Gargaune
Arcane
- Joined
- Mar 12, 2020
- Messages
- 3,634
I'm not even sure it's a "modern audiences" problem, I don't think there's anything about the tech noir aesthetic that wouldn't work for the contemporary consumer, but rather that CDPR aspired to keep it more "intellectually" relevant with this conceptual update rather than engage in retrofuturism, which the '80s-inspired aesthetics would've been.That's my main gripe. CPDR tried to make a rendition of the source material and then bring it to modern audiences. I get that, I really do.
I get that the 80s Blade Runner aesthetic may not be cool anymore, but look at Deus Ex : Human Revolution. I know the game had a tepid reception, but I find the Prague design so beautiful. Mix of classic city with a futuristic twist.
Eidos Montreal spun up a whole proprietary art style for Human Revolution which they called "Neo-Renaissance" or "Cyber-Renaissance", it's its own thing. It was an interesting exercise, though I was happy they toned it down a bit through Mankind Divided because it was a very big gap to bridge to the original Deus Ex.
That's not by accident, GTA was TW3's structural reference for its open world and interactions. I'm not bothered by CDPR going the open-world route, but they failed to appreciate how much of a difference setting a FPP adventure in a dense urban environment would skew players' expectations for exploration and interactivity. Night City should've played more like Boston in Fallout 4, Novigrad-on-steroids just can't cut it. But if we start breaking down the details, we'll be here till next Friday, it's all as interwoven as the average CBP mod setup.I think where Cyberpunk fucked up the most is the open world design. A game like this shines more in a hub kind of design. They could have made very big hub zones and hyperfocus the action there. Instead , I feel lots of times playing a GTA clone where half the content is there just for the sake of being.
That's fair enough, I'm not really qualified to comment on the source material, but I just don't find it as compelling as the tech noir approach. Blade Runner was more of the reverse, defining for tech noir while having little to do with cyberpunk, but my preferred reference would be Ghost in the Shell '95. I get a better groove off the visuals in something like the non-cyberpunk Terminator than those of Dredd 2012. If that aesthetic expectation's become widespread, I wouldn't say it's necessarily on account of public ignorance, but rather because the glove fits.That's CP2022 though. It's very much Gibson's Bridge trilogy - gritty, dirty urban wasteland/jungle, without the noir elements people often associate with cyberpunk because they saw Blade Runner.
I know what you mean, but the fault lies elsewhere. If you'd like to stare into the abyss for a minute, imagine the exact same Cyberpunk 2077 we got, except without Silverhand looming over your shoulder...I'd agree he's a fine character, but his presence completely fucks the game in so many ways, it's kind hard for me to enjoy his presence on the screen.