yeah, I'm gonna be honest, guys. I didn't really like this one.
It could be that I am just bad at comprehending Suda's intended thematic meaning with the games I've played thus far or that I'm not as gung-ho about the "I made this game dogshit and tedious on purpose to the player a specific lesson and/or storytell in the most irreverent way possible" after all the modern day auteurs who have done this exact same thing but without any critical thinking involved and instead think their cinematography will fill the void.
there's this really fucking stupid aggression going between those who see video games as art and those who prefer their games being near identical to movies, and while there's no fundamental principle to either that makes it so these two things are mutually exclusive, it is very rare to see an intersection of any sort between them because of how the averse most of the game industry is to taking risks these days.
Suda51 is not averse to taking risks. this is why he let this game get an international release before the one that directly ties into it. this is also why his game made me wear down my W key going on an incredibly tedious back and forth in FS&R's 14th request just to then freeze at the end of the chapter and any make further progress in my original playthrough possible. I had to pick up where I left off in an already-completed save file sent to me by a friend.
By the time I reached the end of the game, I was simply too burnt out to form an opinion beyond what I'm typing out now. If I were to try and list the immediate positives of this game that stuck out to me, I'd probably only be echoing my Silver Case review: I don't get it, but I will. in the meantime I need someone to explain this game's full plot and metaphorical value to me because I fucking got none of that.
I'm not interested in becoming a full on VN enthusiast but I'd at least like to have ONE Suda experience I could make sense of besides his mainstream works. It helps that Killer7 is next.
It could be that I am just bad at comprehending Suda's intended thematic meaning with the games I've played thus far or that I'm not as gung-ho about the "I made this game dogshit and tedious on purpose to the player a specific lesson and/or storytell in the most irreverent way possible" after all the modern day auteurs who have done this exact same thing but without any critical thinking involved and instead think their cinematography will fill the void.
there's this really fucking stupid aggression going between those who see video games as art and those who prefer their games being near identical to movies, and while there's no fundamental principle to either that makes it so these two things are mutually exclusive, it is very rare to see an intersection of any sort between them because of how the averse most of the game industry is to taking risks these days.
Suda51 is not averse to taking risks. this is why he let this game get an international release before the one that directly ties into it. this is also why his game made me wear down my W key going on an incredibly tedious back and forth in FS&R's 14th request just to then freeze at the end of the chapter and any make further progress in my original playthrough possible. I had to pick up where I left off in an already-completed save file sent to me by a friend.
By the time I reached the end of the game, I was simply too burnt out to form an opinion beyond what I'm typing out now. If I were to try and list the immediate positives of this game that stuck out to me, I'd probably only be echoing my Silver Case review: I don't get it, but I will. in the meantime I need someone to explain this game's full plot and metaphorical value to me because I fucking got none of that.
I'm not interested in becoming a full on VN enthusiast but I'd at least like to have ONE Suda experience I could make sense of besides his mainstream works. It helps that Killer7 is next.