GOTY 2019 - NUMBER FOUR
Video version
I went into this year’s GOTY coverage thinking it would be pretty easy. There’s no 3DS games, no mobile games, no Switch games that don’t support the system’s built-in video capture. So many of these games are so meaningful to me, personally, that it’s been really difficult to know how to cover them. With that in mind, let’s spend a couple minutes on Shenmue-fucking-Three.
It’s barely worth identifying each entry in the series as a separate game. They’re just parts of one story. Its mechanics, tone, presentation and quirks are just the same as they were twenty years ago, and I really wouldn’t have it any other way.
Shenmue tends to be thought of as a more archaic Yakuza, but that really overlooks what’s so special about the series. They’re gentle, simple games. Sweeping scope, but the player’s approach is in any moment always small and modest. There was a subsection of its audience who played it solely because it was a massive technical achievement for the Dreamcast, but I don’t believe those were the ones who stuck with it. The persistent fans were the ones who fell in love with the quirks and eccentricities of its cast, the intricate detail of its recreation of south-east Asia in the eighties, and its approach to dutifully acting out the minute tasks of Ryo Hazuki’s life. Shenmue is about the small things, and Ys Net have never forgotten that.
Shenmue has always felt nostalgic. They’re games about a very specific point in history. Before the internet and mobile phones. A time where the young still stayed in their parents’ small towns, and could help operate their little businesses. Playing a new entry in the series, nearly two decades after where it last left off, adds to that feeling of nostalgia intensely. Not just getting sucked into that setting again, but being challenged to work with Dreamcast-era gameplay loops and structure. This is Pokémon Red, Donkey Kong 64, Tomb Raider III stuff. Things you’d never freely think you’d ever feel nostalgic for, but being brought back into that way of thinking can be a powerful reminder of what life was 20 years ago.
I don’t want to make it sound like Shenmue III is a backwards-facing game though. This is definitely the next part of the story, and it feels really good to finally be able to push it forward. The first two games were largely about the struggle to travel to Guilin – the Chinese village that was such a crucial part of Iwao Hazuki’s life and the mystery of the Phoenix and Dragon Mirrors. In this entry, we finally arrive there and start to understand what was going on.
Some of my favourite parts of the game were the conversations between Ryo and Shenhua, as they discuss their lives, and begin to relate to each other more deeply. They’re stiff, wooden conversations, but I wouldn’t appreciate them if they weren’t. It feels like we’re still travelling with those old Dreamcast characters, and only now getting to know who they really are. It’s another meaningful, intimate, step on the journey.
Video version
I went into this year’s GOTY coverage thinking it would be pretty easy. There’s no 3DS games, no mobile games, no Switch games that don’t support the system’s built-in video capture. So many of these games are so meaningful to me, personally, that it’s been really difficult to know how to cover them. With that in mind, let’s spend a couple minutes on Shenmue-fucking-Three.
It’s barely worth identifying each entry in the series as a separate game. They’re just parts of one story. Its mechanics, tone, presentation and quirks are just the same as they were twenty years ago, and I really wouldn’t have it any other way.
Shenmue tends to be thought of as a more archaic Yakuza, but that really overlooks what’s so special about the series. They’re gentle, simple games. Sweeping scope, but the player’s approach is in any moment always small and modest. There was a subsection of its audience who played it solely because it was a massive technical achievement for the Dreamcast, but I don’t believe those were the ones who stuck with it. The persistent fans were the ones who fell in love with the quirks and eccentricities of its cast, the intricate detail of its recreation of south-east Asia in the eighties, and its approach to dutifully acting out the minute tasks of Ryo Hazuki’s life. Shenmue is about the small things, and Ys Net have never forgotten that.
Shenmue has always felt nostalgic. They’re games about a very specific point in history. Before the internet and mobile phones. A time where the young still stayed in their parents’ small towns, and could help operate their little businesses. Playing a new entry in the series, nearly two decades after where it last left off, adds to that feeling of nostalgia intensely. Not just getting sucked into that setting again, but being challenged to work with Dreamcast-era gameplay loops and structure. This is Pokémon Red, Donkey Kong 64, Tomb Raider III stuff. Things you’d never freely think you’d ever feel nostalgic for, but being brought back into that way of thinking can be a powerful reminder of what life was 20 years ago.
I don’t want to make it sound like Shenmue III is a backwards-facing game though. This is definitely the next part of the story, and it feels really good to finally be able to push it forward. The first two games were largely about the struggle to travel to Guilin – the Chinese village that was such a crucial part of Iwao Hazuki’s life and the mystery of the Phoenix and Dragon Mirrors. In this entry, we finally arrive there and start to understand what was going on.
Some of my favourite parts of the game were the conversations between Ryo and Shenhua, as they discuss their lives, and begin to relate to each other more deeply. They’re stiff, wooden conversations, but I wouldn’t appreciate them if they weren’t. It feels like we’re still travelling with those old Dreamcast characters, and only now getting to know who they really are. It’s another meaningful, intimate, step on the journey.