Less is more. It’s an old maxim that Jumpship seems to have taken as dogma. You can see it at work in the length of (six hours should see you through to the credits) and in its allusive approach to storytelling, which is handled without a single line of dialogue. But nowhere is this more apparent than what fills the screen as you play. It’s not uncommon for large areas to be cloaked in darkness, all the colour and light saved for a single focal point. Even its splashiest vistas are realised with a few broad brushstrokes: a block of murky brown here, another of drab green there, two grey lines enough to suggest fields bisected by a
