RPS37
Member
I’m going to play this before Witcher 3 and I have a feeling I’m going to be confused.
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Cyberpunk 2077 - Review Thread
- Thread starter JORMBO
- Start date
kuncol02
Banned
That's what prolonged crunch do to every team. Talented people go to work somewhere else where working conditions are better.
Madflavor
Member
How much of the TW3 team left CDPR?
Isendurl
Member
A lot, its quite common for people to switched companies after major project is finished. Was the same for The Witcher 1 and The Witcher 2.
Would not be surprised if Karolina returned to CDPR after she is done with her current work.
Of course people will always find a way to spin those things into their narrative.
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Madflavor
Member
It makes sense. The Witcher 3 was way bigger in scale and content, and yet it was such an amazing game, whereas CP77 is smaller and yet has so many problems. I really wonder what exactly went wrong during development.
Isendurl
Member
Noclip documentary for Cyberpunk would definitely be something.
I just hope CDPR will do their thing and we will get Cyberpunk: Enhanced Edition, because you can already see that there is really fun and interesting game beneath all of its problems.
Javthusiast
Banned
Is he the same person who complained about Witcher 3 "being too white"?
No clue, but this particular Cyberpunk video is spot on.
In Your Vase
Member
Yeah, people switching companies seems pretty normal.
In Poland I imagine it must be tough because there's not a lot of places to go to that would arguably be better than CDPR, but I don't know for sure.
Some people stick around for promised bonuses (I'm convinced this is the only reason people working on Call of Duty and the like stick around after their death march, although I imagine that shine has dimmed since Activision has likely started cutting back on the bonuses).
Gtafans93
Member
Thats complete BS there are side quests in this that beat the side quests in witcher 3. The one with the suicidal Ai was fantastic, the evolution of the Side quests beat many games, Including Rock star side quests.
Anyone stating otherwise hasn't played the game.
THEAP99
Banned
I called into his live stream again (timestamped 30:14). He truly did the gaming community service by exposing the base version so early on. So much that he's part of the reason why CD PROJEKT RED's stock is falling down.
Gtafans93
Member
Finished the games story, I honestly loved it. The choices, Acting, pacing all top tier, if this game gets rid of the bugs (which I no doubt will) and is able to change and evolve certain aspects like poilce, customizatoin, then it will become one of the best RPG's ever made. Already is really in terms of choices, range, variety and stories.
kuncol02
Banned
Techland, Flying Wild Hog, People Can Fly, Bloober, The Astronauts, 11bit studios, Infinity Ward Poland. And that's only tip of iceberg.
IbizaPocholo
NeoGAFs Kent Brockman
In Your Vase
Member
Truth Be Told
Member
I am very disappointed by CD projekt, I had pre-ordered the game (something I rarely do) on GOG last year because i wanted to support their ambition and vision.
Now that the game has been released, it turns out that their vision of a next-gen game is a game full of the latest and worthless graphical ray tracing crap (unrealistic reflections in traffic lights, mirrors everywhere : completely unrealistic and ridiculous !) that hardware charlatans and digital shills like touting but with garbage AI, garbage physics.
As soon as the gamer steps out of the narrow corridor created by CD projekt everything crumbles : the much vaunted Nightcity is just a facade with incredibly shallow gameplay. Youtube is full of videos comparing the "next gen" CP2077 to GTA5, GT4 and other games released a decade ago. These videos are very humiliating to CD projekt devs. They clearly are not on the same level than Rockstar and even Ubisoft.
Graphics are worthless if there is no substance behind the facade. The most important thing in a game is the gameplay and all the game mechanics supporting the ensemble. I should have waited for the reviews like I always do, and later purchase the game during a promotion . Lesson learned.
Now that the game has been released, it turns out that their vision of a next-gen game is a game full of the latest and worthless graphical ray tracing crap (unrealistic reflections in traffic lights, mirrors everywhere : completely unrealistic and ridiculous !) that hardware charlatans and digital shills like touting but with garbage AI, garbage physics.
As soon as the gamer steps out of the narrow corridor created by CD projekt everything crumbles : the much vaunted Nightcity is just a facade with incredibly shallow gameplay. Youtube is full of videos comparing the "next gen" CP2077 to GTA5, GT4 and other games released a decade ago. These videos are very humiliating to CD projekt devs. They clearly are not on the same level than Rockstar and even Ubisoft.
Graphics are worthless if there is no substance behind the facade. The most important thing in a game is the gameplay and all the game mechanics supporting the ensemble. I should have waited for the reviews like I always do, and later purchase the game during a promotion . Lesson learned.
Gamezone
Gold Member
After playing this on PC, how the hell did it end up getting 90% on Metacritic? The bugs are there, but the base game isn't really that good. Have you seen the GTA 5 VS Cyberpunk videos when it comes to features, AI and physics? GTA 5 was made for PS3 and Xbox 360, and it's night and day. The character creator is terrible, the cop system is the worse in any open world game, the choices aren't that great, the side quests are mediocre at best. Driving cars feels really slow. I feel that they made it that way because the game are unable to load in textures if cars went faster. I could go on forever. I know the game was hyped, but should I have to wait for Angry Joe to release an honest review before buying anything these days? This is worse than the jump from Mass Effect 2 to Andromeda. I can't believe CDPR made this. I even bought the damn Collector's Edition. It's still cool, so I'm keeping that.
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TeamGhobad
Banned
Story is shit
Too much Keanu
Did not show off the world of Cyberpunk at all
RPG elements are piss poor
Missions are linear and have no bearing on you or the world
Bugs
I give it a IGN 7 out of 10
Too much Keanu
Did not show off the world of Cyberpunk at all
RPG elements are piss poor
Missions are linear and have no bearing on you or the world
Bugs
I give it a IGN 7 out of 10
Last edited:
In Your Vase
Member
Forgot Quarter to Three existed, and agreed, it sucks ass.
Cherry Sonoshee
Banned
I remember a few reviews saying this game was super dark and depressing and while I'd say the dark stuff is on the level of a cable crime tv show and it's there. I don't actually think it's super gloomy. The tail end of the River subquest was pretty good. Reminded me of the best part of the Blood and Wine, the Wedding set piece. CD Project Red creates these characters that are just entertaining to be around. I also kind of think the whole romance thing with River was solid as far as video game romance shit can go.
Right now I see this game as what if the Witcher 3 was set in a GTA structured city and played like a modern Skyrim. It certainly feels like the mission structure is like Witcher 3 complete with parts where you play as another character. The city reminds me of open world GTA where areas are memorable by the personality they try to emulate and the random gigs are certainly like the random citizens of GTA4. And it reminds of Skyrim mearly because it is fps action rpg and I spend a lot of time looting every fallen enemy so that I can sell their weapons.
Right now I see this game as what if the Witcher 3 was set in a GTA structured city and played like a modern Skyrim. It certainly feels like the mission structure is like Witcher 3 complete with parts where you play as another character. The city reminds me of open world GTA where areas are memorable by the personality they try to emulate and the random gigs are certainly like the random citizens of GTA4. And it reminds of Skyrim mearly because it is fps action rpg and I spend a lot of time looting every fallen enemy so that I can sell their weapons.
TheContact
Member
here's one of the worst reviews I've read for any game in a very long time
"Burn Corpo Sh**"
That's what it says on my jacket. My weirdly puffy, annoyingly yellow, impressively armored and oh-so-very cyberpunk jacket. Because Cyberpunk 2077 operates almost exclusively in a claustrophobic first-person, I can't actually see the slogan sloppily written on my super-cool popped-collar jacket except when I'm tinkering with my loadout on the inventory screen. But I know it's there. I know it's there all the time.
"Burn Corpo Sh**"
I mean, that's part of the psychological deal we make with video games, right? We invest in the fiction that we are who we play. In this case, it's V — the main character in CD Project Red's massively hyped, massively disappointing open-world pantsless-motorcycle-riding-simulator. V can be anyone. They are you, whoever you want to be. They are me, every minute that I play. And they are wearing that stupid jacket with its stupid slogan which I refuse to take off and which, eventually, will become symbolic to me of everything that's wrong with this game — everything sour and broken at the heart of it.
'Cyberpunk 2077' is about ... nothing. There's a plot of sorts. But it isn't about anything.
Cyberpunk 2077 is about ... nothing. There's a plot of sorts. A kind of threaded narrative about a heist gone wrong in such a way that V ends up with Keanu Reeves permanently stuck living in his head. But it isn't about anything. You run around collecting guns and meeting people and (mostly) killing them and (occasionally) just talking to them, and both options are terrible because the killing is almost always pointless and the talking, somehow, is even worse because the writing is so, so bad.
Keanu Reeves plays a character called Johnny Silverhand, a rockerboy from 50 years back in the game's timeline who — for only the most vaguely defined or defended reasons — nuked the headquarters of one of the biggest corporations in Night City and killed thousands of people. Like actually blew it up with a nuclear weapon. Johnny Silverhand is a full-on terrorist, but he's the good guy in this story. Kinda. Because, you know ...
"Burn Corpo Sh**"
Games
After A Swarm Of Bugs, Microsoft And Sony Offer Refunds On 'Cyberpunk 2077'
Games
After Many Delays, The Wait Is Over For 'Cyberpunk 2077'
Because of what my jacket says. Because in the Cyberpunk universe, corporations are bad and corporate elitism is the dominant evil and the rape-and-pillage corpo culture is what has brought the world to the state that it is in where V — my V and your V — lives as a street-level mercenary, selling his or her gun hand, cybernetic implants and abject lack of personality to anyone who'll pay. V dreams of someday becoming the best merc in the city. Of being remembered, like Johnny Silverhand is remembered, for, ostensibly, burning corpo sh**.
And that's all. That's the game's entire underlying rationale and animating ethos summed up in three words Sharpie'd onto an ugly jacket that I wear long past its point of in-game usefulness because it is such a perfect example of everything that is wrong with the game — everything cheap and shallow and thoughtless and vain.
There are other problems, to be sure. Serious ones. Cyberpunk 2077 was supposed to be the biggest game of the year. A decade in development, years of hype, a breathless final run-up to launch day, launch hour and launch minute — this was it. The One. Greatest thing since the last great thing.
And if you care at all about video games, you already know what happened next. The game was a mess. On next-gen consoles and high-powered gaming PCs, it's kind of a mess — a beautiful, glossy, immersive mess, but still a mess — and on last-gen systems (PS4 and Xbox One), it's a complete, irredeemable, janky, low-rent, almost laughable mess. It glitches, it crashes, it chugs and strains to operate at even a basic level. Textures are muddy, blurred or lost in stuttering pop-in. Look fast, uncritically, and it almost seems like you're wandering through a real sci-fi city with its soaring architecture and grubby alleys, but linger even briefly and you notice how lo-fi, flat and pixelated everything looks.
These technical issues got CP2077 pulled from the Playstation Store late last week. CDPR has already begun offering refunds for gamers who felt cheated by the divide between what they were promised and what was ultimately delivered. It has been a complete disaster for everyone involved — a team that was already dealing with disasters over crunch, release delays, trans representation and a dozen other things.
It's like an Eat The Rich t-shirt with the Hot Topic price tag still on it; like Starbucks selling lattes in decorative All War Is Class War mugs.
But the jacket and its stupid slogan is a fishhook. It sticks in me and I can't get it out. Its clunky wording, bumper-sticker shallowness and unearned patina of faux-outrage is like a distillation of everything wrong with the game. It's like an Eat The Rich t-shirt with the Hot Topic price tag still on it; like Starbucks selling lattes in decorative All War Is Class War mugs. It's evidence that the team at CDPR either had no idea how to handle the source material they were given, or didn't care to think beyond it.
Fact: I played Cyberpunk back in the early 90's when it was just a tabletop RPG inspired by Blade Runner and William Gibson's sprawl stories. It was a product of its time, existing in a universe with space stations and cyberarms, but without cellphones. The way we played it — the way my teenage friends and I read ourselves into the world — was as small-time operators, always. The corporations were behemoths, the system so massively corrupt and powerful that no one could win against it. You fought to survive around the edges of it, living off the scraps. "High stakes, low impact" — that was our house rule. Because punks don't save the world. Ever. They just try to live another day.
But CP2077 doesn't work that way. Worlds and fortunes hang in the balance of everything V does. He (I played him as a man, though there are options) rubs shoulders with corporate titans and goes to space. The V of the main plot is different than the V of the side content, no matter how you play it. Moment to moment, he's streetracing, fighting gangsters, solving crimes, shooting up brothels or chasing down missing cabs for a self-driving car company. His core motivation, reinforced early and often, is to be the best killer Night City has ever seen. The best merc. The most dependable. Whatever. What he truly wants is simply to be remembered. In a future where absolutely everything is disposable, V just wants to leave an indelible mark.
And really, that's not bad. You could build an interesting character and a moving story around that. It's something, right?
But to do so, the game would have to address two issues, both intertwined. First, there's the bonkers assumption that the only way to make a mark in this world is to be a really good killer. Second, that this world is bad enough that it makes the first conjecture seem reasonable. And in order for there to be any story at all, the game must interrogate one or the other — either V's motivations or the world's death wish — and then come to some sort of conclusion.
And that's where CP2077 fails. It does neither. It seems to believe that presentation is enough. Like, here's V. He wants to be very good at a job that mostly involves shooting people at the behest of cops and/or corporations. And now there's a rockstar/terrorist from 50 years ago living in his head. Isn't that a crazy world? Okay, now let's go blow some stuff up.
And even though V is ostensibly going through the motions of trying to get Johnny Silverhand out of his head before he dies of terminal Keanu poisoning (or something else equally ludicrous), V spends a lot of his time in Night City just capping people on the streets for a $10 payout from the cops or watching corporate soldiers gun down striking workers. There are nice moments in the game, sure. Any time I spent with Takemura (a disgraced ex-bodyguard vital to the main plot) was a pleasure. Judy is a badass. Playing around with hacking and braindance editing was fun. And there were views in Night City which were stunningly lovely. But I spent far more time as V working with various cops and corporations than I did burning any of their sh**.
You wanna stick it to the mega-corps and hit 'em where it really hurts, choom? Just turn the game off and walk away.
The game tries so hard to be cool — to come off as crass and edgy, to talk tough and play like some kind of anti-capitalist anarchy generator. But you lean too hard into that act and it will always come off more like a desperate pose than anything honest. One of the reasons I think I had so much trouble getting into the game is that all the gloss and chrome and affected, fake punkery gelled together like a hard shell in the first hours. No matter what I did, I just kept bouncing off, unable to get past the surface of it, told to act punk and do whatever I wanted, but then offered only a narrow spread of pre-approved systemic options that usually broke down to a) shoot everyone, b) have sex with a robot, c) buy things, d) quit.
I hung with it, but honestly? Quitting is the most punk option of them all. I wanted to love this game. I really did. I've been waiting decades for someone to take my teenage techno-dystopian fantasies and turn them into something I could play around in. But names and labels aside, this ain't that. It's all surface, no depth. All signal, no content. You wanna stick it to the mega-corps and hit 'em where it really hurts, choom? Just turn the game off and walk away. You wanna burn it all down?
You do that by refusing to play.
Jason Sheehan knows stuff about food, video games, books and Starblazers. He is currently the restaurant critic at Philadelphia magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns. Tales From the Radiation Age is his latest book.
That's what it says on my jacket. My weirdly puffy, annoyingly yellow, impressively armored and oh-so-very cyberpunk jacket. Because Cyberpunk 2077 operates almost exclusively in a claustrophobic first-person, I can't actually see the slogan sloppily written on my super-cool popped-collar jacket except when I'm tinkering with my loadout on the inventory screen. But I know it's there. I know it's there all the time.
"Burn Corpo Sh**"
I mean, that's part of the psychological deal we make with video games, right? We invest in the fiction that we are who we play. In this case, it's V — the main character in CD Project Red's massively hyped, massively disappointing open-world pantsless-motorcycle-riding-simulator. V can be anyone. They are you, whoever you want to be. They are me, every minute that I play. And they are wearing that stupid jacket with its stupid slogan which I refuse to take off and which, eventually, will become symbolic to me of everything that's wrong with this game — everything sour and broken at the heart of it.
'Cyberpunk 2077' is about ... nothing. There's a plot of sorts. But it isn't about anything.
Cyberpunk 2077 is about ... nothing. There's a plot of sorts. A kind of threaded narrative about a heist gone wrong in such a way that V ends up with Keanu Reeves permanently stuck living in his head. But it isn't about anything. You run around collecting guns and meeting people and (mostly) killing them and (occasionally) just talking to them, and both options are terrible because the killing is almost always pointless and the talking, somehow, is even worse because the writing is so, so bad.
Keanu Reeves plays a character called Johnny Silverhand, a rockerboy from 50 years back in the game's timeline who — for only the most vaguely defined or defended reasons — nuked the headquarters of one of the biggest corporations in Night City and killed thousands of people. Like actually blew it up with a nuclear weapon. Johnny Silverhand is a full-on terrorist, but he's the good guy in this story. Kinda. Because, you know ...
"Burn Corpo Sh**"
Games
After A Swarm Of Bugs, Microsoft And Sony Offer Refunds On 'Cyberpunk 2077'
Games
After Many Delays, The Wait Is Over For 'Cyberpunk 2077'
Because of what my jacket says. Because in the Cyberpunk universe, corporations are bad and corporate elitism is the dominant evil and the rape-and-pillage corpo culture is what has brought the world to the state that it is in where V — my V and your V — lives as a street-level mercenary, selling his or her gun hand, cybernetic implants and abject lack of personality to anyone who'll pay. V dreams of someday becoming the best merc in the city. Of being remembered, like Johnny Silverhand is remembered, for, ostensibly, burning corpo sh**.
And that's all. That's the game's entire underlying rationale and animating ethos summed up in three words Sharpie'd onto an ugly jacket that I wear long past its point of in-game usefulness because it is such a perfect example of everything that is wrong with the game — everything cheap and shallow and thoughtless and vain.
There are other problems, to be sure. Serious ones. Cyberpunk 2077 was supposed to be the biggest game of the year. A decade in development, years of hype, a breathless final run-up to launch day, launch hour and launch minute — this was it. The One. Greatest thing since the last great thing.
And if you care at all about video games, you already know what happened next. The game was a mess. On next-gen consoles and high-powered gaming PCs, it's kind of a mess — a beautiful, glossy, immersive mess, but still a mess — and on last-gen systems (PS4 and Xbox One), it's a complete, irredeemable, janky, low-rent, almost laughable mess. It glitches, it crashes, it chugs and strains to operate at even a basic level. Textures are muddy, blurred or lost in stuttering pop-in. Look fast, uncritically, and it almost seems like you're wandering through a real sci-fi city with its soaring architecture and grubby alleys, but linger even briefly and you notice how lo-fi, flat and pixelated everything looks.
These technical issues got CP2077 pulled from the Playstation Store late last week. CDPR has already begun offering refunds for gamers who felt cheated by the divide between what they were promised and what was ultimately delivered. It has been a complete disaster for everyone involved — a team that was already dealing with disasters over crunch, release delays, trans representation and a dozen other things.
It's like an Eat The Rich t-shirt with the Hot Topic price tag still on it; like Starbucks selling lattes in decorative All War Is Class War mugs.
But the jacket and its stupid slogan is a fishhook. It sticks in me and I can't get it out. Its clunky wording, bumper-sticker shallowness and unearned patina of faux-outrage is like a distillation of everything wrong with the game. It's like an Eat The Rich t-shirt with the Hot Topic price tag still on it; like Starbucks selling lattes in decorative All War Is Class War mugs. It's evidence that the team at CDPR either had no idea how to handle the source material they were given, or didn't care to think beyond it.
Fact: I played Cyberpunk back in the early 90's when it was just a tabletop RPG inspired by Blade Runner and William Gibson's sprawl stories. It was a product of its time, existing in a universe with space stations and cyberarms, but without cellphones. The way we played it — the way my teenage friends and I read ourselves into the world — was as small-time operators, always. The corporations were behemoths, the system so massively corrupt and powerful that no one could win against it. You fought to survive around the edges of it, living off the scraps. "High stakes, low impact" — that was our house rule. Because punks don't save the world. Ever. They just try to live another day.
But CP2077 doesn't work that way. Worlds and fortunes hang in the balance of everything V does. He (I played him as a man, though there are options) rubs shoulders with corporate titans and goes to space. The V of the main plot is different than the V of the side content, no matter how you play it. Moment to moment, he's streetracing, fighting gangsters, solving crimes, shooting up brothels or chasing down missing cabs for a self-driving car company. His core motivation, reinforced early and often, is to be the best killer Night City has ever seen. The best merc. The most dependable. Whatever. What he truly wants is simply to be remembered. In a future where absolutely everything is disposable, V just wants to leave an indelible mark.
And really, that's not bad. You could build an interesting character and a moving story around that. It's something, right?
But to do so, the game would have to address two issues, both intertwined. First, there's the bonkers assumption that the only way to make a mark in this world is to be a really good killer. Second, that this world is bad enough that it makes the first conjecture seem reasonable. And in order for there to be any story at all, the game must interrogate one or the other — either V's motivations or the world's death wish — and then come to some sort of conclusion.
And that's where CP2077 fails. It does neither. It seems to believe that presentation is enough. Like, here's V. He wants to be very good at a job that mostly involves shooting people at the behest of cops and/or corporations. And now there's a rockstar/terrorist from 50 years ago living in his head. Isn't that a crazy world? Okay, now let's go blow some stuff up.
And even though V is ostensibly going through the motions of trying to get Johnny Silverhand out of his head before he dies of terminal Keanu poisoning (or something else equally ludicrous), V spends a lot of his time in Night City just capping people on the streets for a $10 payout from the cops or watching corporate soldiers gun down striking workers. There are nice moments in the game, sure. Any time I spent with Takemura (a disgraced ex-bodyguard vital to the main plot) was a pleasure. Judy is a badass. Playing around with hacking and braindance editing was fun. And there were views in Night City which were stunningly lovely. But I spent far more time as V working with various cops and corporations than I did burning any of their sh**.
You wanna stick it to the mega-corps and hit 'em where it really hurts, choom? Just turn the game off and walk away.
The game tries so hard to be cool — to come off as crass and edgy, to talk tough and play like some kind of anti-capitalist anarchy generator. But you lean too hard into that act and it will always come off more like a desperate pose than anything honest. One of the reasons I think I had so much trouble getting into the game is that all the gloss and chrome and affected, fake punkery gelled together like a hard shell in the first hours. No matter what I did, I just kept bouncing off, unable to get past the surface of it, told to act punk and do whatever I wanted, but then offered only a narrow spread of pre-approved systemic options that usually broke down to a) shoot everyone, b) have sex with a robot, c) buy things, d) quit.
I hung with it, but honestly? Quitting is the most punk option of them all. I wanted to love this game. I really did. I've been waiting decades for someone to take my teenage techno-dystopian fantasies and turn them into something I could play around in. But names and labels aside, this ain't that. It's all surface, no depth. All signal, no content. You wanna stick it to the mega-corps and hit 'em where it really hurts, choom? Just turn the game off and walk away. You wanna burn it all down?
You do that by refusing to play.
Jason Sheehan knows stuff about food, video games, books and Starblazers. He is currently the restaurant critic at Philadelphia magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns. Tales From the Radiation Age is his latest book.
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NathanDiego
Member
Exactly my feelings about the game, glad I am not alone and the shit ass potato version is not blurring my perception of the game.
I did a sidequests where I got 2 stars of police and no joke, I wasted 5 minutes just walking and no signal of any NPCs or cars, and the only cars I saw was spawned far away and disappeared as soon as I got closer, in that time the cop never get close because they can’t drive.
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Gamezone
Gold Member
I also forgot to mention that the game doesn't have any driving AI. Everything is running on rails.
bxrz
Member
Cyberpunk is not to be a GTA. GTA is a sandbox, Cyberpunk isnt. They aren’t the same genre lol. Thats your fault for being unaware
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M1chl
Currently Gif and Meme Champion
Well Techland with Dying Light is currently mess, so not sure about better working condition. Also I am not sure if writers are those who are crunching, I think that this contains mainly actual codeing developers. But I don't disagree that crunch comes with burn out.
B-universe
Banned
How do you know crunch was the reason behind her moving to Techland?
She left CDPR in November 2016, after Blood and wine released. What was she crunching for? She went from senior writer at CDPR to Lead Narrative designer at Techland. Is crunch the first thing that comes to your mind? Anyway, you must have a quote or two to back that up.
It's the market working as intended. If CDPR wants to attract and retain top talent, they better offer top conditions. But, yes, mismanagement and extended mandatory crunch will likely have people sending out resumés.
harmny
Banned
i said to karak yesterday that people were criticizing things about the world of cyberpunk that they never criticize in other action adventure/rpgs.
pointing out how the witcher 3 doesn't have different cars or police/random npcs ai. you couldn't even kill civilians. and nobody cared
i thought he could have a great take on why that is happening and he thought i was really talking about adding cars or police to a medieval setting when it's obvious i was talking about an equivalent mechanic that could involve different horses and guards that chase/remember you.
i don't know if i can trust him to be honest.
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valhalla17
Neo Member
Has there been any word on if the patches will be substantial enough to add not only fix game glitches but also improvements? Like towards the A.I for example
harmny
Banned
not yet. no.
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xrnzaaas
Member
I'd be surprised if they weren't 100% (or close to 100) focused on improving the game's technical issues so that it can return to Sony's store. A buddy of mine said police is working better after the 1.05 patch, but I haven't noticed a difference and in fact I had a motherfucking squad spawn behind my back in a tight corner.
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SF Kosmo
Al Jazeera Special Reporter
The two scheduled patches are probably highly unlikely to do anything other than fix broken shit, since they have a lot to do and a fire under their ass, however I expect there to be additional patches and work on the game. Witcher 2 and 3 both recieved patches for about 3 years before CDPR moved on, and not just basic bugfixes, either, but things like balance tweaking, gameplay refinements, and yes, tweaks to AI behaviors.
Explosive Zombie
Banned
Everyone looked at this and saw a Grand theft Auto game. It's more like Deus ex meets far cry, this doesn't invalidate some of the complaints though, but it does explain why there's such a gulf in opinion on the game. Whether that gulf is between people who got this on PC versus people on base consoles or it's between people who got this for an RPG and people who got it for an open world game. It'll be neat if one day the game is fixed up enough that it can be all things to all people or at least all the things it's attempting. because it is one thing to point out you can't even kill NPCs in The Witcher 3 and another for this game to not only allow you to do it but have a wanted system, the second you attempt to do something your ability to do it well can be put under scrutiny.
In the investor call they mentioned that A.I behaviour was covered by their bug fixing drive, so presumably there will be some improvements in the short term. And in the long term I guess they will look at reworking their A.I systems generally, since it's one of the bigger complaints.
harmny
Banned
that is why i said that the game shouldn't have a wanted system at all. remove the ability to kill civilians like every other game and no one can complain about how gta v is better.
my entire point was that if you add features and those features are not perfect you are giving people ammunition to bash your game. and if you remove them no one will complain about something they never knew
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Explosive Zombie
Banned
it's true because the complaints are focused on elements in the game that don't work we're not hearing people complaining about a lack of wall running and stuff like that sure there was some complaining when they removed these features and revealed that months back but nowhere near what's being complained about right now
SF Kosmo
Al Jazeera Special Reporter
I agree with you, but I think it's clear there are vestiges of ideas they wanted to try here that got cut. The wanted system is definitely one of those things, like they clearly envisioned some kind of GTA-like system and cut it because it wasn't working out or they didn't have time.
Another one is the kill/no kill options in stealth. Obviously they wanted some kind of faction system where it might be advantageous not to murder a bunch of gangers, but it didn't pan out, so now you have this choice to kill or not kill that has zero impact on the game outside of a few cyberpsycho hunts (which you can't stealth). In Judy's storyline for example there are some characters you're meant to "take care of," and if you handle this non-lethally, people still act as if those characters are dead after.
Not all of this stuff is because they didn't have time, some of it might have just been annoying or not fun in practice. Like you can also tell they wanted to have a subway system you could ride, but the kiosks are just more convenient and you can put them in more places. Or the wall running, which they said was just too game-breaking. The police system was probably just cut for priorities/time though.
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Rikkori
Member
Expected. Saw him posting in another thread getting triggered about the sales, but overall all I know is if I'd taken his advice I'd have missed on an amazing game and all over what, a t-pose or two? Maybe having to reload a side-quest? Meanwhile he gives shit like The Outer Worlds a 'buy', which is a sub-mediocrity of a game. Games are subjective blabla. But even when I played through Division 1 and had crashes numbering >100 I still had a great time with the game & thought it was well worth playing, so I can't really empathise with his pov.
This simply reinforces how pointless reviews are in general, if you don't try it for yourself then you won't really know.
Javthusiast
Banned
''I was lucky enough to not get punched in the balls. That dude over there was though, yet I still don't agree that it hurts that much. I mean, I didn't feel it.''
LittleBusters
Banned
Despite all the whinging, CP2077 will sell 25 million copies by 2023.
tassletine
Member
I agree. I liked that game a lot but I distinctly remember the combat being shit, tons of bugs and it having things like your horse continuously running when it got to walls etc. It wasn't polished.
That CDPR tried to do Night City with this sort of AI is a crime though -- Knowing full well they would be compared to GTA they just didn't seem to want to even attempt it. The AI in Goldeneye was better than this.
It's abysmal, and the shooting hovers between being piss easy and one shot you're dead annoying. They really don't know what they're doing.
Gamezone
Gold Member
This wasn't far from a never touch game.
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