No More Home, Review. Everything Will Be Ok
We review No Longer Home, a game of farewell, adulthood, and finding your place in the world at the age of twenty.
What things are life. No More Home It came into our hands the same day the Spanish basketball team was eliminated from the Tokyo Olympics and the Gasol brothers announced their retirement from international tournaments. That is to say, Game saying goodbye burst into our lives at the same time as the most important farewell in the history of this country’s basketball. you must laugh It seemed perfect for crying. We thought it would help us dealing with sadness and nostalgia typical at the moment. May it teach us to turn the page and overcome the vertigo of the future, the uncertainty that arises over our participation in the next World and European Basketball Championship. And it can be said that he helped us … in his own way. Because after we hit the game, the last thing we wanted to think about was a stupid basketball team. We love Pau and Marc so much, so the idea is to quote them and dedicate this first article to them, but after No Longer Home we just want to get into bed and bring someone in and put us let us know everything. going to be ok. Mar life can be wonderfultrue, in that sense the good Andrés Montes was not wrong, but there are times when life can also be too intense.
No More House narrative experience of about two hours which tells the story of Bo and Ao, two recent college graduates who have just discovered, how great life can be. the two have seen each other turned into adults overnight, with the responsibilities that come with it, and their world is being shaken and turned upside down. With no job and no academic scholarships, bills for rent in London are starting to be difficult to pay, and to make matters worse, Ao’s visa, of Japanese origin, is coming to an end. Married, lost and disillusioned with their environment, the couple begin to think about how they are going to make money in the future, and prepare for your move (Ao returns to Japan and Bo to his parents’ house) and while they avoid asking the other person what their relationship with the far-fetched becomes. When will they see each other again? Will they have another chance to live together in the future? Will they get a stable house forever? And when did everything go wrong? Is it their fault or the fault of a government that persecutes real estate speculation only immigrants? Was it because of the career they studied? Which university did they choose? Should they try harder or follow the life plan their parents designed for them? Or is it that life is like that and what they were made of meet impossible expectations?
Who has not died at the age of 20?
Most of the game takes place as well one day in which the two protagonists organize goodbye barbecue with your friends. We alternate between Bo and Ao, and every time we leave the group to go get some ice, blankets or whatever, we find ourselves passing through the various rooms of the house like a soul in pain, tormented by all those depressing questions ever since. Well, to those and many more. How long will it take for the cats in the building to forget about us? And our friends? And why the hell do we prefer to hide with the damned cats instead of having beer with the others? In these walks where we see the ghost from A Ghost Story, the game changes to point and click to use it. We click on where we want the character to move and on those things we want to interact with. The cases are too bad so small, so small and so empty. And it’s too bad that you can rely on your finger on all the things with which we can interact, and that its developers understand through the interaction of a few generic lines of text. At the playable level there is not much fabric to cut. It involves wandering from one conversation to another.
Undoubtedly the most interesting thing is its design and artistic approach. Not like the graphics, like Untitled Goose Game (geometric shapes, flat colors, faceless characters), but for the layout of the camera and the shape of the cases, among other things. The player assumes an isometric view that displays the rooms as cubes with the option of going from corner to corner, changing perspective in Fez or Echochrome mode. It’s like a Bo and Ao building huge doll house, like a set that removes walls and adds them according to our location and need. As if film series whose panorama is retracted so that the camera is positioned in the rear area. While resourceful and successful, it is wasted thinking there is no path and ends up being anecdotal. It only takes to discover some doors and a room that we did not see at first. Often it will do no good to turn the room. The same thing happens with certain paranormal touch, the clear legacy of Kentucky Route Zero, to which multiple nodes are made. The game flirts with surrealism and reflects the anxiety, stress and pressure of our key players in a variety of ways, for example by sharing huge monsters living in the abandoned rooms, in Babadook mode, but a pretty enjoyable version. It’s another weird idea that ends up being lowered to the third or fourth level. They appear arbitrarily and depend on … five minutes of development? It’s a big shame because, at least from the bar counter, from the fence, these are experiments with scenarios and magical realism they seem to be the key that would take the game to another level if they were to be drilled into them. No Longer Home tends to be more traditional and promises on the usual dialogues with our group of friends, which include, yes, a valuable illustration of the leap into the vacuum we all take in our twenties.
For us, the story of No Longer Home reminded us, saving the distance, of the wonderful recitals Inio Asano, the mangaka that gave us Good Night, Punpun. The game seems to be one of the many stories that make up The End of the World and Before Dawn, which I compile, and it’s a reminder of what for many its magnum opus: Solanin. Few people have narrated as well as Asano that part of adolescence where you feel that you will not find your place in the world. Given the society in which we had to live, sometimes people never seem to regret anything. As if everyone was clear about their path and what they should do. And if there is any way, far from questioning things, the majority claim their chest and show. Although I have not heard “I do not change any of my decisions because, after all, they are what made me the person I am today”. Okay. Well, how lucky. I wish I was so simple and confident. Similarly, in this world it also seems to measure success based on questions The resistance, as if everything depends on what you charge, how much you fuck and how many followers you have on social networks. Conventions that are accepted and followed without further delay, as if they were the solution of any problem. Conventions generated more unhappy than happy people.
That’s why Asano’s stories are so special, so magical. And that’s why we like to come across games that deal with the same themes, such as No Longer Home, from time to time. Because Bo and Ao often wonder what other people think of them: their friends, their parents, their partner, and even their own past. doubt (they are hesitant!) and question their decisions, work and relationships with others. To their gender and sexuality are raised. They are able to find beauty, serenity and happiness (true success) in things as simple and routine as going out to get rid of the garbage, looking at a tidy room or walking at dawn. And if by chance they don’t get it, if they don’t get any of that rays of hope daily, they learn to go on even feeling confused and still full of desires and disappointment. They are scary characters and, paradoxically, the only thing they are not afraid of is that most intimidates most people: Jump alone with their ideas and get to know them. They are vulnerable souls who feel betrayed by the family, the university, society, the job market and the world at large. They are angry with life, like many of us at that age. Stories like this evoke sadness and nostalgia. critical fatigue, which we like to say. But they also have something deep warm, beautiful and comfortable. Mostly, because these types of emotions are seen to be manifested, one feels one stop when he has to get used to them. And while they look taboo, we’ve all gone astray at some point and we’ve all gone through. If we know that there are more people in our situation the burden can be shared and reduced. No Longer Home is a hug in the distance. A way for their respective authors to tell us that what we feel is normal and that everything will be fine.
Memories of Inio Asano
Of course the story of the game never looks like the emotions, depth and truth of Asano’s work, but it’s an unfair comparison. In its own right, the story of No Longer Home, described as “semi – autobiographical”In the initial credits, it comes from a beautiful and heartfelt hurt. There are a few surprises to it and there are moving end, of the teardrop. We like it. The problems of the game do not come as much from the story as from its forms. The most serious is the lack of clarity of rhythm and dynamism. In the genre in which we are, we make good ground that we will find dialogue, dialogue and further dialogue. There is nothing wrong with it, but there are ways and means to present it. Let’s say it’s dangerous for two characters to talk for fifteen minutes at a time. It’s just deadly to do it with them without changing position, with the same background and showing no expression. Even more so if we do not have voices; A Bigger House is just text (and comes entirely in english). Look at the appearance of the lines slowly and after clicking on each intervention to move on to the next … well, it becomes mechanical, why lie? In the long run it gets heavy. Almost like an office job. Read and sign, read and sign. And there are no solutions. You can juggle the end of the phrases, their size, color, the animation they appear on screen, etc. It was also possible to play more with what we see or hear and, or just the information from these conversations could be better spread across the four numbered walks we take around the house , since they are. equal and repetitive. The house barely changes between one and the other. The way conversations are conducted, there are some that are too intimate, long and monotonous. At the very least, they can run smoothly and independently, without requiring the player’s permission after each sentence to continue. How minimal.
In Game of Thrones many know it as “sexual meaning”. When the writers were about to confuse us with political issues or the history of various Poniente houses, they always did it with a scene of sex or some violence between them, to draw the audience ‘s attention. they made you learn your lesson, but entertain yourself. With audio visual stories we are always like that child whose parents make a small plane with a spoon so that he eats the puree. It is an implicit agreement. No Longer Home is a personal story and you can’t (and shouldn’t) use the same resources as a blockbuster like Game of Thrones, we’re not saying that, but there are ways to make your story much more digestible, sometimes rough and crushed. Oxenfree, for something more thematic in terms of theme and resources, was full of movement (scenarios, characters, dialogue clouds, voices and effects) that gave it rhythm and kept us engaged. In fact, in No Longer Home there are times when, in dialogue, the camera goes up to the stars, or goes down to the ground and dives into the subway tunnels that run under our house. Sometimes the walls are opened as if they were a series and we remain as if levitating, in a sort of not-too-subtle metaphor of what the protagonist feels. In other words, we do not always have that statistical problem, but there are a few conversations that cover almost half a game and that … well, require patience.
We got more discussion stuff. The IS dialog options which is unused. How many comments were submitted (why can we choose in the discussions until our friends respond?). The attitude of the protagonists (sometimes a little passive-aggressive to the person at the keyboard, on the border of unfriendly). Or such real decisions homage to text adventures Life goes from being in nice detail to taking twenty odd minutes without adding to the story (remember, it only lasts two hours). As far as we like at the moment, it’s a doubtful time out. As we said, things debate. However it is difficult to judge such personal labor. Data and decisions like this seem to have a special meaning for developers, and at the end of the day it’s what matters and what should be important to them. No Longer Homer is a compact project, almost nude shared with the world. It’s made for four years by a tiny studio, Humble Grove, whose main creators (Cel Davison and Hana Lee) live in the UK and Japan, as do Bo and Ao, the main characters. So all that remains is to be thankful that they shared their story with others, because it is easy to identify and as we have said before, it is comforting to know that others have gone through the same thing and survived. For this reason, even with the problems of rhythm and structure, or still not understanding some things like inside jokes or references and interests that are too specific, we almost prefer to keep the virtues, therefore. Smell of Inio Asano, those tips to Kentucky Route Zero, or those conversations until the wee hours of the morning, when alcohol and age bring a certain mystery and important air to anything we say. Or why not, with a great soundtrack of it Eli Ransberry, loaded with immersive sound effects and worn guitar pinches to the core.
Problems of rhythm and form
No Longer Home is a narrative experience that lasts only two hours and transports us to the crisis of the twenties, to that time of adolescence where responsibilities begin to come before we have time to discover where in the world we are. A stage of decisions and changes, emotional changes that leave us sad, overwhelmed, confused and ashamed. The game successfully selects the manga spirit Inio Asano and adds the paranormal hints of Kentucky Route Zero to the equation. Too bad we are facing a transient point and click that confuses some ideas and ends up wandering around our house like a banshee, like the ghost of A Ghost Story, saying goodbye to things and going from one conversation to another together. A slow and repetitive scheme that compresses the situation into overweight pills. His conversations don’t save him either, we often have conversations with those we’ve all had at so many mornings, when alcohol and the arrogance of youth make us think that there is some reason, mysticism and importance in any nonsense that we are a fragment out in. the morning.beal. Still empathizing with the story and acknowledging its moments, No Longer Home is a very personal story that means a lot to its developers, but due to its lack of strength and form, it is hardly recommended for most.