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  1. #141
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    A sparse open world sounds realistic considering the BTs and the plot.

    The way the menu system plays, I'm getting a very MGS5 vibe from it. Honestly, after over two decades of amazing games, idk why anyone is doubting this man. What kinda career does it take for people to do away with doubt and just enjoy the ride.

    After this week of previews, I'm convinced this will play like MGS5 but have an actual plot. Go here, deliver or do the thing, head home, reprep, yada yada yada. Obviously he isnt recreating america to walk through, so I'm curious how the zones or fast travel will work. Honestly, I just want more gameplay and gameplay systems to look at lol.

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  2. #142
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    Some interviews have come out that spoil a bit about the game. Spoiling for size and spoilers. If you want to go in blind, I'd avoid reading. There's nothing heavy story wise, but some aspects that weren't known are shared, manly concerning Sam, death, and the like system.

    Game Informer Interview

    Spoiler: show
    Of all the new features that you revealed at the first TGS live show, what was the one you were most excited to finally talk about?

    Playing the game is a lonely feeling, because you play alone usually, even though you’re online. A lot of people play on the couch, and perhaps they feel like, “Oh, I’m lonely, and I’m maybe strange, playing all alone.” And you’re doing it over and over. You’re traveling with BB, and maybe you feel lonely. Norman [Reedus] actually got this point as well – you’re struggling all alone. But at a certain point, you realize, “There is someone really similar to me who felt this loneliness,” because you see it when you’re indirectly connecting. Like in a movie theater – there are maybe 200 or 300 people watching a movie together.

    But today’s games, you’re playing by yourself in your room alone usually. Then suddenly, you open to a world like “Oh, I’m not the only one.” And I’m really happy a lot of people understood that, and I think that was the most successful part. Of course, you can’t see other people’s faces, but you can see the tracks and traces, so you can feel or think about the other people.


    And players get some additional feedback from “likes” they receive. But what can they actually do with those likes?

    I had a big argument with the staff, actually. In a game, you get more money, or you get more fame, or you get more kudos, right? That’s what game systems now days are about – you want something in return if you do something. At the beginning, the Asian staff said, “Hey, Hideo, no one will ever understand this. Maybe the Japanese might.” I said, “That’s why I want people to do it in the game.” So all these staff members said to me, “We have to give them kudos or points or whatever,” but that would be like a normal game – any other game. So I said, “Giving ‘likes’ is giving unconditional love.”

    But, of course you can see how many likes you get, so that’s maybe a little reward. If you just use [something another player placed], one like will be sent automatically. But also you can send more, like a tip. I don’t want to say I’m brilliant for thinking of this idea, because it’s really a mix of the Japanese way; we don’t have tips, but you know you get really good service in Japan. Whereas in America, there’s a tip system where waiters try their best because they want to be tipped. So it’s a cross lateral in the game.

    What I really wanted to do – I didn’t want to give “thumbs down.” I didn’t want to give any negative in this game; it was a positive intent where I started this idea. In current SMS and internet, there’s likes and thumbs down. To me, [thumbs down] is like the stick – it’s an attack. But that’s why it’s a positive intent in the game; if [your objects] have few likes, they might disappear, and the ones with lots of thumbs up will remain, but it isn’t negative.

    So the idea isn’t to give players an incentive to “like,” so much as unite everyone to make the world of Death Stranding as supportive as it can be?

    Yes, because the world setting is the dark and lowest world you can think of. Your solitude, you’re alone – the storyline itself is a worst-case scenario. So why don’t I put in a system where it’s really more positive than negative?

    We’ve seen many cryptic trailers for Death Stranding over the years. In the final game, where does it fall on the spectrum between ambiguous storytelling – something like Twin Peaks­ – and more straightforward delivery?

    I haven’t lied at all – I just create the story as-is. In the trailers, maybe I just put out the scenes in between. But if you play from the start to the end, you will understand because it’s all connected. All the side plots are kind of recovered, all the small stories and things like that. But I am a great fan of David Lynch as well, so, yeah.


    Sam has a lot to manage – his health, his equipment, etc. A lot of people turn to games to escape these kinds of responsibilities. How do you approach taking mundane maintenance tasks and putting them into a game so they don’t feel like work?

    Previously, in design, you had to create the rule because you couldn’t do the realism, right? In our everyday lives, there are so many mechanisms we have to work through, as you say, and we have to take the balance of what we do, how we maintain ourselves, and how we live. So I wanted to free the game design concept that we had to live by because we didn’t have the technology to do so in the past. We always created a rule, like the life bar is like this, and one hit takes away this much health. I wanted to add the real essence in Death Stranding.

    For instance, in any game, you could carry as many items as you want – even in Metal Gear, it was unlimited. Of course, you can’t do it in real life, right? You have to select one bottle when you climb a mountain. That’s why I put it in; a lot of games have aborted that kind of rule. This time, if you’re in the river, you can drift away – and that’s in real life as well. So that’s the gimmick and mechanism I kind of recreated, where other games – and even my games before – had to deform in a way.

    But the other thing about it is that you can go anywhere in the world. It’s open-world. In the past, even if games are “open-world,” there are limitations where you can’t go further. Like, they created valleys where you can’t go. But in this game, you can go anywhere. You set routes, and you want to know what goes on beyond. In this game, I think you will not understand if I just say this, but once you start playing the game, just walking in that world is really fun. What I realized is, when I monitor playtests – even the staff's – they don’t get it at first. But when they really start playing, just walking is really fun in the space.

    And now everyone will say, “Oh, it’s a walking simulator!”

    It’s the same as when I first brought out a stealth game. If 100 people play it and 100 people say it’s fun, it means the genre or the game already exists. But this is a new genre – same as stealth the first time, there will be people who don’t get it. It will take time for the real evaluations to come in.

    Let’s say a player has finished the game and is watching the end credits. In your best-case scenario, what do you want the player to be thinking about at that point?

    Well, I should really not say and leave it to the users. But the theme of the game is connection; you will understand the meaning of it. Like in dramas, or games, or online – everything comes together, and you see the end credits. But I just want people to finish the game.

    Not a good example, but if you climb Mt. Fuji to see the rising of the sun – in Japan a lot of people do that – it’s really tough to climb to the top. On the way, some people might abort. But once you’re on the top, and you can see the mountain, people just cry. Same with our game; people who don’t make it to the end won’t be really moved. Of course, I left that up to the players.


    How does the concept of the chiral network differ from our modern-day communication?

    It’s a “letter theory.” It wasn’t real-time before, in the past. For instance, a husband writes a letter from the battlefield a long time ago: “I don’t know when I’m going to die.” And he sends it, and it takes a couple months before it arrives, and the wife receives it and reads it. There’s a time when she thinks, “He might be dead.” The wife has to imagine what he was thinking at the time he was writing – and this was the communication then. Right now, it’s more real-time.

    This is about caring for people. It’s not direct; I wanted to do that with the internet we have today. If someone puts a cup there in Death Stranding, you might think to yourself, “Did that person deliberately put it there? Did he just have to throw away the load? But you think about it. It’s like the letter theory. In this direct communication era, I wanted to create an indirect communication using the technology of today so you feel for others more. Like you used to, back then – the 20th Century, 19th Century style – when people had to think about others in communication. But nowadays people forget about it because we’re so direct. I can Face Time you any time. So, right now, if I see your cup, I can phone you and say, ‘Hey, what’s this cup for?” But in Death Stranding, you can’t. You have to think about it.

    Now, when you place a cup after that experience, you have to think about, “What would people think if I put it here?” So I believe that this way, people’s feeling towards each other will deepen in Death Stranding because of how it’s connected.

    And within the context of the world, when you go to a prepper, for example, and plug them into the chiral network, are you just plugging them in to a better internet connection?

    There’s actually three steps to that chiral network. For Bridges’ sake, you’re connecting from east to west and they want you to join the UCA – the United Cities of America. When you connect, you can use UCA services, but at the same time, they’re retrieving your information 24 hours a day. It’s like 1984. Some people may not like that, and say “I’m not going to connect to UCA, because we’re going to repeat the same thing that we did.” Like Trump, or the EU, these things. It’s a metaphor. However, if you get really close, they start to say, “Okay, I’ll connect.”

    A lot of preppers just sign a contract to be connected to Bridges. The network is there, but there’s no communication or other actions – that’s why they can’t use the chiral printers and things like that. If they say they will join the UCA, then you can use the chiral network, the chiral printers, things like that. In the game, the mission is to really reconnect America again – but I haven’t said whether that is correct or not.


    In the “Briefing” trailer, a lot of the language about people being divided sounds familiar to what we hear in America today. Is that intentional?

    It’s about America, but I made that map deliberately not correctly America. Maybe it looks like Japan from that angle. I want people to not think “America,” but “where you are.” Because it depends on who is seeing it. And of course, it’s in the future, and everyone’s connected by internet, but everyone is fragmented. That’s kind of a metaphor as well. So Sam is not hip-hip-hooray for connecting America; his motivation is to save Amelie, and a whole fleet of sensitive people will share the same attitude. They have to, because they are on a mission. They always don’t want to. Sam actually moans a lot on this journey, saying “Why am I doing this?” And it’s actually the same position the players can be in. “Why am I doing this? It’s so rough, so lonely, and so solitary!” When you play, and connect, there’s drama, there’s preppers, there’s storyline; you start to feel like connection might really feel good. But I’m not saying it’s positive or negative to connect. It’s really up to the players to see how they feel while playing the game.

    The game is so close to being complete. Now that you can see the near-final product, what is the biggest difference you notice from how you first envisioned Death Stranding?

    The concept hasn’t changed at all from the start. On the vision side, yes, I imagined I could do more – like, PlayStation 6 for the visuals. But it’s not all about graphics. A lot of people were against my first concept, and I’m really happy that the staff made it together with me. All the staff really liked playing the game and I really feel happy. And I just feel it’s the user’s turn now.

    A new concept is really difficult to explain at the start. The stealth game, no one really got it when I first presented it. Your first enemies are always your staff, or the people working with you. “You carry things, you connect, and you only give thumbs-up – what’s fun about that?” was the first reaction. If I had listened, it would just be a normal game. But a lot of staff, they believed me. They said, “Okay, we’ll try it out.” A lot of staff members, whether quickly or late, they start to get it. I can’t really blame the staff, because I can’t show inside of my brain. No one understood at all when I first explained. “Are you insane?” But they participated. Norman, Mads [Mikkelsen], same. When I asked them to join, and I explained to them, they had no idea what I was going to do.

    Have you explained Death Stranding to anyone and had it click immediately, instead of taking a while to understand?

    Yes, there were some people. Especially creators were quite quick to click. Like [director] George Miller, who is kind of my mentor – my god. In 2017, I went to Australia. I only had a trailer, and I also explained verbally to him. George Miller said, “In all aspects, you are correct. Mathematically, psychologically, physically, philosophically.” He kind of started to draw a diagram, he has this theory, so he said, “What you’re trying to do is correct.” I should have recorded that! I should have sent it to the staff! That was really a happy moment.

    Maybe not people in the game industry, but musicians, directors, and creators. So, that’s why I tend to kind of overlap with musicians and film directors more than the game industry people – because they kind of tend to synthesize with me in that way and click faster.


    Translated Dutch Interview

    Spoiler: show
    Q:

    Thanks for taking the time to talk to us today. My first question is about the enemies we saw at the presentation you showed over at the TGS event. Finally you showed the games enemies, - both humans, BT´s and a big boss fight. What really happened there? There was a giant tsunami, that flooded the entire area?



    A: Kojima

    "The world is actually changing all the time. There is a "Gazer" floating around looking for you all the time, and when it spots you, a so-called "Catcher" will try to catch you. Tha water is not actually a tsunami, but rather a tar that rises and changes the world. When the enemy is defeated, the tar will disappear and the will change back. So it´s not like a tsunami, its actually the very surface of the earth that changes identity, it shifts from one state to another. It was a challenge I gave myself, to create a world that is constantly changing all the time. During the presentation, we defeated this "Catcher", but if he eats you, it will result in a "Void-out", and if it does, it will result in a deep crater that is there when you return - It totally changes the way you play the game."

    Q:

    You've stated before, and later shown, that this is a great social experience where other players can visit your home, your private comforts, and leave things behind for you. Do other player´s failed battles against these "Catchers", and thus craters, also show in my game?

    A: Kojima

    "That was the idea at first, but I didn't want people's mistakes to directly affect you. It's a little too negative. It is only your world that you influence - that is, I can see your explosions, but it does not directly affect my world. For example, the things you had with you in battle will be scattered all around in the event of a Void-out. And I could, for example, get across some of these things on my journey.

    Q:

    So more directly, other players can come to my aid if I need it, right? If so, how many can come? An entire army?

    A: Kojima

    "It really depends on how you play the game, such as how much you have indicated in the UI that you like another player, or how much you have contributed to the online world by creating something. It varies from player to player. Some players do not interact with others at all, and just want to experience the story. That way no one comes to help. The more you interact with other players indirectly, the more often they come to help you. There is an overview of your results after each mission, and here you can find out exactly how connected you are to other players. If you are very connected then Sam will get help during a big boss fight. "

    Q:

    You've said before that Sam is a human, but it seems like he isn't really though, is he? There are elements of him that seem to be rooted in the supernatural, or paranormal.

    A: Kojima

    "Well, he is human, but what is so special about him is that he has abilities that allow him to move to the other world and back again. He can repair the broken connection. You have to play the game to understand him and his past, but in reality he is a very special person who cannot die. He ends up on a beach between the living and the dead world. "

    Q:

    And this is where the first trailer takes place, right?

    A: Kojima

    "Yeah, it's on the beach. So, every time you die, you end up there because it's in between the worlds. Then you have to find your body, and then come back to the living world. So he's a little unique on it way. He's a bit more resistant, a little more though compared to other people, but he's not a superhuman. "

    Q:

    It's just so nice to finally find out what was going on in the first trailer there.

    A: Kojima

    "(Laughs) Yeah, I actually want you to write this. A lot of people don't get convinced unless I tell everything. I've said it's an open world where you can make use of pretty much anything. is not a spoiler - it's up to the player what you do - it's not a linear game with a specific sequence of events. I don't want to say anything about the story itself, which is why I refer to Sam's past as being the key to who he is. I'm trying to keep up with the details, but people obviously wanted to find out more about the actual game - and that's why I'm sitting here. "

    Q:

    It seems that many of the characters in the game are a form of representations of pre-existing people? You have Keighley, you have Guillermi. Are these cameos, and if so, is there room for me in the game?

    A: Kojima

    "(Laughs) Yes, of course you can join the game. Well, not this game, but the next one, yes, there is a chance you can have your own cameo too!"

    Q:

    Great, i´ll give you my card right away!

    A: Kojima

    "There are already so many rumors on the internet about who comes up as a cameo. There are many of them."

    Q:

    Much of the conversation about Death Stranding has centered around what you actually do in the game. However, it seems that just exploring will take a lot of the time. Is this designed in the same way as No Man's Sky, for example?

    A: Kojima

    "It's a special world all on its own. There's so much information, you have brand new terminology and you're going to spend a lot of time scratching your head and wondering what's really going on. But don't worry - at the beginning of the game you will only be gently pushed forward and the more structured beginning will give you time to learn a little about the world. It's not like Terminator or Star Wars, where pre-existing back catalog of knowledge is needed to contextualize the events. But we make it a virtue at the beginning of the game to explain, little by little, how this new and much-changed world is interconnected so that you gain a basic understanding. I do not guarantee that you will not feel lost, because that is the other side of the matter. There is much to learn, but it will feel natural as the details are presented to you. It's a bit like in the movie Alien, where you naturally and in a perfect tempo,learn to perfectly place the narrative pieces on the board. What you can do -what you can't do. In a shooting game, for example, you start with a solid idea of ​​what it's all about. I did not want to have this, everyone should start from the same confused, but also exciting starting point. What I have shown you may be enigmatic, but it all makes sense. "

    Q:

    You have stated several times that Death Stranding belongs to a new genre called "Social Strand System". During the show, you went into a little more detail, but how does it differ, for example, from a game like Dark Souls, where you leave messages to other players who can then jump into your dimension and help.

    A: Kojima

    "It might be a bit misunderstood then. I don't actually play that many other games. I'm simply too busy. But I don't want to create any new genre. Everyone says it's an" open world ", it's a" stealth game " ", and what's so different? There I allow myself to answer," no, that's not the case. "I don't think you need to define a genre that way. That's exactly why I allowed myself to create this temporary genre by the name "social strand" because it's more fair to the game than just answering the two questions above. "

    Q:

    Okay...?

    A: Kojima

    "I dare say that what we have to do here is quite new, but as you might saw during the demonstration I presented at the Tokyo Game Show, it's important to play it to understand it and get the feel of it and how the different components combines into something a little different. Therefore, I try to say to everyone; "just try it". My employees did not understand the concept at first and were therefore slightly opposed to it. Now it's very different and now they say things like; "just going around the world is fun" because everything is up to the player. As an example, you can decide for yourself how to climb a mountain. They say; "this is exactly how an open world should feel". It is not because we give you an open world, and then tell you what to do. That's not how it works. I want you to choose your own path throughout the game. Many say; "the game is like this other game". But again, as I said, I don't actually get to play so many other games - this is really just a world I would like to create. The last scene in the presentation where Sam reaches Knox City, there are actually some of them who have tried it, that has been crying there, but that's because they have been on a journey that has been entirely and completely their own.

    Q:

    Shouldn't we end the interview with talking a bit about boots then. You stated during the presentation that wearing good boots is important as Sam's feet can hurt and swell. He can also get tired - can Sam die directly from overwork if you push him too far?

    A: Kojima

    "You don't exactly die from either overwork or fatigue. You can die if you fall off somewhere, but when that happens you have to find your body again from the other side. There is no game here. It is a concept inspired by the old arcades where an extra 25 cent would give you a new chance. In my game you do not die, but flow like a soul and find your body. Of course, if a mission fails, you can rewind the time to the last checkpoint. Other than that, there is no game left."

  3. #143
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    https://www.dualshockers.com/death-s...ojima-sequels/

    Kojima told Gamespot that he is considering sequels in order to solidify “Strand Game” as a genre.

  4. #144
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    My only regret is that playstation is the only platform to play this on right now. How long must I wait for a pc version...I dont want to buy a Pro but I feel like base ps4 will suck at this game like I saw with Control.

    Sent from my SM-G975U using Tapatalk

  5. #145
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    Quote Originally Posted by Salodin View Post
    base ps4 will suck at this game like I saw with Control.
    Although the difference is this is being developed exclusively for PS4 hardware whereas Control was a multiplat development.

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    I'm keeping my fingers crossed! I have a chance to buy a base ps4 with like 50+ games for $120 but I was really hoping for news on PC ff7 and death stranding before i jumped on it.

    Sent from my SM-G975U using Tapatalk

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    You can use your piss and shit as weapons. If blood is present, it's HQ'ed.

  8. #148
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    Quote Originally Posted by Salodin View Post
    Keanu is in every video game

    https://twitter.com/HIDEO_KOJIMA_EN/...062538243?s=09

    Sent from my SM-G975U using Tapatalk
    https://www.dualshockers.com/hideo-k...ath-stranding/

    Nope, but Kojima almost cast Keanu in Mads' role. He does intend to work with Keanu on a future project.

  9. #149
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    Man creepy Keanu would have been amazing for this

    Sent from my SM-G975U using Tapatalk

  10. #150
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  11. #151
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  12. #152
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    Here at Sony Interactive Entertainment, we’re excited to announce that we’ve partnered with RCA Records to release a full album for upcoming PS4 game Death Stranding. Timefall (Original Music From the World of Death Stranding) is named for the mysterious rainfall that affects all it touches, while its songs find their inspiration in the game’s narrative focus: Sam Bridges and his journey to reconnect a fractured society and save mankind from extinction.

    SIE and Kojima Productions set out to find artists in many different genres whose music evoked some of the key thematic elements in Death Stranding. Each artist on Timefall spent time with the team at SIE, interacting with the game’s story and vibe, coming up with their own unique takes on connection, love, loss, and rebirth. Today, you can hear the first of these, from renowned Scottish anthemic electro-pop group CHVRCHES. After spending time with Mr. Kojima at Kojima Productions in Tokyo, the band were inspired to write an original song. We’re thrilled to share it with you, the first of several hits to come.

    “Death Stranding” is only the first of a full set of original songs by notable musicians from a wide range of genres. Each track from Timefall is inspired by the message and world of Death Stranding. See who’s featured on the official artist roster:

    “Trigger” Major Lazer x Khalid
    “Ghost” Au/Ra x Alan Walker
    “Death Stranding” CHVRCHES
    “YELLOW BOX” The Neighbourhood
    “Meanwhile…In Genova” The S.L.P.
    “Ludens” Bring Me the Horizon
    “Born in The Slumber” Flora Cash
    “Sing to Me” MISSIO

    You can get the digital album by purchasing the Death Stranding Special Edition ($69.99 USD MSRP/ $89.99 CAD MSRP) or the Death Stranding Collector’s Edition ($199.99 USD MSRP / $249.99 CAD MSRP). Pre-order either edition now.

    In the meantime, keep a watchful eye on all of our official channels for more details around Death Stranding and Timefall (Original Music from the World of Death Stranding) as we get closer to the game’s November 8 launch date.

    As always, tomorrow is in your hands.

    David Bull - Global Brand Manager, SIEA

  13. #153
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  14. #154

    People are starting to get their review copies. Embargo lifts on November 1st.

    Hoping someone leaks something before then.

  15. #155
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    Personally, I don't want any leaks and spoilers. I plan on watching Skill Up's review because I trust him to not spoiler anything beyond the basics, and he tweeted about getting a review code.

  16. #156

    I just want a little more info on gameplay. Not so much the story. But also part of the"leaks" that I'm hoping for is reactionary stuff like people saying how they felt about the game.

    I'm just being impatient and don't want to wait until the 1st to hear if people are liking it or not lol

  17. #157
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    Fair enough. I actually planned around this a bit. I held off on playing Horizon Zero Dawn until now. With both being designed in the same engine, I figured there would be some similarities between the two. Loving Horizon, so as I get closer to beating it, I can roll right into DS.

    I'm definitely hyped and ready for it to land though. Got a vacation day lined up already to just go all in.

  18. #158
    Caesar Salad
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    I feel like people are really hyping themselves to be disappointed with the game. Kojima has always been a movie director who makes games, and I feel like the biggest complaint people are gonna say, from previews thus far, is it's a walking simulator to the next cutscene. It's the same complaint he always gets, but I've seen reactions to the walking simulator part and people being like wtf? and I'm just like "this is kojima I wasnt expecting anything else".

    Sent from my SM-G975U using Tapatalk

  19. #159
    Black Guy from Predator.
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    Quote Originally Posted by Malithar View Post
    Fair enough. I actually planned around this a bit. I held off on playing Horizon Zero Dawn until now. With both being designed in the same engine, I figured there would be some similarities between the two. Loving Horizon, so as I get closer to beating it, I can roll right into DS.

    I'm definitely hyped and ready for it to land though. Got a vacation day lined up already to just go all in.
    better than breath of the wild

  20. #160
    Resident Moogle
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    I'm hoping it shares some DNA with Phantom Pain, except rather than traveling by chopper between locations, you're just fully free to trek about the path by foot you prefer, which hopefully isn't too linear a guided route. But yeah, also going to keep myself from hearing or seeing too much about this before it's out.

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