In the floating city of Hekseville, a girl wakes up in a park with no memory of herself or what has happened to her. Next to her, there is an otherwordly cat that she follows until she comes across a Gravity Storm, which is ravaging a family’s home. With this event, she finds out that the cat gives her the ability to shift the direction of gravity at will, and she uses these powers to save their home and fight the Nevi, which are hostile otherwordly beings that emerge from gravity storms.
After this, she embarks on a journey to find out about herself and fulfill the path that has been laid out for her.
Gravity Rush is a saga that defies expectations, and embraces a form of storytelling not quite seen often in videogames. It is a tightly knit narrative that feels constructed and planned from the very beginning, where any element of each game reference the other, creating a work that while experienced as a whole, feels truly immersive and captivating up to the very end.
It’s a modern epic; a tale of reluctant heroes with strong spirits choosing not to give up against the adversities of their world and avoiding their untimely demise through work and eventual sacrifice. Shaping the world along the way of their journey and forming bonds that will prove essential to fulfilling their destiny.
Its nature as a two-part narrative is one of the most captivating aspects of Gravity Rush, which makes it so that the flaws of one game are complimented by the strengths of the other. It never really feels like you’re experiencing one given thing, but the master work of a single person who envisioned a narrative of epic scale and strong emotion. Everything that is set up in one game is then resolved and paid off in the second, and this symbiosis between the two titles make the experience of playing them both sequentially worth more than just the sum of its parts.
And all of this started with the release of Gravity Rush for the PSVITA on 2012, a small project that miraculously stood out against a competition of juggernauts due to its specific charm and design, as well as being well beloved by its fans despite its shortcomings.
One of the definite aspects that contribute to Gravity Rush’s charm is its art direction, taking a cue from French comics as well as impressionist paintings. The game boasts a city that looks surreal, fantastical and almost dream-like, as well as the multilayered layout of Hekseville which complements the game’s gravitational focus very well, with tall skyscrapers on top that the player can walk on, as well as slums and train stations on the bottom. This layout makes it so that exploring the city is a process that makes full use of Kat’s ablitiies as a shifter.
What definitely helps pull this artstyle off is the game’s impressive shaders, which give each character a cel-shaded look that helps mask the little detail there is on textures due to the VITA’s graphical limitations. Aside from characters, the environments of the game stay true to their comic inspirations with simple lightning, and paint a picture that’s honestly impressive for the console it is on thanks to the level of detail they present.
Aside from featuring a very well designed setting, Gravity Rush also impresses with its character designs and the attention given to the design of each and every single character that makes an appearance. The designs are appealing to the eye and fit the context of the setting very well, as well as being memorable for each player. This is no better exemplified than the game’s main protagonist Kat, whose’s design is not only cute but versatile as well, allowing the character to fulfill each role she’s been assigned to.
Visuals aside, the soundtrack of Gravity Rush helps convey a lot of the energy and character of both the setting and the plot. Composed by Kohei Tanaka, the game’s soundtrack opts for a full orchestra for most of its tracks, which leads to a soundtrack that ripe with enthusiasm and features unique and memorable tracks that pertain to certain scenes or characters in the game, as well others that become so iconic that they become a constant throughout the franchise itself, such a “Discovery of Gravitation” or Raven’s theme.
That is not to say of course that all tracks maintain such a high level of quality, for Gravity Rush’s soundtrack has plenty of lows that don’t exactly make up for its highs. This means that the game features many tracks which simply blend in to the background and don’t truly stand out on their own, or they simply don’t give the appropriate scene the intensity or energy it deserves in context, such as the Final Boss of the game.
The game is also presented in a very conservative way that perfectly circumvents the limitations of the system. Instead of animated cutscenes, Gravity Rush presents its story through dialogue boxes and illustrated comic panels that can change perspective with the VITA’s gyroscope, with the dialogue boxes mostly containing gorgeous artwork and the illustrated comic panels giving the game a unique feel and polish not seen with its competitors, though it does show a bit of awkwardness at times. Gravity Rush also features a very appealing user interface which definitely shows the game’s comic book inspiration as well as working very well with the PSVITA’s touch controls.
Aesthetic uniqueness aside, the world and lore of Gravity Rush is also incredibly dense and creative. The world operates on the idea of a world divided into three realms: the underworld, close to the Edge of the World; the overworld, which is where the city of Hekseville is; and the heavens, where the kingdom of Eto resides. Time flows differently in each part of the world due to a black hole at the bottom which dilates whatever time is closest to it. This makes it so that the lower parts of the world experience time much faster than the topmost parts. This concept is genius as it incorporates real-life science, which is also related to gravity itself, and uses it to great effect in the narrative, playing off of the differences in time between the different realms.
The three realms are also well defined by the game’s plot and art design, showing their different cultures and technologies with great detail, allowing the world of Gravity Rush to feel persistent and ever developing. Even with small details, such as characters speaking in a language unique to the Gravity Rush universe, the setting of the game manages to stand out and become memorable.
The world as a whole also shares a cast of Creator-like entities with a lot of mystery behind their powers, intentions and motivations, creating a lot of intrigue when it comes to the inner workings of its own universe. Their actions throughout the plot make way for plenty of theories about the origins of the world and its destination. This level of intrigue keeps the world of Gravity Rush interesting and believable for players who are willing to look deep into it.
In general, one of the biggest strengths of the first game’s writing is the aforementioned attention to detail. Very akin to Keiichiro Toyama’s directorial debut, Silent Hill, the plot of Gravity Rush relies heavily on clever and subtle bits of foreshadowing that have great impact on the plot of not only the first installment, but the second as well. At any given point in the game, a character might say a line that hints at a revelation or a plot point further on along the story, and to fully understand what the game is trying to tell the player, one must look for all the puzzle pieces scattered throughout.
Unlike the first Silent Hill though, all of these puzzle pieces don’t really affect the main chunk or emotional arc of the narrative, presenting a work that can be accessible, but also presents enough of a challenge for those who want the best understanding of the world and characters of this universe.
The narrative it presents can be rather intriguing, but most importantly, it can give off a genuine charm, mostly due to its characters which invest the player in their journeys and development. This is not exemplified any better than the game’s main protagonist Kat, the cheerful and optimistic, yet clumsy and naive main protagonist who always does what she thinks is right. She is a very easy character to relate to because of her failures, but also enjoyable and likable since she always stands up and maintains a cheerful attitude. Other characters are memorable too, such as the lazy detective Syd, who guides Kat on her quest with loyalty and determination; or the Gravity Shifter Raven, who starts off hating Kat, but comes to appreciate her because of their shared values.
The biggest drawback to this is that the plot of the first Gravity Rush cannot and does not stand on its own merit. When played for the first time, without any knowledge of the events of the sequel, what the player is left with is a confused mess of a narrative that sets up more questions than it actually answers. The thread of the narrative has no goal and no end point in sight, instead focusing on several arcs at a time that have little to no relevance to the plot in any way nor do they provide the player with a satisfying payoff. Villains show up at the later parts of the story with no build up to their arrival, but are also gone before the player can become accustomed with their presence, making them utterly forgettable and bland.
The plot of the first Gravity Rush tends to fall for this a whole lot, setting up an interesting premise only to disappoint you with an underwhelming resolution. Most arcs tend to flow this way because of the game’s awkwardly fast pacing, which jumps from one arc to the next without letting the theme or the feel of either of them sink in, while also keeping most of the player or the villain’s motivations in the dark for no apparent reason. It’s how the plot jumps from the Crystal Thief Alias, to recovering lost parts of the city, to Mayor D’nelica’s authoritarian control over the city; all without giving any proper background or arc to follow to make any of these meaningful, with plot details left unanswered even in its follow up.
The plot and pacing of the first game is riddled with this case of attention deficit, where it can’t focus on a single plot-line without getting distracted with something else, making it very difficult for it to wrap up its arcs in a satisfying way, but it still manages to set up very important elements that are continued in the sequel as well as laying the groundwork for the world, themes and gameplay.
The gameplay of Gravity Rush is very unique, for it revolves around shifting the direction of gravity to any point of the player’s axis of movement. This makes it so that all of the three dimensions of the world in Gravity Rush are utilized at all times, meaning that every wall, ceiling or floor can be a walkable surface and the player can fall on whatever direction they please. The game also gives the player other abilities that will make traversing the world easier, such as the Gravity Slide, which allows the player to slide through any surface.
When not traversing the overworld, the player will fight Nevi by using their gravity maneuvers to their full advantage as well as a combination of normal attacks and special abilities. The player can also pick up debris in the field that they can throw at the enemies or carry around to an objective. The combat mostly works well enough, while the movements of the player are versatile and allow for many clever tricks to be pulled off, it still mostly lacks depth and the same strategy of “hit the enemy weak spot until its dead” can be applied to almost every enemy.
Aside from that, the game simply doesn’t control smoothly, like every action requiring a moment of cooldown before another one can be performed, leading to gameplay that is not very fluid. The PSVITA’s stubby analog stick doesn’t help making movement feel any better, as well as moving the camera.
The combat can pay off rather nicely during the game’s boss fights though, which have a rather impressive scale for the PSVITA and mostly make the player utilize their gravity shifting powers in creative ways to get the best outcome in a battle, as well as being accompanied by the game’s best pieces of music overall.
Another issue with the combat though, comes from the game’s camera, which moves very slowly, doesn’t focus on what the player is paying attention to and is often imprecise when controlled with the Right Analog, which makes the player want to use the PSVITA’s gyroscope for fine tuning, but with the lack of a camera reset button, the player will have to hold the VITA at odd or uncomfortable angles to control Kat in any precise manner. Unrelated to the camera is how hard the game’s Stasis Field is to use, which is an ability that allows Kat to pick up and throw objects. The difficulty comes because of how objects are picked up in a radius around Kat, which can be very cumbersome when it comes to actually being at a range of the objects the player really wants to pick up.’
This kind of impreciseness extends to the game’s movement controls, making a character that feels incredibly clumsy to control and rarely ever performs the action she was meant to in a skillful manner. This is due in part because of the aforementioned delay between actions, the poor camera and also because of how little control there is of the character in the middle of an action, meaning the player will have a hard time doing simple things such as redirecting their course to another direction.
The controls in the game are also hurt by its insistence in making full use of as many of the VITA’s gimmicks as possible, such as the need to keep both fingers on the screen at all times to use the Gravity Slide or controlling the camera with the gyroscope. These additions have absolutely no payoff when it comes to gameplay satisfaction and only make it more cumbersome to control the character, to the point where it leads to avoiding the mechanics set in place in order to maximize gameplay performance.
Not to mention that the game has a severe lack of content and focus. While the main missions are always accessible as the core of the game’s focus, these missions are incredibly varied and never stick to a certain theme, leaving the player confused as to what the gameplay actually revolves around doing. There is no symbiotic relationship between the goal and the process that leads to that goal. Besides that, early on, the game has a repetitive structure that becomes predictable almost as soon as it starts, though it ends very shortly after to adhere to a lack of structure that furthers the game’s general lack of focus.
To further this problem, the game is a serious lack of optional content to even out the pacing. The closest to optional content are Challenge Missions with no story to follow, which offer only a decent to below average challenge that shouldn’t take more than ten to twenty minutes to complete with the highest grade. While there is incentive to complete these missions, which are Gems that allow they player to upgrade their character, the player isn’t gonna feel their presence even if they choose to complete all of them.
What all of these gameplay and plot related problems lead to is a game that feels lacking, incomplete even. As an individual experience its very underwhelming, though it’s not like it was meant to be experienced as one. Looking back on my experience with Gravity Rush, the groundwork it laid for the rest of the experience and the way it set up the overall narrative is still admirable. It is symbiotic to its sequel in this regard, and without it, the impact of the later points in the narrative wouldn’t feel as strong. Without Gravity Rush, I wouldn’t have been hooked to t he world, characters and emotion that it emits and inspires, even though I never expected it to be this important.
Though, I did not come to this conclusion right away, or even after reflecting on the game having finished it. It was only when I finished the second game, the missing piece of the puzzle and the second half of the experience, when I realized that I was truly lead up to something special, though unlike most people, I did not have to wait five years for the release of Gravity Rush 2 on the PlayStation 4.
Shifting the game over to a home console instead of a portable device was the best move Gravity Rush 2 could have done for the franchise. The production quality of the game has been thoroughly improved, boasting even higher quality textures and shaders that don’t need to use any special methods to fit in a portable console, instead trying to look as good as it possibly can on a console with near limitless potential.
This can be easily exemplified with Gravity Rush 2′s slight change in art style, which now features a wider variety of highly saturated colors which give the game a more dream-like feel. Aside from that, characters and environments are no longer given a high contrast cel-shaded style, but instead a soft shading and plenty of post-processing effects like bloom and depth of field.
Gravity Rush 2 also offers a significant improvement to its presentation, with far more polished and expressive artwork during its comic book cutscenes without any trace of the awkwardness from the original game. All cutscenes are also voiced in the Saga’s native language, creating a mesh of voices that sound satisfying despite their foreign nature. Dialogue artwork has also been retouched a little, though it’s still strong like in the original game.
Although, their decision to use comic book panel sequences is a bit puzzling considering that they no longer need a conservationist approach like in the PS VITA, due to the PS4′s scarce limitations. While I understand that this is a deliberate decision to keep the game unique and to make it stand out from its competitors, the game’s own real time cutscenes and how stunning they may look at times makes me wonder how the game would look if it had gone for this approach.
Some of the other odd design decisions of the first Gravity Rush are also done away with, like the outlines used to tell apart far away objects. The models are very high quality and blend in beautifully with the environment. Another change to the art style is the game’s User Interface, which does away with the comic book menus to present vivid, neon colored menus which give the game a sense of life and energy that wasn’t present in the original, though it does feel slightly less accessible due to the game’s lack of touch inputs.
The way the game controls has been improved drastically with the PlayStation 4 controller. While it still retains the same control scheme, albeit with few differences to make up for the lack of a touchscreen, the superior Analog Sticks of the DualShock 4 and button layout make controlling Kat a more comfortable and precise process. Evading with R2 and Sliding with L2 get rid of the original’s gimmicky touch features to replace them with an intuitive and responsive input that makes every given one of Kat’s abilities flow effortlessly. The game also uses the DualShock 4′s gyroscopic features for fine tuning the player’s camera, which works much better than on the VITA thanks to the addition of a Camera Reset button as well as the disconnect between the game screen and the gyroscope itself.
Aside from this, the responsiveness and fluidity of the player’s movement is increased by a long shot, making Kat feel more like the agile heroine she was meant to be from the very beginning. One of this improvements is done upon the previous game’s Stasis Field, making it so that objects are picked up around Kat automatically, meaning that the process of picking up and throwing objects to enemies is effortless and fast, creating a perfectly viable and satisfying strategy to use in harder fights.
That’s not to say it doesn’t retain some of the issues of the original game though, for once, the game’s camera still doesn’t focus on whatever enemy you’re trying to fight, making it a bit of a crapshoot to target an enemy or a specific spot on an enemy. Aside from this, just like the first game, strategy still revolves heavily around constantly attacking an enemy’s weak spot, though with the addition of human adversaries, a little more variety is added to the roster of enemies.
Disappointingly, there is no strategy to fighting these humans aside from plowing through large chunks of them, though that’s not to say it isn’t satisfying to do so, just that it gets boring after a while of fighting them.
A gameplay addition that does help the game’s variety is the inclusion of multiple gravity styles, which Kat can call forth at any point during gameplay. These are Lunar Style, which allows low gravity physics and higher jumps, Normal Style and Jupiter Style, which makes the player heavier but also stronger. These gameplay additions elevate gameplay creatively, by letting the player be in control of not only the direction of their gravity, but the physics behind it as well, leading to many situations where the player has to think carefully of what style to use at any given time. The drawback to this is the way these styles are accessed, which is through the DualShock 4′s Touchpad. While this idea isn’t entirely bad, the lack of feedback provided by the game or the controller, the finicky nature of the touch pad itself and the likely chance of switching modes by accident make this feature a little too cumbersome with no payoff in sight.
Gravity Rush 2 also improves upon the first game’s lack of content, by adding a plethora of new activities for the player to perform in the form of sidequests and its online features. Sidequests are varied enough and offer sufficient plot to fulfill a small arc, as well as giving the player a connection with the people who live in the world of Gravity Rush. The game also features the usual challenges from the first game, which still offer a decent to subpar challenge that can be completed in around 10 minutes with the highest rank.
Though the Gem reward they give you isn’t as important as the first game, for Gravity Rush has given its update system an upgrade thanks to the use of talismans, which give the player certain perks or bonuses depending on which one they wear at any given point in time, making it so that the player has to think carefully about what talismans to wear on any situation. Aside from this, Gems are also easier to obtain thanks to the addition of mining zones, which are special areas where the player can find gems and fight Nevi.
While the sidequests offer some pretty good distractions to break up the hyperactive pacing of the game, they can be a mixed bag at times. The best sidequests in the game are the ones that not only offer a good story arc to follow, which also sometimes contain humorous writing that works really well at making the player laugh, but also offer certain set pieces or interesting gameplay that challenges the player. Though, these are usually not the norm, for the game also has plenty of incredibly boring side missions that outstay their welcome thanks to unimaginative, slow and boring gameplay which is reminiscent of the worst aspects of any given AAA Open-World sandbox game trend, such as tailing or escort missions.
But instead of side quests, the player can also opt to do special online events with the Gravity Rush community such as treasure hunts or special challenges in order to gain points that they can exchange for special items in the game. These are great, because they not only make great use of the game’s in-game camera, but also make the player feel involved in a community as well as be a contributor to it as well for more points. It’s a system that rewards those are most willing to become invested in it.
Gameplay additions aside, Gravity Rush 2 functions as a great expansion of the already established world of the first Gravity Rush by presenting a world parallel to that of Hekseville, with its own unique culture, technology, economy, politics and problems they have to deal with. Jirga Para Llao is a very lively setting that contrasts Hekseville in its rusticness but also with its more standard technological innovations, akin to those of the real world.
Its politics are a central theme for the first Chapter of Gravity Rush 2′s plot, which revolves around the people’s plight and oppression from a ruling council who disrespects the will of the lower classes while bringing unnecessary benefits to the upperclassmen who disrespect their lower peers; as well as the struggle of a tribe leader who comes to terms with their desire to want to stand up for themselves. This Robin Hood-esque story has no plans of making commentary about the nature of society itself, so much as it wants to deliver a satisfying story that will surely relate to its audience thanks to the way it is presented.
One of the biggest improvements when it comes to the narrative of Gravity Rush 2 is its writing. As well as retaining the level of detail of the first game, Gravity Rush 2 has a more concrete idea of how to present a self contained story with a good setup, build up and payoff, that is bound to connect to whoever plays it, without any missing links or pieces. It entirely pays off, which can make its subtle lack of originality feel like it’s not much of an issue at all.
The characters in Gravity Rush 2 are also as endearing as the ones from the first game, if not better at times. Their dynamics with the main character remain interesting as always, and their development along the plot makes them feel more significant than on the first game. That’s not to mention the characters with emotional baggage to carry, such as the villains Brahman and Kali from Chapter 2, which cannot be any more of an improvement upon Gravity Rush’s villains. Not only do they have clear motivations, but also a clear turmoil that they experience, making them relatable to the player as well, though one still disagrees with the lengths they go through to achieve their goals.
Another one of the successes of Gravity Rush 2′s plot, and how it manages to keep its own plot lines self contained, which gives the game more of a sense of individuality that the first game lacked thanks to dividing its plot between three chapters or arcs. While the player might not catch on to the references and intricate weaving with the first game, there are still individual arcs that they can follow and be invested on, like the revolution in Jirga Para Llao and the tragedy of Brahman, Kali and Durga. Both of these arcs work really well on their own, presenting stories that flesh out their respective characters as well as the respective worlds they take place in. Unlike the first game, they are also deliberately paced to deliver on their set ups and arcs, cleverly placing the elements needed to make such a story work across the narrative, without taking attention away from the player.
Aside from the Para Llao revolution, the game also presents the Brahman story arc in Chapter 2, which can definitely be considered the individual highlight of the game. The arc does a very good job of hiding little clues about the conspiracy that unfolds later on, especially in sidequests, while still managing to be somewhat surprising when it eventually does reveal itself to the player. Not only that, but it does a very good job of introducing its villains as likable, if not completely relatable and empathetic people, up until their schemes are discovered which is when their emotional stress reaches a boiling point and their schemes nearly come to fruition.
To top it all off, the arc ends with a surprising, shocking and impactful series of events that manipulate the player’s emotion through their investment in the game, making them feel uncomfortable and distraught at whatever is going on, especially thanks to a final boss fight that comes completely out of left field, with its nightmarish and disturbing appearance coupled with a sense of subversion of the player’s expectations of the tone of the game.
That’s not to say it is perfect though, because while it does deliver mostly on what it should, there are still a few dangling threads that aren’t properly resolved by the storyline. These are threads such as “How exactly did Brahman experiment on the Angels?”, “What about Kali’s powers made her turn into a monster in the end?” or “How come Cecie didn’t awaken to her Durga Angel persona? Was she always Durga?”. It can be really hard to ignore these dangling plot threads, especially when trying to make most sense of the plot of the game. Besides that, if the player chooses not to do sidequests or any of the optional content, the progression of the arc can happen incredibly fast, leaving plenty of open questions about the narrative that the player doesn’t have an opportunity to ponder about, or in the case of some very important side quests, leave the player completely unaware of key plot points that are necessary to understand the whole arc.
Once the Brahman arc is over, Gravity Rush 2 enters its third and final arc, which serves as the point in the narrative that both games have been building up to. Not only does this arc employ clever techniques to mess with the player’s expectations and their understanding of the narrative, but it also reconciles many of Gravity Rush’s mysteries to deliver on an incredibly satisfying payoff that marks the end of the Saga as a whole.
It’s not only satisfying to see all of these mysteries be resolved, but it’s also great to see the Gravity Rush universe keep expanding itself to even greater depths in order to finally present a world that feels incredibly cohesive, now thanks to acquiring a thorough understanding of its inner workings. Its serves as a reward for the players who have been with the franchise ever since the beginning, bringing them back to their beginnings and showing itself as the kind of epic journey they’ve been a part of ever since then. It invokes elements from the past that allude to the narrative being on a more epic scale than the player ever hoped to.
The world of Eto that was introduced and the backstory of Kat’s character also serve as a way to further the moral conflict of light against darkness as well as giving Kat enough depth to make her journey and character not only inspiring, but also tragic as well. It’s her desire to help people, even when it reaches beyond her capabilities that has given her the strength and initiative to set foot on this journey of hers, while also feeling like she’s been constantly looked down upon by the people around her, who care only for their immediate desires and needs.
The politics of Eto are intriguing and work very well at being the origin of the game’s conflict, finally giving the player what has been a much needed revelation, that completely makes all of the vague and non-descript buildup of the first game work within the context of the experience as a whole, an aspect that turns Gravity Rush’s story into more than just the sum of its parts, but a unique and concise experience that truly becomes whole from this moment onwards.
And the climax that follows after is truly an incredibly satisfying payoff to a long and epic journey in the making, and it is thanks to the effort done to build up to the moment and the incredible usage of leitmotifs in the game’s score that Gravity Rush 2 manages to create a scene and an atmosphere of emotion. Kat’s final sacrifice to save the world from doom is an appropriate end to her character thanks to her established desire to help other people as well as the real connection that the player has made with her up until this point. All of these events truly make the journey feel complete, they complete the puzzle that makes Gravity Rush feel whole.
Not without its issues though. For one, the villains introduced in the third chapter feel like a bit of an afterthought. While they do have interesting motivations and characters, their inclusion feels rushed and it’s hard for the player to feel anything for them because of this, despite their mayor importance to the overall story. Aside from this, the ending does leave a couple of plot threads unanswered, as well as throwing its last emotional moment at the last moment with little to no build up to accompany it.
But that is fine, because Gravity Rush has accomplished its main goal. At this point, it has delivered its narrative thoroughly and presented a story with a scale I’m hard pressed to see in any other game franchise to date. It is truly a special experience that interests the player from the beginning and goes out of its way to exceed their expectations at the very end, making the player realize the extent and scale of the journey they just went through.
Gravity Rush is unique. It’s an enthralling submersion into a character’s world, point of view and journey is something that I haven’t seen replicated or done anywhere else. Even with its flaws, the positives ended up shining far brighter than the darkness, creating a positive memory in my mind of what I will always remember Gravity Rush as being.
Because Gravity Rush is an experience, it is truly something to be experienced. Its strength comes from the nature of fiction and videogames as a whole, which can lead to experiences that the player can feel like they are a part of. By being truly immersed in the world and narrative, the player will feel every step of Kat’s journey, and feel what she feels up until the very end.
I’ve never before played a game franchise that truly felt like more than just the sum of its parts by the time it was all over. While each game may not be as impressive or deliver emotion individually, when each experienced as one whole, it became one stronger thing. It was truly one person’s biggest, greatest and dearest dream being presented onto me, and I appreciated all of his intent and creation.
Gravity Rush, quite simply, was an experience, a discovery
Gravity Rush was completely worth it.
AUTHOR'S NOTE
I adore this review. I did the franchise justice by giving it the kind of analysis it truly deserves. I went as in depth as I wanted and poured so much love into my writing. It truly is some of my best work and I'm disappointed that not many can actually read it because of the spoilers.