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Chapters often introduce a new central mechanic and then run through a variety of increasingly less obvious applications of that mechanic. Per the book aesthetic the game is broken up into multiple chapters. The charming aesthetic remains, and it definitely explores a few interesting ideas within the well-populated world of puzzle platformers. Still, it was hard to leave E3 without anticipating this game. It was still visually compelling but less inspired than the opening scene. The second level I played at E3 replaced that mystery and austerity with relatively mundane first-person platforming involving vines and a water hose. It establishes the actual play as a challenging and experimental counterpoint to the twee story. It’s a completely barren white screen whose hidden contours have to be discovered and shaded in by the player, forcing you to stagger around in a white void with few hints or explanation. The very beginning of the game was the first level shown at E3. Then and now Swan makes an excellent first impression. Between the monochrome art and general lack of player instruction The Unfinished Swan’s E3 demo displayed a game with an assured sense of both self and style. It might be the only game I played at E3 that never once asked me to slit throats or snap necks. With black text and line drawings on a stark white background, it felt like a Shel Silverstein book that moved and talked. Instead of genocidal space soldiers and paramilitary attack squads with multiple accents, Swan was a soothing interactive storybook. It was a refreshing change from the thirty or so other games I played that week.

I really liked what I saw of The Unfinished Swan at E3 this past summer.

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