![]() ![]() Pacing: while the narrative is quite strong, there were ….I'd avoid playing if you don't have a decent build as turning down the graphics otherwise I would imagine would detract from a lot of the beautiful environments that really sell the game. Optimization: pretty rough, though it's plenty playable at 30 fps.Information is revealed through a variety of different mediums (pun intended) with written notes, encounters with spirits, cryptic monstrous mutterings, Marianne's internal musings, and dreamlike visions of the past. The voices for all of the main characters are super well done and made the story that much more personal. Narrative Execution: The voice acting and the motion capture/physical acting are impressive. Sadness is also great and her scenes I consider to be some of the best in the game. Though I really wish we knew more about her teenage-adult life, Marianne feels like a real person who's empathetic and at times even charming despite the dark narrative. I really appreciated Marianne as a protagonist. I was often caught up in playing and wanted to keep going to uncover the next clue in piecing together the dark secrets of the Niwa Resort and the past of most of the characters.Ĭharacterization: surprisingly solid throughout for a game in which you don't really meet almost anyone in person. This was easily one of the strongest points for this game and the studio deserves a lot of praise for that. Certainly if they're ever going to try this kind of stuff in more dark/realistic games like Metroid, and their big RPGs.Atmosphere: really killer with amazing sound design and beautifully disturbing aesthetics that consistently reinforce the oppressive themes of ruin, pain, and trauma littering the narrative and world. They need to invest in believable voice acting in much the same way they invested in music. Really sophisticated, beautiful soundtracks. Back in the Gamecube days (which isn't that long ago) their effort in music production was still heavily conservative, they were still leaning on MIDI type sampled music a lot - but in recent years their music production has been something else. I'd like to see them invest more on this side of things. I don't want to end up with Mario games that sound like Sonic Adventure. As much as I love Mario Odyssey's song, and the execution of Pauline, I do worry that Nintendo could very easily receive the feedback too positively. Fujibayashi and Aonuma knocked it out of the park though. I can appreciate the difficult job voice actors have when it comes to games and not being involved in how things come to be animated and so forth - and it's even harder when the drama and dialogue is animated and designed for a language that is so wildly different to others as Japanese is.Ĭrap instances of voice acting in Xenoblade and games like Other M is what scared me about them trying it in games like Zelda. ![]() With the Xenoblade games, I definitely get a kind of early-voice-acting-era Final Fantasy vibe from the voice acting. I was pleasantly surprised by some of the voice acting in BOTW - I loved Daruk, Urbosa and the deliberately-unpleasant Revali - but even with a couple of those and Mipha, you get a sense the voice actors didn't know how things were going to be animated, or how emotional they were supposed to be (or not). ![]()
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