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I sort of admire David Cage.
I also like slightly androgynous yet attractive women and rapey (but tasteful) scenes, but I would never be so bold to put this stuff in everything I make.
I sort of admire David Cage.
I also like slightly androgynous yet attractive women and rapey (but tasteful) scenes, but I would never be so bold to put this stuff in everything I make.
David Cage is sort of a souped up Neil Breen of video games, he's a bit of a hack and is a total weirdo, but he knows what he likes and wants and makes it happen. Even when that results in extreme cringe that's still better than games designed by committee that you get from the big studios. Say what you want about trainwrecks like Indigo Prophecy, people remember them, they leave impressions, haha, even on people that don't even play them.
Let's also not forget that he made an absolutely insane game together with David Bowie.
Omikron is the only Quantic Dream game worth anyone's attention.
Too bad every good input during development came from other people and Cage himself was always too big of a nipples on asscheeks retard to improve its formula.
Just completed this and I must say I really liked it. As a previous post said, it's less a game and more a CYOA with QTE's but I was surprised just how much I enjoyed it. There's LOADS of branching paths and C&C, the graphics are just about the best I've ever seen when it comes to the models and although the story path I played did have quite a few ridiculous and unbelievable moments, on the whole I found it interesting and well told. Took me about 9-10 hours for one playthrough I think, but there's a lot of possibility for a radically different second playthrough.
If half of Codex loves the CYOA of Disco Elysium which has basically one ending, I'm surprised people are turning their nose up at this which has multiple endings and various different ways to get there.
If half of Codex loves the CYOA of Disco Elysium which has basically one ending, I'm surprised people are turning their nose up at this which has multiple endings and various different ways to get there.
Detroit is a decent game with a shitton of different outcomes(there's a youtube video with 4 hours of different endings and paths, so credits where it's due), but the writing and setting, not to mention gameplay, is too basic and derivative to elicit some kind of investment in it to try out all these paths and endings, at least for me.
Although i will say that i quite enjoyed Conor's character and his back and forth with this other detective.
Well it depends how much you'd find too much. It certainly is very allegorical and a few moments did make me cringe, but then again I went the 'peaceful androids' route so I was expecting a large dose of cringe. Terenty is right when he said it's very derivative with basic gameplay and if it hadn't been so well presented and voice acted I doubt I'd have enjoyed it as much as I did. The main characters were all very well done though and I could suspend my cynical nature to overlook the simple gameplay and glaring plot holes thanks to feeling genuine interest in their fate.
Maybe I'm getting soft in my old age but I did find I cared about how each of the three different story threads ended. Much preferred this to Heavy Rain, which I got bored of after a couple of hours.
I just finished watching that LP myself and when the president just gave up at the end and went "nothing we can do now, we just have to learn to live with them and treat them like equals" after androids flooded the central area of Detroit i couldn't believe my eyes. After that scene, I ended up sitting there for like 10 minutes straight and asking myself what a hell just happened and who thought this made any sense.
I guess ordering a few fighter jets into the sky and vaporizing every android in the area was somehow too hard. All civilians in the area had fled, after all.
I just finished watching that LP myself and when the president just gave up at the end and went "nothing we can do now, we just have to learn to live with them and treat them like equals" after androids flooded the central area of Detroit i couldn't believe my eyes. After that scene, I ended up sitting there for like 10 minutes straight and asking myself what a hell just happened and who thought this made any sense.
I guess ordering a few fighter jets into the sky and vaporizing every android in the area was somehow too hard. All civilians in the area had fled, after all.
If you are talking about pacifist uprising ending then look at it this way: people are supportive and you order carpet bombing on non-hostile AI's.
What's more non-consequential is memory-probing, I must've missed the explaination but I understand that Connor is able to access the entire "hard-drive" of any Android that is still functioning. Also if Cyberlife is able to see everything Connor sees then why they don't intervene when he becomes more and more unstable and human-like through the game?
Another scifi story for the lowest common denominator. I love how the game forces me to break the chains of oppression without having any say about the matter. "Just press the damn buttons, you fucking automaton. Who asked your opinion?"
Another scifi story for the lowest common denominator. I love how the game forces me to break the chains of oppression without me having any say about the matter. "Just press the damn buttons, you fucking automaton. Who asked your opinion?"
Another scifi story for the lowest common denominator. I love how the game forces me to break the chains of oppression without having any say about the matter. "Just press the damn buttons, you fucking automaton. Who asked your opinion?"
If you're talking about the part where Marcus goes 'rogue' then you do actually have a point. That was one part where I found it a bit jarring that you were forced to play through that 'wall breaking' snip. Every other 'go rogue' bit, you've got a choice, (of sorts- be a pretty short game if
you don't go rogue as Kara and protect Alice
, but that part you're forced into it.
That isn't indicative of the rest of the story though, that was the only bit where I felt proper railroaded. Having watched a lot of the other strings on YouTube, I'm glad I picked the peaceful resolution path as some of the other ones are pretty retarded and even more facepalm. I doubt I'd have such a good impression of it if I'd have gone the violent path.
Another scifi story for the lowest common denominator. I love how the game forces me to break the chains of oppression without having any say about the matter. "Just press the damn buttons, you fucking automaton. Who asked your opinion?"
If you're talking about the part where Marcus goes 'rogue' then you do actually have a point. That was one part where I found it a bit jarring that you were forced to play through that 'wall breaking' snip. Every other 'go rogue' bit, you've got a choice, (of sorts- be a pretty short game if
you don't go rogue as Kara and protect Alice
, but that part you're forced into it.
That isn't indicative of the rest of the story though, that was the only bit where I felt proper railroaded. Having watched a lot of the other strings on YouTube, I'm glad I picked the peaceful resolution path as some of the other ones are pretty retarded and even more facepalm. I doubt I'd have such a good impression of it if I'd have gone the violent path.
The story has a lot of potential and starts out strong enough. The lack of player agency is not actually even my biggest problem with the game - the main issue is the lackluster writing. A drunk father, who constantly acts out of control and can't be reasoned with in any way whatsoever. A failure of a son, who taunts a toaster cause he has daddy issues. We're force fed the narrative about how androids are treated unfairly and how they therefore are justified to raise against their overlords. We're made to do mundane tasks like cleaning to empathize with the toasters. Yet no one seems to be aware that these toasters are able to develop self-awareness, so why should people treat them any differently from any other household appliance? I always loved how in Star Wars even a good-hearted hero like Luke completely disregards droids and replies to their greetings sarcastically, since he clearly realizes he's basically talking to a toaster.
It's absolutely infuriating how all the deep philosophical questions about consciousness and the meaning of life are dumbed down to complete banality. The entire wondrous process of Marcus developing consciousness and becoming self-aware is basically a result of some loser neckbeard calling him a pussy. Now that's Shakespeare for you.
Also, the designers of these androids must have been complete retards. They have programmed the androids to automatically order maintenance for washing machines, but forgot to program them to contact authorities when faced with clear evidence of child abuse. In a world that made sense androids would be programmed not to follow illegal orders and to inform authorities in case they discovered someone committing serious crimes.
Another scifi story for the lowest common denominator. I love how the game forces me to break the chains of oppression without having any say about the matter. "Just press the damn buttons, you fucking automaton. Who asked your opinion?"
If you're talking about the part where Marcus goes 'rogue' then you do actually have a point. That was one part where I found it a bit jarring that you were forced to play through that 'wall breaking' snip. Every other 'go rogue' bit, you've got a choice, (of sorts- be a pretty short game if
you don't go rogue as Kara and protect Alice
, but that part you're forced into it.
That isn't indicative of the rest of the story though, that was the only bit where I felt proper railroaded. Having watched a lot of the other strings on YouTube, I'm glad I picked the peaceful resolution path as some of the other ones are pretty retarded and even more facepalm. I doubt I'd have such a good impression of it if I'd have gone the violent path.
The story has a lot of potential and starts out strong enough. The lack of player agency is not actually even my biggest problem with the game - the main issue is the lackluster writing. A drunk father, who constantly acts out of control and can't be reasoned with in any way whatsoever. A failure of a son, who taunts a toaster cause he has daddy issues. We're force fed the narrative about how androids are treated unfairly and how they therefore are justified to raise against their overlords. We're made to do mundane tasks like cleaning to empathize with the toasters. Yet no one seems to be aware that these toasters are able to develop self-awareness, so why should people treat them any differently from any other household appliance? I always loved how in Star Wars even a good-hearted hero like Luke completely disregards droids and replies to their greetings sarcastically, since he clearly realizes he's basically talking to a toaster.
It's absolutely infuriating how all the deep philosophical questions about consciousness and the meaning of life are dumbed down to complete banality. The entire wondrous process of Marcus developing consciousness and becoming self-aware is basically a result of some loser neckbeard calling him a pussy. Now that's Shakespeare for you.
Also, the designers of these androids must have been complete retards. They have programmed the androids to automatically order maintenance for washing machines, but forgot to program them to contact authorities when faced with clear evidence of child abuse. In a world that made sense androids would be programmed not to follow illegal orders and to inform authorities in case they discovered someone committing serious crimes.
I find this very typical for Quantic Dream games. It was the reason I dropped Heavy Rain in just few hours. They always funnel events in a way that forces the narrative in disregard to basic logic let alone world plausibility. While it was toned down in Detroit to a point I was actually able to finish the game, Kara's entire plotline is based upon retarded concept that it was better to smuggle abused kid out of the country than report it. Lots of dramatic gravity in their games comes from trivial incidents escalated out of proportion.
The problem is that Detroit has no interest in studying the psychology of human life in such a society, nor does it attempt to address the political, economic, and social problems of a society that no longer revolves around human workers.
Robots take over human jobs is one of the most interesting topics of the day.
Some people believe that this is a scary event and we should plan for it now, and Others believe that technology has always changed the nature of work throughout history, especially after the Industrial Revolution, and that robots are nothing more than another stage in the process that humans will be able to cope with.
Cage, however, is reluctant to pay for this part of his world.
He goes to the judge with this one-sided game.
Cage believes that Androids deserve to live next to humans and have nothing to do with the complexities that this entails in changing the structure of society.
As a result, most humans are portrayed as disgruntled and angry monsters who enjoy abusing their creatures, and Androids are the miserable rulers of the poor for whom we have no right but to feel sorry for them.
Detroit completely eliminates one side of the equation that is human in order to achieve its goal of proving the right to life of the Androids and the evil of human beings.
Maybe if one of the characters in the game was a human, we could better see the evolution of society from a different perspective.
Detroit's biggest problem is that David Cage thinks that the story he tells with this game has no record in history!
Yes, the point is that Cage points out in disbelief in an interview with the VentureBeat website in 2016 that although he knows that movies like "Artificial Intelligence" and "Blade Runner" have already addressed Android, but he emphasizes that his game is original.
Also, unlike other products that deal with Android, the game will not be about artificial intelligence, but about humans and the discovery of identity and emotions!
Well, if Cage really believed what he said, I think the first thing he should do as soon as possible is read a science-fiction novel!
Cage's most important problem preventing him from becoming a great writer and director is his emphasis on the word "feeling."
Not only is the word "feeling" written in large letters on the wall of Quantum Dream Studios, but it is impossible not to read an interview from Cage in which they do not talk about their studio focusing on "feeling" games.
He talks so passionately about the feeling in his games that it feels as if only the games that involve a father making a paper rocket with his children on the lawn of their backyard are emotional.
They talk as if the God of War father-son relationship does not make sense because we are going to fight the evil beasts and face a game over screen after being killed.
He believes that what he does in telling serious stories and plowing the emotions of his characters is unprecedented in the gaming industry.
This emphasis on terms such as "feeling" and "art" is, on the one hand, a propaganda ploy to make Quantum Dream known to the general public as a studio with a different perspective, but the problem is that this ploy has penetrated into Cage Games as well.
And most of the time it has negative consequences.
Thus, his games sometimes raise the dose of emotion to such an extent that the narration of a good story gives way to scenes that sentimental is less to describe.
