"Mosaic" review: I don't want to go to work after playing

Mosaic is probably the opposite of Florence. Both of them wrote stories about people in the way of games, but the difference was that Florence was written in detail. Its object was an individual -- a young girl trapped in love and work. Her life was plain and full of troubles, but she found something beautiful in the story that was easy to be ignored by ordinary people. Can also make people feel warm and sweet.

"Mosaic" leaves out some details, it is ambitious, uses many surreal methods, and sets up a ridiculous and bizarre image. Although its hero is an individual, dazed and dazed every day, everything around him is defined by precise numbers and strict standards of percentages, and these numbers are cold and impersonal.

However, on the whole, the protagonist is more symbolic than the girl in Florence. He has lost those simple little details in his life, and what remains is just a shell held up by a solid black suit. And what stood against him became the machinery of a vast, seemingly unstoppable upper class.

For a simple example, the design of many plots in "Mosaic" is just like a building transformed into a rocket and left the land in Jia Zhangke's film "Three Gorges Man", which is the process of releasing the suppressed emotions in the heart to the greatest extent with things beyond reality.

The imagery in "Mosaic" is not difficult to understand, after all, it is a game, and in order to guide the player's actions, the producers have not set too many difficult things to understand. There are some clear challenges for the player in the game, which are also for the service of expression and are not difficult. From this point of view, perhaps we can also call Mosaic a "walking simulator", or more accurately, a "Magic animal simulator".

Mosaic's timeline is set in the future, in a society that is already highly programmed, or programmed, to take over people's lives 24 hours a day. The protagonist is not surrounded by monitors in the streets and corners of the room like in 1984, but from the beginning of the morning, the protagonist has been living under the urge of mobile phone data.

What gives the hero the power to dress and wash is the warning of "late deduction" that stays at the top of the mobile phone message forever, and the only thing that can give the hero comfort is the warning of buying pills sent by the system when the hero is depressed and his work efficiency declines. The value created for the work is the value of the hero, and following the huge flow of people into the office is the way the hero reflects the value, and many times, this is the only correct path in the game.

Things you can't control are everywhere. In "Mosaic," anything the protagonist can do to distinguish himself from a caged animal can be done on a glowing cell phone. This piece of metal has no personality, the inner lines are simple, a few black and white lines constitute the protagonist's amusement panel. Several apps in the mobile phone are also the products of some functions simplified to the extreme, which can only be used for people to kill time, rather than to seek self-realization.

Just like one of the apps that contains the function of "speculation", no matter the player buys and sells, the curve that is tied to the leek's fortune will not be as desired, just like being artificially controlled, only occasionally giving a small profit, and the rest of the time, it is not covered. Other ways to pay off the phone bill are blocked, and the only way for players to have a living support account is to be warned day after day "late", to get on the subway after washing, to follow the flow of people into the faded office building, and to spend time with the computer screen.

One thing is very commendable, although the setting of "Mosaic" tells the story of the protagonist in the huge machine awakening day by day, but in the content arrangement, "Mosaic" almost no player to repeat the experience of things, those daily two points and one line of things, in the middle and late period either by "Mosaic" cut off, or made imaginative surreal expression. On the whole, it takes more than 3 hours to clear the "Mosaic", which may disappoint many players, but in terms of content, "Mosaic" has maintained an excellent rhythm throughout, and the experience gained by players will be quite excellent.

The usual tone of "Mosaic" and Chen Xinghan's "Sky Light Encounter" are probably two extremes. Everything in "Mosaic" seems particularly grey and lifeless. The protagonist walks on the street, even if the sky is not raining, there will be no eye-burning light around, gray seems to be born, and the player dialogue is only left with a bright blue machine. Players can't resist the flow of people, and they can't avoid being crushed into a pile of cargo by larger humans, and then sent to the conveyor belt, becoming square, becoming regular.

To give "Mosaic" art a straightforward evaluation, that is, many of its scenes can be taken down as wallpaper, as long as you don't think it is too depressing.

Players can easily find resonance in Mosaic, which depicts an overly utilitarian way of life caused by advances in technology and productivity. But the resonance is not particularly deep, because "Mosaic" is not the kind of representation that objectively records details from a third-party perspective. "Mosaic" is a kind of re-creation, with exaggerated and artistic methods to describe a common predicament of young people. However, from the point of view of the game, "Mosaic" this fictional approach will indeed be more suitable for the game, after all, the original intention of players to start a game is to entertain, rather than really to find what spiritual comfort.