The design makes ingenious use of different kinds of movement and pacing through its different modes, at one point calling upon you to hurtle around a black hole, then move at nearly imperceptible speeds through a seemingly impossible-to-traverse petri dish of massive particles. To me, there’s something happening to the zeitgeist, perhaps a renewed awareness of cosmic (micro- or macroscopic) being, and of movement that draws on free-floating physics.Įven amongst a wave of games in this mode,when you actually play Osmos, you realize that it is something different and special. The move from “shoot stuff” to “move” or “eat” seems to be rising in popularity, with games like fl0w and Spore’s initial “cell stage” encouraging nonviolent navigation. By carefully navigating, applying just the right vector force to move through the shifting landscape, you merge with other particles and escape to safety. In the game Osmos, you become a mysterious particle, floating amongst gravity wells in various fields of material. Space shooters with pounding electronic beats behind them have cleared some of the way. But with the blank canvas of three different media before you, what form should that fusion take? Musicians and artists now have the power to fuse visuals, sound, and interaction, to make a spectacle, an album, and a game all at once.
You’ll want superb music on loop, because it may … take some time to get out of this puzzle.
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