Who wondered 'hey its God Hand'

Actually the biggest problem with the game is that for all the hours you spend boating, especially as a parent and child, there isn’t a single fishing mini-game.

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Fishing minigames are so 2017

have been playing this for some reason. it fucken sux be real with yourselves people.

was wondering if anyone had anything interesting to say about the single take thing. I’ve read a few interviews with the director and all he has to say about it is that it means they can’t cut away to things happening elsewhere and they have to stay close to kratos and like, those are not things that a single take camera forces you to do? Those are things that making the camera always be close to kratos forces you to do. You can still cut. I guess you could argue for “intimacy” or whatever but frankly that’s horseshit and you could probably have a way more intimate and interesting camera if you allowed cuts.

Like the story is technically really low scale, right. Wife dies and now we are going to scatter her ashes. That’s a thing that happens in a single day. So I guess having the single take ensures that we are there for absolutely 100% of the journey from Home to Mountain Peak, if for some reason that’s important to anyone. But like, plenty of games stay with the character for 100% of the journey (spacially speaking) while still having loading screens and cuts and everything. The amount of world change and character development etc also feels like it takes place over way longer than a day. Again, it’s like they have claimed this thing is necessary to do something totally unrelated.

The world doesn’t feel like it fits to the scale the single take forces on everything. All the boring arse interstitial zones on the boat are tiring and the exposition dumps from the Head are bad. It feels ridiculous that all this stuff branches out from couple hundred meter long paths stretching out of this lake. The scale is all wrong and if there were cuts they could space it out more.

It really feels like some filmbro thing where like yer man watched children of men and then read an article on Gus Van Sant’s Elephant about how like, the stretches of time before and after traumatic experiences are remembered just as vividly as the brief moment of horror in the middle. And he thought ah, yes, this will be my magnum opus. I will change the status of videogames forever with this lame cinematic trick nobody cares about and i will take it way too far. The game is like 20 hours long and the lack of cuts genuinely tires my eyes. It does nothing but hurt the pacing and the scope of the environments. By all accounts it was a tremendous pain for most of the development team and now they all have to thank him and kiss his arse because it was a successful marketing dot point i guess.

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I didn’t even notice the “single take” thing until you just pointed it out now, so

Nobody else in this thread even mentioned the single take thing or factored it into their enjoyment, which leads me to believe that it succeeded.

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I agree on this, saying the camera didn’t have to be quite as constricting, and they still could’ve bound close for an intimate, personal space with Kratos/Atreus all the way through.

Pains of the development team, hurting the pacing and scope of the environments, flipside: the former can always talk strain with any major concentrated effort on a narrative bend, but I don’t think the speed of area flow, or breathing in these environments is ever an Issue.

Head Tales fleshing out Norseworld while you row and climb, yeah I think it’s a good compromise early on. I did eventually find myself waiting on plenty of conversations to finish, before getting into something else. All that scope gets to sounding way too far outside, disconnected from what our characters will ever move through. Or that we should care to, until there’s a hunt.

I think the early games had enough city type areas where there was a sense of populace and interaction with the gods; more easily done with Ancient Greece. One small village in this could’ve helped things seem a lot more alive. With all that other realism.

There’s a lot of Big Game Talk on the single take (buzzzzzz) but as was just mentioned, that’s not the singular key to GoW4’s response and success.

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deorbital has run a week of writing on god of war. esp recommend the first one.

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The no-cut thing seems really dumb to me in a video game that you pause or turn off tbh

Five lol

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It’s also a game where you can expect to die in nearly every fight, causing the hardest of all cuts.

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No cut on death would be kind of cool tho

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If Kratos dies, you then assume control of the kid and have to go scatter both parents’ ashes.

Actually that would have ruled if it was just part of the story.

The God of War is Dead; Long Live the God of War

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All openworld games do this and it always shocks me. Like, calculate the fastest the player can get from point A to point B, and make sure your in-travel-exposition is shorter than that. Nothing dumber than standing around outside a glowing checkpoint while your companion “just talks” so you don’t miss any CONTENT before triggering the next thingamadoo

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The opposite of this is true for me when I play GTA games, because I drive somewhat carefully and the conversation always ends long before I reach my goal.

I tried, once, to obey all the traffic laws in GTAV. The conversation was over before I was even a quarter of the way there.

Also, Deadly Premonition did this the best because the driving was slow and interminable, but all of the conversation you have (with yourself) seems to be timed perfectly to however long it takes to get there. Feels like a 6 minute road trip with a buddy. Would play a game that was just this.

I think the “realistic” driving really plays into this because there aren’t really shortcuts to take or anything like that, so it’s basically the same every time.

The best version of Deadly Premonition doesn’t have anything but driving, cut scenes, and picking up weird crap in a house.

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God of War actually does fine with this when you’re on foot to the point it feels very obvious based on the flow of conversation when the next event is going to happen. It’s just that whenever you get on your boat in the hub world there’s almost always a side conversation to listen to and there’s no set destination, so depending on where you’re going you can get there before or after the conversation ends.

I usually waited for the conversations to end before getting off the boat, just in case, but I think the couple of times I accidentally got off early the conversation kept going.

if you get off early the person talking is literally like nbd i’ll wrap this up next time we’re in the boat

and usually when this is an issue it’s a time when you’re sailing around making lots of little stops anyway so you get back to it a couple minutes later

i don’t know, it’s not that big a deal

also the single take thing is, like, just a cute gesture

any vitriol aimed at this game that is not squarely focused on the “franchise” “history” is baffling to me, in a vacuum it’s about as charming in presentation as a AAA ubergame gets and it’s full of Fun Punches

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I’ve tried twice to make it past the first mission and it’s just so overproduced and spongey I got bored and gave up around the half hour mark both times

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I feel like a lot of games are just kinda tedious shit you end up doing while listening to podcasts.

So yeah the above should just be an entire subgenre.

Chores 'n Chats.

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You could have donated that $60 to, I dunno, the Red Cross or something, but instead you spent it on a videogame you had already decided was bad just so you could be derisive about it online. Smdh #toxicmasculinity

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oh I thought this was the destiny 2 thread my bad

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