These mind-numbing gameplay moments could be replaced with succinct cutscenes for a more engaging playthrough. Once that is done, another cutscene begins. Directly after a cutscene, the game forces the player to press a button to examine the window too small to fit through and then press a button to examine the locked door. For example, there is a moment early in the game when Frey is locked in a cell. There are tediously boring moments of the game that don’t work as fun gameplay but would work as exposition in a cutscene. The main pacing issue that Forspoken struggles with is not knowing when to use a cutscene and when to use gameplay.
Because of McCreary and Schyman’s genius, the larger-than-life cutscenes, fights, and moments of exploration in Forspoken are brought to life with stirring orchestral pieces and empowering melodies. The music in Forspoken was bound for greatness because it has two of the best video game composers working on it: Bear McCreary, most known for the score in God of War: Ragnarok, and Garry Schyman, most known for the score in the Bioshock series. The detail found in the character designs works in harmony with the intricate overworld for immersive and unexpected world-building.Īnd there to tie the world and its people together with a bow is the music. The way Frey’s cloak flutters in the wind and the people of Athia’s peculiar accessories accentuate their culture are definite highlights. The genuine emotions found in the well-crafted characters and the true-to-culture clothing that Frey, the citizens, and the Tantas dawn are impressive.
Hand-in-hand with the believability of the world is Forspoken’s character designs.
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