![]() The whole things feels like a glitch because of how choppy everything is characters popping into view like a slide show as the game's architecture makes the poor PS Vita cough and wheeze as it's stressed to get this game running at all. The inventory tab breaking and not working to a point where the game needs to be closed and restarted is an unforgivable bug that happens too often. Low resolution and ugly muddy textures? A petty complaint next to the woefully low and erratic frame rate that drops to single digits while being pursued by a one-hit kill monster. No lip flap when characters speak? A minor nitpick compared to wall textures strobing and scrambling. ![]() The frequent and often lengthy load times? Small potatoes in the grand scheme of NightCry's issues. Perhaps at one point during development, funds completely ran out, and nobody could hire play-testers or keep the programmers on staff to squash bugs and glitches. It is buried under the tons of Swery-like junk, and a lack of polish that sometimes breaks the game to an unplayable state. Somewhere deep inside NightCry is a good game screaming to get out. The absurd pedigree that NightCry had working behind it was seemingly bullet-proof. As if that wasn't enough, filmmaker Takashi Shimizu, who was best known for directing The Grudge movies, was on board as one of the designers. Kono even got Nobuko Toda, who is best remembered for composing Metal Gear Solid 2: Sons of Liberty, and Metal Gear Solid 3: Snake Eater, to join forces with Castlevania: Symphony of the Night's composer, Michiru Yamane, for the music. He recruited the masterful creature design Masahiro Ito of Silent Hill trilogy fame, and designer Chris Darril, who would go on to make Remothered: Tormented Fathers. Hijumi Kono had already proved himself with the original Clock Tower games on Super Famicom and PlayStation, as well as working with Platinum Games on Infinite Space.
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