FE Exam Review Civil Engineering Hydraulics, Hydrology, and Fluid Mechanics Cary Troy, Lyles School of Civil Engineering February 11, 2015.
Fe is a painterly, much-ballyhooed exploration game set in a wondrous fantasy world. It’s clearly inspired by the ancient woodlands of developer Zoink’s native Sweden, delivering a world of echoing oaks and creaking roots, swamp creatures and majestic stags.
Update: This review-in-progress is now a full review. Some text has been updated and it has been given a final score.
It’s a picturesque exploration game that feels like a poet’s idea of a 3D platformer, one that’s significantly classier and more subtle than the cartoonish efforts we’ve often seen in this genre.
And yet it also defies this genre categorization, incorporating elements from many different gaming cultures. Fe manages to pull together influences from cartoon platformers as well as from arty narrative games. It plays with stealth and RPG-like progressions to create an exploration into a fairy tale, where the tasks are fun and engaging, but they mean less than the stirring world around them.
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Set in a dense woodland, Fe first presents itself as a Journey-esque game. Like Journey, it centers on a mysterious, whimsical character in a strange world. Weird hieroglyphs, giants and ruins abound. I commune with other creatures using sound and symbols. A mournful cello soundtrack grinds its sad song.
Then the game morphs into a fancy 3D platformer in which I bounce over rocks and swim through rivers and climb mountain ledges, looking for gems and upgrading my powers through quests and challenges. There are even little bomblike blob thingies that I can pick up and throw at obstacles.
Fe actively wants me to feel lost and confused
Unlike most 3D platform games, Fe refuses to grab me by the shoulders and point me in any particular direction. It doesn’t indicate what I ought to actually be doing. It just lets me wander around its pretty gardens. Frankly, the first few hours of the game can feel confusing and even frustrating, as I try to comprehend its inner workings.
But in those wanderings, I come to a creeping understanding: that Fe actively wants me to feel lost and confused. Yes, there are a map and mechanics in place to help me find my path, but I feel the game urging me to experience a sense of wonder in its pretty world — and a sense of apprehension and dread as well. I start to feel like Little Red Riding Hood, tripping on roots and falling into ditches.
Once I connect to this spirit of exploration, of looking and experiencing rather than merely conquering, the game gifts me with a sense of liberty. I’m soon cooing with pleasure as the world peels away its secrets.
Fe stars a creature who reminds me slightly of the scamp from the movie Lilo & Stitch. It’s a prickly little thing with no particular abilities, save for a great tolerance for falling from enormous heights. The beginning of the game suggests the critter has come here from another planet.
Our hero encounters other creatures. I sing to the creatures, and they become my friends. Sometimes they offer favors that open up new ways to overcome obstacles. Different creatures sing in different languages. I learn those symbolic languages along the way, unlocking new powers that unlock new parts of the map. Language acts as a puzzle mechanic, but it’s also important to the game’s unfolding story.
A constantly shifting landscape of color and shape
The forests are inhabited by fearsome robots that capture animals for dastardly ends. I do not fight them, at least not directly, but I can confound them with the help of other animals, or by liberal use of stealth. (In this world, my porcupine-like back is similar in appearance to a common bush.)
Pretty soon I can soar among treetops, glide from one rock face to another, ride the strong upward currents of strange flowers and cadge rides on the backs of eagles.
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As I come across runes, gems and other fantasy paraphernalia, the world’s mysteries are uncovered. A narrative emerges. But it’s the world itself that provides the most pleasure, a constantly shifting landscape of color and shape that invites conquest of its heights and exploration of its depths. Its clever design obscures a fairly linear path by creating the illusion of freedom.
Larger missions come and go, generally involving the freeing of creatures who are at the mercy of the robots.
Yes, there are irritations. As is often the case with highly vertical 3D games, a wrong step sets me back, falling miles and miles to a place long since left behind. This can be frustrating, especially in later sections of the game, when multi-jump challenges spike and there’s an occasional challenge when pixel-perfect leaps are mandatory.
None of this takes away from a magical feeling, especially when I’m gliding through the world, making use of skills acquired along the war.
The world and its inhabitants come to feel as one. This is a fairy tale, grounded in the confidence of its own environment. I come to feel a bond with my surroundings, and with the beings I befriend along the way, a kind of kinship.
Fe is a magical, expansive and multi-hued world
They are designed to be wooed and to be loved, to be treated as individuals. I have no resistance to their charms. I become a part of the scenery, perhaps even part of the family — and this, perhaps, is the game’s great strength. It’s a fantasy that envelops me. Like the great trees that tower over this world, it entwines its roots and branches around me, squeezing out any thought of escape.
As the game reaches a grand finale, I’m left with the satisfying knowledge that there is still much to explore, winkling out hidden gems and secrets. It’s one of those games that works for those who are happy sticking to the main quest, as well as completionists who want to see and collect everything. Some of the gem-collection challenges take practice and patience, but they are not required to complete the game.
Fe is a magical, expansive and multi-hued world that creates a sense of marvel. Like a real-life walk in the woods, it is a thing of elemental beauty that demands to be inhaled and admired.
Our review of Fe
- PlatformWin, PS4, Xbox One, Nintendo Switch
- PublisherElectronic Arts
- Release DateFeb 16, 2018
- DeveloperZoink Games
Scores per platform:
- 8.5 Win
- 8.5 PS4
- 8.5 Xbox One
- 8.5 Nintendo Switch
Fe was reviewed using a final “retail” Steam download code provided by Electronic Arts. You can find additional information about Polygon’s ethics policy here.
Fe is, I’m so pleased to report, utterly wonderful. I’ve no idea how to say it, whether it’s “Fee”, “Fey”, or maybe even “Iron”? It matters not. It is, perhaps, the most beautiful game I’ve ever seen. And playing it, swooping, running and leaping about in its world, has been a complete delight. And continues to be, even after I’ve ostensibly finished it. Here’s wot I think.
I wasn’t quite sure at the start. Fe is immediately beautiful. Strikingly so, the sort of game where I’ve felt more like I’m taking pictures of stunning sunsets than screenshots for a review. (It holds the highest acclaim of being the first game to bump Firewatch from my desktop backgrounds since early 2016.) As you move your astoundingly animated creature – part porcupine, part badger, maybe? – through the luscious woodlands and vistas, the atmosphere changes colour around you, creatures teem in its vivid and luscious environments, plants and water shimmer around you. Look, it’s bloody gorgeous.
The next thing you’ll notice is that movement is a real pleasure too. Your character, let’s call him Fe for the sake of trying to make sense of the wordless game’s name, scampers and jumps in an immediately gratifying fashion, feeling free and agile from the start. So there you are, there the world is, and… oh.
This was the source of my hesitation. As a consequence of Fe’s desire to be open and ambiguous in its presentation, it’s also surprisingly directionless in its opening moments. I love freedom and open worlds, but I always feel a bit overwhelmed, almost agoraphobic, when there’s not even a given reason for going anywhere. The moment is brief, and soon I found a creature to chase through the countryside, to see where it was going, and then in a moment of unbridled madness, decided I liked the look of something that caught my eye in a different direction, and diverged. And from that moment on I understood that playing Fe was going to be that splendid combination of knowing there was something I was supposed to be doing, and enjoying not quite getting around to it yet.
Fe is about exploring, discovering, and singing. Singing! Your little guy, with a squeeze of a controller trigger, lets out a sort of caterwauling sound, louder and more intense the harder you squeeze. Experiment with it and you soon learn you can use it to communicate with flora and fauna in the world. And how is simply wonderful. By the pressure you put on the trigger, you tune in to the correct frequency to successfully talk to an animal or plant, until eventually orbs of light are transferred between you. With a plant this might trigger it to unleash spores that create sproingy platforms. With an animal, it befriends them and allows you to work together with the creatures of this Nordic idyll. Communicate with an adult creature – ie. a giant thing – and it’ll teach you its own language, adding to Fe’s vocabulary and allowing her to interact further, communicate with more plants, and take advantage of their boosts to her movement.
Fe eventually explains that your next goal is marked on its map, and then straight away tells you it can be switched off if you don’t want to know. I left it on, because it’s a big world and I felt happy meandering toward the intended direction in my own time. Convert ppt to pdf without changing font. As you follow its trail, you expand your sung vocabulary, and as such your range of abilities. And in this sense there’s a little bit of metroidvania to the third-person action world. However, not in the sense that you constantly find walls you can’t get past yet – but rather you realise that if you go back to where you’ve been before, there’ll now be so much more to do.
The other thing that confused me at first was my search for the attack button. There isn’t one. And you aren’t going to get one. Fe isn’t a world without threat – in fact, for some sections there’s enormous danger. But you aren’t going to whack it to make it go away. The Silent Ones (a name I only learned from reading the game’s sales blurb – it’s not mentioned in the game) are a group of creatures who seem to be up to some sort of dreadful business, capturing creatures and plants in their organic cages, and trying to corrupt some of the world’s most beautiful creatures. You, as you potter about, almost inadvertently thwart their malevolent machinations, but will need to keep out of their line of sight to stay safe. That’s relatively simple, with bushes to hide in, but offers a welcome stealth-aspect that only occasionally breaks up the free roaming.
It’s a simple game, it isn’t going to offer challenge, but that’s rather the point of its existence. It’s something to enjoy being within, and when something’s as sumptuous as this, that’s enough.
This is all going somewhere, the ambiguous story further hinted at by occasional peculiar playable flashbacks, where you are seemingly seeing through the eyes of one of the Silent Ones. To be honest, while I thought I was getting to grips with what it was all about, by the time I’d finished the scripted events and the credits rolled (over the top of the game as I carried on playing, very clearly flagging that it intended me to keep enjoying and exploring the world, finding all the very many undiscovered collectibles), I realised I hadn’t the faintest idea what had happened. It’s notable that this really didn’t matter much. This is a game much more about reveling in the intense beauty and ridiculous pleasure of movement than worrying too much about anyone’s motivations.
And indeed it’s a game about relationships. The way you bond with creatures, gain trust, find symbiotic advantages, is completely compelling. That the absence of combat feels like no absence at all is also testament to just how superbly complete it all feels, how rewarding is its exploration.
That’s all escalated further by the music. Haunting and perfect cello, viola and violin create a joyous score, shifting tone and pace depending upon the environment and circumstances. It’s quite the thing to walk between two cliffs, and see the world around you almost imperceptibly shift from hues of blue and purple to pink and yellow, while the music soars about you.
This is Fe throughout, a truly beautiful game, uplifting, gorgeous and alive.
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Fe is out today on Windows, for £18, via Origin only.
Post Script: All of this makes EA’s decision to pointlessly and inanely restrict this game to their barely used and less wanted bespoke online store, Origin, an act of self-sabotage and vandalism. This is the sort of game that would thrive on broadly used services like Steam, GOG, Humble and Itch, where audiences are likely to explore for new games, receive recommendations, and see what their friends are playing. Precisely seven people worldwide use Origin in this way, most begrudgingly opening it only when they want to play the previous game EA mindlessly undermined by restricting it to their vanity store.
This allows EA to charge utterly disgraceful amounts for their games on PC, like £55 for something as bland as Need For Speed Payback, removing any possibility of market competition or just the plain awkwardness of their mediocre games costing £20 more than everything else on Steam. But when it comes to a smaller, independent, relatively unknown (Zombie Vikings? Anyone?) game developer like Zoink!, it ensures the game’s massive disadvantage on PC. Not only that they’re charging £17 for a game that would fly off of Steam/Humble at a tenner, but putting it on a store that is never browsed.
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Fortunately for Fe’s sake, it’s receiving a cross-platform release, and hopefully will find its audience through PlayStation, Xbox and Switch. But the PC build will receive a fraction of the sales it deserves, at the hands of the hubris of its publisher.