What a ride! When realizing the help I got was at the cost of someone's save and reading all those support messages there's no way I wouldn't do the same. It's fun to think that somewhere in the world someone may be also getting help in the same way lol
The only ending I could imagine a continuation is D... on another planet. I don't expect a direct sequel, Yoko Taro doesn't like doing the same thing twice and I'm not sure what more you could do with this timeline at this point.
A machine village management mobile game staring Pascal might make play a mobile game for the first time in like five years, that or a Jackass experiments mobile game.
I still can't believe the whole "2B or not 2B" thing turned out to be true. It thought it would have been dumb and obvious but it turned out to be so well executed and made every odd moment with 2B just click.
Sorry, I'm just sitting here thinking about this game again.
I still can't believe the whole "2B or not 2B" thing turned out to be true. It thought it would have been dumb and obvious but it turned out to be so well executed and made every odd moment with 2B just click.
Sorry, I'm just sitting here thinking about this game again.
I sorta get this view because other artforms don't have a component like gameplay that is primarily concerned with being enjoyable/rewarding/etc., which inevitably limits your possibilities as a creator...
...but that would be ignoring the numerous examples which do it.
Anyway, good luck with your essay. NieR is a great choice.
Actually, this came as surprising to me, because my first foray into reading video game studies journal articles say that you can encode messages through gameplay and how this can contain a critique (look up Gendered Gameplay of Silent Hill), which is why I want to bring up Nier: Automata to disprove that thinking.
I went from playing a superhero hobo with gravity powers to playing a mute knight that's been dead for 100 years to playing to a (thick af) battle-ready android that wants to kill God and protect her man to playing a high school student that doubles as a phantom thief who battles demons and otherworldly creatures in order to make shitty adults change their ways.
I went from playing a superhero hobo with gravity powers to playing a mute knight that's been dead for 100 years to playing to a (thick af) battle-ready android that wants to kill God and protect her man to playing a high school student that doubles as a phantom thief who battles demons and otherworldly creatures in order to make shitty adults change their ways.
And I'm sorry, but there's a lot of shit to play, and I ain't like the other people on GAF who purposely give themselves a huge ass backlog. I'm surprised I even got through Zelda and Nier before P5 came out.
I went from playing a superhero hobo with gravity powers to playing a mute knight that's been dead for 100 years to playing to a (thick af) battle-ready android that wants to kill God and protect her man to playing a high school student that doubles as a phantom thief who battles demons and otherworldly creatures in order to make shitty adults change their ways.
And I'm sorry, but there's a lot of shit to play, and I ain't like the other people on GAF who purposely give themselves a huge ass backlog. I'm surprised I even got through Zelda and Nier before P5 came out.
Slightly confused with one thing. All of the machines are destroyed, right? Either they all went with the Ark or the tower was destroyed. Since Pascal disconnected, is he the last living machine if he's kept alive?
Slightly confused with one thing. All of the machines are destroyed, right? Either they all went with the Ark or the tower was destroyed. Since Pascal disconnected, is he the last living machine if he's kept alive?
Emil's Determination was great, continuing the trend of most of the side quests having exceptional writing. The callbacks to the original game in Emil's quests were definitely the moments in the game that hit me hardest:
seeing Kainé's home preserved with the Lunar Tears everywhere, and Emil calling out to her at the end of the fight against his clones.
I decided to take A2 to Emil's Determination due to the speculation I was reading here that Kainé was used as the base for her model, and you could definitely feel some similarities between them in that quest specifically.
I was disappointed that the final optional superboss was just a reskin of a previous boss fight. It was times like that and during the final machine boss fight that you can really feel the budget constraints. I wish there had been more unique, big fights like the opera singer machine, or even the first Goliath fight at the start of the game.
In the end, Automata wasn't quite the game I was hoping for. I did enjoy it a lot, but it has a lot of flaws, and ending E coming out of nowhere, with me having no idea what was going on, really dulled its impact for me, which I'm sad about. It feels like the kind of game I should adore completely, but something about it just doesn't 100% click.
This partly why I wasn't as impressed by the game as I thought I would be and why I don't get why the story and themes are getting so much praise. I mean sure, it's crazy and high-concept, but I've played so many crazy and high-concept Japanese (and indie) games over the years that Nier: Automata really didn't feel all that unique to me.
This partly why I wasn't as impressed by the game as I thought I would be and why I don't get why the story and themes are getting so much praise. I mean sure, it's crazy and high-concept, but I've played so many crazy and high-concept Japanese (and indie) games over the years that Nier: Automata really didn't feel all that unique to me.
What differentiates Nier from most other Japanese games is the way it tells its story. It respects the player and asks them to use their head and connect the dots instead of just giving giant info dumps and long sequences of exposition. The themes of the game and major plot points of the story are always present, but the player just doesn't have the context to know what's right in front of their eyes.
It's also not crazy for crazy's sake. The themes in the game are ideas many can relate to.
This partly why I wasn't as impressed by the game as I thought I would be and why I don't get why the story and themes are getting so much praise. I mean sure, it's crazy and high-concept, but I've played so many crazy and high-concept Japanese (and indie) games over the years that Nier: Automata really didn't feel all that unique to me.
Care to list some? I'm interested in more high concept stuff. It gets praise because it's a well written and well executed story. Just because it's been done before does not somehow make it not good.
What differentiates Nier from most other Japanese games is the way it tells its story. It respects the player and asks them to use their head and connect the dots instead of just giving giant info dumps and long sequences of exposition. The themes of the game and major plot points of the story are always present, but the player just doesn't have the context to know what's right in front of their eyes.
It's also not crazy for crazy's sake. The themes in the game are ideas many can relate to.
I agree, but I think the story is handled much better in Nier. I'm not liking how regimented everything is and constantly being railroaded for huge exposition dumps of stuff I already knew or could have infered.
I agree, but I think the story is handled much better in Nier. I'm not liking how regimented everything is and constantly being railroaded for huge exposition dumps of stuff I already knew or could have infered.
Lol, I was just messing with ya. At this point, P5 is definitely the more polished game overall, but Nier's highs are still unmatched so far. The cast is dope though.
Funnily enough, even in the company of two of gaming's recently most eccentric, powered stories... FFXV is conceptually still the strangest lol.
One Direction meets magic, hillbillies, and Venetian cuisine... yep, still as crazy sounding as ever. xD
In any case, even after running through a bunch o' other games N:A continues to linger in my head, aahrg. Still thinking about getting around to that post-E playthrough... eventually.
Just finished endings C,D and E. I'll dig through this thread after I sleep (playing Nier kept me up to 5am!) but one quick question that I haven't seen anything on in skimming the last few pages: whatever happened to the 9S whose data was spread out over the local machine network in ending A / B? Did they ever come back to that?
what I was thinking was ch13 in ff15 plot reveals and location is quite similar to the basement lab sequence in undertale. Nier automata covered similar topics as well.
They are the embodiment of the Machine Network's evolution.
There are in hindsight major clues to this in Route B where the first time we see one of the "red girls" is when 9S is leaving the bunker to assist 2B fighting Eve. (There is only one holographic figure as only Adam is "dead" at this point).
However after Eve is defeated, we get to see 2 "red girls" watching 2B euthanize 9S. Because now both halves have lost their physical forms and "become as Gods".
Adam's strategy throughout is that by creating hatred, conflict will ensue, and evolution will occur. Essentially this is the first time an emotional component has been incorporated in the machine network's standard MO of adaptation coming from acquisition of combat data.
The parallel descents into rage and madness of both Eve and 9S unexpectedly supplies the final piece of the evolutionary puzzle however, as its the first time they've really seen how similar they are to the Androids, because for once they have input from all sides of the equation. Adam's cold intellectualism, Eve's emotionality, all in the context of the utter futility of 9S's revenging.
In simple terms by seeing the pointlessness of 9S's fight, they finally understand the futility of their own existence as living weapons in an endless war.
