If the world you’re in is big enough, it’s a pain to reach places, which necessitates warp points-sites that instantly transport you elsewhere. Like in Zelda games, you can choose to wander around or complete specific missions. Gravity Rush allows you complete control over the growth of your powers, but by doing so loses some of the magic of play, and the mystery of magical realism. The status bar that displays the progression of each ability has a definite “full” point. While it feels nice to level up how long I can stay in the air before leveling up my health bar, using my hard-won gems, these levels also indicate the abilities’ limits, and by extension the game’s limits. As an action role-playing game-where your character levels up her abilities to more successfully combat enemies- Gravity Rush is based on fairly predictable systems. Gravity Rush has the trappings of a magical realist work, but as a game is far more rule-bound than a novel.īut Gravity Rush lacks the feeling of mystery that magical realist works commonly evoke, because its gameplay fits squarely in genre territory. This gives a sense of being in another world without the alienation of actually being there. The peaked roofs, wrought-iron fences, and school uniforms, meanwhile, are straight out of a period piece.
The French-inspired fantasy language and mysterious enemies, and the comic-book pages that illustrate Kat’s origin, take the player to another world. Although her special powers set her apart from regular townspeople, everyone seems to accept them, and the game never explains how Kat came to lose her memories. She can walk up and underneath buildings while the rest of the characters are limited to their sidewalks and trains. Gravity Rush’s protagonist, Kat, fell from the sky and can’t remember where she came from. Strange phone calls, dream walkers, and spirit realms feature prominently in Murakami’s works. Magical realism accepts strange occurrences as part of daily life. And walking beneath an island to find gems in nooks and crannies gives a thrill of discovery in places no one else could reach. Technically you’re falling, but it feels more like flying. Play long enough and you’ll find regular life dizzying. Push a button and you’ll fall push again and you float until you can decide which direction to go next. You control gravity by floating and pointing your PlayStation Vita screen the direction you want to travel. Gravity Rush has the trappings of a magical realist work, but as a game is far more rule-bound than a novel. Mastro is represented by WME, Media Talent Group and Hansen, Jacobson, Teller Jerome by Entertainment 360 and Lichter, Grossman, Nichols.It’s a plot straight out of a Haruki Murakami novel: You and your magical cat go through portals inside the dilapidated Creator’s belly to bring together an archipelago of floating islands and recover memories about your origin. Based on a true story, the thriller currently in active development spotlights a drug ring bust at a Charleston, South Carolina college, as a means of examining the darkness at the heart of America’s fraternity culture. The writer, venturing into the arena of large-scale worldbuilding with Gravity Rush, was also tapped earlier this year by Sony to adapt journalist Max Marshall’s upcoming investigative memoir Among the Bros, which is set for publication by HarperCollins.
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Jerome is an up-and-coming screenwriter who made the 2017 Black List with her thriller script Panopticon, which Scott Free last year came aboard to develop alongside the scribe.
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The director has also previously brought her talents to such series as The Rookie, L.A.’s Finest, In the Dark, The Bold Type, Star, Runaways, UnREAL, Shameless, Jane the Virgin and Gossip Girl, among others, most recently mounting two episodes of Netflix’s series Echoes with Michelle Monaghan. On the feature side, Mastro most recently helmed and co-exec produced Disney+’s Secret Society of Second Born Royals, which was released in the U.S.
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