Import: Ryuu ga Gotoku 5: Yume Kanaeshi Mono (PS3) Review
So you know the deal, Ryuu Ga Gotoku/Yakuza is a Japanese take on the open world game that is primarily narrative focused. The open world acts as a setting for various distractions and mini-games rather than a sandbox that lets you chaotically have your way with it; the world is not your oyster but there are plenty of oysters to be found.
The newest entry into the series is Ryuu Ga Gotoku 5 for better and worse is a Yakuza game through and through. It still has the same bizarre mixture of comically absurd machismo and borderline implausible scenarios for side-quests but at the same time the formula is beginning to show its age; the game has become obtuse with dozens of game systems that require too much up front explanation, the story and game elements exist (almost) in two different universes and this time around there are a host of technical issues as well.
Ryuu Ga Gotoku 5 is a massive game; 5 cities, 5 protagonists and a 40-50 hour story (making the game around twice as long as any other entry in the series). Each protagonist has their own 10-ish hours long story which details what they have been up to since Yakuza 4 and pushes each of them towards a fateful reunion in Kamurocho.
The Kiryuu and Saejima stories in particular are the highlights of the game. In Kiryuu’s we get to see him having realistically moved on from the orphanage to living alone under a pseudonym. His struggle to keep his old identity a secret and just move on means he keeps everyone at arm’s length and it makes for some very interesting character drama; Kiryuu’s stoic character is transformed into something more interesting simply by the change of context. This culminates in a brilliant battle royale of Dynasty Warriors’ proportions.
Saejima’s story sees Saejima turn himself into the police to continue serving his sentence from the last game; a kind of self-imposed trial by fire that Saejima sees as necessary to toughen him up before he assumes a big role in the Tojo Clan. He spends the majority of his time paired with a new character who acts as a little brother to Saejima; this character pairing provides Saejima with the sounding board necessary so that his convictions, acceptance of the Yakuza way of life and sense of honour can be explored.
Akiyama’s story feels somewhat forced in because…well, I guess you have to find a way to fit someone in when you accidentally make them a fan favourite.
Newcomer Shinada is one of the most interesting characters of the bunch and his back-and-forths with the antagonistic loan-shark Takasugi makes for some really great screen chemistry between the two. Unfortunately his story arc is only tangentially related to the core story and it wouldn’t have been that strange to have it been entirely omitted. Shinada is a character you will definitely want to see more of the future though.
Each character has their own fighting style and…well, it’s Yakuza, you know the drill right by now. There is very little in the way of new game mechanics here that fundamentally mix up how you approach the game; you now have Climax Heat moves (which you can activate after building up a bar powered by regular Heat moves), you can learn how to turn meals into enduring buffs (going over 100% health, ATK up etc) but all of these things simply add more layers onto the same game you’ve been playing.
Fortunately the above changes to the game systems don’t detract from the game itself. In other areas however, it feels like the side-content and main-content are at war with each other. For example you get desperate call for help, the music changes to something high tempo and you rush to aid the caller…only to have your route cut off by an obnoxious unavoidable side-quest/new mechanic tutorial. The tutorial in question also happens to be comical, and totally at odds with the serious situation it just interrupted; making it not only pace-killing, but mood-killing as well.
But it gets worse. NPCs often spend ages unnaturally explaining the mechanics of an upcoming section to you (and in some sections the mechanics are never used again). Upon entering the gameplay segment the game spits out the same advice again but in the form of a formal text tutorial. In one section I was tasked with delivering ramen on behalf of an old-man that had slipped on some ice; this was an unsolicited mini-game that I could not avoid. After receiving an unhelpful double-layered explanation I proceeded to fail at the mini-game (which was over far, far more quickly than the tutorials/explanations) and the side-quest ended with no option to retry. The whole thing came of as clumsy and over-engineered.
The level of explanation is so great (and cumbersomely presented) that the developers even included the option to toggle the level of text-hints. And even at the lowest level you are bombarded with them. This really begins to bog the experience down when you get to take control of Haruka mid-game as all her mechanics and gameplay systems are new which necessitates tutorial after tutorial after tutorial.
It’s perhaps not surprising then that one of the best sections in the game is Saejima’s story; there are almost no side-quests because there are no NPCs to act as side-quest triggers. The moment he enters a town though, all that goes out of the window. This is made worse by the huge number of arbitrarily placed invisible walls which limit where you can cross streets (making navigation a chore). In addition the large number of NPCs in these areas not only drag the framerate down, but make navigation slow and awkward; it is hard to feel immersed in the world when you have to resort to knocking NPCs over like dominos to be able to move along the narrow pathways.
You can’t help but play the game (after it’s mammoth 8GB install) and feel that it is a technical dinosaur. The NPCs crash the frame rate, indoor and outdoor areas are still separated by load times, and the transition between fights and exploration is awkward. The developers talked up the new smoother shift between the two but it only works sometimes; you walk into an NPC, the NPC turns around pissed and walks up to you demanding a fight, fists go up and start flying; that is how it is supposed to work and 1/10 times that is how it goes down. More often than not though you will trigger a fight, the game will freeze for a second and then an NPC will approach you looking angry, the game will freeze again whilst the fight loads, and the NPC will take that opportunity to awkwardly switch to their default expression (normally a really awkward smile), you wait for the HDD and disc to finish chugging the necessary data out and when the game is ready to progress, the NPC, having finished their aggro-break, returns to their fighting expression.
It’s not just from the technical perspective that the seams of the game are really apparent. Different game mechanics (chasing someone down, fighting, driving) feel like they all exist in their own self-contained boxes and each part feels like it was made separately from everything else. There are times during the story where events unfold unnaturally to that they inevitably culminate in either a fight or a chase sequence because…well, that’s all the developers have as far as gameplay goes. Whereas many games these days allow for smooth switching between running, gunning, fisty-cuffs, driving and so on, Yakuza has a different rule set for each style and feels awkwardly outdated for it.
The game feels like it was assembled piece-meal with little regard for how all the pieces would fit together in the end. If I had to describe Yakuza 5 to someone it would be tell them that it plays the way people who don’t play videogames think videogames play: it’s awkwardly game-y with different ‘game’ elements (exp, button prompts, UI elements) that have all been put together rather haphazardly.
This is one game that doesn’t need to be localised and makes for a great allegory on how Japanese game development has fallen behind the west.
The game has some really interesting parts on the story that just about stop it from being an outright bad game, but the technical issues and increasingly outdated presentation drag it down from being good either. You can probably find something better to do with your time.
@Xtasy26: I think making the assumption that someone has a good desktop base to upgrade is the a pretty big one. Walk into an electronics store (or even online) and you will find that the great majority of computers being sold are laptops of some description. This has been the case for quite a number of years now.
Mechanically? Maybe XII or X-2.
Story-wise? I'd go with VII.
In terms of interesting characterisation? IX for sure.
Best overall? Toss up between VII and IX. VII has the better system and the story edge, and although the characterisation is good in both it is better in IX (perhaps just because it places the characters in more interesting situations to bounce of each other).
I'd be giving this to IX if not for the fact that VII has a better balance between gameplay and story; IX tends to have really long story sequences that limit where you can go. I remember feeling irritated in IX at times because I wanted to break in skills/items I'd gotten from the last boss fight and simply not having the chance to do so for sometimes over an hour at a time (something which never happened in VII). IX is also dragged down a tad by how slow the combat is even when set to full-speed.
@Jakandsigz said:@Articuno76 said:
It's tough because both of their contributions are so large. America is pretty much the start of videogames, whereas Japan is the start of mass-market videogames (NES/Playstation).
Japan's influence on videogame design over the 90s and early 2000s (Super Mario 64, FF7, OOT, MGS, RE, DDR, Pokemon) also can't be denied (with RE4 probably being the last Japanese game IMO to shake the entire industry).
But over the last half-decade or so it has been American game development out in front and setting the trends; GEoW and Uncharted for popularising TPS/cover mechanics and games like COD and Minecraft (is Minecraft American?) having huge online communities.
And this post right here is just as bad. How did the NES mass market video games? Sm64 is the only game on that list that can be debated to have affected the industry as a whole in design, and as i said, that is debatable.
IIRC before SMB3 'marketing' games was hardly even a thing. So in that sense the NES was the first time a game was released, designed to be bought by a wide potential mass market rather than a relatively hardcore following.
The effects of the other games is also huge. DDR effectively made the dance/music genre a thing, Pokemon is just huge (not sure how you could possibly miss it), OOT's influences over action-adventure games was also significant (so much so that almost all games today still take something it popularised and use it such as a variation on 3D targeting or context sensitivity) and MGS was a watershed moment in videogame story-telling (which might seem funny now).
I'm not sure if this makes sense or not but try to think of Ys as more like an action game with RPG elements rather than an RPG with action ones; think fast slashing and dodging, memorising boss attack patterns, that kinda thing rather than simply having your Attack command swapped out for a button.
There is no download limit on anything on the PSN store (you can re-download to you hearts' content). The limit you are referring to is likely the number of different active devices that are allowed to be paired to a particular PSN account at one time.
Now, IIRC the limit was reduced from 5 to...less than 5. I think the number of handheld devices you are allowed to have actively paired to one account is 2, but don't quote me on this.
So in theory, yeah, you could get two different bundles and put the content of both bundles on each Vita as long as each Vita was tied to the same PSN account...though like I said, you might want to check that you can in fact have two active Vita's on the same PSN account first.
I gotta agree. It is hard to hate on the game though because truth be told it is really good at what it does (even if what it does is different).
The cliff-scaling in the game was more about helping the pacing of the game (between shoot-outs) rather than acting as a sort of perspective/trial-and-error puzzle; it only superficially resembled the previous trilogy in that sense.
I loved the solid feel of the shooting, the increased narrative focus (even if I didn't like the acting/narrative of that game in particular) and the higher production values. I want them to carry all those strengths forward next-generation but also to keep that puzzle-y/spleunking style of the previous games.
@Randolph said:@Articuno76 said:
This game (to my knowledge) never had any release date outside of the Japanese one so isn't it incorrect to say it was delayed?
Square-Enix assured us at E3 that it would be out late this year.
Thanks for the heads-up. I didn't realise they had said anything.
I'll still be opting for the Japanese Vita release so I guess I will be playing it at the end of this year.
I've been reading over reviews of the Vita TV and it seems most people are pleasantly surprised that picture quality isn't that badly compromised by playing on a TV.
One of the biggest gripes is the 'Topics' App which is always active (you can't get rid of it) and takes up one of your active app slots. Whenever you close an app you are booted back to Topics (which is basically a panel with filled with adverts).
Others have noted that, unlike the PS3, you have to pair the DS3 to the Vita TV everytime you use it. Kind of annoying.
The Vita TV also doesn't have a functioning Youtube app at this point in time (which is annoying given that it can play video fine through the web browser).
There really is no contradiction between the people who say they want progression and as well as wanting old-style RPGs when you understand what those criticisms are really about.
JRPG's haven't progressed at all since back when FF1 (?) introduced a context sensitive button to replace menu-based field interactions. What you tend to see are quirks that hold for one game or another but there is hardly anything like a genre wide shift (unless you count the shift in developers shuffling to cash in on the success of Persona).
When people say they want an RPG like the old ones they mean they want a game that captures everything that was great about those games, not necessarily exactly the same game; and given that none of the new ideas in the genre seem to be capturing what made those old games great many people might be right in pointing out that it is time to go back to basics and just focus on what works.
Too many JRPGs are either only superficially progressive (missing everything that made JRPGs good in the first place) and get criticised for not being enough like previous games,,,or they fall to the other extreme and are entirely derivative (which superficially means they capture what made the genre great but miss still miss the point) and get criticised for the same thing as the the superficially progressive game; for missing the point.
Looks like this issue has caught the attention of IGN. You might find this article relevant!
@SemiMaster: Have you tried accessing the boot options for the Vita?
Going through the boot screen and restarting the system has helped me out with other odd troubles (like the system totally freezing).
Can you still access other online things like Youtube? If so it might be a good idea to take out your memory card and then format the Vita. You can reinsert your memory card after having gone through putting all the details in again.
Edit: If you can, take a video of everything you are doing from the point where you power the system on to the point where you get ejected from the store. It might not be a bad idea to approach Sony customer support with something like that.