you. Giant Squid founder Matt Nava previously served as art director for Thatgamecompany ‘s hit game Journey . He also took over the artistic direction for Abzu. Abzu notices the relationship and influences of the great role model Journey every second. The similarities can hardly be denied. Nava emphasizes that the game is based on his personal diving experience , but he didn’t have a realistic simulation in mind. He wanted to create a game that captures and depicts the reverence and respect for the sea and its myriad creatures. At least Abzu fulfills this goal very well. The love for this alien cosmos under the sea surface and the incredibly diverse fish world can be felt in every corner of the game. On our journey we encounter schools with hundreds of fish that react dynamically and, above all, believably to our movements. The volumetric light that flickers on the sea floor or the algae and plants swaying in the current are atmospherically staged and animated. Gran Turismo 7 PS5

The man from Atlantis

According to the developers, they observed hundreds of species and added vivid and believable polygon variants of these creatures to the game. The moments when we encounter the impressively large mammals of the sea and we can accompany a herd of sperm whales on their hunt for a while or attend a »bait ball« are particularly successful. This is a phenomenon in which thousands of pack fish form a kind of vortex for defense. A unique natural spectacle, technically impressive and we are right in the middle. However, what the game totally lacks is a sense of threat. At no time are we afraid for the diver. Even if we are in very dark, deep regions of the sea where hardly any light penetrates, the game remains as harmless as a swim in a paddling pool. The diver does not have a weapon, nor can she change or adjust her abilities in any way. There are no tasks to complete, no missions to complete – the journey is the goal. A few mysterious objects, best described as mines, would electrocute us should we get too close to them. But that’s it. We don’t hurt each other, we can’t die. The sea creatures never attack us, quite the opposite. We can use most fish that are larger than us as a taxi: we hold onto them to glide gracefully through their respective territories. The few puzzles are limited to activating ancient machines that pull chains to open locked gates. The machines aren’t difficult to find, most of the time all you have to do is follow the thick, rusty tracks to the source and press a start button.

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Again and again we find small auxiliary robots that are stuck in the seabed and accompany us after activation. However, the little helpers hardly have a playful meaning. Except for a few spots where the bots cut through a few dense walls of algae on command, they remain cute but useless companions . After all: A small, nice allusion to Journey is the wordless communication with the auxiliary robots. We activate a kind of sonar at the push of a button, and the small diving robots respond to the sound signals in a very similar way to the random human companions in Journey. However, it does not reach the poignant and very personal level of Journey’s multiplayer mode. Although there’s not any real challenge being put forth here, movement is clean, smooth and mimics the feel of real underwater movement quite well. Much like how in Super Mario 64 it’s fun to screw around a bit with Mario’s moves outside before entering the castle, you’ll find yourself enjoying the simple pleasure of doing loops around coral reefs and rushing through schools of fish as you familiarize yourself with each new environment. The diver can move quickly if needed, but the experience is best enjoyed when you’re taking it slow and drinking in all the little details. Certain statues allow you to sit and meditate, simply watching different species of fish swimming by, and if you want, you can even grab hold of the bigger ones to ride around on. Despite the open environments, Abzû is a relatively linear experience; essentially it’s a game of jumping between little sandboxes.

Each ‘room’ is large enough to take about ten to fifteen minutes to fully explore, with various details like ruins, caves and seaweed forests all contributing to the diverse seascapes, and these rooms are seamlessly linked by caves and other passageways. Before moving on to the next room, there’s usually a light puzzle to solve – such as having to find a little robot or activate two rusty chain pulleys to open a door – but there’s nothing here that even comes close to stumping the player.This being a more experiential game, Abzû focuses on delivering a highly satisfying visual style that constantly surprises and delights as you explore the ocean depths. Graphics are drawn with a stylized and slightly low-poly aesthetic that works wonders at conveying dreamlike seascapes which all feel sufficiently fantastical, but also just real enough that you could believe they really exist somewhere. Little details like realistic ball-baiting for schools of fish or predators randomly eating lone wanderers in a flurry of bubbles contribute to making each environment feel like a living ecosystem, while wide shot moments where the camera zooms out to show off how small the diver is relative to the vast expanse of the ocean are quite humbling and thought-provoking. From start to finish you’re in for a serious visual treat, regardless of whether you’re playing on the TV or on your Switch screen. Grand Theft Auto San Andreas

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