Just look at those balls! Those beautiful, magnificent balls, zipping through those abstract planes of color and geometric shapes!
Proun is not a simulation racing game nor is it an arcade racer. It’s something I can only label a binary racer. It’s a game with Zen-like simplicity that makes 1982’s Pole Position look like rocket science by comparison. Once you peel away Proun’s outstanding presentation, you are left with a shallow game lacking ambition in every department beyond visuals and audio.
After your first blush with the game, you realize that you are not only limited to a very small collection of tracks (five if you pay, four if you don’t) -- you are limited in the way you navigate each track. For a game that is abound with imagination in its sound and visual design, it’s a shame that its creator and sole designer Joost van Dongen doesn’t offer the player the same amount of creative freedom.
Dodging incoming shapes and preparing for the further away, out-of-focus ones makes for a fun way to explore the game’s 3D Studio Max landscapes. It’s like art appreciation for the hyperactive generation. Strap a jetpack to your dick and flying toward a life-size Mona Lisa! The fact remains though, the role of the player is secondary to the importance of the world, in Proun. Creator Joost seems to be aware of this.
Proun deserves its place in a museum. It's a work of art you stop and stare in awe at for five minutes, but then you quickly move on to the next painting -- that's assuming you give a shit about art to begin with.
THE VERDICT - Proun
Reviewed by Allistair Pinsof
|7:00 PM on 05.23.2013|
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