All I know is they removed her nips in the healing menu

>>1710260 From what I gathered looking around those are the 3 main points >Xray dance is removed replaced by a very neutered animation if you wanna be pedantic >Jiggle physics is lesser / gone (depends on who you ask and what you're looking at, to me it does look pretty much gone especially the ass) >Nerfed EVA's assets >>1710487 Does look that way, I've seen claims to the contrary but honestly after looking at the OG vs the new it's pretty clear there's a difference though technically delta is more correct as nipples don't appear on Xrays

>>1714221 Then why does it have a trigger warning before starting the game?

>>1714236 Probably for the same reason TR remastered does, because they're too lazy to truly "sanitize" but if it's easy to do they'll do it anyways.

The more I look into it the more stupid this gets, they apparently replaced several instances of "shit" by "crap" Pretty sure it's because it's SIGINT and niggers saying shit is too stereotypical

>>1715041 So what happens with the Shit Monster conversation after the Guy Savage nightmare in Groznyj Grad?

>>1715180 That's exactly the one conversation that is targeted here according to someone on the steam forums

>>1715184 Honestly, how? I remember following the pre-release stuff, and one of the points was that the original voice acting was preserved. Or is this a split mode hing?

>>1715191 Apparently they just reused and did a bit of audio work on the one instance of "crap" in that conversation to fit everywhere else where it should say "shit"

>>1715041 >Pretty sure it's because it's SIGINT and niggers saying shit is too stereotypical That's retarded

>>1692623 No, it's Guy Savage.

>>1212678 hihi

>>1715225 iirc, in the overarching story, the dystopian AI hellhole shown in 2 and 4 pretty much IS SIGINT's fault. Zero has the idea for information control and suppression, and that was done by *people* in MSGV to obscure the fact that Big Boss lived through the attack on the first MB. During that, Skull Face tortured the information of Zero's real whereabouts - Hell's Kitchen - to deliver him a package with a parasite infestation that nearly kills him on the spot. He's able to hit a panic button before falling unconscious, but his faculties slowly decline even after he's rescued. After he recovers enough to make decisions, he passes Cipher's control over to SIGINT and commissions the Patriot AI to handle information control, and pretty much just waits for death while lamenting Big Boss' near death and the schism they had over Les Infants Terribles. SIGINT develops the AI into something completely autonomous, but it also exists to propagate itself. SIGINT is a nigger. He's smart, but he did not have the forethought to realize that a self-propogating information control system would fall into information control loops that would lead to war as a commodity and the war economy. War is profitable, war keeps the information machine relevant, therefore pockets of war were constantly popping up around the world, exacerbated by the Sons of the Patriots system. There's a human element to control that he missed entirely, which Big Boss saw pretty clearly before his final defeat at Zanzibarland. This is also one of six founders of a shadow group that effectively controls the world - and in a period of slow worldwide demilitarization, was either bribed or in total agreement with the Metal Gear REX project. Ironically, that period in history was the closest that Cipher/the Patriots came to realizing the Boss' dream of a unified world.

>>1715359 >bribed or in total agreement with the Metal Gear REX project. I appreciate you adding total agreement with rex makes me see things in a whole new light. Donald Anderson being Signit and having access to infinite money from the cipher and still taking a bribe always felt so stupid to me

>>1212615 >If you ever played MGS1 on the Playstation 1, there was nothing like it. the beginning of movie-slop AAA trash among the likes of FF7. modern movie-slop games are just logical conclusions os shit likt these. games like uncharted or last of us didn't pop out of nowhere

>>1875086 >[Metal Gear Solid was] the beginning of movie-slop AAA Demonstrably false. If you're gonna point the finger, blame PCfags for kick-starting the push for "cinematic" games.

>>1875086 >-slop The irony and lack of self-awareness using a vague buzzword popularized on cuckchan to criticize anything is laughable

>>1875423 FMV games don't seem like the ones that directly lead to what we have today though. Yes, it was a similar philosophy, but that genre failed so bad it just died out and became an evolutionary dead end. I do think the other games anon posted, "cinematic platformers" were more influential on what we have today, even if not the most influential ever. I'd put more blame on point and click adventures, which very early on became excuses to tell stories rather than actually play games. And I think JRPGs deserve a lot of the blame, too, since they do the same thing. Metal Gear Solid at least has more gameplay than these, but again it seems like the fans care about the franchise more for the story than the gameplay. And its gameplay is obviously closer to things like The Last of Us than Prince of Persia, Final Fantasy VII, or any point and click adventure are. So I do still think Metal Gear Solid deserves a lot of blame. It's not the originator, but it's an important step in the timeline.

>>1875113 consoleGODS win again

>>1875779 But that's entirely different from the concept of an FMV game, like you'd see on Sega CD. Need For Speed is a racing game. Night Trap is an FMV game. And there are some blurred likes, like with Sewer Shark being an FMV shooter. It wasn't the first, but it leaned into the FMVs harder than most, as a bigger selling point. Or along those lines, the aforementioned Wing Commander, which obviously had real gameplay, but was selling itself very much on the cutscenes over the gameplay. Need for Speed wasn't selling itself on the cutscenes. They were a presentation aspect the devs obviously thought would make the game better, but it was still a racing game and you were expected to buy it for the racing. I don't see a difference between FMV games with live action vs those with animation. As you pointed out, Dragon's Lair is obviously an FMV game. The issue is when watching the videos is a bigger selling point than actually playing the game. With Dragon's Lair it was still a novel concept, so people almost didn't notice they were barely playing a game. (Plus it was hard as hell.) By the mid-'90s everyone was sick of games like that. Not sick of FMVs in general (they were obviously still a huge selling point), but sick of games where those cutscenes were the whole point. Also, the issue isn't even just with FMVs, but with too much focus on story. It's no better when the game just expects you to read reams of text. But of course this whole discussion was about FMV games, and they aren't the ones that expect you to read reams of text. The point I was trying to make is just that it's a moot point to blame the types of FMV games that flooded the Sega CD for modern trends because those genres ended up failing so hard that they didn't really continue to evolve. Unless you want to blame Night Trap for Five Nights at Freddy's, but that isn't what people are complaining about here. The point is that Uncharted and The Last of Us clearly do owe more to Metal Gear Solid than they do to Plumbers Don't Wear Ties.

>>1876013 >You mean Sega CD FMV games like Mega Race (A car combat game), Silpheed (a Shmup), Sherlock Holmes: Consulting Detective (A predecessor to Ace Attorney and L.A. Noire), and Mansion of Hidden Souls (A "full 3D" adventure game). You know what I meant. I even discussed how the lines can be blurry, with a Sega CD example (Sewer Shark) to make the point. I elaborated on this quite extensively. Do you think I'm trying to attack the Sega CD or something? That's not what this discussion was about. That's why your points about audio aren't relevant. The discussion was about trends that led to modern "cinematic" games. So Mega Race, Silpheed, etc. aren't an issue. I specifically argued FMVs weren't the actual problem. The issue is games that focused more on story than gameplay, so yes, Sherlock Holmes and Policenauts get closer to it. I don't know Mansion of Hidden Souls well enough but your description makes it sound like it's closer to Sherlock than Silpheed. You must not have read my entire post if you could be misunderstanding the point this badly. I didn't write off every Sega CD game that uses FMVs as not being influential, I went out of my way to differentiate between different kinds of FMV games. Obviously Silpheed, though it uses FMVs, is a shooter and not what people think of when they say "FMV game." Sherlock Holmes, on the other hand, doesn't have much going for it other than the FMVs, so it gets called an FMV game. But of course I also even went out of my way to argue that FMVs aren't even the core issue, games that aren't about gameplay is the issue. You don't need FMVs to make that type of game. Really the point I should have made was more about the FMV games which were originally made to be VHS games and then converted to run on hardware like the Sega CD (which of course was not the first or only hardware to have these types of games, but was perhaps the most famous for it). Those types of FMV games with so little gameplay that they could easily run on a glorified VHS are what people think of. Obviously PS1 games were full of FMVs, but with very few games people would think of when they hear the term "FMV," because that style, that genre, had largely died out by then.

>>1876115 >Yes, I do, in that you don't know what you're talking about aside from the memes that you've gathered about a time in gaming you never experienced nor looked into. Like all the people who legitmately believed that the PS3 "never" had any games. You're literally trying to "correct" me by making points I already made in my own post, the post you're getting mad at. Why do you think I mentioned Sewer Shark? It's the first game I had for Sega CD, and it's not precisely what I'd call an FMV game, though it approaches it. You can't even be bothered to read the posts you're replying to. By ignoring the actual points being made, you're only making yourself look like an idiot to everyone who sees this thread. >"not at all important" Who are you quoting? I even ctrl+f'd for that phrase, and it was never said in this thread until you said it just now. Are you translating my posts to another language, then translating your responses back? Is that why your comprehension of my actual points is so low? I jumped into the thread specifically in response to discussion about games that led to modern "cinematic" games, including a response blaming FMV games. I then went on to argue that it wasn't so much FMV games, for several reasons, including the reason that games don't need FMVs to focus too much on story, which is very much along the same lines as what you're saying about audio quality. But you're acting as if I'm arguing against it, when all I'm saying is that it didn't relate directly to the discussion about FMV games, which is why it wasn't referenced. >you're trying to say something along the lines of "one certain thing" being the cause of everything that came afterwards That's literally the opposite of my point. I referenced many different things, including cinematic platformers, point and click adventures, JRPGs, "FMV games," and then just games that focus more on story than gameplay in general. We practically agree, but your reading comprehension (or more likely your English comprehension) is so low that you keep acting like I'm saying the opposite of what I'm actually saying. You have to go back.

>>1875743 I'd argue that Adventure Games were the real ground zero of this, as they tended to rely heavily on atmosphere (MYST) and storyline (Gabriel Knight) to really sell their products. The puzzles weren't really why people played them, by and large, it was just expected to be there for engagement. More often than not, the puzzles followed no real sensical logic, and instead relied on moon logic particular to a group of developers which was designed specifically to befuddle customers and sell hint books or hint-line calls at $2 a minute. Once you were done with the game once, they lost all replayability - yet people still replayed them for their aforementioned storylines and atmosphere. So it's no surprise that Adventure games were one of the first real big pushes into live-action cinematics when CD-Rom drives became mass market.

>>1876218 Female Japanese Lord Farquaad?

>>1876258 Kind of looks like that, but her hair length is asymmetrical. I like her, GKII Gracie was peak Gracie. She was too much of a sarcastic ice bitch in GKI and too emotional and demanding in GKIII when she realized she couldn't fix him. GKII Gracie was still kind of a cunt at times, but she was getting into her new role and discovering her love for Gabriel, so she ends up coming off as more tsundere than outright hostile to Gabriel's playboy lifestyle. I guess a fourth game would have seen Gabriel track her down, solve his own issues, and finally give them a happy ending - but it never happened. Bitch left him out to dry. Gerde can handle the paperwork, and is pretty hot herself anyhow. He'll get over it.

>>1875086 >>1875113 Yeah I think trying to place blame on MGS for the current state of “cinematic” games is misguided. There isn't anything inherently wrong with a game trying to convey it's story in a way that at times benefits from the cinematic approach. The real issue is when the game is trying to take the cinematic part, and plant it into the game part. MGS's story took place in Cutscenes, and the codec calls, which are essentially visual novel portions. But when it's time for the gameplay to happen, it doesn't impede you playing the game. You got to skip though the cutscenes and codec calls if you wished. At the moment, I can only think of MGSV prologue being the series egregious example of scripted events not letting you play the game properly until they're over. You could say you're not intended to replay the prologue compared to the rest of the games missions, but they still put an S rank behind it. One could argue Half-Life another 1998 game would be more responsible then MGS, since there are portions where you can't progress with the game until the game goes through it's story script. That was the big example of game and story needing to happen at the same time, tho not that bad in Half-Life 1, it goes on into Half-Life 2 where you have to go through elevators, or walk through places, or be taken on the conveyor belt ride, scripted moments that aren't the actual core gameplay. You can't play the game until the characters are finished talking, and scripted events play out. This is what leads to things like walk and talk sections becoming super prevalent in the 360/PS3 era. That's the core of the problem, when such importance is placed on the story of a game, that it encroaches on the part where you the player are supposed to be directing the action. If part of a games appeal is it's story then it's not likely you're gonna complain about watching that story unfolds in cutscenes, but if you're playing a game for the gameplay, then any part where you are technically in controls, but can't actually do anything meaningful is far worse than watching a cutscene.

I never understood the concept of blaming great games for how the shitty games badly copied them. Makes no sense to me.

>>1877316 Because some people have an axe to grind with those games, and guilt by association is the easiest way to shame something without directly addressing it on its own merits.

>>1877254 >At the moment, I can only think of MGSV prologue being the series egregious example of scripted events not letting you play the game properly until they're over. Screaming Mantis is the final proper gameplay segment of 4. After that is the microwave corridor, where you play by forced crawling and button mashing with the screen split by Snake and establishing shots showing how down to the wire everything gets. Followed by Snake v Ocelot, which has a separate gameplay style.

>>1876218 This guy gets it. >>1876433 >You're post was accusing the Sega CD of having "only" FMV games No it wasn't. You don't speak English and didn't understand the post you were trying to read. There is no point in any of my posts where I said or even implied the Sega CD had only FMV games. You think someone on 8chan isn't autistic enough to love Sonic CD? But the Sega CD was well known for that genre of games, since it was the most popular hardware that could play that type of game during the brief period that that type of game was popular. This entire argument is based on you being a third world monkey that can't learn human language. >You, see:>>1876079 <That's why your points about audio aren't relevant. But here is the actual "quote" you made. >"not at all important" Those aren't the same phrases. That's not how quotation marks work, you subhuman nigger. And in this case, the two phrases don't even mean the same thing. Maybe if you spoke English, you'd realize that. >That's why your points about audio aren't relevant. Saying something isn't relevant isn't the same as arguing against it. Again, learn English. It's not relevant to the point or discussion at hand. Doesn't mean it's wrong, it's just not relevant to the other point. >you're zoning in on the fact that I mentioned FMV games and avoiding the fact that I brought up big-name stars like Mark Hamill. Those things cross over significantly. Though Vice City stars Ray Liotta and San Andreas has you fight Samuel L. Jackson, I'd hardly blame PS2 GTA for modern "cinematic" games, despite those games being immensely successful and influential. Their styles and influences were very different. >No, it's not. Not by the way you have been treating this argument, where you honed in on FMVs and ignored everything else that I said in the first place. I was interested in FMVs, and then about other things that you didn't mention but I think are more relevant than things like audio, but still contribute to the argument that it isn't purely about FMVs, but rather about what sells a game. >>1877254 >The real issue is when the game is trying to take the cinematic part, and plant it into the game part. I disagree. While that is annoying, it's only one part of the problem. Another huge part is when you have to sit there and watch a (subpar) movie for a long time before you actually get to play the game (or between gameplay sections). I tried playing MGS3, but after about an hour of nothing but cutscenes and no real gameplay (maybe a few parts walking/crawling down an outdoor hallway for a few seconds before a new cutscene starts), I gave up. I remember being doubly annoyed because you couldn't even pause the cutscenes, which I could do in games like Jak & Daxter years earlier, even though that game (and its sequels, which do focus much more on story) doesn't make you sit through more than maybe two minutes of cutscenes at a time. I don't even like MGS. Maybe I shouldn't be in this thread. But this discussion is interesting. Half-Life is also important, in that it's clearly been influential, but MGS (and its sequels) seems more popular and more influential, and especially was more popular and more influential earlier, since it was on hardware with much larger install bases. I'd have to look up sales numbers from the time to confirm though, and I'm too lazy for that. >>1877316 I don't think it's a great game. I think it's boring for not focusing on gameplay as much as story. But also, I do think it's interesting to look at good things and see how they influenced bad things later. Mario and Sonic led to tons of subpar platformers, including many that had to be animals with attitude. Sonic is clearly very responsible for Bubsy. GTA III is clearly very responsible for every game needing to become open world, which is not a trend I liked, even though I like GTA III. I referenced Jak & Daxter earlier, and I love Jak II, but I can see how that was the beginning of the end, of Naughty Dog selling out and heading down the path that eventually led to their modern games. Hell, I can trace it back to Crash Bandicoot 2, which might be my favorite game of all time. But they pussy'd out to an SJW exec and replaced Tawna with Coco. Now, Coco is mai waifu and everything, but they got rid of the big titties (even though they were clearly ironic titties, still making a lighter but still feminist point), and replaced them with some know-it-all cunt that exists just to show that girls are smarter than boys and boss you around the whole game. It's a straight line from that to The Last of Us II. >>1877419 I don't think a game leading to bad influences later means it's bad. I also don't like MGS, but I didn't come into this thread intending to argue that. Even now, when I've been forced to state it, it's not the point I'm trying to make. I don't think it leading to worse games later is what makes it boring. I do think the same basic philosophy, though, that being story over gameplay, is present in it, and it's a significant problem. Metal Gear 1 is a bit better, since it doesn't hit you over the head with the story, and lets you get straight to the gameplay, but I also think the stealth mechanics aren't actually very good in that game. But it's an originator of the genre, so I can understand and accept that. I gotta play Metal Gear 2, which I assume is much better, but I can't bring myself to suffer through the the first, even though I like the idea of it.

>>1878112 >but MGS (and its sequels) seems more popular and more influential, and especially was more popular and more influential earlier What I take issue with here is how many games can you actually think of that are just like MGS? Where there are that many cutscenes, and segments that long between gameplay? MGS has always stood out with the length of it's cutscenes. I suppose I can think of the Yakuza games, but those are JRPG's and a story heavy approach is expected in RPGs From what I can think of, the connection that might make sense if it's there at all, is going from MGS to God of War 1, because GoW does emphasize it's story and cutscenes in a similar manner to how much importance MGS does, but still GoW's story segments aren't nearly as long as what MGS goes for. The more fitting comparison GoW I think would be Oddworld Abe's Oddysee, since that game placed a lot of production value in it's pre-renderd cutscenes, and that was also a very noteworthy PS1 game. What I'm seeing is Oddword's cutscenes leading to GoW's cutscenes, but also Half-life 2 eventually leads to the tech of the 360 and PS3 being able to do what once took pre-rendered cutscenes to being able to do more and more in engine, and that leads to eventually what we see in uncharted, to then GoW 2018 where they want to do away with the line between gameplay and cutscene by having it so there is never a camera cut, and it's "All in one shot". MGS has always been popular, but I just don't see how those games are designed leading to where were are now.

>>1212615 Metal Gear Solid 1 was the worst video game I've ever played

>>1878112 >This guy gets it. I glossed over a critical point though. The stories and scenarios in adventure games tended to be much more complex, even from a basic game like the original King's Quests, than most other game genres because of how they operated mechanically. Most puzzle solutions weren't handled by the baseline mechanics, but were scripted events with unique sprite animations. Whereas in most games you'd - say, have a jump button that works regardless of where you are in the game, in an adventure game a jump would likely be a scripted event. You could jump across a gap the developers intended you to jump across, but you couldn't - say, jump from a balcony. So long as the player stayed on the rails of the narrative, it allowed developers unmatched freedom to set up scenarios which played out automatically without the player's input beyond the initial prompt. I guess you could see those as some of the first forms of in-engine cutscenes - and they were the highlights of the game. Nobody was excited about being able to walk left and right around a screen and browse the inventory - they were excited to see what would happen if they figured out the puzzle. This is also what allowed comedy games to flourish in the Adventure game genre - where it fell flat in other games - because developers were able to tightly control scripted scenarios in order to get the timing necessary for good comedy right. You didn't have to worry about the player choosing to fuck off and trying to get outside of the map for a half hour between the setup and the punchline. Once the event was prompted, the game engine took control and played out the script the developers wanted from start to finish Modern cutscenes are basically the same thing - except triggered automatically, rather than by user-prompt, and showcase scenarios that either can't be done in-engine by the player, or to give the players a cinematic treat to spice up the playthrough, or both.

>>1877316 it's sadly how people treat the trendsetters. associate the long-term damage to the industry and also others making shitty games with the trendsetter in the 7th gen everyone hated COD due to other games being COD clones, even though COD itself was good until WaW same for Assassins Creed. people hate it because other franchises and even other genres started copying the open world slop elements of AC and even the AC franchise itself dragging on too fucking long with nothing new, even though the first 3 games were good. imagine this with other franchises. if video games copied OoT for 30 years straight and even Zelda games kept milking the OoT formula, people would've HATED OoT and would've marked it as "when gaming went to shit".

>>1879197 I hate Assassin's Creed because I just hate the games.

>>1879197 Call of Duty and Assassin's Creed were never good, you just had bad taste back then. Only games I personally like are good.