You and others here wanted a totally different style of narrative and game than the one CDPR is known for. CDPR since the Witcher 1 is known for creating intense narrative driven rpgs with strong story focus. My impression is a lot of posters here where wishing for Skyrim 2.0 in a cyberpunk world. A game as wide as a lake with the depth of a puddle. A shallow game. Which is totally opposite to what CDPR is good at, in creating narrative depth. The entire premise of the game, of death and lose, the oppressive miasma surrounding night city, which can be seen and felt in all side quests; From sinner man , to the peralsez (not even high ranking politicians are immune) to river personal quest, to judy personal quest which was the most powerful one imo (Evelyn death was a brilliant cinematic moment, of an over ambitious hustler dreaming of better life, trying to get it all only to fall to darkness). In many cases Evelyn story mirrors that of V, the over ambitious, haughty, and arrogant in their abilities that results in death and devastation to everyone around them .
The only difference is that you control V, and you can choose to go the same way as Evelyn (Suicide) or fight destiny to change your own fate (breaching arasaka tower to mikoshi). That is why Alt says "through your sheer strength of will you have been given the right to choose your fate" at the end in mikoshi. The brilliance of the narrative can be seen if you decide to take the suicide ending, and watching the epilogue slides with your friends reacting to your death ( The call from Judy is particular devastating, especially if you romance her, as she is basically experiencing what happened to Evelyn all over again).
For me the game is a total breath of fresh air. I could not have imagined a game to make me think about my own mortality and the choice between pursuing fame or spending quiet time with loved ones (blaze of glory or quiet life). I love that it breaks with the all conquering hero trope, the hero that changes the city and everyone according to his whim, saves everyone and makes everyone love him. The game puts your character to size. You are just a merc, a talented merc, but at the end just a merc, a cog in the wheel run by cooperations. This is not a heroic fantasy that people here are expecting, this is a dystopian setting.
At the end, the instrumental of "never fade away" basically encapsulates the entire feeling of the game in my opinion
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That and GTA: Night City. Which is fine I guess, everyone can have their own preferences. I'm certainly glad that CDPR chose narrative and atmosphere as main focus.
This is the major reason why Judy leaves a V who doesn't love her enough to give up the game and ditch Night City.
Some of us liked the story, FYI. But yes, some people didn't. If you don't like it there's nothing to do about it.
I'd definitely would've loved to see more of the earlier characters. Jackie and T-Bug especially were so interesting and it really sucked that you ended up with a generic time skip rather than a chance to build a relationship with them.
I think it would've made the scene at Jackie's ofrenda more impactful.
This, so much this. If it were up to me (And be thankful it ain't as I'm no game dev) I'd have forgone the stupid "Watson is in Lockdown" thing and instead locked The Heist behind 20 or 10 street cred at the bare minimum. Yeah, great idea Dex, send my lvl 5, no street cred mf, hobo lookin ass to rob one of the most powerful men on the planet...
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That's such a pretty frickin' good idea it's almost inconceivable that street cred was never used to factor into it or any other major quests.
Act 1 was DEFINITELY what I was looking for in this game. I was so hooked in the game and then Act2. I was still hooked but the more the game progressed, the more I realized I was not playing V anymore.
A friend of mine keeps restarting the game to play Act1 because it is the only part that is fun for him.
A friend of mine keeps restarting the game to play Act1 because it is the only part that is fun for him.
Actually the prologe is origin and Sandra Dorsett. The prologe ends with V going to bed after Jackie drove her/him home. When you wake up, Act 1 starts. Act one cannot be the prologe.
This is a major point of the story. You're picked precisely because you're two idiots no one's going to miss working for a washed-up idiot.
A number of players think Act 1 was on rails and they can't wait to get to a full map unlock with Johnny in their head, while a number of players want to see more of Jackie in their early missions. If a street cred limit was imposed, V would have to fight sidequest enemies in Watson to get to the main quest. I think that would have turned a lot of people off- or forced them into difficult battles in other regions. You might not like the choice, but it's similar to Velen in Wild Hunt. People can choose to destroy every sidequest, or stick to the main until they can escape to Novigrad.
You can strike a balance between them by having certain things require street cred checks and other things not. Street cred requirements for the first act wouldn't even have to have been that high, and if the first act were more fleshed out, it wouldn't feel restrictive at all since there'd be multiple avenues to reach it.
You and others here wanted a totally different style of narrative and game than the one CDPR is known for. CDPR since the Witcher 1 is known for creating intense narrative driven rpgs with strong story focus. My impression is a lot of posters here where wishing for Skyrim 2.0 in a cyberpunk world. A game as wide as a lake with the depth of a puddle. A shallow game. Which is totally opposite to what CDPR is good at, in creating narrative depth. The entire premise of the game, of death and lose, the oppressive miasma surrounding night city, which can be seen and felt in all side quests; From sinner man , to the peralsez (not even high ranking politicians are immune) to river personal quest, to judy personal quest which was the most powerful one imo (Evelyn death was a brilliant cinematic moment, of an over ambitious hustler dreaming of better life, trying to get it all only to fall to darkness). In many cases Evelyn story mirrors that of V, the over ambitious, haughty, and arrogant in their abilities that results in death and devastation to everyone around them .
The only difference is that you control V, and you can choose to go the same way as Evelyn (Suicide) or fight destiny to change your own fate (breaching arasaka tower to mikoshi). That is why Alt says "through your sheer strength of will you have been given the right to choose your fate" at the end in mikoshi. The brilliance of the narrative can be seen if you decide to take the suicide ending, and watching the epilogue slides with your friends reacting to your death ( The call from Judy is particular devastating, especially if you romance her, as she is basically experiencing what happened to Evelyn all over again).
For me the game is a total breath of fresh air. I could not have imagined a game to make me think about my own mortality and the choice between pursuing fame or spending quiet time with loved ones (blaze of glory or quiet life). I love that it breaks with the all conquering hero trope, the hero that changes the city and everyone according to his whim, saves everyone and makes everyone love him. The game puts your character to size. You are just a merc, a talented merc, but at the end just a merc, a cog in the wheel run by cooperations. This is not a heroic fantasy that people here are expecting, this is a dystopian setting.
At the end, the instrumental of "never fade away" basically encapsulates the entire feeling of the game in my opinion
Went ahead and stopped with the Skyrim allusion.
Yeah, a game as wide as a lake and shallow as a puddle is still more than what we have with a game as small as a puddle and as shallow as one, too.
Outside of the main story, side quests are pretty watered down, not including those tied to the main story in some way.
Case One: Cyberpsycho quests. Doesn’t matter what you do, they still live, unless you intentionally put one in their head after you beat them.
Case Two: GTA Vice City is, aside from graphics and main story, arguably better than CP2077. Case in point, car driving and physics, AI, etc. Basically the world itself.
Case Three: Everything is skin deep. There’s so many things in Night City, but you can’t interact with 90% of them. Case in point: Arcade machines, pool tables, restaurants.
Case Four: Lack of variation in side quests (meaning, again, quests not dealing with the big characters that arguably do have some variation, such as doing the little jobs you get from the different fixers) which ultimately results in just a shootout. Hell, again, Vice City had tons of different kinds of side quests and shite you could do that shook up what you normally did.
Look, all the things I’m saying have already been said. The game wasn’t delivered as advertised and that’s plain to see. Defending it at this point like it’s exactly as we should have expected is being disingenuous. Even if you hold it up to the Witcher as a standard, it falls short. The whole game itself is STILL shorter than JUST the main story of TW3. No DLC, no side quests, nothing.
They had so many great opportunities with the Cyberpsycho quests since the condition was constantly alluded to as being a serious epidemic.
That said, I have to say not even being able to sit down in bars while I ordered something to eat or drink outside of scenes was a major immersion-breaker because something as simple as that is already incorporated in so many games with these elements. It's not some complex braindance sequences, etc. and honestly feels like such a basic oversight. I hope they adjust those little things in a future update.
A 100 hours to complete everything is twice the size of Dragon Age: Origins and they're all written quests. You can criticize everything but the idea the game is SHORT is nonsense.
You could change the story without touching what is currently available very easily.
Or should i say offer a different perspective of events and i dont mean from a different PC
You simple make a DLC/Expansion that expands of excepting Evelyn Parkers offer, much like the endings you get a prompt basically saying its a point of no return choice
Or should i say offer a different perspective of events and i dont mean from a different PC
You simple make a DLC/Expansion that expands of excepting Evelyn Parkers offer, much like the endings you get a prompt basically saying its a point of no return choice
Remember call of duty advanced warfare? It had Kevin spacey. That kinda flopped too.Act 1 was what I wanted, what I expected and what I thought I had purchased the game for.
When Act 2 started and I realized just how short Act 1 was, I was so disappointed. In fact I was so disappointed that with that and the consecutive game crashes I just gave up on the game altogether. Never finished it and do not plan on going back to it.
I don't want a celebrity in video games, especially one that is forever in your face. Act 1 was also the only act to have actual STORY choices with consequences, which is also something I wanted. Let alone Jackie
At this point though, I'm too tired to care about the game any more. I have also already made my mind up too about no longer purchasing any more CDPR titles and there are better companies with FAR better games out there. It isn't worth my time any more and I'll probably flog the game on Ebay at this point, either that or fling it in the furnace.
Actually when i have time ill teleport to each quest and try to finish everything without the open world
... so dont think will take80-90 hrs... probably 60 at most.
Actually when i have time ill teleport to each quest and try to finish everything without the open world
Yes, that would be called cheating but sure.