At the end of Mar
In Diluvion , the world as we know it is nothing but a faded memory, a victim of continual wars among men, punished for their greed and greed by a cataclysm called the Great Flood that has fallen many centuries back so much so that virtually the mem
ory is lost, and it has thrown our breed under the waves and under a thick impenetrable ice sheet. Disaster survivors have been forced to settle in floating settlements between the currents, made mainly of ferrous scrap and what remains of the times that were in a universe that for some sections remembers Waterworld even if, unlike the opera by Kevin Reynolds, there was n
othing left of the emerged lands.This is the world in which the player is dressed like a novice sailor, with his first submersible and with a gaming structure that pushes hard on the accelerator of the exploration . After the initial choice between three di
fferent media models and a handful of missions with the tutorial function, in a few moments it is clear how many game design choices tend to value all new discoveries, gratifying the player every time he comes across a new wreck worn on the bottom or in a sh
aky structure, secured by a few steel cables, to sell bottoms stolen from pirates that inflate the oceans. Diluvionit is an open world – although it is not very extensive and composed of three main areas – but, unlike what we have used in many modern productions, the map of the game is not prominent by indicators, there are no real signals that they indicate precisely the right direction to take to complete a goal. To get the best out of your
mind and guess the direction of the object to be retrieved or the outpost to discover, you have to listen to what the members of your crew are saying or to catch some spotted voice in a bar. Waving on the water, the icons of the most important places that have been discov
ered appear on the map, but in this case, the only true way to follow the right course is to rely on the compass that, when activated, appears at the foot of the submarine. These choices make the journey less guided, linear, and more fulfilling, but also have less pleasant ou
tcomes. First of all, the compass hologram is at least as intrusive as it does not create any major discomfort when moving in the narrower spaces or during the fighting, but it may cause some annoyance, even if it can be clicked. Se
condly, given the lack of real landmarks, it is not unusual to roam scattered in the sea and spend only a few minutes without being able to find the right direction, ending without even noticing in the same places, while the wreck from exploring lies who knows where t
hey are scattered in a corner of the map. the compass hologram is at least as intrusive and, if in the quietest moments does not create great discomfort, when moving in the narrower spaces or during fights, it generates some discomfort, even if it can be clicked. Secondly, given the lack of real landmar
ks, it is not unusual to roam scattered in the sea and spend only a few minutes without being able to find the right direction, ending without even noticing in the same places, while the wreck from exploring lies who knows where they are scattered in a corner of the map. the compass hologram is at least as intrusive and, if in the quietest moments does not create great discomfort, when moving in the narrower spaces or during fights, it generates some discomfort, e
ven if it can be clicked. Secondly, given the lack of real landmarks, it is not unusual to roam scattered in the sea and spend only a few minutes without being able to find the right direction, ending without even noticing in the same places, while the wreck from exploring lies who knows where they are scattered in a corner of the map.
