To consider the ocean with that fantastic naivety is to explore it in new means. The happiness of The Wind Walker’s sea, as an example, is the way it’s so plainly crafted. Its flat-colored azure seems it’s been filled with a solitary click, the little white-capped waves giving way to sea foam like the lacing in a beer glass. For all its kingdom-smothering deepness it looks a shallow canvas, a gigantic wafting quilt fit for the childish experience. With the exact same delighted color palette, Rime exposes the Janus-faced nature of the sea: giver and taker of life. The sea is a gulf between them, an actual partition in between the living and the dead.
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Between the dolorous and the jubilant is awe, and isolation-something Subnautica lately caught with its mix of exploration and survival. Having to endure in Subnautica’s alien ocean is a consistent tip that we are someplace we should not be, yet we are awash with methods to examine, gather, and usage. It’s an opposition that talks with what games are: globes that we have no place in, that we are spirited to with ocean of games website technology and tools; worlds where there is no oxygen that we can see beyond of the glass; worlds we peer into like a rippling representation.
The reason we maintain returning to the sea in games is the same reason that we maintain returning to it in every other art kind. Equally as Melville knew, when he really felt a “wet, damp November” in his heart, that it was “high time to get to see,” we are tidally drawn back there. As much as we could romanticize just what tricks are hidden because blue safe, it wouldn’t matter exactly what we found. The factor we return is to search for the unknown in ourselves.