Heavy Rain Creator: "The U.S. Has Problems With My Games"
- Thread starter Andy Chalk
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I was making the point that unique games like Shadow of the Collosus and Heavy Rain aren't going to sell as well as games like COD regardless of how good they are.Piecewise said:
And I didn't directly compare them, not that it should matter anyway unless you are that much of an idiot...oh wait.
So how about you 'GET OUT'.
fist thing you need to do is stop claiming you make games, you make movies that i ant idly watch
Maybe he should learn how to write stories without plot holes if he wants to make story-based games and have them sell well. That would be the first step.
Second step would be to hire Anglophone voice actors to do the English voices. And good actors, too. That's kind of important when half your game is dialogue.
And third step would be to stop acting like a dick when some people don't like your work.
That said, I loved Heavy Rain and quite liked Indigo Prophecy (or at least the first three quarters of Indigo Prophecy. The endgame was shit.)
Second step would be to hire Anglophone voice actors to do the English voices. And good actors, too. That's kind of important when half your game is dialogue.
And third step would be to stop acting like a dick when some people don't like your work.
That said, I loved Heavy Rain and quite liked Indigo Prophecy (or at least the first three quarters of Indigo Prophecy. The endgame was shit.)
I didn't bother with the game because the trailer made it look like it was full of whiny angst. I don't like that kind of thing in my games.
But I don't own a PS3, so I can't buy Heavy Rain. That's your own fault for making it an exclusive. I'm sure my father would have shelled out the cash if it was universal.
I watched my father play the first one though. He enjoys it, but I can't be bothered to play it. The fact that my bit was, play until you find the right combination that lets us get to the next part...well, that wasn't very fun for long.
I praise Mr. Cage for finding a game that knocked me out of my insomnia though! Thanks for that.
I watched my father play the first one though. He enjoys it, but I can't be bothered to play it. The fact that my bit was, play until you find the right combination that lets us get to the next part...well, that wasn't very fun for long.
I praise Mr. Cage for finding a game that knocked me out of my insomnia though! Thanks for that.
And again, misspelling COLOSSUS. Is it that hard? CO-LOSS-US.Ubermetalhed said:
And yes, unique games tend not to sell, but that wasn't why heavy rain didn't sell. Heavy rain didn't sell because it wasn't very good. It was held up on two basic points, the graphics and the "unique" game play, but in the end the gameplay consisted of an incredibly slow series of quicktime events and dragging two dimensional characters who might as well have had their parts within the generic crime novel plot tattooed on their foreheads. And even the graphics turned out to be less then stellar on many occasions.
And what ticks me off is that you're acting like it's on equal footing with something like SOTC simply because they are both unique. And yes, Heavy rain is unique, it's unique in much the same way that a modern doctor using trepidation is unique. It's not worthy of being compared.
No, the problem is that the last one of your games that I bought (Fahrenheit) I absolutely loved until about the halfway point where things went from "supernatural mystery" to "no wait there are also aliens who we are just going to forget about in the next scene and oh look here's a quicktime Dragonball Z fight scene". I enjoyed the game a LOT, but stuff stopped making sense in a very jarring way that put me off. There was no feeling of resolution or conclusion at the end, just betrayal.
Oh god, can he be anymore of a prick? The answer is apparently yes. Way to overgeneralize an entire industry dude. Not to mention your game was about serial killers, had guns, shoehorned "romance" etc. which is pretty much as mainstream a plot as you get. There was nothing in it that I hadn't seen in several films, novels and such before. Just saying.
How about you fix your plot holes next time? That would help. Also didn't Heavy Rain sell far more copies than people expected?
This is all coming from a guy who loved the game by the way. I know a lot of people that loved the game.
How about you fix your plot holes next time? That would help. Also didn't Heavy Rain sell far more copies than people expected?
This is all coming from a guy who loved the game by the way. I know a lot of people that loved the game.
This is actually how yy friend and I actually played our only play through of the game, I took two characters, and he took two characters and we switched it around.Cyberdelic said:
However, it was the ONLY way we could bring ourselves to play it. We sat back and Mystery Science 3000ed dat ***** to make it bearable.
For the record, he played the fed and the father, I played the PI and the chick.
Well... it all started when we got to the clown, and tried our damnedest to not buy our retarded kid a balloon to reward his running off like an idiot. It went down hill from there.Cyberdelic said:
The voice actor recording two versions of "Press X to Jason" in the most lifeless uncaring tones was obnoxious.
The fact that Jason got killed by a car moving 2 miles an hour with a grown man using his body to protect him was pretty terrible. We figure his bones were made of glass and his internal organs were cut or something.
And then there were the completely unexplained black outs that just seemed to... go away after a their plot device was gone.
The pacing was slow... And for me, who can appreciate a slow, story driven plot... that says something. The slow pacing made it only worse with how bad the story was, and how worse it got the more we revealed it.
The list goes on and on... but I think the one thing that REALLY just pissed me off to no end, and made it a completely shit game was when I was in control of one of the characters and murdered a man while in control... because I sure as hell don't remember preforming the actions that ended in his death. That was the deal breaker...
Everything up to that point was annoying... but made semi fun thanks to MS3King (aka mocking the stupidity at every turn) the game.
Of course he does, he's an auteur, the most insecure and childish kind of creator on the planet. Maybe if he was actually talented he'd have a right to complain, but unfortunately he's notDraconalis said:
I wasn't directly comparing them. I wasn't acting like they were on equal footing. Somehow your reading into things that aren't there.Piecewise said:
And if you like to believe Shadow of the COLOSSUS is in its own gaming singularity where no other game can be mentioned in the same sentence regardless of the context then fine.
only reason that made the game bad was a crappy translation, the dialogue was awful and the voice acting was godawful to ok never good
Yeah, Cage is way off base. Americans and North-Americans aren't all gore-obsessed urban cowboys salivating at the prospect of loading our guns for whatever reason. North America in general is the birthplace of a huge selection of incredibly thoughtful and engrossing games. I'm sure I don't need to list any.
He sounds more than a little butthurt, and assumes far too much. It's true that the FPS is the current king of all game genres, as sales figures can indicate - but Heavy Rain failed primarily because of Cage's esoteric game design philosophy. I need to hold down a clutch to walk? Seriously? The prospect of waggling a joystick to shave myself is supposed to better my immersion? He's wasting time on crap like that when a sheet of paper would have more depth than his characters?
Plus - I personally took offense at how he quickly abandoned all semblance of a coherent plot and threw Matrix moves in our faces (Indigo Prophecy) or ridiculous Augmented Reality gimmicks in the context of an otherwise fairly realistic investigation (Heavy Rain). David Cage seems to build up a hefty list of interesting features and plot points, and then gives up halfway across the page, choosing to throw in Kung Fu and glowy bits and an FBI investigator with his own damned Construct to work in.
It's like he's unable to decide whether he's working for adults or for some perceived younger demographic that's guaranteed to tune him out if martial arts and/or futuristic tidbits and weird conspiracies aren't tossed in.
This is just my opinion, but if Cage wants to take a master class on how to build a proper narrative while staying away from combat or shooty bits, he doesn't need to look further than L.A. Noire. These two aspects absolutely aren't major defining elements of Cole Phelps' career, and literally everything rests on his character. He's not as profound as could be, but still is far more complex than, say, Scott Shelby or Lucas Kane.
He sounds more than a little butthurt, and assumes far too much. It's true that the FPS is the current king of all game genres, as sales figures can indicate - but Heavy Rain failed primarily because of Cage's esoteric game design philosophy. I need to hold down a clutch to walk? Seriously? The prospect of waggling a joystick to shave myself is supposed to better my immersion? He's wasting time on crap like that when a sheet of paper would have more depth than his characters?
Plus - I personally took offense at how he quickly abandoned all semblance of a coherent plot and threw Matrix moves in our faces (Indigo Prophecy) or ridiculous Augmented Reality gimmicks in the context of an otherwise fairly realistic investigation (Heavy Rain). David Cage seems to build up a hefty list of interesting features and plot points, and then gives up halfway across the page, choosing to throw in Kung Fu and glowy bits and an FBI investigator with his own damned Construct to work in.
It's like he's unable to decide whether he's working for adults or for some perceived younger demographic that's guaranteed to tune him out if martial arts and/or futuristic tidbits and weird conspiracies aren't tossed in.
This is just my opinion, but if Cage wants to take a master class on how to build a proper narrative while staying away from combat or shooty bits, he doesn't need to look further than L.A. Noire. These two aspects absolutely aren't major defining elements of Cole Phelps' career, and literally everything rests on his character. He's not as profound as could be, but still is far more complex than, say, Scott Shelby or Lucas Kane.