![]() Voice of Cards uses dice, battle boards, and a Game Master (voiced in English by Todd Haberkorn) to illustrate familiar themes players have grown to love. It’s like Nier, and in the Nier-est way possible. There’s swords, a bit of sorcery, and a protagonist named Ash who sets off to silence a recently reawakened dragon with the help of a scales-hating black witch and a monster pal with underlying attachment issues. The collaboration with Yosuke Saito ( Nier: Automata), Keiichi Okabe ( Nier, Drakengard 3), and Kimihiko Fujisaka ( Drakengard, Fire Emblem: Heroes) taps into the same card-based genre that spawned Loop Hero, Slay the Spire, and Inscryption, but the game, out on October 28, is portrayed entirely through the medium of the cards. And in the case of Taro’s new project, Voice of Cards: The Isle Dragon Roars, it can be an invitation to try something new. That ambiguity can sometimes be an asterisk. As long as I go look at pictures of kittens or something, I’ll feel better.” I’m not at all sad if people completely disregard dialog. Because of that, I try not to think of it as improving my writing techniques, rather, that I aim to increase the time in which players are playing the game. “As such, I try to create the game in a way that the gameplay makes sense even if you’re not paying attention to the story. “No matter what kind of story I write, there will be a certain number of players that will say ‘I don’t want a story. It uses the entire box of crayons, to the point where colors rely on each other to be distinct, and while creatives at Square Enix have done this in previous games (see Chrono Trigger, Nier: Automata), they’ve often been limited by technology or the burden of binding narratives to gameplay. It’s also a rogue-like on hallucinogens that uses time loops, Metroid biomes, sentient flora, retro-futuristic menus, DualSense oddities, neon-lit projectiles, Bobby Krlic’s “malevolent soundscape,” and a badass alien sword, all to demonstrate why “ the world should release more bullet hell games,” according to Taro. ![]() The PlayStation Studios exclusive is, as advertised, a weird-as-hell sci-fi shooter that’s more Ridley Scott than Prometheus. and Doom (1993) defined platformers and first-person shooters, some of 2021’s critical hits- Death’s Door, It Takes Two, or Housemarque’s Returnal, a Yoko Taro favorite-turn conventional labels on their head by treating narrative tone, environmental effects, and heavily stylized action sequences as thematic equals. The patty-or-buns dilemma is entirely subjective, but it’s one that epitomizes the evolution of video games and what’s classified as a core mechanic. “Yes, in conclusion: The patty is more important.” “The patty is more important, huh? I see,” remarks Taro in a recent interview with WIRED. It’s also one that he uses to show that betraying fans’ expectations and convincing players to engage with narratives are two different story elements that can coexist. For Yoko Taro, the creative director behind the Nier series, it’s a logical fallacy. “Which is more important: the patty or the buns?” The age-old causality dilemma has taken different forms for centuries-from the chicken-or-egg paradox to online debates weighing anime versus manga.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |