![]() ![]() The result is a setting that encapsulates the game’s fiction-vast and unknowable, almost entirely divorced from the markers of the world we inhabit. Grounds the vastness of a fantasy world through the pages of a book The land is filled instead with organic-looking structures-bridges and shrines constructed from the bones of long-dead giants and occasional houses thrown together from piles of fungus or sculpted into the sides of rock formations like an otherworldly version of the carved cliffs of Jordan’s lost city of Petra. There are no stony castle towns or villages full of thatch-roofed, wattle and daub homes. In place of the Western European mythology and pseudo-Dark Ages architecture that defines so much of the genre, it draws instead from a less familiar well. A strange geography of brightly coloured hills, swamps, and mountains is revealed bit by bit throughout the game’s opening hours, new screens charting the topography of a land whose history and culture is, at first, illegible. Set in a vast wasteland called the Downside, the world stretches outward for what seems an infinity. Nothing in Supergiant Games’ Pyre looks familiar. ![]()
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