The real star of Tchia, though, is the land itself. The story itself is fine, with a lot of great elements and even more than a few genuinely shocking moments, even if it’s hindered by pacing issues and a few other iffy bits, like one character that just pops out of the blue and exists only to serve as mission control for one portion. One day, her father is kidnapped by the tyrant known as Meavora, which kickstarts Tchia’s coming-of-age story as she sets out to rescue him, a story filled with mysterious possession abilities, enemy soldiers made of fabric, spirits made of wood, masked warriors and much more, but a coming-of-age story nonetheless. Tchia centers around a young girl named Tchia, appropriately enough, who lives on a small island with their father in an archipelago. Because while Tchia does take place in a fictional world, it’s heavily inspired by the culture of and is basically a love letter to New Caledonia, the homeland of the team’s co-founders, and a part of the world we rarely get to see. That was something I thought about while playing Tchia, the new game from Awaceb, in particular how the evolution of various mediums throughout the year has provided us with the opportunity to immerse ourselves in these parts of the world even further with video games. Fitzpatrick’s documentary film series Fitzpatrick’s Traveltalks, and in particular the role they played providing American audiences in the 1930s a look at various locations and cultures from around the world during a time when access to such locations was limited by various factors. Being a frequent watcher of TCM, over time I’ve seen and learned about director James A.
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