Monument Valley was a very interesting and aesthetically pleasing project when it released so it stands to reason that the sequel should and would be as well. Although there are several new gimmicks and ideas in play for all intents and purposes you’re looking at a continuation of the same game and same vein of design. This isn’t a bad thing at all.
What you may not be expecting is for me to compare the beautifully crafted visuals and puzzling gameplay of Monument Valley and its sequel to that of the monochromatic, dark and occult filled visuals of Wilson’s Heart. A virtual reality adventure and a downloadable game don’t always have much in common but starting today I’m making a connection between these two in particular.
It’s not so much that they have anything in common rather it’s the fact that both push the boundary of visual presentation in one way or another, or perhaps even in several ways in some instances. Functionality notwithstanding, each of these games is a thorough experience that relies heavily upon visual input and context. The ways in which you’re able to perceive specific stages directly impacts how you’re able to accomplish or complete them in Monument Valley 2 whereas the ways you’re able to react to and interact with the Lovecraftian occult setting and situations within Wilson’s Heart directly influences your experience as well.
Perception and reception are very much an integral part in the game making and game playing processes. Look no further than these two titles for confirmation of that one simple truth. Puzzle games are notorious for requiring players to adhere to a strict and often steep learning curve however this is all down based upon the expectation that if you show somebody how to do something and slowly walk them through whilst holding their hand, eventually they’ll be able to fly through the task on their own later. Continuing along that train of thought, if you see somebody place a blue and orange portal and then go through one and emerge from the other then naturally you’ll pick up how the specific mechanics perform in context as well.
How we perceive the world around us often differs with regard to specific stimuli in the environment and a whole metric plethora of other factors that may be involved from the womb until the tomb. There is no “one way” to perceive a situation or pick up on a particular aesthetic value or visualization as fate (and apparently science) would have it. And that’s why both Wilson’s Heart and Monument Valley 2 are two of the most recent and most intriguing views into both perception and reception in terms of visual effect and resonance for me personally. Sure, I could’ve taken the easy way out and chosen a game such as the aptly named Perception or perhaps even What Remains of Edith Finch but then that would be cheating don’t you think? We knew all along that those two games would purposely distort reality and offer a surreal and uncharacteristically and aesthetically challenging adventure.
In many ways the visuals of Monument Valley and Monument Valley 2 on the whole just have this air of surrealism yet it’s presented in such a uniquely tangible way as well. You see beautifully rendered and colored backdrops and the simplistic yet ultimately complex and multifaceted levels of the castles and stages and they just make you stop and think and appreciate the art style for a moment or two. Wilson’s Heart on a more cerebral level forces you to think in much the same way but it has more to do with the monochromatic visuals and old, campy horror vibe than it does with the surreal Cthulhu vibes the game gives off for the duration of its screentime. Sometimes it’s simple ambiance and principle that give quality to a project or perhaps that render it admirable or even redeemable when it would otherwise be a loss in terms of gameplay and presentation.
On one hand we have Monument Valley 2 which is most definitely a game that I would consider to be both pretty and unique but on the other you have Wilson’s Heart which is something rougher around the edges and yet no less enjoyable that some other dark and unique tales such as Outlast or Amnesia. Wilson’s Heart may derive some success from the level of camp it attributes to old B-movies and old school monster flicks and yet it is also ultimately a visual and presented success due to the vibes it can tap into akin to independently developed horror projects of recent fame and fortune.
Sometimes it’s impressive what you can compare yourself to and not just what you can showcase in your own unique way. It’s about connections and perception just as much as quality and reception. Cheers.