Trek To Yomi – Review
A departure from the first-person shooters Flying Wild Hog is known for, Trek to Yomi was mostly developed by Leonard Menchiari, the game’s lead designer. The story of a samurai warrior is told in a sombre tone in this 2.5D action game set in Japan in the 19th century, influenced by samurai films from the 1950s and 1960s. For all that it pays homage to those influences before thoughtfully deviating from them, Trek to Yomi also has its own issues to contend with.
Pros:
Stellar visual presentation
Thoughtful camera angles
Interesting choice driven story
Immersive audio design
Simple, yet fun combat
Cons:
Combat can get dull at times
A few ideas are retread
Score – 8/10
The tone of Trek to Yomi is immediately and succinctly conveyed from the title screen onwards, making it stand out from the crowd. Film grain, letterboxed perspective, black-and-white visuals, and the kanji and music all prompt the viewer to expect something like an Akira Kurosawa film.
It isn’t just that these elements serve as effective shorthand, but that they are utilised properly and aren’t just used cheaply or carelessly. A clumsy excuse that fooled no one was letterboxing in other games like The Evil Within and The Order: 1886, both of which obscured the game’s over-the-shoulder shooting.
It is Trek to Yomi’s use of the aspect ratio in framing their shots that sets them apart from the crowd. For example, wide-angle views can help the player focus on the most important parts of the scene, such as a large building in the distance, by illuminating them. This is made possible by the fixed camera angle, which allows the developer to create more visually stunning backdrops that make use of lighting and motion to guide players in the right direction while only occasionally obscuring crucial portions of the environment. Trek to Yomi earns these cinematic flourishes by using a fixed camera and a smaller aspect ratio that knows how to frame its scenes.
It isn’t just a black and white colour scheme that it uses haphazardly. Other than a brief diversion, Ghost of Tsushima’s Kurosawa Mode never added much to the overall experience, as the game’s vibrant palette was always intended to be the primary focus during development. It was appropriate, because the open-world action game was stunning, but it couldn’t be created with the more restricted palette.
Because of this, Trek to Yomi was built and lit with that in mind, and it succeeds. For the sake of making Hiroki’s character seem more sinister and mysterious, the game employs the use of shadows. However, its use of lighting is far superior.
It’s a clever way to contrast the dark shadows with well-lit levels that are illuminated by natural light in Trek to Yomi’s locales. Using these flames as a way to play with silhouettes, the game uses rooftop duels that are backlit by moonlight or battles where the player is behind thin shoji walls to create visually engaging combat scenarios. There have been few instances where fire has been used so effectively to heighten the tension and suspense of a story while also contributing to the unique aesthetic of the film. A few collectibles or items can be difficult to see, but the flair this approach brings to the game more than compensates for the shortcomings it generates.
Even though it is in black and white, the nods to Kurosawa go well beyond that, as the movement in the film is reminiscent of that of Kurosawa’s classic film. For Kurosawa, the camera, characters, and weather were never static in order to tell a story or keep the audience engrossed in the film.
Since there’s almost always something going on in the background or foreground, Trek to Yomi is shot similarly. Soldiers may be lurking in the shadows, or they may even enter the play area to engage in a duel with the children. Massive edifices could fall down in front of the player’s eyes with only a few steps to spare. Most of the time, innocent bystanders are frantically attempting to flee the encroaching invading force that set their town ablaze. In order to keep the frame and the game moving, the constant but never overwhelming barrage of subtle and grand movements is necessary.
This also affects the camera’s movement. Even though the game appears to be a side-scrolling platformer, the camera will occasionally switch to a higher angle to show something more expansive. Kurosawa-esque touches include many of these taking place during an action sequence, such as jumping over a log or sliding down an inclined ladder. Trek to Yomi is a fast-paced adventure that relies primarily on its dynamic cinematography and vibrant environments.
The story itself isn’t as interesting when it’s layered on top of these systems, but it still reaps the benefits of them. He begins his journey with a familiar trope of honour and defending his home from invaders, but then takes a supernatural turn that deviates from this well-worn path. This change has the potential to add something new to the genre while also allowing the filmmakers to explore Hiroki’s feelings of guilt and regret in a more extravagant manner. Trek to Yomi’s narrative can withstand a few slashes to the gut thanks to the surreal take on classic samurai clichés and great performances. Unfortunately, the brisk pacing means that most of it passes by too quickly and does not make much sense.
There are a lot of non-metaphorical slashes to the gut in the combat of the game. The most important part of fighting in many sword-based games is knowing when to block, hit, and dodge. Using your arsenal of moves to deflect killing blows and quickly countering to slice your opponents to ribbon can be a bloody dance at its best. While Trek to Yomi’s battles are rarely enjoyable due to a number of fundamental flaws, they are still enjoyable.
Blocking takes time, and the game’s pace slows when it’s time to parry, which can be distracting because it disrupts the game’s flow. While holding the block button, it’s also impossible to switch sides and this oddity leads to a lot of cheap hits. In combat and non-combat situations, Trek to Yomi sometimes does not respond to button inputs. Fortunately, the presence of numerous checkpoints and near-instantaneous loading mitigates the severity of these issues.
In terms of its melee mechanics, however, one of the biggest problems is its overpowered offensive moves. Stunned non-boss enemies in the game can be killed by pressing a simple three-button string at the beginning of the second level, which also allows for an execution that grants health.
In addition to that, the game offers players an even faster, easier combo with the same properties in the next level. Last swing is free and refills a large portion of the health bar if it hits. In fact, it’s so useful that using anything else becomes unnecessary, further reducing the intensity of the struggle. Just because the hacking animations are awkward doesn’t mean they’re any less of a problem than this fatal gameplay-related one.
As a result of the game’s gameplay flaws and the stunning lack of a chapter select feature, Trek to Yomi’s swordplay isn’t nearly as sharp as its visuals. Thanks to its cinematic flair, which it borrows from, uses purposefully, and diverges from when necessary, the presentation in this film cuts right to the chase. Yomi’s journey is not a straight one, but it is one well worth taking.
