What’s truly bizarre and off-putting though is how this game switches between several different types of cutscenes, ranging from completely fleshed out and animated (those look great) over less well-animated (but serviceable), to nearly completely static (but still voiced)= cutscenes with barely any movement.
If I remember correctly, 0 might be the only game to do this. 0 was my first game too and I remember being taken back by this (the static scene talking to some guy in a car smoking a cigarette or something is what sticks out in my memory). It’s possible other games did this too and I just forgot, but I’m not sure.
As for 0 being a good starting point, I do disagree. Having played all of them, I think 0 would land better if it was played after 1, 2, and 3. Kiryu’s and especially Majima’s stories in 0 heavily reference things that occur or are at least revealed in 1 and 3.
I started with 0 and worked my way chronologically from there (with the remakes for 1 and 2), and 0 is my pick for best if the series. I think the thing to know about the real estate sub-game, and others of its ilk like the host club in the same game (I think), is that they are completely parallel, non-consequential, optional content.
I personally feel that you could go through every single Yakuza game playing only the main story and side stories without missing anything of value. I would frequently force myself to play batting cages or karaoke or dancing because fans talk a lot about that stuff, but there’s really very little there to compel your attention unless you enjoy it. You can totally skip all that.
You could probably also skip the side stories if you just want to follow the main path, but those I do think are more crucial to Yakuza’s experience and identity - the outrageously silly flip side of the coin to the main story’s soap-opera-esque melodrama.
Thanks DeepSeek.
Glad to see a publication pushing back on the recent asinine comments and behaviors from CI.
I’m new to this too, but the slide deck they have posted seems a good starting place.
The NGI is an initiative of the European Commission to fund “researchers, developers, startups, and SMEs” who are aligned with the “aim to shape the development and evolution of the Internet” according to the principles of:
protecting personal data
ensuring privacy and security
combating disinformation
guaranteeing access and freedom of choice
respecting fundamental rights
enforcing ethics and sustainability by design.
I’m a little less clear on what the 16 projects are (which are listed on slides 6 and 7), but I gather they might be specific objectives, defined by the NGI, within which their funding is categorized, e.g., if you’re doing research on democratizing search capabilities, that research would serve the NGI’s “Search” project and would qualify for funding.
I’m making a lot of assumptions but I’m reasonably confident in them.
Is that a Trump “Tim Apple” reference? I wouldn’t have even noticed if you hadn’t called it out.
So close to great. I wish more developers were making environmentally detailed, high production value, single player linear games like Callisto Protocol. Just that little bit better executed to round out the total package.
I played the demo up to the first couple battles just to get a taste of how that works. No question, I am very excited to get my hands on it. I’m generally a sub-$20 patient gamer, but this is one I’ll be getting sooner. I’ll still probably wait for the holiday season to see if it drops down at all because I’ve got plenty to keep me busy in the meantime.
I gotta vent a little about Jedi Survivor - I really did not enjoy it much at all and am surprised it was so critically lauded. The combat aims for souls-like but is way too twitchy and glitchy to make it feel fun and rewarding. I came out of 60% of combat encounters feeling bored, 20% feeling relieved that some erratic imbalance or technical tomfoolery didn’t make me repeat it, and 10% feeling frustrated for the same reason but on the other side.
The same core issues affected the bosses too. I didn’t feel like the game earned my dedication to “solving the puzzle” the way games like Elden Ring and Returnal do.
Exploration was mostly fine in a zone-out kind of way but grew quite stale by the end, being the same vertical platforms and grapple spots on every section of every world. And the story too was just too out of focus. The whole Tanalorr thing was a late first-act development completely divorced from the course of the opening, and there was never a clear or necessary enough idea of why they wanted to get there to justify it becoming a priority to drive the story.
By the time they were trying to chase down the last compass, they’d garnered enough attention from the raiders and the empire that it no longer felt like a hidden secret. And the fact that all Cal had to do to get there was press a button to align the arrays…how long will they be safe on Tanalorr before the empire figures that out? It simply never felt like it was worth the trouble everyone was going to for it.
I still like the characters, but I was desperate to be done by the time I was fighting a notable turn-of-the-second-act boss, whose appearance elicited an eyeroll rather than excitement. I set the game to story mode at that point and just rushed the ending.
While that was going on though, I did play Animal Well all the way through (“layer 1” anyway), and that was extraordinary fun.
Oh, I also tried out the Metaphor Refantazio demo and that feels incredibly promising, especially with the incredible reviews it’s getting today.
Fatal Frame has gotten lost to history a bit, but I remember those games having the reputation as being the scariest that games have ever gotten when they were new.
The turn-based with real-time elements reminds me of Sea of Stars and Shadow Hearts, which are both excellent titles in my mind for this game to associate itself with. Looks really flashy too with the menu, camera movement, and slowdown effects (hopefully that wouldn’t get old with too much repetition).
Same here. Loved the setting and style, and the story and characters were admirably close to (the good) 3rd-person bioware stuff.
I don’t usually pay full price for games, but I was thinking of buying Greedfall 2 near release to support what they do. This puts a real taint on things.
Same, though interested is an understatement. Prey is one of the greatest games I’ve ever played. I enjoyed Weird West, but it left me feeling more like a POC of what the studio wants to do than anything up to the actual standards of Arkane’s best.
If WolfEye fills the void of Arkane’s deplorable closure, they’ll get all the support I can give.
Tried The Ascent because of just how slick it looked in the previews I saw. And you’re right, the atmosphere is great. But I have a low tolerance for the looter shooter format and I don’t play much online coop, so I got real bored of it real fast.
I’ve been enjoying Pacific Drive this week. It’s a great survival crafting game in the vein of Subnautica, which is to say there is a linear progression path for upgrades and improvement, and a well-defined objective and end goal.
I just wish it was less stressful. Even just the normal act of activating a gateway to end a run requires a race through your current zone where one misstep can cause you to get stuck long enough to fail. And sometimes conditions just really stack up against you in a way that can be unexpected and frustrating.
Overall though it really hits the spot with its loop. I love returning to the garage and going through the ritual of healing, fueling up, recharging, transferring supplies, and checking on upgrades.
Oh…I also finished and platinumed 13 sentinels earlier this week. I enjoyed that one a lot more than I expected. It’s as compelling as it is eye-rollingly funny how many sci-fi tropes the main story burns through, but I i was frequently and pleasantly taken by surprise. And the battle system, which through the first area I thought was so easy it was basically a formality, really did become more challenging and tactical, especially when trying to get S ranks.
I kind of love Control’s navigation. The map is helpful enough to point you in the right direction, but also shitty enough that you have to pay attention to the diagetic signage. It’s uniquely immersive.
13 Sentinels: Aegis Rim. I am about 25% through with both Remembrance and the battles… Destruction? I’m in awe of the narrative’s complexity. It’s also a little overwhelming, it feels impossible to get any kind of handle on things. The game adds new layers every time you think you’re getting it.
Im really enjoying it though, the mystery is really fun to dig at.
I also beat Malenia this week, which is pretty much the last major thing I had left in my first Elden Ring save. I got help of course (thanks superelva11), but it’s been really satisfying tying a bow on that. 140 hours, plus another 30-35 on a second save - Elden Ring is officially the most time I’ve ever spent on a single game by quite a large margin.
Good luck my friend. Hollow Knight is a special one, but those bosses can be punishing. A few of them took me separate sessions over a few days, which is a frustrating way to play games for me, but it’s such a rewarding experience otherwise. I recently rewatched my recording of beating one of the bosses and I was fumbling so bad, I could see my own desperation in the way I was playing.
Apparently there’s a secret phase for the final boss that I was more than happy to experience via YouTube. I was perfectly satisfied with just rolling the credits.
Via Kotaku:
Bloomberg previously reported that the vampire shooter’s [Arkane’s Redfall] troubled development grew out of a push by top Bethesda leadership to make a live-service game, a decision that ultimately led to sky-high attrition and multiple delays.
All reward, no risk for the executives demanding that their best-in-class immersive sim developer create an empty live service shooter. Stupid decision led to predictable outcome and the workers feel the ax for it.
I think the remake addresses these issues as well.