![]() ![]() Seen through a game economy perspective, as the player engages with the spirits, new skills, resources, and events are unlocked, which expands the range of options for both the 2D platform and the management systems.įor example, Gwen is the first spirit to join the boat, which unlocks the Jellyfish event. As much as we grow fond and care for them, it is part of the game, and now as a core element of the game's system, to let them go through the Evedoor to proceed. ![]() The game intentionally removes these elements so they happen only in the player's mind as a narrative puzzle that influences the gameplay experience. Moreover, some characters, like Alice and Stanley, do not plainly explain their arrival or their background, leaving some space for the player to figure out what was left between the lines. It often hides its meanings and uses analogies to approach sensitive topics, such as life-threatening diseases and other forms of illnesses. The narrative of Spiritfarer is not light, nor holds the player by the hand. The game's platformer aspect is its physical body, the management system is the mind, and the game's soul is its narrative. Moreover, it is figuring out, based on what they share, what and who they truly are (or were). It is getting to know their stories and helping them process their feelings, getting to terms with their past, and moving on. The primary drive for playing the game is meeting and interacting with the spirits that board the ship. Still, I argue that the main gameplay element in Spiritfarer is neither the management nor the platforming aspect, but the story and dialogues. In Spiritfarer, that is not really the case, as the game is mainly played in a sort of 2D action platformer style, in which the player traverses and explores scenarios by jumping and interacting with level design elements. ![]() Generally, "similar" games have the management part, including gathering, processing, and selling resources, as the central gameplay aspect and even the principal motive for engaging players. Notably, this is quite an interesting use of the game economy for the genre. Spiritfarer's management system acts more as a support system that unlocks explorations and drives the story rather than a central element in the game. Yet, one could argue that there is a crucial difference between these games. One of the common comparisons and analogies critics have towards Spiritfarer is with other farm-sim games, like Stardew Valley and Animal Crossing, due to its sort of town-management system, which happens on top of the player's ship. In this piece, we discuss how Spiritfarer achieves such a feat by using its game system in unique ways, driving the player into narrative-leaden economy mechanisms to discuss such a ubiquitous, but at the same time ignored, aspect of life and games: dying. It is a two-way road in which death's acceptance comes in the form of the game's system but also from the humane side of the experience: the player. It asks whether you, impersonating Stella, will follow the necessary steps to help the spirit cross the Everdoor. As they feel ready, the spirit is then taken by the Evedoor, where they meet their final rest.īut as much as the spirits accept their fate, part of the game is also bearing the player's endorsement. Each spirit has its own story and memories shared and played with Stella as they come to terms with their own passing. In Spiritfarer, the player takes the role of Stella, a ferry master for spirits in a sort of afterlife ocean. That is not only due to its innovative blend of styles and gameplay mechanics but because of its central message: accepting death. Thunder Lotus' Spiritfarer is a truly unique game. ![]()
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