The Zero route of Kentucky is primitive, because it stoles a wide range of, free

Kentucky's zero route celebrates its fifth anniversary today (January 28, 2025). Below, we reviewed its inspiration and experimental excitement.

It is in the details that the zero route of Kentucky claims it beyond video games. Its typesetter typeset. A brief description of the character between the dialogue. Adventure game movements are like stage directions. Light on the stage or set the new part of the light. The important thing is the details. In practice, KRZ's gameplay is not different from any other adventure game, but it feels different from many games. This is because it comes from a variety of influence, many of which are generally previewed by video games. Five years later, its interest in drama, movies, visual art and radio still makes it a vivid game.

Video games are not a secret to self -obsession. Although it can be marked with painting, movies or books as “science fiction” or “romantic”, the type of video game type (such as “Roguelike” or “PlatFormer”) can only truly describe which novels can be described as ” I am eager to read it with a strategy “or” simulation “. Many people (even most-budget games) borrow from the ready-made impact list, such as “Star Wars”, “Alien”, Indiana Jones or “Ring Rings”. This set of narrow resources can make video games sometimes feel super elements: it is impossible to put your nodes in a meaningful network, but instead studying well well. When a large game tries to pay tribute to the real artistic heritage, it feels ridiculous. Who can seriously treat the ghost of TSushima's “Kurosawa model”?

Although the zero route of Kentucky can be described as a science fiction novel, this is a quiet and disturbing type. The magical realism of writers such as Ricardo Piglia. It has a distinctive humanity, a stagnation, obviously on the theory and fictional works of Bertolt Brecht. From a word, it far exceeds the scope of conventional video games. This will cause some ways to be confused and strange to some extent that video games are often difficult to do, especially if you don't read any inspiration.

This is not to say that KRZ is ashamed or above the root of its adventure game. It also claims it in video games, sometimes with obvious gestures. In the first screen of KRZ, you will encounter a computer console that you can ask for “game” in it. It will answer “The game is not real.” In Act 3, you can play a huge cave adventure version with a huge machine interface. There is no doubt that this is attentive. But this also makes the influence of video games and literature and drama. Of course, these things are together. Why not? This fact has given Krz a lot of foundation to explore its formal qualities.

Of course, it is important not to surprise. A large number of games draw inspiration from video games (even outside the conventional influence of video games), and they are still tired. Bioshock Infinite may be the most magnificent and spectacular example. There are also many great games that have surpassed the media's clichés. For similar reasons, Disco's Elysium and Signalis caused a lot of splash. Compared with the zero route in Kentucky, Norco is carried out in different sets of Americans. People can have a bilateral curve for KRZ, and named them one of the most important games ever, just to have wisdom and pro -labor politics. It is easy and attractive to exaggerate the originality or strength of video games, especially when we have not read, watch or view what it is drawing.

However, many of the other games Krz owns are not real excitement and experiments. It is not only borrowed from other art, but also wants to innovate in its own way. To some extent, each of its five behaviors is boldly conducted. From the rotation wheel and route map of the first act to the Huckleberry ferry in Act 4, the game will never settle in consistent visual language or arrogance. It took a long time to play in this game. The complete game appeared in the Kickstarter advertising series nine years after the first time. This may be explained by reshaping its desire.

Every behavior will be released separately, it really feels like a new thing. The main role has disappeared, and it will never appear, and the control and viewpoint of players will continue to change. Of course, this is the climax of Vact V, and the player plays a cat in a small town. The camera opens the rotation of the town in the center of the town. The center of the camera is the heart that the entire community turns in the speech of wheels or trunks. At the last moment, the game plays a public role instead of really following any individual, but a place: one person.

If you search for the correct phrase, you will find dozens of forum posts, ask KRZ and other movies, books and TV shows. The face of this question is a bit interesting. Among all other media, the reasons that make Krz strange and exciting in video games are even more common. For this reason, it is easy to degrade KRZ's contribution and understand. Can I not only read GabrielgArcíamárquez, Berholt Brecht and John Steinbeck and call it one day? However, this promoted the sense of debt in me. Consciously, great artal theft, but theft is not one of the ownership. This is more like torrent. All other copies still exist; many of them are in your work. This is a network. Any theft was pulled a rope and will be tied further. Krz's final image is a house without a wall-a place that allows you to enter-new friends pull your chairs for you and lend you a book. Kentucky Zero Line is a powerful artwork because this is an invitation. Many games are eager to bring you into their world and make you consume you. Krz just wants to push you to other things and let you see the previous world.