yonder the cloud catcher chronicles solution
Bande-annonce Test - Proposer mon test Donner mon avis sur Switch Yonder The Cloud Catcher Chronicles sur Switch est un jeu d'action aventure en monde ouvert se déroulant sur l’île ténébreuse de Géméa, constituée de huit régions différentes. Vous incarnez alors un jeune garçon abandonné qui explore ses lieux étranges afin de rencontrer les différents habitants de l'île pour la sauver du mystérieux mal qui l'habite. Sortie 31 mai 2018 Caractéristiques détaillées Micromania Switch Micromania Switch Cdiscount Switch Amazon Switch Voir toutes les offres Caractéristiques du jeu Editeurs / Développeurs Prideful Sloth Sortie France 31 mai 2018 Modèles économiques Payant à l'acquisition Supports eShop Cartouche Langue de la version disponible en France Textes en français Haut News jeu Yonder The Cloud Catcher Chronicles débarquera le 17 mai sur Switch 03 mai 2018, 0815 News jeu Yonder The Cloud Catcher Chronicles arrive sur Switch 19 févr. 2018, 1024 14/20Switch MicroDemoniak Yonder The Cloud Catcher Chronicles est jeu open-world mélangeant exploration-crafting-farming. En résumé, Les positi... Lire la suite 17/20Switch Nyabii Alors franchement, c'est un jeu super appréciable donc dans un premier lieux jvais dire ce que jadore, ensuite ce que j... Lire la suite Donner mon avis sur Switch PS50 avis Donner mon avis ONE0 avis Donner mon avis Genshin Impact PC PS5 Switch Saints Row The Third PC PS5 Xbox Series Treasures of the Aegean PC PS5 Switch LEGO Les Indestructibles PC Switch PS4 Saints Row IV Re-Elected PC Switch PS4 Pine PC Switch PS4 1 Hogwarts Legacy l'Héritage de Poudlard 4ème trimestre 2022 2 God of War Ragnarok 09 nov. 2022 3 FIFA 23 30 sept. 2022 4 The Last of Us Part I 02 sept. 2022 5 Call of Duty Modern Warfare 2 2022 28 oct. 2022 6 Pokémon Écarlate / Violet 18 nov. 2022
Thesolution is to have Aftran permanently morph into a whale. The Dresden Files : In Battle Ground , Harry points out that killing him will start a war with the Winter fae and essentially asks the messenger what happens when Harry breaks the White Council's rules now that he's been voted off the Council and given a suspended death sentence, one that's meant Platforms PlayStation 4 reviewed, Microsoft Windows Certain games come along at the right time in life and click with you when they may otherwise not have. While it may be a rare occurrence for some, I think this fact is true for everyone, as a game you love now is something you may have been indifferent about or even hated under different circumstances and vice-versa. Yonder The Cloud Catcher Chronicles is one such game for me. Had I played it a few years ago, I may have brushed it off as boring and childish, but as we grow and evolve as people so do our tastes. As I’ve grown older I’ve found my appreciation for more laid back, “casual” experiences has greatly increased and Yonder certainly falls into that category. While it’s always important to read the entirety of a review and not just use the final score, with a game of this nature it is imperative. Yonder The Cloud Catcher Chronicles opens with a simple character creator that basically allows you to choose your character’s gender and body type. Soon after, your nameless character finds themselves on a boat traveling towards the land of Gemea to uncover the secrets of their past, but along the way the waters get rough and they end up shipwrecked. They are then visited by a mysterious creature that informs them that Gemea has been enshrouded by an ominous cloud called murk. Now they must not only learn about their past, but also help free Gemea from the blight that has overtaken it. Yonder is a game all about adventure and exploration. There is no combat to engage in, no experience to earn, no attributes to enhance, and no skill trees to develop. It’s all about discovery and helping to return Gemea back to the paradise it once was. In order to do this and clear away the murk, you’ll have to search out and find small creatures known as sprites, as they can be used to help dispatch this evil fog. Sprites can be acquired by completing quests, solving simple puzzles, or just by finding them hiding out in the world and you’ll need to recruit as many as you can because each area of murk will require you to have a specific number of sprites to clear. Sprites are only able to clear out smaller areas of murk around Gemea, so your character will need to find a more effective method to free the entire world. This is where the Cloud Catcher comes into play. Your main goal in Yonder is to repair this device that can be used to completely wipe out the murk that the sprites cannot. Completing this task is surprisingly simple and if you’re just running through this main questline you could probably complete the game in just a few short hours. I was honestly surprised with how little there was to do as far as the main story beats go, but Yonder definitely makes up for it other ways. While your main goal is to clear away the murk, there are a plethora of other things to do in Yonder. You’ll be able to build farms that will allow you to grow crops and trees, as well as adopt a variety of animals that you can find around Gemea. There are also tons of sidequests that you can pick up from the people you meet in the numerous towns you’ll visit. There are a number of resources available to gather by chopping down trees, breaking apart rocks, picking flowers, fishing, and more. Thankfully all of those resources will go to good use as you can join a handful of guilds which will enable you to build and create a number of items, ranging from buildings and decorations for your farm to clothing and food. If you’re looking for things to keep you busy in Gemea, there is certainly no shortage of things to do. Even with all of the things to do, perhaps the most fun I had during my time with Yonder was when I was venturing off the beaten path and exploring every nook and cranny of Gemea. The map you’ll have access to is surprisingly large and the sheer number of places to explore caught me a bit off guard at first. If you’re the type of person that enjoys finding secrets, Yonder probably won’t disappoint, as there are tons of things out in the world to find ranging from treasure chests to hidden coves and much more I won’t spoil. What made exploration particularly exciting for me though is just how beautiful this world could be at times. On the surface, it may look like a simple game in terms of graphics, but there were plenty of times I found myself enjoying the view as much as anything else. Standing on a cliff overlooking the ocean while the sun set in the distance was a sight to behold. The ambient noise of birds, wind, rain, water crashing, and other environmental sounds also added much to the experience as Gemea truly felt like a living, breathing world. While there is plenty to gush about in Yonder, it isn’t without a few issues and the most significant is the way it handles fast travel. Once I had explored everything I wanted to and was just trying to finish up quests as the game was winding down, fast travel became something that I was in desperate need of. Unfortunately, there are only seven or eight spots in the game that allow you to do this. These are known as Sage Stones and once you’ve opened one by completing a simple quest you can enter it and exit from any of the others that you have unlocked. The problem is that even when using this method of travel you still have to travel on foot great distances to reach most of your destinations as most of the stones are tucked away in areas that aren’t close to any kind of point of interest. I feel like having a way to travel between your farms or each town you’ve discovered would have been far more convenient. Luckily, this only became an issue in the last couple of hours when I had seen all I wanted to. Another small issue was with the way the game handles inventory. Your character is outfitted with a backpack, and while its appearance can change, I never found a way to increase the capacity. In a game where collecting items is all too important, needing to micromanage the inventory got quite cumbersome at times. Each farm you build does contain a shared inventory box with what seemed to be unlimited space that allows you to have access to all of your stored items no matter which farm you are on, but with the travel distances between them and the aforementioned fast travel system, getting to one was usually a pain. On a related note, I wasn’t a fan of the way currency was handled. It is impossible to sell off your excess items and have a surplus of cash because all transactions in the game are done strictly by trade only. This led to a few different problems as sometimes I would have a backpack full of cheap stuff and wouldn’t be able to buy what I wanted, which led to trekking back to a storage box or hoping I could craft something of value that I wouldn’t need later. Other times I would have to sell off something worth more than the items I wanted because I didn’t want to make that long trek to a box. For a game with such a laid back feel, all of this tedious micromanagement felt completely out of place. I’ve said this about plenty of other games in the past, but I feel like with Yonder The Cloud Catcher Chronicles, it’s more important than ever; this game will not be for everyone. The lack of combat and instant gratification from things like XP will certainly be a turn off for some, but if you’re okay with exploring the simplistic beauty of Gemea and uncovering its numerous secrets, it is well worth your time. Yonder The Cloud Catcher Chronicles (Prideful Sloth) [Import] Your Diary+ (Entergram) Ys: Memories of Celceta (XSEED Games) Ys VIII: Lacrimosa of DANA (NIS America) [Pending] Yuuna and theAsk your questionHow to write your questionWe'd like to publish your question, so pleasekeep your question about the productdon't write about availability the website updates when stock arrivesdon't write about customer service you can contact us if you need helpdon't mention other shops or specific price you paid for the productdon't include any info that could identify someone, like a full nameEnter your questionExample How many are in a package?Additional details OptionalAbout youNicknameThis appears on the ARGOS site. To protect your privacy, always use your nickname, not your full send an email when my question is postedPlease send an email when my answer is postedEmailWe will ONLY use your email to notify you in regards to your submissionI accept the T's & C's. You may receive emails regarding this submission, any email will include the ability to opt out of future communications Yonder The Cloud Catcher Chronicles Nintendo Switch Game
XboxOne Achievement Unlocker Tool. [One Month Access] $40. [Two Month Access] $70. [Three Month Access] $105. To purchase send a message to this account or enquire about it in the thread below. Here's video of it unlocking achievements on an account, it's extremely fast. Heres proof of 4,500,000 gamerscore. Spoiler: games.Yonder The Cloud Catcher Chronicles An Episodic Audio Journal Episode One Risky Beginnings Yonder The Cloud Catcher Chronicles was announced at the Sony PSX event late in 2016. It is an open world game created by Australian studio, Prideful Sloth. What sets Yonder The Cloud Catcher Chronicles apart from many other games is its focus on non-violent gameplay. It is a game about wonder and discovery with elements of crafting, collecting, farming and questing. What also sets it apart from many other game development projects is that I was approached to start discussions about the audio before the team even went into full production. This gave me the time to carefully design, craft and implement the audio into the game as it was developed. In many ways this is the dream workflow for audio folk and as a result it has allowed me to be quite ambitious in what I have planned for the sonic elements for the game. This is the first in an ongoing series of articles that describe the journey of building a world and telling a story through sound and music. All Great Journeys are Risky In many ways I feel like the production of the audio for Yonder The Cloud Catcher Chronicles has emulated the journey of the main character. An exciting beginning full of promise, but almost instantly there are risks to be dealt with. The game immediately appealed to me from the first demo I was sent, but at the time I was extremely busy so I did hesitate to commit straight away. What tipped me over the edge was when we realized that the music style the developers were after was aligned perfectly with the style I myself wanted to explore. Lovely, innocent “Ghibli” style musical accompaniment. After the initial excitement of having an opportunity to create this type of score, I started to realize the magnitude of the task. “Ghibli Style” was not just a descriptor, it was an obligation. I had just said yes to trying to build a musical world to the very highest standard there is for musical narrative. So I had taken my first step on my risky quest, I had accepted the call and agreed to try and capture the spirit and wonder of one of my favourite styles of music, but also a style that EVERYONE was familiar with and loved. What could possibly go wrong? Next was the decision to make Yonder The Cloud Catcher Chronicles the very first project that I would develop using the Wwise audio tool set. I had been meaning to work with Wwise on a full project for quite some time. It had certainly been well spoken of by many audio folk, but more importantly when I looked at all the dynamic and interactive game music that really inspired me; they were all created in Wwise. So this was about looking at incredible examples of dynamic music such as PopCap’s Peggle 2 and PlayDead’s Limbo and working out the “what” and “why” of how they were successful. If we had not started the discussions about audio so early this would never have been possible. I needed to design the entire audio for the game and then create all the SFX and music assets, so having to learn a new tool set as part of this was no small thing. What it did do was let me explore my ideas and just “see if they would work.” My next challenge was finding the right workflow for creating music. Prior to this project, I had actually been away from straightforward composition for a few years. Between crazy dynamic music projects, creating sound effects libraries, educational material and doing major research into VR and AR, it had been close to ten years since I had needed to produce a full traditional style score for a game project of this scope. I had been using an old version of Cubase and some very old Kontakt sample libraries, all of which needed to be updating. In many ways Yonder The Cloud Catcher Chronicles has been an excellent project to force me to renew my entire approach to this aspect of production. I am used to being a one-person audio department, but each project we work on as audio designers can vary so much that you can work for a decade on multiple projects and use very different skill sets over that time. Rounding up the list of risks I was facing, I also needed to get myself comfortable with Nuendo 7 and the complete Spitfire Symphonic sample collection. The reason why I am specifying all the programs I am using is to make it clear the level of risk I chose to undertake. All the programs and tools I chose were top in their field, but this also meant they were very deep and often very complex. Choosing to use this many new tools was a significant risk, but it was a risk I was able to manage. A large part of my success here was the excellent support I got every day from the Prideful Sloth team. This brings us to my first really important point of this journal. Risk Is Not Always Bad Risks are what make us succeed in creative or artistic endeavours. Everything we do is a risk. It is not about avoiding risk, it is about dealing with risk. An experienced, supportive team, working on a well-planned project can take risk and turn it into reward. If you avoid risk completely, odds are you will produce something mediocre. In this case, I chose to take several risks because I considered the project really deserved for me to be working outside my comfort zone. A measure of blind terror can be a good motivator sometimes. But I chose to take these risks because I had confidence in the team that was supporting me. This did not mean we had no issues. Several of the first pieces of music I wrote were thrown out completely. Initially my composition style was far too Disney and not enough Ghibli. I took a while to trust my new sample libraries and realize I could write music I would never previously dreamed of writing because the older libraries simply were not up to it. The last risk I chose to take was to create a dynamic score where the music would alter to suit various world states. As I mentioned earlier, games such as Peggle 2 and Limbo had utilized dynamic sound and music to such excellent results that I wanted to do more than just add background music. This process would develop as the game developed. I soon discovered I could not possibly apply the same level of interactive control that Peggle 2 had utilized. Yonder The Cloud Catcher Chronicles is an open world game with multiple biomes, a day-night cycle, a season cycle and dozens of quest states. More importantly I was one person trying to create all the sound and music. This meant my initial goals had to be adjusted. I had to balance the ambition of a super dynamic system with the reality of the workload and timeframe I had available to me. As development progressed, I composed music and experimented with various implementation methods within Wwise. I have always found the Wwise interface to be less than intuitive so I had to devote significant time in just trying to understand what I could do and how to do it. I have no idea if my approach to certain implementation challenges is the “correct” approach or even the most efficient, but with most things the end result is what is important. One huge advantage that I had is that there is no single correct way to do things in Wwise. The series of tools provides a huge range of options that can be utilized however best suits a project. I think my lack of knowledge for the program may have been as much of an advantage in this case as it was a disadvantage. I also found that my initial issues with understanding the UI were very quickly replaced with an enjoyment of discovering how powerful the tool-system was. Each set of functionality provided some really serious options and potential implementation approaches. This meant I could focus on a small area of functionality and get really interesting results. As I started to implement the musical content I did so utilizing various different approaches depending on what I was trying to achieve. The opening scene of the game is a short, mostly linear experience that introduces the narrative. For this, I recorded a live musician playing strings and then cut up this single piece of music into chunks. The idea being that this piece tracked the overall linear progression of the opening narrative, but could be divided into a few sections which could both loop cleanly and seamlessly transition to the next chunk. Within Wwise I used the Transitions functionality to jump to each chunk at the appropriate time. This was done by creating a series of states within the game that were triggered as the narrative progressed. Our programmer created a control system we called MusicMan. For the opening, these state changes were either triggered as time passed or if the player performed an action that progressed the narrative. What was interesting about this was that the state system allowed us a great deal of flexibility, so what started as a basic linear progression system would later be adapted to control many other musical states. Next I decided to add a series of musical stings. These were short musical events that would accompany game events such as completing a quest, feeding an animal or triggering some of the magical objects in the world. Initially I was concerned with how to blend these stings with smooth transitions. The complexity of a game like Peggle 2 had transitions that seamlessly accounted for key changes with aligning musical tempos. But a vast open world like Yonder would make that extremely difficult. I had so much music planned for this project that there was no way I could account for, or predict what key the music might be in at any time. This was also true for the number of different tempos that might be involved. Initially I just wanted to see if the stings would even sound appropriate, so I treated them more like sound effects. When event X occurs, trigger stinger X. To avoid any clashes with the music playing at the time, I placed the main musical content into its own mix bus and then the stingers into a second isolated mix bus and applied a channel ducking function. So anytime a musical sting was triggered the mixer would simply drop the volume of the main music immediately, allow the sting to play and then slowly over 2 or 3 seconds raise the main music back up. This was done initially just to test the suitability of the stings, but the system worked so well that I adopted it as the solution for the musical sting situations in the whole game. Don’t Overthink It This leads us to my second major point. We can often spend more time than we need to discover good working solutions for problems. Often a simple solution can be the best way to progress. Reflecting on how I designed the dynamic music system for Defect SDK, I think in all honesty I over engineered many aspects of that design. It might have been clever, but often it did not need to be. In Yonder The Cloud Catcher Chronicles I was achieving some very effective dynamic musical solutions with some fairly basic functionality. Designing Something Different The last point I will make in this episode was the impact of working on a game with no combat on both the sound design and music. I was already very happy to be working on a “different” style of game. It is still quite rare for games to replace the basic combat mechanic with other forms of primary gameplay. Combat has become such a central game mechanic for our industry that we often struggle to find appealing concepts for games that do not involved physical conflict. From an audio point of view there was one very significant aspect to replacing combat with more creative game mechanics. I had so much more dynamic range in the mix than I have ever previously had to work with. Combat sounds are loud, and they also occupy a very broad range of the frequency spectrum. Gun shots and explosions often have super low frequency content all the way through the spectrum to super high frequency content. In Yonder The Cloud Catcher Chronicles I had space and I had silence. The weather system gave me the chance to create a variety of wind sounds that surrounded the player and changed according to the biome. This means if the wind picks up even slightly whilst playing in a grassland biome, you can hear the grass blowing across the meadows. In contrast, when you are in the forest you hear the sounds of the leaves moving in the wind. Being able to do this made me incredibly happy as it was the subtlety of natural sounds like this that so inspired me in Limbo. Having the opportunity and an environment appropriate for subtle sound design has been a wonderful experience. This also meant that the music could be presented as a whisper as well. So at night time the world is very sparse, with light airy sound effects and musical content that gently accompanies the traveller. In the next episode I will go into more detail about the environmental sounds for the world of Gemea and explore how we have brought an open world to life.
YonderCloud Catcher Chroniclesの優れた点の1つは、集落の建設、農業、釣りなど、プレイヤーが完了するさまざまなタスクがたくさんあることです。ただし、主なタスクは、島を探索し、泥沼を打ち負かして最終的に1日を節約するのに役立つスプライトを追跡することです。各スプライトにはAlors que les jeux-vidéo sont remplis d’agressions de diverses intensités, pourquoi ne pas prendre une pause, pour une fois ? C’est exactement ce que propose Yonder The Cloud Catcher Chronicles. Au sein d’un apaisant open-world sans ennemi ni danger à explorer librement, vous devrez aider les habitants de l’île de Gemea…ainsi que ses esprits. Le jeu commence alors que vous naviguez, par une belle journée, sur un navire en direction de votre île natale lorsque soudainement, le ciel s’assombrit et que vous êtes aveuglés par une lumière blanche… Un esprit vous annonce alors qu’il a besoin de votre aide sur l’île de Gemea, qui a subi un événement cataclysmique l’ayant faite tomber en ruines. Vous vous réveillez échoué sur une plage, sans trace de vos compagnons de navigation, armé d’une boussole magique et faisant vite la rencontre d’un petit esprit déniché au détour du chemin, qui sera votre compagnon. A partir de là, Yonder The Cloud Catcher Chronicles vous laisse explorer exactement comme vous le souhaitez, et vous laisse faire ce que vous voulez. Un sentiment de liberté qui n’est pas sans rappeler The Legend of Zelda Breath of the Wild, tout comme la patte graphique, les jeux de lumière, et plus généralement l’ambiance globale du titre des ruines, des petits villages, des esprits à dénicher dans des endroits insolites. Même si bien évidemment, Yonder n’a pas la profondeur de son aîné, il n’en reste pas moins un jeu agréable à parcourir avec plusieurs bonnes idées. Le jeu se compose de plusieurs quêtes, principales et secondaires, qui seront indiquées sur votre boussole. Vous l’aurez compris, pour faire avancer l’histoire, vous devrez avancer les quêtes principales, mais celles-ci n’ont de principales que le nom dans les faits, toutes les quêtes sont basées sur un principe de service à rendre. Bien souvent donc, vous allez devoir collecter des matériaux nécessaires, confectionner un objet, et le livrer. Collecter cinq branches d’arbre pour réparer une clôture, ramasser dix pierres pour construire un pilier et réparer un pont… Certaines quêtes viennent néanmoins casser cette routine de mécaniques, comme celle du jeu de piste pour retrouver des vaches égarées dans la montagne, mais globalement, toutes ces quêtes ne seraient que des missions secondaires dans bon nombre de jeux. Leur poids scénaristique est tout aussi faible l’histoire dans Yonder est très en retrait, et vous n’aurez pas l’impression de faire avancer quoi que ce soit dans les contrées de Gemea. Mais est-ce un mal ? Si beaucoup de jeux vidéo valent aujourd’hui le coup d’être vécus pour leur trame, leurs intrigues et leurs dénouements, Yonder a un autre but il se joue pour vous relaxer, passer un bon moment ; il remplit la fonction principale d’un jeu. Sans aucune indication sur la carte, Yonder vous pousse à explorer, et c’est l’aspect le plus réussi du titre. Les forêts, les plaines, les montagnes, les marais et les déserts défilent au cours d’un cycle jour/nuit et même d’un cycle de saisons aux effets réussis, agrémentés çà et là d’animaux apprivoisables, leur apparition dépend de l’endroit et du moment de l’année et de villages où des habitants vous donneront des quêtes, feront du commerce avec vous et vous proposeront de rejoindre leur guilde de métier. La direction artistique du titre est particulièrement réussie, notamment au coucher du soleil et lorsque la nuit est tombée, théâtre idéal pour admirer les constellations dans le ciel ; constellations que vous aurez vous-même débloquées en tombant sur des collectibles particuliers. Trouvables la plupart du temps dans des coffres, ils sont pour la grande majorité d’entre eux purement cosmétiques teintures de cheveux, lunettes, habits… mais certains ont une importance toute particulière les petits esprits à dénicher dans des lieux insolites comme les Korogus de Zelda, parfois en résolvant une énigme environnementale, serviront à dissiper les brumes maléfiques qui bloquent votre chemin et vous empêchent d’accéder à toutes les zones du jeu. Il faudra ainsi prendre le temps de bien fouiller les environnements que vous traversez, car plus vous vous aventurerez loin, plus le nombre d’esprits nécessaires à la dissipation des brumes sera important. Ce qui peut occasionner une certaine frustration, d’ailleurs, lorsque vous tentez d’accéder à un endroit éloigné pour une quête et que vous vous rendez compte que vous n’avez pas le nombre nécessaire au déblocage de la zone, d’autant plus que les déplacements rapides/téléportations sont très limitées dans le jeu. Une grande partie des mécaniques du titre est axée autour de la confection d’objets, ou craft, pour aller plus vite. Malheureusement, ce craft est assez douloureux à réaliser tout d’abord, les ressources nécessaires peuvent être compliquées à trouver, car éparpillées aux quatre coins de la carte qui est longue à parcourir. Vous aurez bien la possibilité d’en acheter certaines auprès des marchands, mais ceux-ci ont un stock limité qui vous forcera à repasser le jour suivant. D’ailleurs, les marchands introduisent une logique sympathique il n’y a pas d’achat à proprement parler dans le jeu. Les objets ont tous une valeur, et pour obtenir ceux que vous souhaitez, vous allez devoir vous séparer d’un ensemble d’objets de même valeur. Oubliez alors la revente d’habits hors de prix pour faire de l’argent vous allez devoir les garder dans votre inventaire et les échanger au moment opportun. Ceci étant dit, revenons à nous moutons, ou plutôt à nos fabbits, concernant le craft. Après cette première étape de collecte qui peut être pénible, la deuxième étape l’est tout autant la conception d’objets à proprement parler. Certaines fois, vous aurez les recettes, et d’autres fois, il vous faudra rentrer dans une guilde pour acquérir ce savoir ; savoir qui ne sera distillé intégralement qu’à ceux atteignant le plus haut rang dans lesdites guildes. Si l’idée est bonne, la réalisation l’est moins avec missions rébarbatives et très onéreuses pour accéder à la classe suivante dans la guilde construisez X abreuvoirs, construisez Y mangeoires, demandant à chaque fois beaucoup de ressources dont certaines ne pouvant qu’être achetées. Pour palier le manque de ressources financières, les développeurs ont pensé là aussi à une mécanique sympathique sur le fond avec la gestion de fermes. Lorsqu’une ferme est rénovée, vous pouvez y faire venir des animaux que vous aurez apprivoisés en leur donnant un met particulier et en leur construisant un abri, une mangeoire et un abreuvoir. Mais en dehors de ces tâches d’aménagement, vous ne retournerez aux fermes que pour deux choses, à savoir collecter les produits de la ferme et stocker le surplus de votre inventaire dans des énormes coffres. Dommage, car il y avait matière à faire quelque chose de plus poussé. Enfin, quelques mots sur la partie technique du titre sur Nintendo Switch. En mode salon, le jeu est très joli malgré quelques sauts de framerate. En portable, en revanche, même s’il reste totalement jouable, le jeu souffre d’une baisse flagrante de résolution, générant un effet de flou, accompagné de chutes de framerate là encore. Dans les deux cas, néanmoins, la distance d’affichage est bonne et les effets de lumière convaincants. Avis final - 70% 70% Résumé Malgré tous les défauts mentionnés dans ce test, Yonder The Cloud Catcher Chronicles est un titre réellement plaisant à parcourir. Son univers apaisant au service d’un open-world mignon tout plein en fait une aventure agréable d’une durée comprise entre dix et quinze heures en fonction de l’intérêt que vous porterez au taux de complétion du jeu. Pour ceux qui manquent actuellement d’un sentiment de liberté à la The Legend of Zelda Breath of the Wild, le tout premier titre de Prideful Sloth est un substitut honnête. Note des lecteurs 14 votes