Trek to Yomi: We played there, there is Ghost of Tsushima and Sifu in!

Trek to Yomi - Feel the Cuts - Hands-On Preview
The cinematographic tone is given from the launch of the game since even the introductory logos have a black and white dress, embellished with a granular filter and dotted with cracks and dust, simulating the faults of the analog dandruff of yesteryear. The general menu pursues the nail and indicates in filigree the major influence of Trek to Yomi, namely the Japanese film of Samurai of the 50s in general, and those of Akira Kurosawa in particular. The different sections are presented vertically with the help of nippons, while the setting of the difficulty gives the choice between four modes entitled Kabuki, Bushido, Ronin and Kensei. The first steps in the game strictly speaking confirm once again this particular atmosphere, since we are entitled to Japanese voices and horizontal black bands, the black and white image being in format 21/9 and not 16/9. Once again, grain effects or jumping film are present, while some planes play in a successful way with codes of cinema. The depth of field is voluntarily weak, causing pretty blur effects. The camera gets closer or automatically moves away from the action to present environments in the best day. And, of course, doors Torii to the kimonos through the sanctuaries and the pagodas, we find a lot of elements of the charm of Japanese folklore. The scenario is also inspired by the classics of the Nippon cinema of the last century, since it is articulated around the theme of revenge. Hiroki, the young samurai that we control, indeed sees the inhabitants of his village being exterminated before his eyes and therefore leaves to the search for the head of the bandits. If the first of the two playable chapters of this preview serves as a tutorial and puts us at the head of a teen hiroki, it is a man in full possession of his means that we control the second.

Ghost of Sifu, Samurai Sauce

Relatively technical, the fighting calls for a fast blow, a strong attack, a blockage, a parade, a roll, the ends to place on the stunned enemies and various combos. If the camera offers different angles of view during the exploration phases, the fights always take profile and place our hero face (or back) to one or more opponents. The gameplay asks to study the behavior of each type of enemy to block and avoid a maximum of blows, while leaving the counter-attacks as soon as possible. In this, these first steps on Trek to Yomi reminded us somewhat of Ghost of Tsushima of course, but also the recent Sifu. The management of “structure” of the title of Slocap is here replaced by an equally important endurance management. If we consume too quickly the endurance bar, the hero then returns to a state of fatigue that only allows him to tackle certain blows and to perform slow attacks. We can then quickly find himself overflowed and die in seconds. Here as in Sifu the challenge is therefore relatively high, as we proved the boss conclusing this essay. But the presence of several levels of difficulty should allow players little followers of “Tryhard” to get by despite everything.

In this, these first steps on Trek to Yomi reminded us somewhat ghost of tsushima of course, but also the recent Sifu. The management of “structure” of the title of Slocap is here replaced by an equally important endurance management.

In any case it seems important to explore the levels. Even though these are essentially linear, some more or less hidden detours give access to potentially useful bonuses. If we were able to find some collection objects used only the lore, we also fell repeatedly on significant health and endurance increases. Exploration can also make it possible to discover ammunition for the Bo-Shurikens throw (which does “one-shot” not the enemies but allows to hurt them and destabilize them in order to put more easily a saber shot) as well as to additional backup sanctuaries. Knowing that they restore health and endurance in addition to serving as checkpoints, it is important to find a maximum so as not to have to start the same passages too often.

Leave a Reply

Your email address will not be published.