Review of Ni No Kuni: Wrath of the White Witch

Fortunately, the world did not end, so we can play Ni No Kuni The Threat of the Witch Cinerea, at least in the West, because Japan is already out for several months. Disconnect the decoder so that the silent cacophony of political forums, disinteressatevi because it is a form of protest. If certain items are not listening are forced to remain silent so that other, better, first silent, can be heard, including our own.

Videogiocate Ni No Kuni if ​​you can, it takes fifty hours, not even the time it takes to complete a short internship underpaid, free or paid which then leaves you unemployed as before. We all need a big and beautiful, fairy tale like the one that says this game there are so few stories that transcend age of those who live in the soul and leave him richer and wiser, because they speak the best that humanity in us.

After Ni No Kuni will not change your life: the crisis will bite your ankles and even the future appears dark because we live under the rule of the Nazgul. But - sweet as a balm of Kundry, painful as an adagio of Schubert, funny as a joke of Mickey Mouse, as beautiful as the last day of school and the promise of the holidays - Ni No Kuni will amaze you. And wonder is good for your health, our psyche and of those we love, it is the perfect antidote to the squalor and hypocrisy that force us to live. The wonder is not taught to ignore, teaches to think, to love and fight.

Born from an idea by Toshio Suzuki, a producer of almost all the works of Hayao Miyazaki's animated, Ni No Kuni combines visual imagery and poetic art of Studio Ghibli videogame programmers Level 5. This is one of those rare and wondrous alchemy between talents that give life to works of rare beauty and depth, as was the case with the collaboration between Shigeru Miyamoto and Squaresoft Super Mario RPG: Legend of The Seven Stars or the meeting between Kato Masato, Hironobu Skaguchi, Tetsuya Takahashi and Akira Toriyama for Chrono Trigger.

Hayao Miyazaki, who does not like video games, has not worked on the project (design is better than his new film, which is not too much admire his dreams), but there are many Totoro studio artists who have lent their genius to Ni No Kuni. Among these was Joe Hisaishi, who composed a soundtrack that flies like a bird magic between the lights and shadows of the forest of wonderful images and stories of this precious Japanese role-playing game.

The journey begins in a world that resembles ours, Motor City, a Turin or Detroit in key fantasized manga where the whole economy, aesthetics and desires revolve around industrial engines. Little Oliver runs away at night, while the mother sleeps, to drive the prototype car of a friend. But a horrible accident happens, the tragedy is lurking and the only hope lies in another world and a puppet that comes to life.

Memories of The Talisman by Stephen King and Peter Straub, sublimation between gameplay and Pokemon Tales Of, reminiscences miyazakiane, eco Final Fantasy and poetry to Lunar Silver Star Story: Ni No Kuni mixture of this and more at the same time varied and invents with delight and gravity.

The gamer is absorbed into the mother of all the fairies and born a second time, is not a metaphor, at some point during the game, really happens and is one of the most lyrical, funny and philosophical questions that I have lived with the controller in hand.

Flaubert was wrong when he wrote that "everything passes, everything dies and the human heart forgets." Good stories, whether real or imagined, never fall into oblivion.