Adol is always trying really hard to appeal to the kids but he’s always a few years behind the trends. Now he’s calling himself The Crimson King and dressing like this.
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I had forgotten how much this one didn’t feel like Ys.
It’s like 13. To be played in small chunks as it only suffers if you marathon it.
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i marathoned the last guardian with no regrets
also definitely not a 40 hour game. it took 2 sittings with a nap between them so 20 hours tops probably less
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ok yeah idk, someone somewhere gave me the impression it was a very long game.
well, it being shorter makes it more appealing. but maybe i’ll wait till i can play it on a PS5
could be it feels long depending on how you feel about it, but like, i’m pretty simple about this and just enjoy interacting with bird dog so i’m on the opposite end of feeling like its shorter than it is
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definitely in the loving TLG camp, but only after growing to love it over a year. When i looked at some PS4 pixx i took of TLG, I remembered a few setpieces and got almost nostalgic about it, that’s when it clicked.
Is on my ‘gotta play that on the PS5’ list, since my PS4 still goes to harrier-mode when playing this.
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Here’s the video actually revealing how it’s done:
Apparently the button combination was also a cheat code in Bayonetta 2??
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this really sounds like a QA cheat that was worth leaving in for production release, perhaps to facilitate routing/replay scenarios
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Probably just so platform certification can check that the save deletion stuff is done conforming to guidelines without playing through the game three times?
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ooh, good idea
I can’t believe Nintendo had the gall to make Miis hot and not tell us.
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The problem with all three Ueda games is they repeat themselves in the middle sections and drag out their welcome. There’s one movie’s worth of good material in them but they feel forced to be at least 10 hours because console games. As far as I’m concerned, the canonical way to experience them is to play until you get bored and then watch the late game on Youtube
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don’t even watch the ending – as mythic stories, you can probably feel in your bones the entire arc and should keep it in your dream-imaginings
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I find Ueda interesting, not only because he’s a visionary world designer but he also seems to have no interest in film whatsoever in comparison to Kojima, Suda, etc. He’s trying to legitimize games by avoiding any comparison to film or literature. In a righteous world we would anticipate his games just as much as that shitty ass Cyberpunk game we spent so much energy on for two years.
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All of them are above all about expressive character animation. That is inspired by film, especially animated films. I suppose if you wanted to sound more fancy about it you could say it’s inspired by theater and dance (but I don’t believe that)
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Ueda games are too long for their first play through but if you go back and treat them like video games then on subsequent play throughs you can get the total play times down to movie length. Like I think I remember running through Ico in like a couple hours back in the day and only then really starting to appreciate what it was doing once I was able to take it in as a whole.
But their nature as video games kind of works against them because they aren’t quite compelling enough mechanically as gameplay loops or whatever to justify the repeated runs necessary to experience them in the more compressed form.
The answer here is obviously Just Youtube It but back when Ico and Shadow of the Colossus came out youtube wasn’t a thing so you had to actually replay them.
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For me, the answer is for the games to be shorter or to be places.
Ico and Last Guardian are storyboard-platformers in the vein of Prince of Persia or Another World and I think this type of game dies if it’s more than 4 hours. Ico is notably only about 6 hours long! And that’s a major reason I think it works better than Last Guardian.
Shadow of the Colossus is enormous but the player has agency to leave the critical path and explore and exist in the world. The player can break out of the forced role after an encounter and decompress and ruminate through virtual movement and environments meticulously created to hide the designer’s hand. Like other open world games, I think this functions as an escape valve and allows the core path to be longer or flabbier, at the cost of a larger number of players dropping out.
Luckily, I think Shadow of the Colossus is well-designer for a player who drops it, offering essentially the same experience from that first kill to the last.
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I disagree with the thrust this conversation is taking. Ico and SotC are both a joy to play moment to moment, as games. They can’t really be extracted from their aesthetics, of course, but to say Ueda/the developers weren’t interested in making their mechanics as elegant as their aesthetics does a disservice to all of their efforts to perform that integration. You can say they failed (I disagree), but you can’t say they didn’t care.
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