Two warriors step forth on a wind-swept beach as the ocean spray from crashing waves coats the black-and-white battlefield. One samurai reaches for his sword, a hand frozen above its hilt, waiting for a reason to stir the blade from its bed. His opponent remains still, all but for a cape thrashing against unrelenting gusts. The sound of a muted, dissonant violin cuts through the howling sky, followed by the fluttering of a wooden flute.
and Takashi Miike. Their influence is apparent from the first swings of the sword. "Certainly creating a movie-like samurai experience was very high," Connell tells EW of the main drives for developing. "If you look back at a lot of the games Sucker Punch has made, they always tend to generally focus on some kind of core fantasy, if you will, whether it was a thief []. In this one, having it be a samurai felt like a good fit.
As for the combat, Connell notes how easily enemies fall in samurai moves. Often times one, decisive swing of a katana will freeze an adversary in their tracks before the pain of their severed limb takes hold and topples their body to the ground. Movements inmust be equally decisive lest Jin suffer a similar fate.
"If you read about the story of the actual historical invasion [of Tsushima], there's this idea that wind came threw and swept away the enemies," Connell mentions. So, wind will guide Jin to all these destinations, just as "Kurosawa uses wind at times" in his films, he notes. "Nature is a symbol for Jin's home," Connell continues. "He will sacrifice anything to save his home.
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