Jonathan: "Meryl, there's something I want to give you."
Meryl: "Don't talk that way."
Jonathan: "Here."
Meryl: "Your Cigarettes?"
Jonathan: "And everything I've ever lived for."
Lethal Weapon but in SPACE. It's your classic buddy cop action but with a sci-fi and neo-noir twist. Aint that neat? Jonathan Ingram and Ed Brown are just the guys from Lethal Weapon but like more interesting and better with such an endearing dynamic that I can't get enough of. The rest of these characters too are so interesting. This word-building is such a master class I was so invested I was clicking everything wondering what each thing was. The game looks nice too, I prefer the sprites of the PC-98 version but the cels are great too. The plot is so good, like I said classic buddy cop action yet with what makes a Kojima story a Kojima story, it is a bit slow at the beginning but doesn't affect me in any way. I wish there wasn't much boob jiggling but whatever.
Meryl: "Don't talk that way."
Jonathan: "Here."
Meryl: "Your Cigarettes?"
Jonathan: "And everything I've ever lived for."
Lethal Weapon but in SPACE. It's your classic buddy cop action but with a sci-fi and neo-noir twist. Aint that neat? Jonathan Ingram and Ed Brown are just the guys from Lethal Weapon but like more interesting and better with such an endearing dynamic that I can't get enough of. The rest of these characters too are so interesting. This word-building is such a master class I was so invested I was clicking everything wondering what each thing was. The game looks nice too, I prefer the sprites of the PC-98 version but the cels are great too. The plot is so good, like I said classic buddy cop action yet with what makes a Kojima story a Kojima story, it is a bit slow at the beginning but doesn't affect me in any way. I wish there wasn't much boob jiggling but whatever.
Peak Cyberpunk
4 STARS: EVERYONE SHOULD PLAY THIS
Released mid-90s and still one of the best examples of world building and intrigue in a video game. It goes into great detail explaining not only the rules and hierarchy of the setting, but also some fundamental rules and consequences of living in space. Something you see little to no mention of in other narrative space games.
Exhausting options and exploring different sequences of interactions are typically very rewarding, with lots of reading and learning available should you want it. If you're the kind of player who likes to squeeze every bit of possible text from a game, this should satisfy.
It takes full advantage of every screen, letting you interact with everything, sometimes to the main character's (and arguably the game's) detriment.
Players coming for a chill point & click story might be soured on some of the later combat sections, which ask for speed and dexterity otherwise absent from the rest of the game. It's wise to look up the full range of controls in those sections, to help take any edge off.
Released mid-90s and still one of the best examples of world building and intrigue in a video game. It goes into great detail explaining not only the rules and hierarchy of the setting, but also some fundamental rules and consequences of living in space. Something you see little to no mention of in other narrative space games.
Exhausting options and exploring different sequences of interactions are typically very rewarding, with lots of reading and learning available should you want it. If you're the kind of player who likes to squeeze every bit of possible text from a game, this should satisfy.
It takes full advantage of every screen, letting you interact with everything, sometimes to the main character's (and arguably the game's) detriment.
Players coming for a chill point & click story might be soured on some of the later combat sections, which ask for speed and dexterity otherwise absent from the rest of the game. It's wise to look up the full range of controls in those sections, to help take any edge off.
And with this game, we can see how Kojima: The man never shuts up born...
Joking aside, this game is a beast in itself. Unlike the previous game snatcher, in this one Kojima put world details to the MAX. What I mean is in this one, we have lore conversations in almost every goddamn single clickable pixel a game console can support and I am not kidding about that.
Also this is gonna be the deciding factor in your enjoyment for playing this game. Let me ask you this: Do you like mgs's radio conversations? If yes, then you are gonna have a hell of a good time.
But if you don't, then I would say try Snatcher, because it's pacing is lightning fast unlike this one.
So if we return back to the game, was it good? For me yeah. But unlike Snatcher, I like it for the opposite reasons.
What I mean is, this game is slow, conversation heavy and less on action. This sometimes makes the game slower than a turtle unfortunately, but also unlike snatcher, this slow pacing is the reason that made me connect to the characters more.
It's still a quite predictable story like snatcher (until it isn't), but hearing characters argue between themselves and open themselves more was extremely fun to watch for me. I even go as far as clicking every single thing in the environment just to hear more of them and I somehow find myself invested in this cliche buddy cop characters and when the epilogue came, I realized I was actually get a bit emotional for them. I would say it was enjoyable as much as metal gear 2, the characters that much enjoyable for me.
But will this be that much enjoyable for any of you too? I don't know about that, because this game just like snatcher, have a lot of pervy conversations and it's extremely nonsensical romance could make a lot of eyebrows rise. But for me, sometimes it's best to not think about it too much just like back to the future 2's plot. But if this sounds not good to you maybe it's best to be stay away from it.
For me I liked it, only thing was a bit of a letdown was it's soundtrack and atmosphere wasn't as energetic as the snatcher one. But other than that, both of them almost match with their positives and negatives. Both of them fun, a bit cliche...
But full of heart.
Joking aside, this game is a beast in itself. Unlike the previous game snatcher, in this one Kojima put world details to the MAX. What I mean is in this one, we have lore conversations in almost every goddamn single clickable pixel a game console can support and I am not kidding about that.
Also this is gonna be the deciding factor in your enjoyment for playing this game. Let me ask you this: Do you like mgs's radio conversations? If yes, then you are gonna have a hell of a good time.
But if you don't, then I would say try Snatcher, because it's pacing is lightning fast unlike this one.
So if we return back to the game, was it good? For me yeah. But unlike Snatcher, I like it for the opposite reasons.
What I mean is, this game is slow, conversation heavy and less on action. This sometimes makes the game slower than a turtle unfortunately, but also unlike snatcher, this slow pacing is the reason that made me connect to the characters more.
It's still a quite predictable story like snatcher (until it isn't), but hearing characters argue between themselves and open themselves more was extremely fun to watch for me. I even go as far as clicking every single thing in the environment just to hear more of them and I somehow find myself invested in this cliche buddy cop characters and when the epilogue came, I realized I was actually get a bit emotional for them. I would say it was enjoyable as much as metal gear 2, the characters that much enjoyable for me.
But will this be that much enjoyable for any of you too? I don't know about that, because this game just like snatcher, have a lot of pervy conversations and it's extremely nonsensical romance could make a lot of eyebrows rise. But for me, sometimes it's best to not think about it too much just like back to the future 2's plot. But if this sounds not good to you maybe it's best to be stay away from it.
For me I liked it, only thing was a bit of a letdown was it's soundtrack and atmosphere wasn't as energetic as the snatcher one. But other than that, both of them almost match with their positives and negatives. Both of them fun, a bit cliche...
But full of heart.
Generally a good story-driven experience, although the perviness can be a bit overbearing and some aspects of the plot are a bit too easy to predict. I feel like some things about this are better than in Snatcher, while other things I think Snatcher handled better. At the end of the day, both Snatcher and Policenauts are good, if flawed, adventure games.
I did get to play this one using a Virtua Gun on my CRT TV, so that's pretty exciting! It was fun to play that way, although I had trouble doing any of the target practice stuff to a satisfactory degree. The amount of shooting in the endgame is also excessive enough that I felt my trigger finger really wearing out by the end, so be prepared for what you're getting yourself into if you go that route!
I did get to play this one using a Virtua Gun on my CRT TV, so that's pretty exciting! It was fun to play that way, although I had trouble doing any of the target practice stuff to a satisfactory degree. The amount of shooting in the endgame is also excessive enough that I felt my trigger finger really wearing out by the end, so be prepared for what you're getting yourself into if you go that route!
I was excited to have the chance to try out this game thanks to the amazing work of the fans out there who were able to create an English translation which is so good that you'd swear it was done by an official company than fans. I have linked it below so you too can enjoy this game!
(Link removed because mods called it "piracy" according to them. Easy enough to look up and find for yourself.)
So, I heard about this game a while back. Essentially, this was one of Kojima's earlier ones before Metal Gear Solid and you can even see references to this game in his other ones in well-placed eastereggs.
Story:
As a large satellite was being set up a group of space officers, known as Policenauts, were working on maintaining order and construction, but one character gets knocked away and disappeared in space, only to return around 20 years later and revived from frozen. As time had gone by he had no job, no wife and now took on the job of being a investigator/negotiator who was often hired to try and get kidnappers to return children to their parents, however he admits he didn't have a 100% success rate and the Earth was becoming a real cesspit.
To his surprise as he was sat down in his office, enjoying a cigarette and being nostalgic he gets a visitor. His wife arrives and wants him to come up onto the station to look for her husband who has disappeared. He initially declines both from the awkwardness and that the officers on the station should handle it, but she claimed that many other missing people had happened and never been found, despite all of them being on a contained space vessel.
He had also left items that were meant to be a guide on what might've happened to him. A group of different tablets from different medications and a leaf cut in half. He mulls this over and says he'll think about it and watches her leave to get into her car, however, he spots a suspicious person nearby and before he can stop her, the car explodes! After a intense shootout he vows to head up to the station and solve this case!
Gameplay:
The gameplay is a bit of a mixture of a VN and a point-and-click game where you can select items, have a inventory, combine items and do all kinds of actions to items or even people with some funny results at times.
There are quite a few shooting sections in the game where you shoot from a static position and have to reload, with a cool animation when your clip is out! The first of which is right near the beginning and all the others are quite fun too.
There are multiple puzzles involved too with all kinds of tense situations that often led to my death, I'm ashamed to admit but won't ruin the surprise for all of you.
The game is on two disks, which makes sense as there are a huge number of fully animated scenes that I'd often feel like I was watching a 90's anime than playing a game. So if you like your 90's anime, I'd also recommend it.
In all, it's a really fun and interesting mystery game with quite the twist at the end, even though certain people I had already suspected anyway. Lots of fun and well worth trying out for fans of Kojima's games or even thought who like these kinds of games.
Gameplay/Stream
(Link removed because mods called it "piracy" according to them. Easy enough to look up and find for yourself.)
So, I heard about this game a while back. Essentially, this was one of Kojima's earlier ones before Metal Gear Solid and you can even see references to this game in his other ones in well-placed eastereggs.
Story:
As a large satellite was being set up a group of space officers, known as Policenauts, were working on maintaining order and construction, but one character gets knocked away and disappeared in space, only to return around 20 years later and revived from frozen. As time had gone by he had no job, no wife and now took on the job of being a investigator/negotiator who was often hired to try and get kidnappers to return children to their parents, however he admits he didn't have a 100% success rate and the Earth was becoming a real cesspit.
To his surprise as he was sat down in his office, enjoying a cigarette and being nostalgic he gets a visitor. His wife arrives and wants him to come up onto the station to look for her husband who has disappeared. He initially declines both from the awkwardness and that the officers on the station should handle it, but she claimed that many other missing people had happened and never been found, despite all of them being on a contained space vessel.
He had also left items that were meant to be a guide on what might've happened to him. A group of different tablets from different medications and a leaf cut in half. He mulls this over and says he'll think about it and watches her leave to get into her car, however, he spots a suspicious person nearby and before he can stop her, the car explodes! After a intense shootout he vows to head up to the station and solve this case!
Gameplay:
The gameplay is a bit of a mixture of a VN and a point-and-click game where you can select items, have a inventory, combine items and do all kinds of actions to items or even people with some funny results at times.
There are quite a few shooting sections in the game where you shoot from a static position and have to reload, with a cool animation when your clip is out! The first of which is right near the beginning and all the others are quite fun too.
There are multiple puzzles involved too with all kinds of tense situations that often led to my death, I'm ashamed to admit but won't ruin the surprise for all of you.
The game is on two disks, which makes sense as there are a huge number of fully animated scenes that I'd often feel like I was watching a 90's anime than playing a game. So if you like your 90's anime, I'd also recommend it.
In all, it's a really fun and interesting mystery game with quite the twist at the end, even though certain people I had already suspected anyway. Lots of fun and well worth trying out for fans of Kojima's games or even thought who like these kinds of games.
Gameplay/Stream
Pretty good anime, but I can only recommend a point and click game so highly
"Sure. We're philanthropists. We're doin' society a favor. So what if we make a li'l money at the same time? We need drugs and organs. We ain't capable of adaptin' to space. The darkness, the loneliness.... It don't matter how well trained you are. You always give in. You know what I'm talkin' about, don't you, Jonny boy?"
It's easy to explain Kojima's quirks as a video game director by calling him a westaboo, wannabe movie producer, but by analyzing the likes of Snatcher, and especially Policenauts, we can see that by dabbing for a bit on the arts of VN/Adventure games, Kojima wanted to transcend the usual expository heavy dialogue nature of Visual Novels by combining it with his knowledge of movie directing, thus making these two odd entries in his catalogue feel like the missing link between Metal Gear 2: Solid Snake, and what we would come to know as the iconic game that would change the landscape of gaming ever since, Metal Gear Solid 1
It really is a shame that this game was a Japan exclusive without ever being localized (not counting the fan-translation) due to the poor sales of Snatcher, because it feels right up there with Kojima's best works. Something which it's influences seep right into the rest of the series, given the addition of Meryl, Foxhound, the leitmotifs of the main theme being in MGS1, and the particularly sexy voice of Jonathan Ingram being cast by what would be Otacon's seiyuu, Tanaka Hideyuki.
Part of me wishes I could play the original PC-98 version since I love the aesthetic of the eroge pixel art they have with ports of those games, but the FMV animations they did for consoles are not a bad stylistic choice either, it all adds to the feeling of watching a direct do VHS OVA that only helps with the atmosphere.
Speaking of atmosphere, the worldbuilding is nothing short of fantastic, Kojima's word salad is at it's most cohesive here, everything from the scientifically accurate explanations of the adverse effects of space travel on the human body down to the osteoporosis caused by the lack of gravity and built up stress that results in less production of calcium, not only you can tell that Kojima did his homework about the space rush, but developed a believable world with airtight internal logic that best depicts this cool, otherworldly futuristic view of the cyberpunk world that makes you want to live in it as much as you wish to stay away from it.
While this is not the last time Kojima would speak about the space rush and revolve his games around the consequences of the cold war, it is the first time he specifically tries to imagine a world where we bothered to invest in space travel, proving that we cannot beat the final frontier for a reason, be it Jonathan's lost decades as he is forced to live in the past due to time flowing without him processing what he lost, to the shortage of organs and pharmaceutical conspiracies caused by the complications of living in space, the final frontier becomes less of a limit to be broken, and more of a cosmic horror that defines how it's denizens should act, that perhaps humanity itself evolved in the wrong path for trying to think it could ever escape the planet and it's laws that formed hundreds of thousands of history engraved in it's genetic code.
Can we ever get accustomed to living in an ambient that we were never meant to be at? Are humanity's achievements something to really be proud of, or is it all merely a luck of the genetic draw? Have we evolved too fast, or not evolved at all, if we are still faced with the same problems no matter what time we are at?
While the vibes and music alone would have made Policenauts an immaculate experience by itself, the Solid™ character and narrative writing from Kojima when he was at his prime makes it go the extra mile into a story that feels fresh 30 years after it's inception that I whole heartedly recommend it, for it has all the blueprints of what all would come to love from his most iconic intellectual property.
Also I'm surprised to see so many people complaining about the groping and the sexism on this one. As far as visual novels for the PC-98 go this is quite tame.
It's easy to explain Kojima's quirks as a video game director by calling him a westaboo, wannabe movie producer, but by analyzing the likes of Snatcher, and especially Policenauts, we can see that by dabbing for a bit on the arts of VN/Adventure games, Kojima wanted to transcend the usual expository heavy dialogue nature of Visual Novels by combining it with his knowledge of movie directing, thus making these two odd entries in his catalogue feel like the missing link between Metal Gear 2: Solid Snake, and what we would come to know as the iconic game that would change the landscape of gaming ever since, Metal Gear Solid 1
It really is a shame that this game was a Japan exclusive without ever being localized (not counting the fan-translation) due to the poor sales of Snatcher, because it feels right up there with Kojima's best works. Something which it's influences seep right into the rest of the series, given the addition of Meryl, Foxhound, the leitmotifs of the main theme being in MGS1, and the particularly sexy voice of Jonathan Ingram being cast by what would be Otacon's seiyuu, Tanaka Hideyuki.
Part of me wishes I could play the original PC-98 version since I love the aesthetic of the eroge pixel art they have with ports of those games, but the FMV animations they did for consoles are not a bad stylistic choice either, it all adds to the feeling of watching a direct do VHS OVA that only helps with the atmosphere.
Speaking of atmosphere, the worldbuilding is nothing short of fantastic, Kojima's word salad is at it's most cohesive here, everything from the scientifically accurate explanations of the adverse effects of space travel on the human body down to the osteoporosis caused by the lack of gravity and built up stress that results in less production of calcium, not only you can tell that Kojima did his homework about the space rush, but developed a believable world with airtight internal logic that best depicts this cool, otherworldly futuristic view of the cyberpunk world that makes you want to live in it as much as you wish to stay away from it.
While this is not the last time Kojima would speak about the space rush and revolve his games around the consequences of the cold war, it is the first time he specifically tries to imagine a world where we bothered to invest in space travel, proving that we cannot beat the final frontier for a reason, be it Jonathan's lost decades as he is forced to live in the past due to time flowing without him processing what he lost, to the shortage of organs and pharmaceutical conspiracies caused by the complications of living in space, the final frontier becomes less of a limit to be broken, and more of a cosmic horror that defines how it's denizens should act, that perhaps humanity itself evolved in the wrong path for trying to think it could ever escape the planet and it's laws that formed hundreds of thousands of history engraved in it's genetic code.
Can we ever get accustomed to living in an ambient that we were never meant to be at? Are humanity's achievements something to really be proud of, or is it all merely a luck of the genetic draw? Have we evolved too fast, or not evolved at all, if we are still faced with the same problems no matter what time we are at?
While the vibes and music alone would have made Policenauts an immaculate experience by itself, the Solid™ character and narrative writing from Kojima when he was at his prime makes it go the extra mile into a story that feels fresh 30 years after it's inception that I whole heartedly recommend it, for it has all the blueprints of what all would come to love from his most iconic intellectual property.
Also I'm surprised to see so many people complaining about the groping and the sexism on this one. As far as visual novels for the PC-98 go this is quite tame.
Policenauts is a truly fascinating disaster of mixed messaging. On one hand, it asks and answers some interesting questions. What would society be like if we perfected space travel? If we made other planets inhabitable? What if after a 25-year coma, you've found yourself in such a world when it seemed like none of that was possible just yesterday? What of your friends? Your old colleagues? Your wife? You were gone for so long, so where are these people now? Is it worth chasing the past, especially if you may not end up getting the answers you like? If the people that you respected back then, are no longer who they used to be...?
But of all these questions, the one that it desperately wants to ask you the most is "How much creepy misogynistic bullshit can you stomach in order to experience any of these themes?" Because, fucking whoof. I thought Snatcher was bad with this stuff, but in contrast, that's nothing. Policenauts is a fantastic story, buried miles below a stream of constant intrusive interruptions of Kojima's unrestrained and creative freedom, otherwisely known as his libido.
Let's just get the good out of the way, shall we? Yes, there is a genuinely solid story here. When Jonathan (the main character) and your cop buddy Ed are going around solving the mystery of an illegal trafficking ring, looking into things that you shouldn't have and accusing high-ranking rich scumbags that could have you be disappeared within a day, Policenauts is a thrilling and dangerous ride, yet filled with many slow-paced instances of retrospection on the differences between this world, and the one Jonathan grew up with.
The story revels in its worldbuilding, its heavy usage of medicinal and biological terms that I barely grasp, and it is equally as intriguing as it is difficult to follow at times. Whether that's because things get too complicated for me, or because the pacing takes a bit of a nosedive and I start paying less attention. My deficit attention span aside, I find it well put together, with a viscerally satisfying ending that tops it off and wraps things up with a neat ribbon.
The visuals of the PS1 version, while not very stylistic when it comes to the backgrounds depicted (a downgrade from Snatcher's 16-bit nightly city landscapes, which were a lot cooler), are quite detailed and tend to match the standards of the anime produced of that time, alongside the couple FMV's that were produced for this port. An effort is made to deliver a cinematic quality that I think does a well enough job to enhance the setting, and storytelling of the game.
If Policenauts was just this, it'd be sitting at 4 stars right now. Maybe even 4.5, because damn, it really does have its special moments, and a couple pretty likable characters, Ed just being such a pitiable down-on-his-luck guy that you wanna root for. Regrettably, I'm now gonna have to come back to my initial point. Ed is likable, Jonathan... far from it.
As I stated in my Snatcher review, writing your main character to be horny isn't an automatic reason to make a rant like I'm about to. While I would more often leave it than take it, there's a decent way to do something like this. Policenauts oversteps its boundaries, and the boundaries of every single girl you will meet across your investigation. These are just working people. One's a flight attendant, the other's working behind an info desk... Most of them scantily-dressed, revealing some bit of sideboob or as much as leg as possible. And maybe I'd just be overthinking it, if it weren't for the game immediately enforcing these clothing choices by giving me free reign to flirt with them, comment on their face, their hips, their legs, and... a whole new feature exclusive to this game, the Molest button! Go right ahead, just grope their boobs and face absolutely no ramifications or consequences for it, beyond a meek scolding from your cop buddy, and an "Ahn~ Stop it~" from the girl. Truly, an experience made for the gamer.
Policenauts likes to utilize porn game logic for its moments of levity. Just like in a porn game, you're not really meant to think about the way you conduct yourself in front of a girl. Let your wild animal instincts kick in, and enjoy yourself, that's what I presume Kojima figured. The biggest problem with this sort of mindset is that you chose to insert mindless porn game logic into a story that actually requires you to think quite heavily. You can't turn your brain off in a game like this, you wouldn't be able to follow the plot, you wouldn't consider the theming, you wouldn't theorize about the truth of the mystery. You are required to do all of those things to get the most out of Policenauts, and just when you really start to immerse yourself into it- Hot dog, is that an attractive woman?! Cue up the Attractive Woman Theme Song, Jonathan's about to make some wacky unwanted advances!
You see? Policenauts wants to treat itself as a grounded and realistic story. But it also wants it both ways through dedicating half of its cast to a guy's fantasy, and an uncomfortably frequent chunk of its humor to attempts at sexual assault. And when you're in the middle of analyzing everything else, it's not gonna be hard to analyze this for what it is, which is an insanely one-sided depiction of women that takes away and distracts from an objective understanding of how the world really works, just to titillate the player a bit. One tone is contradicting the other, neither work well in tandem with each other, and it ends up ruining my ability to take any of the story seriously.
It's not a sin to appreciate the good aspects of Policenauts. But it would be ignorant to say what's problematic about it isn't a problem at all. If you were crafting a story as extensively detailed as this one, you'd think you would want to spread its message to a larger demographic than horny dudes. As it stands, how can I recommend this game to my friends? "There's a really cool story here, if you ignore all of the objectification?" I'm fucked. Policenauts fucked itself. And did it honestly need to be that way?
But of all these questions, the one that it desperately wants to ask you the most is "How much creepy misogynistic bullshit can you stomach in order to experience any of these themes?" Because, fucking whoof. I thought Snatcher was bad with this stuff, but in contrast, that's nothing. Policenauts is a fantastic story, buried miles below a stream of constant intrusive interruptions of Kojima's unrestrained and creative freedom, otherwisely known as his libido.
Let's just get the good out of the way, shall we? Yes, there is a genuinely solid story here. When Jonathan (the main character) and your cop buddy Ed are going around solving the mystery of an illegal trafficking ring, looking into things that you shouldn't have and accusing high-ranking rich scumbags that could have you be disappeared within a day, Policenauts is a thrilling and dangerous ride, yet filled with many slow-paced instances of retrospection on the differences between this world, and the one Jonathan grew up with.
The story revels in its worldbuilding, its heavy usage of medicinal and biological terms that I barely grasp, and it is equally as intriguing as it is difficult to follow at times. Whether that's because things get too complicated for me, or because the pacing takes a bit of a nosedive and I start paying less attention. My deficit attention span aside, I find it well put together, with a viscerally satisfying ending that tops it off and wraps things up with a neat ribbon.
The visuals of the PS1 version, while not very stylistic when it comes to the backgrounds depicted (a downgrade from Snatcher's 16-bit nightly city landscapes, which were a lot cooler), are quite detailed and tend to match the standards of the anime produced of that time, alongside the couple FMV's that were produced for this port. An effort is made to deliver a cinematic quality that I think does a well enough job to enhance the setting, and storytelling of the game.
If Policenauts was just this, it'd be sitting at 4 stars right now. Maybe even 4.5, because damn, it really does have its special moments, and a couple pretty likable characters, Ed just being such a pitiable down-on-his-luck guy that you wanna root for. Regrettably, I'm now gonna have to come back to my initial point. Ed is likable, Jonathan... far from it.
As I stated in my Snatcher review, writing your main character to be horny isn't an automatic reason to make a rant like I'm about to. While I would more often leave it than take it, there's a decent way to do something like this. Policenauts oversteps its boundaries, and the boundaries of every single girl you will meet across your investigation. These are just working people. One's a flight attendant, the other's working behind an info desk... Most of them scantily-dressed, revealing some bit of sideboob or as much as leg as possible. And maybe I'd just be overthinking it, if it weren't for the game immediately enforcing these clothing choices by giving me free reign to flirt with them, comment on their face, their hips, their legs, and... a whole new feature exclusive to this game, the Molest button! Go right ahead, just grope their boobs and face absolutely no ramifications or consequences for it, beyond a meek scolding from your cop buddy, and an "Ahn~ Stop it~" from the girl. Truly, an experience made for the gamer.
Policenauts likes to utilize porn game logic for its moments of levity. Just like in a porn game, you're not really meant to think about the way you conduct yourself in front of a girl. Let your wild animal instincts kick in, and enjoy yourself, that's what I presume Kojima figured. The biggest problem with this sort of mindset is that you chose to insert mindless porn game logic into a story that actually requires you to think quite heavily. You can't turn your brain off in a game like this, you wouldn't be able to follow the plot, you wouldn't consider the theming, you wouldn't theorize about the truth of the mystery. You are required to do all of those things to get the most out of Policenauts, and just when you really start to immerse yourself into it- Hot dog, is that an attractive woman?! Cue up the Attractive Woman Theme Song, Jonathan's about to make some wacky unwanted advances!
You see? Policenauts wants to treat itself as a grounded and realistic story. But it also wants it both ways through dedicating half of its cast to a guy's fantasy, and an uncomfortably frequent chunk of its humor to attempts at sexual assault. And when you're in the middle of analyzing everything else, it's not gonna be hard to analyze this for what it is, which is an insanely one-sided depiction of women that takes away and distracts from an objective understanding of how the world really works, just to titillate the player a bit. One tone is contradicting the other, neither work well in tandem with each other, and it ends up ruining my ability to take any of the story seriously.
It's not a sin to appreciate the good aspects of Policenauts. But it would be ignorant to say what's problematic about it isn't a problem at all. If you were crafting a story as extensively detailed as this one, you'd think you would want to spread its message to a larger demographic than horny dudes. As it stands, how can I recommend this game to my friends? "There's a really cool story here, if you ignore all of the objectification?" I'm fucked. Policenauts fucked itself. And did it honestly need to be that way?
hideo kojima my goat
game has a section in the credits for boob jiggle physics consultants and it is, as far as i can tell, the only two women on the staff
BEAUTIFUL OAV, MAESTRO, BUT I WONDER WHAT COULD HAVE BEEN THE COMPLEX SYMBOLISM IN TOUCHING EVERY FEMALE CHARACTER'S BREASTS
Solid little time, not sure if this is a hot take but I found it much more memorable than snatcher. The characters and plot were interesting, and the setting being this really cool floating space continent was rad. Weird that this game never got an official english release as its good and I'm sure these days hideo kojimas name itself would carry. I played the PS1 version but I'd bet the PC-98 version is more of a vibe with its pixel art. If you like adventure games and/or hideo kojima there's a lot to enjoy here.
Very fun game! Unconventionally conventional, I say. Policenauts wears its influences on its sleeve, unashamedly, and the result is something that feels like a celebration of its source material rather than a cynical rehash of familiar ideas. The game's premise alone is almost enough for me to call it an instant-classic: set in the future, humanity is finally on the brink of genuine space colonization. An elite set of police officers are chosen from across the globe to serve as the first (and exemplar) members of the Policenauts -- space cops, basically. The protagonist, Jonathan, is on a routine spacewalk when suddenly, his space suit detaches from the station, and he's lost to space for the next 25 years. Turns out, he was able to go into cryogenic sleep all that time, and when he wakes, everyone he knows -- his partner Ed, his (now ex-) wife, Lorainne -- they're all 25 years older, where he's the exact same. This is the context for the game's opening, and it's just so campy that I can't help but love it.
The game was equally capable of being funny as it was emotionally engaging, without one encroaching on the other's territory; within an hour of the game, I'd methodically inspected every item on the protagonists' desk, reading his melodramatic, boomer, man-out-of-time comments about how much the world has changed, how his bills are stacking up, and how no one knows how to do things "the old-fashioned way." It's equally effective as a world-building technique as it is hilariously over-dramatic. (I choose to read it as tongue-in-cheek.) Shortly thereafter, however, your ex-wife enters the room and suddenly the game is able to command your attention and have you take the events seriously, even though it was just making you laugh. It's a really astounding feat how many sensations the opening of the game is able to inspire.
There are some major turn-offs that some people won't be able to get over, such as the casual homophobia and sexism, or the dated controls (things a remake could easily solve, Konami) but for those of us who are willing to but up with it all, there's a fun 12~ hours of classic-Kojima storytelling and game design.
The game was equally capable of being funny as it was emotionally engaging, without one encroaching on the other's territory; within an hour of the game, I'd methodically inspected every item on the protagonists' desk, reading his melodramatic, boomer, man-out-of-time comments about how much the world has changed, how his bills are stacking up, and how no one knows how to do things "the old-fashioned way." It's equally effective as a world-building technique as it is hilariously over-dramatic. (I choose to read it as tongue-in-cheek.) Shortly thereafter, however, your ex-wife enters the room and suddenly the game is able to command your attention and have you take the events seriously, even though it was just making you laugh. It's a really astounding feat how many sensations the opening of the game is able to inspire.
There are some major turn-offs that some people won't be able to get over, such as the casual homophobia and sexism, or the dated controls (things a remake could easily solve, Konami) but for those of us who are willing to but up with it all, there's a fun 12~ hours of classic-Kojima storytelling and game design.
She came back to me.
My favourite Kojimbo's work. Would sell my left naut for this game and Snatcher to get a remake or at least a good port in modern consoles and pc.
Its good
Policenauts exists within a stange limbo state. For years only a select few outside of Japan had played it, allowing it to take on a reverence that far outweighs the game's actual quality.
Policenauts is good, don't get me wrong. It's at its best when the game is fulfilling its promises of a gritty Sci-Fi Space Detective Noire Thriller. There are some genuinely great moments of tension and mystery and these moments are made all the more fun when playing with the Sega Virtua Gun/Stunner. The story on offer here is engaging and the exhaustive amount of world-building through text is a Kojima fan's wet dream.
But.
This is Kojima at his grossest. Every woman in this game - except for one or two - can be ogled, commented on, hit on, or groped. It's frequent, uncomfortable, and at one stage required to progress the plot. I can't tell if the intent was for comedic effect, some sort of roundabout reference to eroge, or just plain perviness. Either way, it does actively hamper my enjoyment and immersion in the story and makes the overall experience noticeably worse.
If you've exhausted all other avenues for Kojima's brand of storytelling Policenauts is worth your time, but be prepared for a level of uncomfortableness. Otherwise play the much cooler, better, and less creepy (SEGA CD) SNATCHER.
Policenauts is good, don't get me wrong. It's at its best when the game is fulfilling its promises of a gritty Sci-Fi Space Detective Noire Thriller. There are some genuinely great moments of tension and mystery and these moments are made all the more fun when playing with the Sega Virtua Gun/Stunner. The story on offer here is engaging and the exhaustive amount of world-building through text is a Kojima fan's wet dream.
But.
This is Kojima at his grossest. Every woman in this game - except for one or two - can be ogled, commented on, hit on, or groped. It's frequent, uncomfortable, and at one stage required to progress the plot. I can't tell if the intent was for comedic effect, some sort of roundabout reference to eroge, or just plain perviness. Either way, it does actively hamper my enjoyment and immersion in the story and makes the overall experience noticeably worse.
If you've exhausted all other avenues for Kojima's brand of storytelling Policenauts is worth your time, but be prepared for a level of uncomfortableness. Otherwise play the much cooler, better, and less creepy (SEGA CD) SNATCHER.
So if Kojima's previous game was Blade Runner mashed with Terminator. Policenauts is basically Lethal Weapon in Space.. If Riggs was an unstoppable sex pest.
I thought the setup was pretty fantastic for this. One of the original Policenauts, Jonathan Ingram has an accident testing a spacesuit and is lost, presumed dead for 25 years until he is recovered unaged in cryostasis. A couple of years after being rescued Ingram, now working as a private detective, is visited by his ex-wife, now in her 50s to search for missing husband (whom she remarried while Ingram was presumed dead).
Obviously this leads in to conspiracies and adventure ensues. Unfortunately while I enjoyed the plot, it never lived up to the promise of the opening.
Gameplay wise this is a point and click, visual novel-esque game like Snatcher. For better and worse.
It's worth a play if you're a Kojima fan, but it is a bit more of a slog to get through than Snatcher, I was ready for this one to end.
I thought the setup was pretty fantastic for this. One of the original Policenauts, Jonathan Ingram has an accident testing a spacesuit and is lost, presumed dead for 25 years until he is recovered unaged in cryostasis. A couple of years after being rescued Ingram, now working as a private detective, is visited by his ex-wife, now in her 50s to search for missing husband (whom she remarried while Ingram was presumed dead).
Obviously this leads in to conspiracies and adventure ensues. Unfortunately while I enjoyed the plot, it never lived up to the promise of the opening.
Gameplay wise this is a point and click, visual novel-esque game like Snatcher. For better and worse.
It's worth a play if you're a Kojima fan, but it is a bit more of a slog to get through than Snatcher, I was ready for this one to end.
Lethal Weapon in space. This would make for an insane movie. Not sure about Death Stranding making a good one though.
yani daha çok interaktif kısımlar eklense daha iyi olabilirmiş. puzzle ve aksiyon sekanslarının artması gibi
Policenauts and Snatcher make up an interesting duology in Kojima’s body of work. Made by a Kojima at a different time in his life. He never made it a surprise, especially when digging into his background, that he'd had an affinity for film. He’s tried his hand at a career suited to that passion, but it never panned out. Instead, it was video games that charmed him because of how he could funnel his creativity towards a medium he saw as unique from film because of its interactivity. This duology remains important in Kojima’s career, even now, I like to think, because they unveiled a Kojima trying to find his groove as a proper game developer. There’s definitely stuff within these two games that are pretty… “premature”, in showing where exactly his sensibilities and priorities lie with making games. Like the protagonists in the duology, especially in Policenauts, being a casual sexual harasser who has almost the most one-sided relationship with every female character he encounters. He was way too upfront in showing where exactly he’s drawing inspiration from in the movies he just thought were cool and interesting that it can be a little distracting. The duology also aimed for a completely different mechanical approach to gameplay and narrative compared to his masterwork in the Metal Gear Solid series. These were point-and-click adventure visual novels, to put it roughly. Meaning it was all about the storytelling in full display while actual gameplay took more of a backseat to support when necessary. It served as a good compromise for Kojima to create the cinematic experiences you can only get from a movie while taking advantage of the interactivity of the video games he’s trying to master.
There is no beating around the bush here; Policenauts is just a slog. Doubling down hard on what Snatcher did right and wrong, never balancing the scales to come out a total winner. It ended up being a middling step forward from what Kojima perfected about his love for making art in Metal Gear Solid. I don’t think Policenauts is necessarily a “bad” game. There is quite a bit to look at here, understand, and appreciate among what just didn’t work. It follows the bare-bones premise of Snatcher, a point-and-click adventure story about a detective solving a case against the backdrop of a science fiction setting propping up larger ideas. But the world Policenauts presents is far more detailed and offers different, though on the same Kojima wavelength, themes worth exploring. The protagonist is a man out of time trying to settle in a world where everything he used to know has been dramatically changed. He clings to his nostalgia for an older generation that can’t adapt to the world, making room for a new generation thanks to the future made possible by interstellar travel. There's a mystery to unravel and a case to solve, but the genuine drama is the battle for what's been handed down to the next generation. A very broad theme that Kojima has a deep connection to throughout his entire career.
My disappointment couldn’t be measured with what’s probably a solid narrative with introspective ideas told through the most boring, straightforward, Lethal Weapon-esque plot you could write. Snatcher wasn’t super original, nor would I even call that game’s story high art, but it pulled itself together in a nice, tight package where I really enjoyed the adventure. Policenauts has more going on for it, especially on paper, but the deliberate slower pace to focus more on character didn’t feel satisfying. There were some highlights in the story that I liked a lot, especially for how introspective the characters will be at the moment, but the ‘gameplay’ and pacing depowers it. The first two acts are absurdly long, making up roughly half the entire game, with the back half being the remaining five acts, which you almost speed through. You have to exhaust every single dialogue option that pops up at least several times just to force something to happen so that the story can finally progress. Often, you’d have to retrace your steps because you didn’t follow certain beats in a specific order, without enough clear indication that you were on the right path. It doesn’t help that the characters themselves, while they have their moments, are uninteresting when it comes to banter. There are no surprises here, no captivating twist that you would have already pieced together enough from the first act alone. It never really grows into something much more nuanced, at least from what I tried playing until around Act 5, when I just gave up on the game. Maybe it does come together in those remaining hours I’ve yet to experience. A lot of Kojima games crescendo phenomenally during the climax. This is the one, gleaming at what exactly happens in the finale, where it just doesn’t seem to prove itself as being another worthy piece of the Hideo Kojima experience.
There is no beating around the bush here; Policenauts is just a slog. Doubling down hard on what Snatcher did right and wrong, never balancing the scales to come out a total winner. It ended up being a middling step forward from what Kojima perfected about his love for making art in Metal Gear Solid. I don’t think Policenauts is necessarily a “bad” game. There is quite a bit to look at here, understand, and appreciate among what just didn’t work. It follows the bare-bones premise of Snatcher, a point-and-click adventure story about a detective solving a case against the backdrop of a science fiction setting propping up larger ideas. But the world Policenauts presents is far more detailed and offers different, though on the same Kojima wavelength, themes worth exploring. The protagonist is a man out of time trying to settle in a world where everything he used to know has been dramatically changed. He clings to his nostalgia for an older generation that can’t adapt to the world, making room for a new generation thanks to the future made possible by interstellar travel. There's a mystery to unravel and a case to solve, but the genuine drama is the battle for what's been handed down to the next generation. A very broad theme that Kojima has a deep connection to throughout his entire career.
My disappointment couldn’t be measured with what’s probably a solid narrative with introspective ideas told through the most boring, straightforward, Lethal Weapon-esque plot you could write. Snatcher wasn’t super original, nor would I even call that game’s story high art, but it pulled itself together in a nice, tight package where I really enjoyed the adventure. Policenauts has more going on for it, especially on paper, but the deliberate slower pace to focus more on character didn’t feel satisfying. There were some highlights in the story that I liked a lot, especially for how introspective the characters will be at the moment, but the ‘gameplay’ and pacing depowers it. The first two acts are absurdly long, making up roughly half the entire game, with the back half being the remaining five acts, which you almost speed through. You have to exhaust every single dialogue option that pops up at least several times just to force something to happen so that the story can finally progress. Often, you’d have to retrace your steps because you didn’t follow certain beats in a specific order, without enough clear indication that you were on the right path. It doesn’t help that the characters themselves, while they have their moments, are uninteresting when it comes to banter. There are no surprises here, no captivating twist that you would have already pieced together enough from the first act alone. It never really grows into something much more nuanced, at least from what I tried playing until around Act 5, when I just gave up on the game. Maybe it does come together in those remaining hours I’ve yet to experience. A lot of Kojima games crescendo phenomenally during the climax. This is the one, gleaming at what exactly happens in the finale, where it just doesn’t seem to prove itself as being another worthy piece of the Hideo Kojima experience.
Stanislaw Lem meets Lethal Weapon meets a lonely japanese nerd.
A Kojima game that showcases like no other how awful of a writer he is, mostly because Policenauts is a visual novel with little actual gameplay to fall back on. The story, which appears to have been written during a late-night bender after Koj stumbled upon Lethal Weapon while channel surfing, is super predictable in places and features his usual expository tangents that obliterate any sense of pacing. There's also the well-known misogyny that's rampant in the game. Players can sexually assault most of the female characters in the game while casually talking to them, and it's played either for laughs or to titillate. I know we're all extra sensitive to this sort of thing now, but it's hard to see how it was ever acceptable even back in 1994.
Some nice visuals, some nice music, yadda yadda yadda. Little else going for it.
Some nice visuals, some nice music, yadda yadda yadda. Little else going for it.
Tralasciando le varie cose comiche/sessuali, devo dire che non mi sono divertito tantissimo. Innegabile che abbia una sua rilevanza storica e che il gioco sia godibile e da recuperare, purtroppo però la storia di per sé è molto generica e funziona su meccaniche classiche dei vari gialli quindi non mi sono mai ritrovato particolarmente interessato alla trama e neanche ai pg che comunque solo raramente avevano qualcosa di rilevante. Esteticamente il gioco però è impeccabile
Terza tappa dell' "Old Kojima's Tour": Policenauts.
Ad oggi questo è stato il gioco più difficile da reperire e da giocare, in quanto non è mai stato localizzato in altre lingue al di fuori del giapponese, che non conosco.
Fortunatamente, sono riuscito a trovare online una traduzione fan made dei dialoghi testuali, quindi posso dire di essere riuscito a comprendere interamente la contorta avventura noir sci-fi.
Inizio dicendo che, come Snatcher, Policenauts è un titolo peculiare, in quanto mescola un importante blocco visual novel a delle sezioni, anche piuttosto concitate, fps arcade. L'idea di per sé è accattivante (mi riferisco alla versione PS1), ma la dura realtà mette davanti ad una scomoda verità: mirare con le freccette direzionali è un crimine contro l'umanità. Scomodo e legnoso, il sistema di mira si dimostra essere una non trascurabile infezione in un gioco che avrebbe le potenzialità per valere di più. Le parti shooting falliscono nel loro intento di alleggerire la prolissa narrazione di questo "anime interattivo", diventando solamente un ostacolo da superare con sofferenza. (A causa di ciò, sono stato obbligato a rinunciare a battere il record di Maryl al tiro al bersaglio. Peccato...)
Anche le parti "punta e clicca" non sono da meno, sebbene per motivi diversi. Talvolta per poter procedere con la storia, eseguendo azioni o prendendo decisioni che per noi giocatori paiono ovvie, dovremmo ispezionare tutti i possibili oggetti di scena, pure quelli più inutili, ed esaurire ogni possibile dialogo di ogni npc, frenando così non solo il ritmo narrativo, ma anche la voglia di continuare a giocare.
Altro piccolo appunto, che forse è solamente una mia percezione erronea: non ho trovato molto convincenti le animazioni delle cutscene, sembravano molto cheap.
Quindi Policenauts è un disastro? No, l'ho trovato un bel gioco. La storia, sebbene il finale sembri una parodia di se stesso, è davvero affascinante, con delle trovate geniali e diversi colpi di scena (un po' prevedibili). Il cast è colmo di personaggi memorabili, diversi dei quali verranno riproposti nei futuri Metal Gear, a cui ti affezioni e ti dispiace vederli soffrire.
E poi non dimentichiamoci che il titolo è quasi interamente doppiato, oltretutto in maniera eccelsa, e contiene una buona colonna sonora.
In conclusione, posso dire che Policenauts non è un gioco da buttare, ma sicuramente tra le opere del Maestro Kojima è una delle meno riuscite.
See you space policenauts!
Ad oggi questo è stato il gioco più difficile da reperire e da giocare, in quanto non è mai stato localizzato in altre lingue al di fuori del giapponese, che non conosco.
Fortunatamente, sono riuscito a trovare online una traduzione fan made dei dialoghi testuali, quindi posso dire di essere riuscito a comprendere interamente la contorta avventura noir sci-fi.
Inizio dicendo che, come Snatcher, Policenauts è un titolo peculiare, in quanto mescola un importante blocco visual novel a delle sezioni, anche piuttosto concitate, fps arcade. L'idea di per sé è accattivante (mi riferisco alla versione PS1), ma la dura realtà mette davanti ad una scomoda verità: mirare con le freccette direzionali è un crimine contro l'umanità. Scomodo e legnoso, il sistema di mira si dimostra essere una non trascurabile infezione in un gioco che avrebbe le potenzialità per valere di più. Le parti shooting falliscono nel loro intento di alleggerire la prolissa narrazione di questo "anime interattivo", diventando solamente un ostacolo da superare con sofferenza. (A causa di ciò, sono stato obbligato a rinunciare a battere il record di Maryl al tiro al bersaglio. Peccato...)
Anche le parti "punta e clicca" non sono da meno, sebbene per motivi diversi. Talvolta per poter procedere con la storia, eseguendo azioni o prendendo decisioni che per noi giocatori paiono ovvie, dovremmo ispezionare tutti i possibili oggetti di scena, pure quelli più inutili, ed esaurire ogni possibile dialogo di ogni npc, frenando così non solo il ritmo narrativo, ma anche la voglia di continuare a giocare.
Altro piccolo appunto, che forse è solamente una mia percezione erronea: non ho trovato molto convincenti le animazioni delle cutscene, sembravano molto cheap.
Quindi Policenauts è un disastro? No, l'ho trovato un bel gioco. La storia, sebbene il finale sembri una parodia di se stesso, è davvero affascinante, con delle trovate geniali e diversi colpi di scena (un po' prevedibili). Il cast è colmo di personaggi memorabili, diversi dei quali verranno riproposti nei futuri Metal Gear, a cui ti affezioni e ti dispiace vederli soffrire.
E poi non dimentichiamoci che il titolo è quasi interamente doppiato, oltretutto in maniera eccelsa, e contiene una buona colonna sonora.
In conclusione, posso dire che Policenauts non è un gioco da buttare, ma sicuramente tra le opere del Maestro Kojima è una delle meno riuscite.
See you space policenauts!
Me and the homies when we meet again after 30 years
It took me so long to finish it because when I started playing I became sick for like a month and a half, but yeah
It took me so long to finish it because when I started playing I became sick for like a month and a half, but yeah
Leer crítica completa
‘Policenauts’ trata básicamente de vaticinar un futuro en el que la raza humana habría progresado tanto como haber desarrollado su primera colonia espacial en el año 2010, pero visto desde 1994 y a través de la cabecita loca de Hideo Kojima. Es muy fácil caer en los tópicos vertidos sobre el autor japonés y su ambición por confluir el videojuego con otras artes escénicas, además de sus (a menudo) exageradas pretensiones por trascender el medio y emplear sus locuras para centrar la atención sobre su imagen. En 1994 no obstante, Kojima todavía no acaparaba el foco mediático de la misma manera que lo recibió tras el lanzamiento de ‘Metal Gear Solid’, y buena parte de su trabajo yacía recluido en su país natal con la axiomática barrera del idioma. ‘Snatcher’ y las dos primeras obras protagonizadas por Solid Snake habían roto moldes y propuesto grandes conceptos, pero el autor todavía estaba en pañales y angosto por las limitadas capacidades de los sistemas en los que se movía. Kojima demuestra ganas por dar otra vuelta de tuerca al videojuego, lo cual ya es bastante para los tiempos que corren, pero se enroca en el concepto más que en unir los puntos con coherencia y nula sexualización gratuita.
Visto así en preámbulo, ‘Policenauts’ es otro intento fallido de Kojima y cía por encontrar el hueco que creen merecer en el sector. Pero sigue siendo una cápsula del tiempo fascinante a descubrir casi treinta años tras su lanzamiento.
‘Policenauts’ trata básicamente de vaticinar un futuro en el que la raza humana habría progresado tanto como haber desarrollado su primera colonia espacial en el año 2010, pero visto desde 1994 y a través de la cabecita loca de Hideo Kojima. Es muy fácil caer en los tópicos vertidos sobre el autor japonés y su ambición por confluir el videojuego con otras artes escénicas, además de sus (a menudo) exageradas pretensiones por trascender el medio y emplear sus locuras para centrar la atención sobre su imagen. En 1994 no obstante, Kojima todavía no acaparaba el foco mediático de la misma manera que lo recibió tras el lanzamiento de ‘Metal Gear Solid’, y buena parte de su trabajo yacía recluido en su país natal con la axiomática barrera del idioma. ‘Snatcher’ y las dos primeras obras protagonizadas por Solid Snake habían roto moldes y propuesto grandes conceptos, pero el autor todavía estaba en pañales y angosto por las limitadas capacidades de los sistemas en los que se movía. Kojima demuestra ganas por dar otra vuelta de tuerca al videojuego, lo cual ya es bastante para los tiempos que corren, pero se enroca en el concepto más que en unir los puntos con coherencia y nula sexualización gratuita.
Visto así en preámbulo, ‘Policenauts’ es otro intento fallido de Kojima y cía por encontrar el hueco que creen merecer en el sector. Pero sigue siendo una cápsula del tiempo fascinante a descubrir casi treinta años tras su lanzamiento.
Policenauts undeniably has plenty of style. This game still looks great to my eyes even today, with great looking art, fantasic music and top quality voice acting.
The story is generally quite engaging, however almost every plot beat was telegraphed in a heavy-handed way so I was never really surprised by anything. Mostly it was just frustrating how clueless the main cast is to all the obvious hints around them.
The main character, Jonathan, is a completely irredeemable sex pest. Although I tried to avoid engaging with this aspect of the game where I could, some of it is simply unavoidable and other times if you just happen to click on the wrong body-part you will trigger some creepy comment or other. Seemingly you can even grope most of the female characters in the game as well with essentially no consequences. Even when Jonathan makes lewd comments about his best friend's teenage daughter upon meeting her for the first time, he barely gets a rebuke in response.
It is very impressive just how many things in the environment have dialogue written for them, there is a huge amount of text in this game and if you take the time to explore there are many little pieces of flavour and worldbuilding all around you (including the in-game glossary with a bunch of information on things people discuss in game).
In terms of actual gameplay, the vast majority of the time you will spend simply talked to people and looking at things like in any standard visual novel. There are a few shooting sections, especially toward the end of the game. These seem difficult but become trivially easy when you realise you can simply press L and R to lock onto targets - you can also play these with a light gun if you have a CRT television.
There is also a section of the game with some finicky puzzles which you have to repeat over and over again in the event of a mistake - this can get very tedious but does actually help to build tension as you approach the end of the gauntlet.
Many of the longer spoken dialogue sections simply can't be paused as far as I can tell, so I ended up having to replay a long section when I got interrupted at one point. Being able to pause any time is a huge quality of life improvement found in most modern games - but certainly not the first time I have experienced this in an older one!
Despite my issues with the game, I was ultimately invested in the story and characters and when the credits rolled I was satisfied with the conclusion.
The story is generally quite engaging, however almost every plot beat was telegraphed in a heavy-handed way so I was never really surprised by anything. Mostly it was just frustrating how clueless the main cast is to all the obvious hints around them.
The main character, Jonathan, is a completely irredeemable sex pest. Although I tried to avoid engaging with this aspect of the game where I could, some of it is simply unavoidable and other times if you just happen to click on the wrong body-part you will trigger some creepy comment or other. Seemingly you can even grope most of the female characters in the game as well with essentially no consequences. Even when Jonathan makes lewd comments about his best friend's teenage daughter upon meeting her for the first time, he barely gets a rebuke in response.
It is very impressive just how many things in the environment have dialogue written for them, there is a huge amount of text in this game and if you take the time to explore there are many little pieces of flavour and worldbuilding all around you (including the in-game glossary with a bunch of information on things people discuss in game).
In terms of actual gameplay, the vast majority of the time you will spend simply talked to people and looking at things like in any standard visual novel. There are a few shooting sections, especially toward the end of the game. These seem difficult but become trivially easy when you realise you can simply press L and R to lock onto targets - you can also play these with a light gun if you have a CRT television.
There is also a section of the game with some finicky puzzles which you have to repeat over and over again in the event of a mistake - this can get very tedious but does actually help to build tension as you approach the end of the gauntlet.
Many of the longer spoken dialogue sections simply can't be paused as far as I can tell, so I ended up having to replay a long section when I got interrupted at one point. Being able to pause any time is a huge quality of life improvement found in most modern games - but certainly not the first time I have experienced this in an older one!
Despite my issues with the game, I was ultimately invested in the story and characters and when the credits rolled I was satisfied with the conclusion.
Played this on my RP3. Took about 12 hours total. Very happy some folks were able to create an English translation patch for this game that was never localized here. I don't play many point and click adventures so it is hard for me to judge the gameplay. Generally I liked it. Some of the action scenes involving bombs and guns got a little tiring as they tended to ramp up in challenge and then restart you quite a bit further back.
The plot itself was interesting enough. Lots of the twists and turn were pretty obvious tbh. However the acting and cinematics were a real treat. Love this animation style.
Clearly Kojima was in love with Mell Gibson as the main character Jonathan is a carbon copy of him. His partner Ed being a facsimile of Murdoc. That being said I think that the character development was actually quite good. There are some charming scenes, particularly eating dinner at Ed's house. While you will have to get through the perverted parts, they aren't that often and don't distract too much.
For anyone that likes point and click adventures, 80s scifi or buddy cop films, and/or Kojima this is worth your time.
The plot itself was interesting enough. Lots of the twists and turn were pretty obvious tbh. However the acting and cinematics were a real treat. Love this animation style.
Clearly Kojima was in love with Mell Gibson as the main character Jonathan is a carbon copy of him. His partner Ed being a facsimile of Murdoc. That being said I think that the character development was actually quite good. There are some charming scenes, particularly eating dinner at Ed's house. While you will have to get through the perverted parts, they aren't that often and don't distract too much.
For anyone that likes point and click adventures, 80s scifi or buddy cop films, and/or Kojima this is worth your time.