Under the Island, a Zelda-inspired adventure developed by Slime King Games, is a testament to the power of exploration in creating a lasting experience. It captures the core philosophy behind the Zelda series: the feeling of getting lost in an unknown land, uncovering its many secrets, and constantly asking the question, “What’s over there?” What you get is an enjoyable 15-20 hour adventure that leaves you wanting more of its charming setting.
The story begins when Nia and her family move to Seashell Island as part of a research expedition into the island’s history. After settling into Koala Town, Nia meets a local girl around her age named Avocado. When the two visit a shrine, Nia’s curiosity leads her to touch it despite local customs. The floor collapses beneath them, sending them into an ancient ruin where they encounter a bird person named Karasu. He explains that the island, once home to a primordial race of which he is the last surviving member, is sinking. To prevent disaster, four magical gears must be recovered to reactivate ancient machinery that can raise the island above the waters. Thus, Nia sets off on an adventure across the island, armed with a lethal hockey stick.
Exploration is easily the defining aspect of Under the Island. Shortly after the introductory section, the world opens up dramatically. While some areas and puzzles require specific items to access or solve, most of the island is immediately available, allowing players to explore freely to their heart’s content. The only real “barrier” is an NPC warning you when enemies in a region might be too strong but they can be ignored. Although the world map suggests a defined size, the island itself is far deeper than it initially appears. Through its breadth, there is also depth as a multitude of hidden caves lead to winding paths that interconnect areas, leading you far from where you started. You might enter a cave in a dense forest and emerge somewhere entirely unexpected, like a tranquil lake where hippos can be ridden across the water. Occasionally you can stumble across mini games of which there are several. Chests are scattered throughout the world contain materials and other resources. That said, much of the exploration is intrinsically motivated. Many chests contain only money or materials that can already be obtained by defeating enemies. Despite this I often found myself ignoring the main dungeons the game tried to guide me toward simply so I could continue uncovering secrets and filling out my map.
Where the game struggles is in its combat, dungeons, and story. The best way to describe these elements is “functional.” They serve their purpose but lack the depth and polish seen in the exploration. Combat quickly becomes repetitive. Roughly 95 percent of the time you will rely on Nia’s three hit combo since it deals the most damage and is usually the most practical option. The two combat items, bombs and a fire flower, take too long to deal damage effectively as enemies can easily move out of the way. A few enemy types are designed to encourage item usage, but they appear in only one or two areas. As a result, most of the game is spent using the same basic attack. Enemy designs are also fairly simple, which means combat rarely presents a serious challenge. Small frustrations, such as short invincibility frames after being hit, enemies that attack too quickly, and the lack of a proper ranged weapon, occasionally make encounters feel more irritating than engaging.
The dungeons suffer from similar issues. There are only five in total, including the final area, and most of them are surprisingly short. The first dungeon stands out as my favourite because it introduces several new ideas and features a boss fight with multiple phases that combine puzzles, quick thinking, and careful management of the environment. The third dungeon, on the other hand, is particularly egregious because it consists of little more than a single mini game followed by a boss fight. While it was preceded by a rather fun fetch quest that involves solving puzzles with your friend, Avocado, the main content of the dungeon left me wanting much more.
The writing is where the “functional” criticism is most apparent. Very little time is spent developing Nia as a character. Her motivations, struggles, and personal goals remain largely unexplored, which often makes her feel like a passive participant in the story. She rarely makes meaningful decisions and instead goes along with whatever others ask of her. By the end of the game, it is difficult to say whether she has even grown in any significant way. Avocado, who the story tries to present as Nia’s best friend, is incredibly underutilized. After the opening section, she appears only twice in the main story. She cannot be encountered in the open world beyond scripted scenes, which makes her absence particularly felt. Many of the other side characters face a similar issue where they simply exist to deliver isolated side quests and rarely interact with one another.
Despite these shortcomings, I still feel that Under the Island is worth your time just on the merits of its exploration alone. The island is filled with varied environments, hidden routes, and memorable locations that make wandering through it consistently enjoyable. There is a genuine sense of curiosity driving the experience as you never quite know what you might discover next. The charming pixel art style and memorable soundtrack further enhance the atmosphere, creating a world that is simply pleasant to spend time in. For players who value exploration above all else, Under the Island offers a delightful adventure that rewards curiosity. If you, however, don’t value exploration as much, you may find the experience somewhat lacking.
Score: 7 out of 10
Reviewed on Playstation 5