| The Fury said: Many people really like FF7R. They like the flow of battle, changes made to update the battle system etc. But for me it's more how FF feels is more than just 'it has the same characters and basic plot'. FF7R covers just the first 4-5 hours of the original game, extended to 30 hours through extra stuff, extra plot points that will lead nowhere, changed story beats and added extra content like hunts just to extend the game, the 'end' was, well no idea. I presume done so they can make changes to the next installment to change the overall plot of FF7 totally. In FF7 it never felt like you had to go out of your way to level or do extra content to fill things out, to me it was all story until near the very end when when you unlocked the ship and could actually explore. But this isn't really a fault with FF7R, it's more something in modern FF games, 'hunting' missions basically. This is personal opinion mind. I get you last point on Kojima, but gaming needs that kind of high profile status director/writer. Maybe he is overrated but if not him, who do we have? :P |
Thanks for the details - I guess me not knowing FF7 will soften the blow. But this stinks. I guess I will go back at some point and play the original. Just to see how Nomura f*ed it up.
And who do we have? Druckman (Naughty Dog) is a bit of a star (even tough I dislike TLoU part 2 with a passion and was lukewarm on Uncharted 4). Barlog is great, but God of War 2 and 2018 is not a big portfolio (even though quality is top). David Cage is a tool. And Nomura crawled out of an edge lord shonen anime.
In a post above somebody said that it is now more about studios since there are so many more people involved than in the 90s and 80s. I guess that is true. There are a lot of interesting studios I can think of. But not many people. That is a bit sad and to a degree it feels farther away from the core of art. We get a Spielberg-movie, the movie of a person. But we get a rockstar-game, the game of a company. Feels less personal, less influenced by a specific vision.
Who do we have is really a good question. Because who we have says a lot about the state of the medium through its audiences appreciation. We decide (to a significant degree at least) who is getting big. And the list of the big directors who do not appear as companies, but as people, is short and largely uncompelling. Perhaps Kojima really is the one we chose to represent the artistic accomplishments of the medium. And we could do worse. But I wonder how much better we can do in the future.
