Summary
Upon commencing my writing of Tales of Kenzera: Zau, I was immediately struck with a lack of words. My natural inclination is to begin with some words of wisdom on the act of mourning, which is the agonizing process that lies at the core of Surgent Studios’ inaugural endeavor.
If I continue to search my mind for the ideal words to explain it, I will eventually come to terms with the fact that there is no such thing as a universal truth. Grief is a complicated feeling that causes individuals to stray down various roads in their journey through it. The fact that it is a trip is the one thing that remains constant about whatever it is.
Tales of Kenzera: Zau review
In Tales of Kenzera, a profoundly personal project that was produced following the demise of his father, Surgent Studios founder Abubakar Salim interprets the sensation using his own personal experiences.
The grief process that Salim went through is reimagined here as a highly detailed, two-dimensional Metroidvania that is rooted in Bantu culture and is full of both physical and mental fights. This method is not only a fantasy experience, but it also has a certain degree of honesty. How else can you put into words the feelings that sadness may bring that are completely out of this world?
Tales of Kenzera: Zau delivers a tale that has a profound influence on the player’s emotions, which is bolstered by clever design choices that provide a tangible sensation to feelings that are more abstract. Because of its fairly basic structure, it occasionally undermines the meandering story of acceptance, which is where its difficulties lie. Its approach to the Metroidvania genre is where it stumbles. It is a debut that is not flawless, but an imperfect debut is appropriate for a game that is about something as complex as loss.
Tales of Kenzera: Zau review: Path taken by the Shaman
In the beginning of Tales of Kenzera: Zau, there is a powerful framing story that serves to anchor the more extensive plot. The story starts in a city of the future, where a guy called Zuberi is taking care of the flat that belonged to his late father. In that location, he comes upon a book that recounts the story of a Shaman called Zau, whose past is similar to that of Zuberi. He, too, has suffered the loss of his father, but he is coping with it in his own unique manner. He embarks on a journey with the assistance of Kalunga, the God of Death, in order to bring his father back to life. That setting makes the premise of Tales of Kenzera crystal clear right from the beginning: Sadness is a narrative. Despite the fact that the stories of various people may seem to be different from one another, each one holds essential insight that we may acquire by listening to one another. One may compare it to discovering the lesson in a fairy tale.
The bigger picture of spirituality is not difficult to see
Due to the fact that it is an emotionally honest narrative that approaches its topic from a variety of perspectives, that premise is able to function as effectively as it does. It is evident that the project sprang from a place that was unfiltered and unrefined, even if you were unaware of the well-known source of inspiration that led to its creation. The phases of mourning are something that Zau and the other individuals he encounters during his trip all have to cope with. In the revival quest, one starts from a point of denial and bargaining and gradually works their way towards acceptance; however, the process of acceptance is not as rigorous as one would expect. The conclusion of Zau’s adventure is not yet completely written; it is up to him to take charge of the future.
Zau is the ideal protagonist for that fantasy tale. Because he is a flawed protagonist, he is allowed to be a mess that is relevant to the audience. In the beginning of his search, he is impulsive and self-centered. It is in the first chapter that he is shown pursuing a little girl who flees from him out of fear. Despite the fact that she is completely oblivious to her anxiety, Zau ends up slipping off a shaky bridge and being thrown down a series of waterfalls. It is not only a traditional video game distraction that is used to fill in the play time; rather, it is an opportunity for education. It is necessary for him to recover from his error and accept the fact that he inherently has a fault in his character. As he learns what it takes to be a spiritual healer, he becomes more resilient with each challenge that he overcomes.
The dynamic in question brings to light one aspect of Tales of Kenzera that is very impressive. Despite the fact that it addresses universal issues like loss, it is also a celebration of the culture of the Bantu people. This article investigates the precise manner in which the Bantu people cope with death, and it ties this into the narrative that Surgent Studios has created for itself. Despite the fact that we only see a tiny portion of the universe that is inhabited by a handful of individuals, it is not difficult to understand the bigger picture on a spiritual level. The way that Zuberi thinks about the death of his own father is influenced by the framing story that it comes from. We can only hope that gamers will also benefit from this expertise.
Tales of Kenzera: Zau review: Permit me to get disoriented
The developers of Tales of Kenzera, Surgent Studios, made it quite obvious that the choices they made for the game’s gameplay were not decided at random. According to Salim, the company decided to go with the Metroidvania genre since it is a representation of the path of dealing with loss. Players begin in a world that is foreign to them, and as they go through the game, they learn to get comfortable with it. Despite the fact that the theory does not always correspond with the implementation, it is a good notion that gives the genre a more meaningful feeling.
The level of difficulty in Tales of Kenzera is remarkably low in comparison to that of other games in the genre. The many biomes in the game are presented in a manner that is mostly linear, with a few brief detours along the route to acquire collected lore, trinkets that offer skills, and health enhancements that may be obtained by reflecting at a Baobab tree. Within each biome, there is just one entry and exit; biomes do not intertwine with one another or link at several locations. It is difficult to get disoriented, let alone to explore a great deal.
That strategy has both positive and negative aspects to it. This is a considerably simpler starting point for those individuals who find the complexity of the maze-like aspect of Metroidvanias to be frightening. It places a greater emphasis on the creation of platforming tasks and puzzles that are easy to understand and that are satisfying to solve. Whether you are climbing over tree branches or rushing between tree stumps that are properly positioned over hazardous water, there is a flowing thrill that comes with these activities. There is also some clever puzzle-solving added to traversal by a condensed set of additional skills. As soon as I am able to use an arrow to freeze water, I will have to utilize my intellect to freeze waterfalls, therefore transforming them into surfaces that I can wall jump out of. Players are able to quickly advance to the next plot beat because of the game’s fluid, quick, and easy-to-control mobility.
On the other hand, the amount of friction that was lost seems to be rather contradictory in relation to the emotional trip that the genre is attempting to mimic. I have never been in a situation where I had the impression that I did not comprehend the world that surrounds me. Rarely do I even come upon a route that is blocked by an ability that I have not yet discovered. In its place, I am able to navigate around every barrier by following a marker on a map that is clearly defined and making use of the abilities I have acquired from the leap. I have to complete a platforming gauntlet in order to accomplish several of the goals, such as locating keys that are required to unlock locked doors. After that, I have to go back through the whole gauntlet in order to return to where I started.
When compared to the standards of Metroidvania, everything seems a tad stiff and well defined.
My arsenal expands when I acquire the ability to launch myself off of grappling points or smash through walls that are obstructed, yet the environment does not become more accessible to me as I go further into exploration. It’s more like I’m playing a two-dimensional adventure game that’s linear and has a predetermined course. It does a fantastic job at providing that, but overall, it has a somewhat rigid and tightly defined feel to it when measured against Metroidvania norms. This mood does not lend itself well to the somewhat difficult path that is being taken.
In spite of the fact that the structure does not entirely correspond to the narrative, Surgent Studios is exceptional when it comes to the creation of 2.5D worlds that are highly detailed. Instead of relying on the typical elements of the genre, such as grassland, a hot cave, an ice world, and so on, Tales of Kenzera transports players to regions that have been more carefully crafted and each have their own distinct appearance and atmosphere. The Wanderer’s Path is a bright and sunny starting section specially designed for those who are just beginning their platforming journey. I am able to remain in my comfort zone since it is a secure place that reminds me of home. After some time has passed, I find myself in the much darker Wildwood, which is a dense woodland that is surrounded by concealed traps and has a misty background. As the originally arrogant Zau gets more vulnerable in his emotional journey, it seems more risky and unknown, which is a mirror to the grieving arc at the beginning of the story. I am aware of the depth that lies beyond those breathtaking views, despite the fact that I am investigating roads that are very limited.
Tales of Kenzera: Zau review: Utilized in combat
While combat does have its limits, it is beginning from a far firmer base than other forms of combat. The two masks that Zau can switch between on the fly are the focal point of his moveset. With the Sun mask, he is able to execute basic hack-and-slash combinations with a flaming twist, while with the Moon mask, he is able to shoot arrows from a distance. I have the ability to switch between those talents quickly in combat with the push of a button, which creates a fast-paced interaction between strikes that are long-range and assaults that are close-range. The aforementioned dynamic is referred to as a “dance” by Surgent Studios, and the concept is completely conveyed via the use of swift and balletic combat events.
There is a surprising level of intricacy to it all, which becomes increasingly apparent when Zau achieves greater levels of strength. By the time I reach the last few hours, I will be able to throw a spear at a flying creature, strike it with an ice shot to freeze it in place, launch a flurry of arrows at it, bash into it with my wall-smashing bash, and invest some spirit energy to hit it with a pillar of flame. That is excessive for a single foe, but the amount of self-expression that is shown here makes a system that seems to be straightforward feel somewhat more complicated.
This is the type of union between play and purpose that every studio ought to try to achieve.
The fact that there aren’t a lot of wonderful chances to show off is the one thing that is disappointing about this place. In Tales of Kenzera, there are a very limited number of creatures that reappear in arena-style combat that are dispersed over the area. The only additional twist is that some animals have elemental barriers that can only be broken by wearing the appropriate mask, but other than that, there is not much strategy involved outside of that. Thankfully, the journey has a short length of eight hours, which is commensurate with its very modest scope.
There are a few places in which I get the impression that Tales of Kenzera is a debut game, but there are other places where I get the impression that Surgent Studios is already more experienced than its years. Both the combat and mobility are very fluid, reaching a level that is comparable to that of far more ambitious undertakings such as Prince of Persia: The Lost Crown. On the other hand, what is more noteworthy is the fact that nothing in this place seems to be entertaining for the purpose of being fun. Each and every choice is connected to either the research on the subject, the grieving process, or the homage to the Bantu culture. This is the type of combination between play and meaning that every studio ought to aspire for, from a memorable soundtrack that draws on African heritage to biomes that are loaded with traps that are supposed to induce worry.
By the time I reach the conclusion of Tales of Kenzera, I have arrived at the appropriate destination, despite the fact that the adventure does not always match its own journey as powerfully as it might. When I finally reach the last task, I get the distinct impression that I have finally arrived at my full potential. I am able to effortlessly navigate through the platforming challenges and easily defeat the final boss. As a result of his voyage, I am left with the impression that the arrogant and careless Zau has really matured. He has not only acquired the ability to come to terms with the passing of his Baba, but he has also acquired the fortitude to go on and develop into his own as a Shaman. In addition to being a solemn meditation on loss, it is also a story that serves as a vital coming-of-age story. When one chapter comes to a close, another one starts. Even when it seems as if their journey has reached its climax, Tales of Kenzera encourages its players to keep flipping the pages of the game.
Story of Kenzera: Zau was tested on both the personal computer and Steam Deck.
