This minimalism comes with a trade-off, though. To maintain a cinematic look, the entire game has virtually no menus or on-screen buttons, though you can pause the experience by tapping the screen with multiple fingers, and prompts pop up over character's heads to indicate that you're supposed to tap or tap and hold to perform an action that advances a scene. The pixel art in The Longest Road on Earth is gorgeous and has moments of animation that are magical. These aren't hammy songs that narrate what's happening or anything, but rather mood pieces, most of which felt like they connected me to the scene or set the emotional tone, though some didn't accomplish this at all and felt like a distraction. There is no other in-game audio beyond the game's soundtrack, and there's no written or spoken dialogue to distract you from listening intently to the songs that play during each scene. Most of your job in these scenes is to tap and drag on the screen to make your character walk and then tap on objects of interest to look at them or progress the scene forward.ĭuring all of this, Beícoli's music is your companion. You jump between small scenes with each character, some of whom connect in some way, and some of whom who don't. The Longest Road on Earth is a game that follows the lives of a handful of animal-headed people. In concept, I'm totally on board with all of this, but The Longest Road on Earth struggles to communicate with you as you play, which makes it somewhat difficult to stick with, even considering how short it is. It's a slow, monochromatic, and wordless adventure backed by a soundtrack by Beícoli. The Longest Road on Earth is a perfect example of why. I want to see more games that take risks, but I get why many don't.
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