Mo’s psychology is certainly complex, as some of the splendid dream interludes that revolve around his figure, mirror of a personality no longer perfectly in balance, demonstrate. While our “heroine” does not utter a word, a voiceover undertakes to reproduce her thoughts, reminiscences and moods, inevitably intertwined with the enigmatic mythology of the game universe. In fact, the storytelling of Minute of Islands decides to present Mo, her ties with the-few-secondary characters and the origins of the disturbing reality that surrounds her in a somewhat cryptic way, proceeding by narrative fragments that emerge blurred in the course of the advancement. Upstairs, in fact, sits one of the giants who, together with his three brothers – each from the depths of a different islet – usually charge a large machine capable of protecting the archipelago that hosts them from a cloud of lethal toxic spores. For too long the young woman has rested in complete solitude at the bottom of the underground tunnels of the island of Boan, where the noise of pipes, pumps and gears does not know a moment of respite.
#Minute of islands memories full
A particular game, which disavows the lightness suggested by its aesthetic aspect just a few minutes from the beginning of a surreal, sinister journey, yet full of charm and hidden meanings. A creative undergrowth from which, not surprisingly, it blossomed as well Minute of Islands, the new adventure in two dimensions by Studio Fizbin, the German team already author of the curious diptych composed by The Inner World (2013) and The Last Wind Monk of 2018 (want to know more? Read our review of The Last Wind Monk). It is almost superfluous to specify that, of the many projects born over the years, the most interesting belong to the independent panorama, a habitat notoriously favorable to the development of ideas often divorced from the most pressing commercial logic. Indeed, there are plenty of productions that propose such delicate themes in an interactive way, between more playful products in the classical sense and experiences that, instead, give up a strong playability to focus on factors such as narration or artistic recognition – think of Gris, for example (here you can find our review of Gris).
Speaking today of video games that aim to stage the emotions and traumas of the human being is certainly not something unusual.
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