For years, P.N.03 sat as the only remaining piece of Shinji Mikami's directorial output I'd yet to play. Usually regarded as his weakest, I went in with an open mind but with expectations in check. I found myself far more frustrated than expected, not because P.N.03 is Mikami's weakest game, but because it shouldn't be.
Far from the creative stagnation of The Evil Within, a weird mish-mash of Mikami's most beloved game and then-ubiquitous design trends, P.N.03's core gameplay is strong and unique. Before Mikami would set the standard for the third-person shooter with his next release, there wasn't much of a consensus on how one ought to play. P.N.03 comes up with answers which are a world away from where we ended up, focusing less on aiming and more about positioning and dodging. There's a rhythm to combat that marks P.N.03 as a third-person shooter more in the lineage of melee-oriented action games such as Devil May Cry than any other shooter; although attacks directed at the player character are projectiles, they give clear tells for the player to read and to react with the an evasive maneuver.
This 'rhythm' was clearly picked up on by Mikami and his team, evident in their effort to make music and dance a theme expressed through the protagonist. Her opening cutscene reveals that she wears headphones, fighting to the music. In gameplay her head can be seen nodding to the beat, and when performing attacks she pulls off poses and dances.
So incredibly promising, all of it. It should have been fantastic. But the whole thing was rushed through in a matter of months, giving no time to develop what's here into something that feels remotely finished. What few environments are here fail to bring enough variety to the game's 11 missions, let alone enough to sustain the "trial missions" which form a practically-required grind to upgrade your equipment into something acceptable for the late-game difficulty spike.
It's so undercooked, and what we're left with is a prototype of many things: the protagonist with her sexually charged dance-fighting is a clear influence on Bayonetta, expressing the rhythm of action in diegetic music formed the basis of Tango Gamework's Hi-Fi Rush, and some aesthetic and gameplay elements were revisited in Mikami's own Vanquish. All these were more developed and better realised than P.N.03, but they don't replace it. P.N.03 is its own thing, and with more time in the oven I'm confident it would be remembered extremely fondly. Its status as Mikami's worst is deserved, but because of circumstance rather than a lack of vision, and that's the most frustrating thing about it.
Far from the creative stagnation of The Evil Within, a weird mish-mash of Mikami's most beloved game and then-ubiquitous design trends, P.N.03's core gameplay is strong and unique. Before Mikami would set the standard for the third-person shooter with his next release, there wasn't much of a consensus on how one ought to play. P.N.03 comes up with answers which are a world away from where we ended up, focusing less on aiming and more about positioning and dodging. There's a rhythm to combat that marks P.N.03 as a third-person shooter more in the lineage of melee-oriented action games such as Devil May Cry than any other shooter; although attacks directed at the player character are projectiles, they give clear tells for the player to read and to react with the an evasive maneuver.
This 'rhythm' was clearly picked up on by Mikami and his team, evident in their effort to make music and dance a theme expressed through the protagonist. Her opening cutscene reveals that she wears headphones, fighting to the music. In gameplay her head can be seen nodding to the beat, and when performing attacks she pulls off poses and dances.
So incredibly promising, all of it. It should have been fantastic. But the whole thing was rushed through in a matter of months, giving no time to develop what's here into something that feels remotely finished. What few environments are here fail to bring enough variety to the game's 11 missions, let alone enough to sustain the "trial missions" which form a practically-required grind to upgrade your equipment into something acceptable for the late-game difficulty spike.
It's so undercooked, and what we're left with is a prototype of many things: the protagonist with her sexually charged dance-fighting is a clear influence on Bayonetta, expressing the rhythm of action in diegetic music formed the basis of Tango Gamework's Hi-Fi Rush, and some aesthetic and gameplay elements were revisited in Mikami's own Vanquish. All these were more developed and better realised than P.N.03, but they don't replace it. P.N.03 is its own thing, and with more time in the oven I'm confident it would be remembered extremely fondly. Its status as Mikami's worst is deserved, but because of circumstance rather than a lack of vision, and that's the most frustrating thing about it.
mayagirli
1 month ago