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Kat is never more fun than when she’s hurtling horizontally across the sky for no reason other than to feel the wind against her face. The joy is in the little things: taking a young boy on a flying tour of the city to recreate his grandfather’s photographs chasing after a seagull that’s stolen your lunch handing out flyers for a local food wagon. Some of these fights are fun, while others are a maddening and seemingly endless battle against the game’s unpredictable mechanics.īut to get bogged down in these frustrations is to miss the point. In one mid-way mission, for instance, an entire city comes to life, is destroyed, and is never spoken of again.
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The second half of the game is made up of one climactic fight after another, with the narrative importance of each lost amid the ceaseless torrent of action. Photograph: SonyĪll three are really just excuses to pack in lots of increasingly overblown and oversized bosses, many of whom come with giant glowing weak spots, as if it were still 1995. The game is packed with anachronistic mini games and collectibles. The second chapter continues the story from the first game, while the final section delves into Kat’s mysterious past, where the game’s most unforgivably dull and protracted sequences take place. The main story is divided into three chapters, the first of which sees Kat fighting against social inequality in a land where the working classes live in shanty towns literally beneath the rich folk in their gleaming sky-mansions. And there are far too many inexplicable, tedious stealth missions that have no place in a game where the protagonist cannot slow her pace beyond a brisk jog. Most of the dialogue, presented as neat interactive comic strips, exists only for exposition. Much of Kat’s time is spent completing repetitive tasks that feel like chores during the first attempt and drive you to distraction by the 20th. His sequel is packed with anachronistic mini games and collectibles. Toyama pays little heed to the prevailing wisdom of game design.
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Not only do you need to have played the original Gravity Rush to have any hope of understanding the plot, you also need to have watched the two-part anime movie released at the end of last year. Some designers would have used the sequel to clean up the mess left in the wake of the first game not Keiichiro Toyama (the wunderkind behind the game, who also created the first Silent Hill when he was just 21). Things go a little awry, once again, when it comes to storytelling. Kat’s ability to whisk piles of debris into the air and launch them at her enemies feels more intuitive than before, although her main attack, shifting gravity to fall feet first towards her foes, is still prone to sending her hurtling away from the action.
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Unlike the densely textured world of, say, Arkane’s Dishonored games, Gravity Rush 2 is all surface: nothing but inaccessible, empty polygons lie behind the brightly lit windows and grand facades.Ĭombat has been tightened, with two new gravity “styles” – very heavy and very light – adding variety without overly complicating things. This apparently bustling world does, however, flatter to deceive. Every street is thronged with passers-by who flee in terror whenever Kat comes crashing into their lives, cracking paving slabs as she thuds to the ground. Kat is a wonderful heroine and her joyful tumbling is the perfect way to traverse this world.
Every frame is filled with rare and unexpected beauty, from burnt orange sunsets fading behind dizzying skyscrapers to circular rainbows ringing the horizon. The floating islands that make up Kat’s world bring to mind a Studio Ghibli animation.
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On the Vita, Kat was always straining to escape from the prison of her tiny screen, and the panoramic quality of the PS4 sequel looks glorious.
Photograph: Sonyįive years later, Gravity Rush 2 is both a realisation of the first game’s potential and a doubling down on its flaws.
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