How the pandemic and climate migration have influenced this third outing of a formerly sterile architectural puzzle game
Architectural surrealism is Monument Valley’s signature. Austere, beautiful structures transform and rotate at the player’s touch, creating new paths and staircases for its minimalist characters to traverse. Doorways can lead anywhere. Switches cause columns to rise out of the ground, a perspective shift can reveal a cache of hidden pathways. Since 2014 these games have been smartphone must-plays, one of the best and most elegant examples of satisfying touch-screen puzzlers. But the third in the series, released last week, is a little different.
The Moroccan-inspired architecture that made the game famous is still present, but this time your geometric character Noor walks alongside blooming flowers and twisting vines, too. She sails a small boat. She gets lost in fields of bright yellow wheat. And there are many more people around her: she is a lighthouse-keeper’s apprentice, charged with the welfare of her community – which, a few scenes into the game, is ravaged by a flood. In some scenes she is accompanied by someone else, or there is someone there to rescue. It is a game about buildings still, but also a game about rebuilding, together.
