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This games great, and probably better if you know the language
a bomb factory….they’re bombs..,
lol this is so sick. rlly fucking cool usage of mixed media, some stuff looks like a photo of a real life object like super imposed(?) into the game world and others are weird scuffed pre rendered cutscenes. often there’s live action footage or photography where the characters are interacting w animated objects. looks and honestly sounds like not much else I’ve played, pretty sure they sample two dogs barking for when u fail a stage which is funny !! completely incomprehensible to me as someone who’s only language is english but still lots of cool story beats I was able to pick up on in spite of that. my fave segment being a photograph of a girl watching something on tv and then a clip playing on the television inside of the static photograph. there’s an interview that plays and the film reels keep going back and forth between like a bubbly persona of the girl being interviewed and another where she’s irritable, would be cool to revisit this if it ever gets a fantran but also rlly doubting it ever will bc it’s totally playable and mostly understandable without knowing the language.
Y2K ass fashion I love ittt, so much of the shot comps here remind me of the ending of love & pop :-))
lol this is so sick. rlly fucking cool usage of mixed media, some stuff looks like a photo of a real life object like super imposed(?) into the game world and others are weird scuffed pre rendered cutscenes. often there’s live action footage or photography where the characters are interacting w animated objects. looks and honestly sounds like not much else I’ve played, pretty sure they sample two dogs barking for when u fail a stage which is funny !! completely incomprehensible to me as someone who’s only language is english but still lots of cool story beats I was able to pick up on in spite of that. my fave segment being a photograph of a girl watching something on tv and then a clip playing on the television inside of the static photograph. there’s an interview that plays and the film reels keep going back and forth between like a bubbly persona of the girl being interviewed and another where she’s irritable, would be cool to revisit this if it ever gets a fantran but also rlly doubting it ever will bc it’s totally playable and mostly understandable without knowing the language.
Y2K ass fashion I love ittt, so much of the shot comps here remind me of the ending of love & pop :-))
The chemistry between the player and the pre-recorded footage of Suzuki that Enix has spliced into the bomb mechanics of the game is uncanny.
Agora eu sei desarmar uma mulher e vocês nada
This is what video games should be. A young woman living in the modern world is plagued by the most intricate devices of modern engineering: bombs found inside an orange, a gun, a stop sign, and much more. Tell the cowards at Bethesda to stop making boring fantasy games.
Cinematic puzzlery before we were ready. Suzuki Bakuhatsu astounds with its production values, abound with turn of the millennium photography, set dressing, apparel, and unbridled contentment. For as harrowing as the premise is, that the mundane has been overtaken by sophisticated explosives, the often devil-may-care attitude of Rin Ozawa's character suggests a subconscious understanding that this danger could never really happen. This is a world before the War on Terror, before we were made to feel unsafe by government and terrorists alike. Why not watch a bomb defusal expert hurriedly carry out her craft on stage, how could the worst possibly come to pass?
These vague plot points and extensive production are indicative of Sol and Enix's attempt to break the conventions of the stagnant puzzle genre. Tetris and Panel de Pon with new coats of paint were not enough. Kula World and iQ weren't thinking big enough. If the medium was to mature into a legitimate mode of storytelling (or at least entertainment) it needed bombast across all genres. The puzzle game could (and is shown to be) so much more than the puzzles themselves. It can be as tense as a thriller, as lighthearted as a situation comedy. Yet the puzzles too remain a highlight, with fully realised, complexly nesting polygonal designs which are explored in the round in a step above Resident Evil or Skyrim. The bombs are as the puzzle boxes seen in Fireproof Games' The Room, a series of self-affecting pieces, more involved than they let on. Suzuki Bakuhatsu simply would not work in a two-dimensional space.
Tomoyuki Tanaka's shibuya-kei interstitial compositions are as much a highlight as Rin Ozawa's humming during defusal, and the cast and crew are dripping with talent. On the variety show Suzuki inexplicably becomes a part of, we see Yukiko Ehara and YOU THE ROCK★ flanking Minami Shirakawa. Asami Imajuku, Haruichiban, and Kiyohiko Shibukawa make surprise appearances as well. Though not quite a who's-who of the Japanese entertainment industry, these familiar faces (especially two decades after release) demonstrate that Suzuki Bakuhatsu was all about bombast. In a world before Portal and Catherine, however, perhaps we were unprepared to accept that puzzle games could be something more.
These vague plot points and extensive production are indicative of Sol and Enix's attempt to break the conventions of the stagnant puzzle genre. Tetris and Panel de Pon with new coats of paint were not enough. Kula World and iQ weren't thinking big enough. If the medium was to mature into a legitimate mode of storytelling (or at least entertainment) it needed bombast across all genres. The puzzle game could (and is shown to be) so much more than the puzzles themselves. It can be as tense as a thriller, as lighthearted as a situation comedy. Yet the puzzles too remain a highlight, with fully realised, complexly nesting polygonal designs which are explored in the round in a step above Resident Evil or Skyrim. The bombs are as the puzzle boxes seen in Fireproof Games' The Room, a series of self-affecting pieces, more involved than they let on. Suzuki Bakuhatsu simply would not work in a two-dimensional space.
Tomoyuki Tanaka's shibuya-kei interstitial compositions are as much a highlight as Rin Ozawa's humming during defusal, and the cast and crew are dripping with talent. On the variety show Suzuki inexplicably becomes a part of, we see Yukiko Ehara and YOU THE ROCK★ flanking Minami Shirakawa. Asami Imajuku, Haruichiban, and Kiyohiko Shibukawa make surprise appearances as well. Though not quite a who's-who of the Japanese entertainment industry, these familiar faces (especially two decades after release) demonstrate that Suzuki Bakuhatsu was all about bombast. In a world before Portal and Catherine, however, perhaps we were unprepared to accept that puzzle games could be something more.