Thursday, March 2, 2023

Wo Long: Fallen Dynasty Review

At this point, it’s probably fair to say that Team Ninja has a pretty good handle on this whole soulslike genre thing. Wo Long: Fallen Dynasty may not reach the same heights as Nioh 2 did back in 2020, but it certainly scratches that same itch of lightning-fast combat, punishing-yet-rewarding difficulty, and deep build customization options that you can craft and tailor to your own playstyle. It’s great for the same reasons that the Nioh games are, and it accomplishes that feat even while completely changing up the fundamentals of its combat system to be closer to Sekiro than Dark Souls. But by that same token, it also falls victim to the same familiar issues nagging at those other Team Ninja soulslikes, including subpar storytelling and excessively fiddly loot mechanics. But when you consider that the things Wo Long does better than just about any other game in this genre, that baggage amounts to scratches on an otherwise pristine set of armor.

If you’re familiar with the Three Kingdoms era of Chinese history you may get more out of Wo Long’s story than I did (my knowledge basically begins and ends with the fact that you should not pursue Lu Bu), but I think even then it won’t be a highlight because Team Ninja continues to struggle with telling a memorable story with likable characters. This is a supernatural take on the final days of the Han Dynasty, where we take control of a nameless warrior who gets swept up in a power struggle between warring kingdoms and their pursuit of an elixir of immortality. In practically every level you team up with some sort of historically significant warrior to fight through a level, have a boss battle against an evil or corrupted historically significant warrior, and then move on to the next one.

Characters are introduced at a rapid-fire pace and leave the scene just as quickly, often without making any sort of impact on the overall story. Sometimes they return many hours later, but I’d already forgotten them because they didn’t do anything meaningful. Fortunately, the actual gameplay in between the cutscenes make up the vast majority of what we’re here to do, and it’s there that Wo Long shines brightest.

The Dance of Combat

Wo Long’s combat is a puzzle that needs to be figured out really quickly if you plan on getting past even the first major boss, but once you solve it, it’s incredibly satisfying to play around in. Similar to Sekiro, it’s a system that relies a lot on carefully timing deflections so you can preserve your Spirit meter while also avoiding damage, especially when enemies also start mixing in powerful, unblockable attacks that have to be parried rather than blocked. Crucially, though, you can completely negate damage from regular attacks just by holding down the block button, so long as you have enough Spirit built up to avoid having your guard broken – if that happens, you’re left helpless. You can even hold down the block button while also attempting to deflect, making it so that even if you’re too late on the deflection timing, you’ll still block the attack.

Once you solve the puzzle of Wo Long's combat, it's incredibly satisfying to play around in.

It’s a good thing that Wo Long has this leniency built in because in practically every other regard, it doesn’t pull any punches. Enemies will regularly power through your attacks to deal a more powerful blow of their own, they have combos that go on for days, and they do a really good job at varying the rhythm of their attacks to try and bait you into parrying too early. It rewards a careful eye and punishes falling into a predictable rhythm. Even with all of that it isn’t nearly as hard as Nioh 2, for reasons I’ll get to later, but it still manages to find a really satisfying balance of being tough, fair, and absolutely exhilarating once you start to pick up on an enemy’s attack patterns and find yourself deflecting each hit of an incoming combo.

One clever wrinkle is that your Spirit meter is also a resource that can be spent on spells, special martial arts abilities, and Spirit attacks. That’s a nice risk-reward mechanic that lets you put yourself in a potentially more vulnerable position in order to gain some sort of advantage. If you know an enemy has an elemental weakness, for instance, you can exploit that by spending Spirit to enchant your weapon with an element to stagger and quickly break them. Martial arts abilities are unique depending on the weapon you’re wielding, and there are many that offer powerful attacks that can either do big single-target damage or give you a way to deal with many enemies at once. Finally, Spirit attacks are powerful strikes that increase in damage the more Spirit you have built up, which give you another reason to hold onto your Spirit meter until you need it.

I never felt like I was stuck against a wall with no idea of how to overcome a particular challenge.

If it’s not already clear, there are tons of layers to Wo Long’s combat, which greatly enhances the already excellent swordplay by laying out a ton of options and ways to vary up my strategy whenever I found myself dying repeatedly to a particular boss. If just straight-up attacking didn’t work I could focus more on defense and reduce their Spirit by deflecting their big attacks; failing that, I could double down on rushing them down and trying to break their Spirit with aggressive attacks and martial arts abilities. Or, if I could figure out what they were weak to, I could try using spells. So while Wo Long is certainly tough, I never felt like I was ever stuck against a wall with no idea of what else I could try or how to overcome a particular challenge.

The Loot Problem

Where Wo Long feels very similar to the previous three Team Ninja soulslikes – in a bad way – is in its loot. More specifically, there’s an overabundance of it. I became absolutely inundated with garbage gear that I had no use for within just a few hours, and it only got worse after that. I’m just not the kind of person who really wants to spend 10 to 15 minutes in a menu trying to decipher whether a -2.6% reduction in Martial Arts Spirit is worth sacrificing a +7.2% Genuine Qi Obtention, or if I’m willing to sacrifice a few points of attack power for +24 alliance Spirit defense. Those simply aren’t interesting decisions – those are spreadsheet entries and math problems, and it’s made worse by not even being able to sort your massive list of weapons by set, or by a specific special effect you’re looking for.

Where Wo Long feels very similar to the previous three Team Ninja soulslikes – in a bad way – is in its loot.

I’m fully aware that there are people who love these games for this level of hyper-specific build optimization, and if that is you, then you’ll find a lot to appreciate here. You can salvage junk gear to extract their special effects, then slot those special effects into weapons that you want to use, and then you can copy the appearance of any other weapon or armor so you don’t have to worry about being forced to use an ugly weapon or armor set because it has great stats. It’s fairly exhaustive in its options, but it’s also not for those of us who prefer action to menu screens.

Fortunately, I found that I didn’t have to get too far in the weeds on my first playthrough because I was more than powerful enough just by engaging with loot on a surface level. For armor, I just picked whatever gave me the highest defense number without putting me into the heavyweight category, which would limit my mobility. Then I would pick a weapon type I liked, swap it with one with a higher gear score whenever I came across one; similarly, when I found one that came with a Martial Arts ability that I liked, I just upgraded that as high as I could. No major tweaking was necessary to keep me from falling behind the power curve, leaving the complexity for those who are looking to test their mettle in the multiple iterations of New Game+ or PvP invasions.

Raising Morale

One of my favorite new ideas in Wo Long is the addition of Morale Ranks, which is basically a separate progression system that starts at zero at the beginning of every main mission and goes all the way up to 25. You gain morale simply by defeating enemies, but you’ll gain it even faster by killing them using Spirit attacks, Martial Arts abilities, or critical strikes. You will also lose some morale everytime you die, up to a certain point determined by your fortitude level, which you can increase by finding various flag poles throughout each mission. Enemies have Morale Ranks too, and those with a higher rank than you deal more damage. I love this addition because it gives every level a very natural ramp-up in difficulty, while adding extra incentive to explore and mop up more bad guys.

Each level begins fairly easy: a bunch of low-morale-rank enemies make up the majority of foes, with a few high-rank monsters sprinkled in here and there to give you an occasional challenging fight. By the time you’re near the end of the level though, you’re regularly going up against rank 20 enemies and bosses that will be really tough to deal with if you haven’t been thorough in clearing out the opposition.

Some of my favorite side missions even have you sparring against your allies in challenging boss battles.

Much like Nioh, Wo Long’s campaign is broken up into main missions and side missions, with the main missions taking you through humongous levels – from castles, to active battlefields, to jails with Dark Souls-like poison ponds on the ground floor – and the side missions typically having you revisit those settings with some sort of fun twist with regard to the objective and enemy placements. Some of my favorite side missions even have you sparring against your allies in challenging boss battles. One of the really great things that Wo Long does is that it allows you to exit out of a mission from a Battle Flag and save your progress on that main mission. This is a wonderful safety net, because frequently what can happen is you can find yourself underleveled and stuck on a main mission; here you’re allowed to back out to the level select, complete some side missions to level up or get new gear, maybe head to your secret village home base to upgrade that gear, and then return right where you left off on that main mission without feeling like you’ve lost your hard-fought progress.

The levels themselves won’t win any awards for how they look, but they’re very well designed from a gameplay perspective. Branching paths that often allow you to find an easier way through a particularly tough area and tons of easily missable optional detours leading to bountiful rewards keep them from being straightforward paths from point A to point B.

Wo Long’s biggest problem – bigger than the loot issues and the poor storytelling – is its enemy variety. Even though the combat system is excellent and varied, there’s simply not enough different types of opponents to fill a game of this size. The ones that are here are fantastic and fun to fight, don’t get me wrong, but part of the fun of a soulslike is encountering a new threat, learning their attack patterns, and finding ways to get through the fight without taking heavy damage. In Wo Long, I felt like I figured out everything I needed to know to get through every non-boss encounter by hour five of a game that, in total, took me about 22 hours to beat. That took out a lot of the tension and fear of death that these games thrive on. Without the anxiety that something unexpected might be lying in wait around the next corner, Wo Long is still a very challenging game, but one that lacks a certain sense of adventure.

Wo Long's biggest problem is its enemy variety.

It’s also worth mentioning that Wo Long also includes online co-op for up to three players, an extensive New Game+ for those who really want to min/max their characters to the extreme, and even has PvP invasions (which you can opt out of if you’d prefer to deal with relatively easy AI invaders). Unfortunately, not enough people were playing ahead of launch for me to test the competitive multiplayer features out for this review, but cooperative play is super easy to set up and play through, just like it has been in prior Team Ninja soulslikes. You can either recruit random strangers into your game from within a level when you need help, or you can start a level fresh from the beginning with a friend.

Wednesday, March 1, 2023

Strayed Lights Preview: Pixar Would Be Pleased

Everyone's got demons. Sometimes, you get to fight your own demons in a video game, and the upcoming action-adventure game Strayed Lights is possibly the artsiest allegory I've seen for this exact trope since playing the Kingdom Hearts trilogy. For visuals junkies, it's not totally dissimilar from Ori and the Blind Forest in style either, and its gorgeous soundtrack by the famed Austin Wintory immediately stood out in the short time I got to try it out. I was able to explore several areas in its imaginative, physics-defying world -- but unlike Ori, Strayed Lights seems way more like a linear campaign than a side-scrolling Metroidvania. Regardless, its action combat system is tight enough to carry its abstract story, and it even introduces an interesting mechanic that could make Strayed Lights worth checking out when it finally releases in April.

Action-adventure games have drilled their combat formulas down to a science at this point. In most action-adventure games – let's use God of War or Devil May Cry as examples here – you usually have at least one or two attack buttons, an ability button, some sort of special ability bar, a block button, and a dodge roll that lets you become momentarily invincible. This is all pretty standard stuff, and Strayed Lights doesn't seem to stray too far from what already works. It's in its favor that beating up these giant elemental creatures (that look like Flame Atronachs from The Elder Scrolls series) feels exactly as good as it looks, with attack timings and patterns that are both predictable and responsive.

However, Strayed Lights does something interesting within its established patterns: in order to properly block attacks, you need to switch your avatar's color to the color telegraphed by the enemy you're fighting, which adds an extra layer of thought to your attack patterns. And this is almost meditative in practice. It might sound like a throwaway mechanic to someone who's more accustomed to Elden Ring, or the Dark Souls series – where action combat is taken to incredible levels of complexity – but Strayed Lights' action can get pretty hectic when two or more enemies are on-screen at once, forcing me to mentally prepare to switch colors at just the right moment to block each oncoming attack.

Strayed Lights threw another curveball at me in the form of corrupted attacks, which are unblockable and must be dodged, but I never found it too difficult to land a perfect dodge. It may be considered a bit too easy to just spam the attack button and dodge each attack, but the caveat there is that the only way to heal yourself is to block -- and since you do the most damage that way anyway, I found that to be the winning strategy.

Strayed Lights has a story, but it's probably not going to impress anyone looking for sweeping literary overtures. It's presented in a purely aesthetic format with absolutely zero dialogue or voice-acting, but the abstract imagery portrayed through your journey as a... uh, let's just call your avatar a "strayed light", is one that's clearly meant to outline a universal story of personal growth through hardship and inner turmoil. It’s great news then that this style of storytelling works so well, given just how much painstaking attention is given to its breathtaking art style and visual fidelity.

Its art direction seems like something out of a Pixar film, and it’s this part that genuinely stuck with me after the credits rolled on my demo. There are so many scenes in the first chapter of this campaign that make delightful set pieces for battles -- like this full moon rising above this flock of spirit creatures, or the first corridor you walk down as you are metaphorically "birthed" into existence, or the meditation chamber where you can purchase new abilities with the crystal shards dropped by enemies.

Its art direction seems like something out of a Pixar film, and it’s this part that genuinely stuck with me after the credits rolled on my demo.

Its musical score by Austin Wintory is downright calming, filled with the sound of twinkling guitars, celestial woodwinds, and mellow symphonic harmonies befitting a zen garden just as well as it would fit in a Hollywood film (or, you know, a AAA video game).

Strayed Lights is currently in development for PlayStation, Nintendo Switch, Xbox, and PC. It’s officially slated for an April release, and it will be playable at PAX East ahead of its launch on March 23 through March 26.

100% of Humble's Turkey-Syria Relief Bundle Goes to Charity

Humble Bundle introduced its latest content bundle, the Türkiye-Syria Earthquake Relief Bundle. All proceeds from the bundle, which includes 72 items including games and comics, go directly toward helping those in the affected areas.

Humble Türkiye-Syria Earthquake Relief Bundle

To get all the content included with the bundle requires a $30 donation, netting you to $1,101 worth of stuff.

You get 10 volumes of Image Comics' Saga, Starfinder books, as well as several games by Turkish developers, in addition to a whole slew of other games.

What's Included in the Humble Türkiye-Syria Earthquake Relief Bundle

Here's a full list of everything included in the Humble Türkiye-Syria Earthquake Relief Bundle:

  • Gotham Knights
  • Ghostrunner
  • Pathfinder: Kingmaker Enhanced Edition
  • XCOM 2
  • Starfinder Core Rulebook
  • PayDay 2
  • Ticket to Ride
  • Starfinder: Junker's Delight
  • Strange Brigade
  • Euro Truck Simulator 2
  • Stick Fight
  • Farming Simulator 17
  • System Shock Enhanced Edition
  • System Shock 2
  • Pilgrims
  • Flynn: Son of Crimson
  • Into the Pit
  • Worms Rumble
  • Harmony's Odyssey
  • Mount & Blade: Warband
  • Saga Vol. 1-10
  • Armello
  • Backbone
  • 911 Operator
  • 112 Operator
  • Calico
  • X-Morph: Defense Complete Pack
  • Zombie Driver HD Complete Edition
  • Sapce Crew: Legendary Edition
  • Monaco
  • Death Squared
  • Lust From Beyond: M Edition
  • Stygian: Reign of the Old Ones
  • Remnants of Naezith
  • Planet TD
  • Firegirl: Hack 'n Splash Rescue DX
  • XEL
  • Little Orpheus
  • Detached: Non-VR Edition
  • Agent in Depth
  • Lighthouse Keeper
  • Hyper Gunsport
  • Meow Express
  • Arcade Spirits
  • Non-Stop Raiders
  • The Inner World
  • The Amazing American Circus
  • Soulblight
  • Stacking
  • Hack 'n' Slash
  • Orbital Racer
  • Symmetry
  • Guilty Gear X2 #Reload
  • Alchemist's Castle
  • Soul Searching
  • Doughlings: Arcade
  • Doughlings: Invasion
  • Quadrata
  • Rym 9000
  • stikir
  • Cats and the Other Lives
  • Soulflow
  • Izmir: An Independence Simulator
  • Guns & Fishes
  • Pill Baby
  • Project Chemistry
  • Pixcross
  • Frick, Inc
  • Sunlight

Phew.

As of the time of writing, the bundle is live until March 8, so you have some time, but don't let it slip away. According to the Humble Bundle landing page, "100% of the proceeds will go to Direct Relief, International Medical Corps, and Save the Children in support of their ongoing Türkiye-Syria quake relief efforts."

Seth Macy is Executive Editor, IGN Commerce, and just wants to be your friend. You can find him hosting the Nintendo Voice Chat podcast.

Gran Turismo 7 VR Review

When it comes to next-gen racing games, I’ll admit I generally reach for the wheel of Forza Horizon 5’s approachable open world over the close second that is Gran Turismo 7’s more rigid dedication to realism. But the shiny new PlayStation VR2 headset is like a burst of nitrous oxide in the latter’s engine, narrowly pushing GT7 ahead of the competition by finally putting its money where its mouth has always been. Impressive headset haptics, HDR, and 3D audio all come together so believably, creating a one-of-a-kind experience that any car junkie or racing fan should want to dive into, even if you aren’t usually into the strict regimentation and slow-burn progression GT7 lays down. And if you are already a bonafide Gran Turismo fan, the PS VR2 offers such a visual and experiential feast that it’s hard not to call GT7’s VR mode an essential upgrade.

Gran Turismo 7 VR’s lifelike cabin visuals and physics often feel like I’m taking an actual sports car for a joyride down the Deep Forest Raceway or through Tokyo’s Central Circuit, generally at speeds that would land me in deep trouble in real life. Trust me when I say once you’ve raced a Ferrari Vision GT at 300 mph in the rain – with dirt and water splashing all across your virtual windshield, only a few inches in front of your face – you’ll probably be as motivated as I was to see everything Gran Turismo’s campaign can throw at you.

While menus are still disappointingly composited onto a flat screen inside of your headset, your entire 110-degree field of view lights up with detail and color once you enter a race or one of several VR-specific modes. Turning your head left and right gives you an actual sense of your surroundings, and unsurprisingly, playing GT7 competently in VR mode demands you have a similar level of spatial awareness as if you were driving a real car. Rearview mirrors and other reference points provide a strong sense of how your vehicle handles, and I imagine it’s even more grounding if you have a fancy steering wheel setup.

Fortunately, the PS5’s packed-in DualSense controller works great on its own. It provides a nice mixture of haptic bumps and jerks to replicate the motion of a steering wheel in my hands and uses its adaptive triggers to mirror pedal resistance on my index fingers as engines roar in all directions. If you collide with a wall or another vehicle, the PS VR2’s in-headset haptic vibrators give a satisfying jolt of feedback. All of these details quickly add up in my mind, making me feel like I am truly in the cockpit in a way that’s actually quite rare for a VR game. It’s a way better example of what virtual reality does well than many other games which – for instance – can ask you to simulate walking around by swinging your arms left and right.

Playing in VR made me care more deeply about GT7's rules.

It does suck that you don’t ever get to watch yourself physically step into the cabin, and it’s similarly disappointing there are no special animations or VR scenes to portray what’s going on between menu selections. None of your vehicle’s consoles or buttons are interactive other than lighting up when your headlights are turned on either, which happens automatically in darker driving conditions. But it’s not like Gran Turismo 7 was ever particularly focused on flair or excess to begin with, and even the simple menus are forgivable when they are still a pretty convenient way of getting around. While inside a vehicle’s cabin, I’m never really focused on anything other than the road itself anyway, so the lack of virtual interactivity is a minor downside considering the otherwise transcendental racing experience.

Bringing Gran Turismo 7 into virtual reality did something I didn’t expect: it made me care more deeply about its rules. When I was so physically entrenched in its virtual simulation, I spent the time to really learn how to navigate its optional systems. The intuitive in-race HUD is seamlessly mapped over my vehicle’s physical dashboard, but fine-tuning my ride doesn’t just change a number on a screen anymore; it affects the way the car handles, and in VR, I can feel those subtle changes in my body. That includes TCL, fuel mapping, brake positioning, tuning, and more adjustments. That nuance can be a lot tougher to pick out when you’re playing in third-person mode with less audiovisual and haptic feedback guiding you, but in VR I could truly learn the ins and outs of my vehicles. That makes the simulation aspects of GT7 that might be intimidating to some that much more important – and captivating – in VR.

When the PS5’s many cylinders are all firing during peak moments, GT7 VR positively radiates eye candy, pushing vast draw distances and rendering a ton of action at once. This is best exemplified when you’re a tailing a car neck-and-neck – and then out of the corner of your eye, you catch several other cars chasing you in your rearview mirror to the backdrop of a sunrise glinting over the French countryside. There is nothing quite like this anywhere else, and it really is a testament to how good the PS VR2’s technical specs are. The immersion is only broken by a few animation glitches here and there, like your avatar's hand occasionally glitching through the gear shifter, but you really have to be looking for them. Some minor missing details like the lack of a handbrake animation may also annoy detail sticklers, but they don’t ruin the experience when so much care has clearly been put into everything else.

Shopping for vehicles in GT7 has a shiny new layer to it since you can now activate the drop-dead gorgeous VR Showroom. This lets you spend as much time as you’d like with a full-scale replica of every single car in Gran Turismo 7’s expansive fleet. It’s neat to hear the growl of a new Jaguar F-Type R V-8 engine up close, both inside and outside of the vehicle. Popping into your garage lets you enter a more expansive version of the same VR Showroom mode, allowing you to travel to a wider variety of locations. Here, you can play with the lighting options to get all kinds of up-close angles of each of your owned vehicles, which is a delightful way to drink in Gran Turismo 7’s photorealistic lighting system in the PS VR2’s full 4K HDR OLED glory. It’s impossible to describe how cool it is to physically stand next to one of my own custom liveries, especially when they may have started as a silly in-joke between friends.

VR replays provide a novel approach to reliving your best racing moments, though I can’t say they’re the most comfortable. You basically stand-in as the replay camera while GT7 itself moves you ahead of the swiftest car on the track every few seconds. This is kinda jarring, but it gives you opportunities to watch (and record) the track from unique angles as the racers zoom past. It also lets you hear cars screech by as their engines and tires echo around the geometry of the track, and GT7’s use of the Doppler shows off just how good its 3D sound design and audio spatialization are.

Atlas Fallen Arrives This May

If you're looking forward to gliding through a sand-covered world with friends in Deck13's new game Atlas Fallen, you won't have to wait much longer, as Focus Entertainment has revealed the game will launch on May 16.

Originally revealed during last year's Gamescom Opening Night Live event, Atlas Fallen has garnered a lot of attention and interest due to its unique movement mechanics that allow you to surf around on the sand of the game's compelling sand-based world. The game's attractive visuals certainly don't hurt, either, and help explain why it's a current gen-only release.

Granted, it's not exactly the peaceful sand-skiing experience of something like Journey – you'll also be manipulating the sand to create weapons that help you tackle massive beasts on a quest to bring down a corrupt god. And though Atlas Fallen is not a live service game, you can take on the adventure solo or recruit a friend for good ol' fashion co-op monster slaying.

In our hands-off preview last year, we were pretty impressed with Atlas Fallen's direction, saying, "Atlas Fallen shows flashes of Monster Hunter, Control, and the Horizon series, while also introducing some intriguing new ideas of its own."

Atlas Fallen launches May 16 on PlayStation 5, Xbox Series X, and PC.

Billy Givens is a freelancer at IGN with over a decade of experience writing gaming, film, and tech content. His work can also be found on GameSpot, USA Today, Digital Trends, Tom's Guide, and more. You'll find him blabbering on about video games and more on Twitter at @mektige.

In Like a Dragon: Ishin Kazuma Kiryu Returns to His Samurai Roots

Like a Dragon: Ishin! takes Kazuma Kiryu back to the late Edo period as the imperial loyalist Sakamoto Ryōma. But the Dragon of Dojima has always been a samurai at heart.

The real-life yakuza make a show of their connection to the samurai’s feudal attitudes and bushido code as proof of their connection to Japan’s ancient warriors. But in truth, it’s Kiryu’s kindness and determination to protect the weak which set the Yakuza series apart since the very beginning. That makes him the true descendent of a long line of samurai kyōkyaku (which translates to ‘chivalrous commoner’) characters who fought oppression and injustice in Japanese cinema and drama for centuries.

With series creator Toshihiro Nagoshi’s background, that’s no accident – his illustrious SEGA career was a fallback after he failed to find work in movie production ­­­– and the emotional core of one of gaming’s most endearing characters has a lot in common with cinema’s Robin-Hood style figures.

Kazuma Kiryu, the Chivalrous Commoner

Sakamoto Ryōma was a low-ranked but formidable samurai who played an important role in toppling the Tokugawa Shogunate before his assassination aged 31. The figure was adapted on screen numerous times and had become so mythologized, anyone could see themselves in him, according to actor Masaharu Fukuyama who played Sakamoto in 2010. Ishin! plays out in a similar fashion, letting Kazuma Kiryu loose on a highly embellished retelling of Japanese history. But while they definitely share similarities, Kiryu would have been better cast as a kyōkyaku.

Kyōkyaku were popular heroes in the Jidaigeki period dramas set in the same Edo period as Ishin! These films, set in early-modern Japan, depicted the gambling criminals who preceded the yakuza as outcast samurai with strong moral codes, often based on real Edo criminals in films like A Diary of Chuji's Travels (1927) or Jirocho Sangokushi (1965). Naoto Mori, a film critic from Kanagawa Prefecture who wrote the Japan Film Festival’s introduction to Yakuza movies, spoke to IGN about the samurai origins of kyōkyaku.

“The heroic samurai image is a classic in Japanese fiction. Even though he is a samurai, he does not belong to any organization, he is a wandering character who travels alone […] a kind-hearted outlaw full of loyalty and humanity, with the creed of destroying the strong and helping the weak.”

Kiryu constantly meddles in strangers’ lives for the better in hundreds of colorful side quests the series has become fondly known for. As much the Angel of Kamarucho as he is Dragon of Dojima, he’s a gruff, sensitive but ultimately willing friend to those in need, never passing a moment without bailing out film directors, overthrowing cults and helping countless relationships to blossom — all while navigating the simmering yakuza clan tensions and the day-to-day drama of running an orphanage.

It’s clear to Mori that Kiryu Kazuma shares a common, selfless heritage with kyōkyaku heroes. “The character Kazuma Kiryu is a modern, yet classic, 'heroic yakuza' descendant. As an ally of the socially vulnerable and orphans he is exactly in line with the tradition of heroic icons in period dramas and yakuza movies.”

The popularity of these figures on the side of the common people rose in times of drastic change, so it’s no surprise it spiked in Ishin’s setting. In this period — known as the Bakumatsu, when both the Tokugawa shogunate and 265 years of Japan’s isolation policy approach their end — disruptive behavior was celebrated for sticking it to the oppressive shogunate.

Even though he is a samurai, he does not belong to any organization, he is a wandering character who travels alone […] a kind-hearted outlaw full of loyalty and humanity, with the creed of destroying the strong and helping the weak.”

And the kyōkyaku was destined to return in another time of seismic change, namely post-war Japan. Internationally, Toei may be known for franchises like One Piece and Dragon Ball Z, but they made their name modernizing the kyōkyaku to play the starring role in a conveyor belt of ninkyo, or chilvalrous, movies.

Mori tells us how the ninkyo genre, including American influenced films like A Gambler’s Life (1963) about honorable outlaws, fused traditional and modern values. “Ninkyo is the spirit of self-sacrifice, which is directed to defeat the strong and help the weak. […] The origins of "Ninkyo Eiga" is from the Meiji era to the early Showa era (late 19th century to early 20th century)... In other words, it is modern Japan before the war, where new and old values collide. He is a yakuza who inherited both the spirit of "toseinin" [gamblers linked to the underworld] and "kyōkyaku" from the age of samurai.”

It’s an influence which feels alive as ever when you see Ryōma Sakamoto in Ishin! fighting for notions of equality and industrialism with his katana and pistol in hand. The Ninkyo films converted the American lone gunman for Japanese audiences. Despite their 1900s setting, these characters usually resolved disputes with exhilarating katana duels. In Brutal Tales of Chivalry (1965), Ken Takakura struggles to uphold a pacifist oath against rival gangs threatening market traders in the ruins of post-war Kanto — culminating in a sword versus pistol duel.

Hiroyuki Sakamoto on Kiryu, Samurai and Sakamoto Ryōma

We asked Hiroyuki Sakamoto, Chief Producer of Like a Dragon: Ishin! and RGG Studio, if samurai fiction fed into the creation of Kazuma Kiryu. After all, over the years he’s proven to be no stranger to a katana or even wearing a hakama on occasion. According to Sakamoto, there was no deliberate influence but he definitely sees a connection through Kiryu’s moral conviction. “We didn’t exactly look to samurai when creating Kazuma Kiryu, but the strong belief of not succumbing to anyone is, in a way, a common trait with the samurai spirit.”

Sakamoto has worked on the series since Yakuza 2 in 2006, and the exhaustive depth of Yakuza media he’s explored in that time makes it difficult to identify a primary influence. “I think I’ve seen pretty much all pieces, classic or contemporary, major or minor, among Japanese, Hong Kong, Korean and Hollywood films that are based on the yakuza or the mafia, so it’s hard to mention names.” However he is conscious of how the genre developed over the years. "Films about yakuza or mafia evolve their storytelling methods and presentations with time, I am continuously inspired by them,” he said.

Hiroyuki Sakamoto added that they made full use of Sakamoto Ryōma’s changing personality across adaptations — even if RGG Studio flourishes like squeezing oranges into bandit’s eyes definitely go several steps further than most. "There are many novels, dramas and films based on Sakamoto Ryōma in Japan, and his character differs in all of them. We thought, if we were to use Sakamoto Ryōma, we wanted to tell a story where someone with strong beliefs like Kazuma Kiryu would strive to change Japan. I think this is why he was a good match.”

Yakuza’s Cinematic Inspirations

Yakuza cinema didn’t end after the 1960s ninkyo, but it did change significantly. The cinematic influence of the genre’s evolution on the Yakuza games couldn’t be plainer, Kiryu’s often quite literally wearing those influences on his sleeve through his outfits. His trademark gray suit and plum shirt combo is a perfect match for Shozo Hirono’s outfit in 1974’s New Battles Without Honor and Humanity, the series which marked a transition from idealistic ninkyo films to a gritty, true crime style. If Kiryu is a kyōkyaku hero straight out of Toei’s ninkyo films, the world surrounding him has more in common with what came after.

The 90s straight to video boom gave filmmakers like Takashi Miike and Takeshi Kitano their start, and the broader Yakuza setting owes a huge debt to their outrageous sensibilities, one partly repaid by Miike directing the Yakuza adaptation and Takeshi Kitano’s Yakuza 6 cameo. Sonatine isn’t just the source of Kiryu’s beachwear outfit, Yakuza’s goofy “guys being dudes” approach to character moments may well have been born from Kitano’s relaxed yet eccentric scenes of bored criminals staging wrestling matches and catching frisbees on the beach while hiding out on sandy Okinawa beaches.

It’s a fascinating blend of influences. Yakuza places a ninkyo hero in a VHS world. The series’ charismatically eccentric figures like Goro Majima or Ryuji Goda owe a debt to the VHS era’s exaggerated characters; Kiryu’s memorable sewer fight against Daisaku Kuze in Yakuza 0 calls back to yakuza biker Sato in Ridley Scott’s Black Rain. In a strange way, the games show an alternative path to that taken by contemporary yakuza cinema since the 2000s.

"Films about yakuza or mafia evolve their storytelling methods and presentations with time, I am continuously inspired by them.”

Dishonorable Outlaws

Many of the latest yakuza films don’t show gangs openly strolling the streets and operating the district’s most prominent landmark as they do in the Yakuza series. The reason why is the 1991 Anti-Boryokudan Act. This was a huge moment which completely changed how yakuza were seen and treated by society, subjecting them to sweeping reforms that gave them a new pariah status — the honorable outlaws of the 1960s were honorable no more.

By 2016, the documentary Yakuza and Constitution argued the ever-shrinking Yakuza were in fact victims of a grave human rights violation deserving the public’s sympathy. Under The Open Sky (2020) continues in the same vein, featuring a middle-aged yakuza freed after serving a murder sentence. Unlike Kiryu, whose story began the same way (as many of these films do), he doesn’t end up joyfully running hostess bars and reluctantly stumbling into Clan leadership. Instead, Masao Mikami’s story is that of the painful reunion of a deeply fractured family, and the challenges of reintegration into regular society.

Mori notes that this shift could mean glamourized depictions of the yakuza do better abroad than in his home country. “I think it's true that a movie with a yakuza as the main character is morally difficult to portray in Japan today.” However, he places it as a healthy exchange of cultural fantasies — as established between the spaghetti western and the Jidaigeki — and believes the genre still has a place in the hearts of many devoted fans in Japan. “Just as Japanese people enjoy and consume American and Italian gangster movies as a kind of fantasy, Western audiences may enjoy yakuza movies as pure entertainment.”

The Yakuza games and films like The Blood of Wolves (2018) proves there’s still demand for new films and games in the genre behaving like the 90s reforms never happened. These honorable gangsters have endured for centuries across Noh plays, novels, cinema and now games. With Ichiban following in Kiryu’s footsteps as a new version of the “classic, but modern” yakuza hero, even if the kyōkyaku feels out of step with modern times, their virtuous appeal guarantees these gruff but virtuous heroes will be fighting injustice on-screen for a long time to come.

Francisco Dominguez is a freelance writer for IGN.

Tuesday, February 28, 2023

The Last of Us’ TV Success Is Testament to Naughty Dog’s 15 Years of Growth

It’s like it's 2013 all over again – the world is captivated by The Last of Us. But what was once an obsession for just PlayStation owners is now a much broader phenomenon, with gamers and non-gamers alike enraptured by HBO’s critically-acclaimed television adaptation. At this point, with a Metacritic score of 84 and the season finale in sight, it’s safe to say that Naughty Dog’s game has translated beautifully to the screen.

Just one year ago, though, the same couldn’t be said about another live-action project adapted from the studio’s work. 2022’s Uncharted movie, starring Tom Holland and Mark Wahlberg, was a critical dud. While our own review was more positive than the majority that contributed to its Metacritic score of just 45, we wrote that it was “safe but serviceable” – a far cry from the glowing reviews received by The Last of Us.

The gulf between these critical scores does more than separate a poor movie from a great television show. They also point to the growth and maturation of Naughty Dog as a storyteller. The studio has honed its craft over 15 years, and these adaptations draw on two very different ends of that decade-plus journey; periods that can broadly be described as the ‘Hennig era’ and ‘Druckmann era’.

The Uncharted movie pulls from the Hennig era. Back in 2004, with the dawn of the PlayStation 3 approaching, Naughty Dog sought to explore new territory beyond the 3D platformers it was known for. Led by director Amy Hennig, the studio created Uncharted: Drake’s Fortune, an incredibly cinematic spin on the kind of adventures typically associated with Lara Croft. Inspired by pulp magazines and Indiana Jones, Uncharted had a romantic sense of adventure; light and breezy, even in the face of danger.

Hennig helmed Uncharted for three wildly successful games, each of which remain beloved to this day. It’s easy to see the brilliance in their globe-hopping roller coaster rides, packed with clever action sequences and beautiful environments. Its cast of characters are remarkably well drawn, each with a distinct tone; Nate embodies the loveable scoundrel, Sully the grizzled mentor, and Elena the tenacious reporter. But, as robust as these characters are, those descriptions reveal the challenge in adapting Uncharted into a movie.

In those PlayStation 3 days, Uncharted’s characters were one-dimensional archetypes. Compelling archetypes, absolutely, but archetypes nonetheless. And that was absolutely fine, because Uncharted was an action-adventure video game and interactivity, not character depth, was the most vital component. It’s baffling, then, that the PS3 era was the water from which the Uncharted movie drank.

Much like Uncharted, The Last of Us used cinematic archetypes for its central characters, but it went to significant lengths to examine them on a much deeper level.

The result was a film headlined by a charming-but-generic Tom Holland in Nathan Drake cosplay, accompanied by his cookie-cutter grumpy mentor. There’s naturally more faults at play here – it didn’t help that their quest was a forgettable chain of ‘best of’ Uncharted moments rendered inexplicably dull – but had director Ruben Fleischer and the writing team drawn their inspiration from later in the Naughty Dog timeline, the fate of the Uncharted movie could have been very different.

2013 was an important year for Naughty Dog. The release of The Last of Us marked the start of the ‘Druckmann era’. Years prior, following the release of Uncharted 2, the studio split into two teams in order to focus on very different projects. Amy Hennig continued writing and directing Uncharted, while her co-director, Bruce Straley, and co-writer, Neil Druckmann, started work on a brand new survival horror project. Much like Uncharted, The Last of Us used cinematic archetypes for its central characters – the grizzled smuggler and the precocious teenager – but it went to significant lengths to examine them on a much deeper level. It explored themes of morality, companionship, ethics, and grief against the backdrop of a zombie-like apocalypse. Its characters went through significant arcs that saw them change, for better or worse. It was released in 2013 and was quickly hailed as not just one of the best video games of all time, but an exceptional story in its own right.

It’s unsurprising, then, that The Last of Us has been so successful as a television show. To put character development ahead of action and even, in some respects, plot means that the game’s narrative side is much more aligned with ‘prestige drama’ than it is typical AAA video game stories. But beyond that, Druckmann and Straley’s approach to aligning The Last of Us’ gameplay with its cinematic influences makes it even more suited to adaptation. The show features sequences pulled practically wholesale from the game, presented in the same manner, and never do they feel out of place. Even when replicating moments in which the player has control of the camera, such as the car ride through Austin during the prologue, the show feels perfectly at home in its medium. It’s not a video game TV show, it’s just a TV show. Compared to the likes of the Halo series, which misguidedly embraces its FPS roots with first-person sequences, the result is night and day.

In 2014 Amy Hennig left Naughty Dog, leaving a vacancy at the head of Uncharted. Druckmann and Straley stepped in as the series’ new guardians, and they had ambitious new plans for Nathan Drake. The duo, along with writer Josh Scherr, introduced the character complexities of The Last of Us to Uncharted 4.

The success of The Last of Us as a show is a reflection of Naughty Dog’s maturation as a storyteller.

In the prior game, Drake’s Deception, Hennig had planted a seed that suggested that Nate valued treasure hunting over his own relationships. Druckmann and Scherr drilled deep into that concept, exploring a protagonist who had become addicted to adventure, much to the detriment of his marriage to Elena. The more mature story challenges our perception of Nate, and proceeds to rehabilitate both him and his relationships through a story where characters experience pain, betrayal, and - most importantly - growth. No longer were these adventurers merely fun friends to hang out with – they were genuine people. All this in a game that’s no less exciting than the popcorn trilogy that preceded it.

It’s from Uncharted 4’s enriched waters that the movie should have drunk. That’s not to say the film had to be a darker, more introspective story in the way that A Thief’s End was. Rather, it needed to have the robust layers, motivations, and development arcs we see in the fourth game. Characters can be genuinely interesting without being gloomy, but to be so they need depth and humanity; something Nate and Sully lacked entirely in the movie. And without any playable sequences to occupy viewers’ minds and hands, that was sorely obvious.

After work on Uncharted 4 was completed, Bruce Straley moved on from Naughty Dog. But even without Straley by his side, Druckmann continued the growth trajectory the pair started with Joel and Ellie’s first story. The Last of Us Part 2 doubled down on those deeper, more nuanced character arcs as part of a path that led the studio into much darker, more divisive territory. With the help of screenwriter Halley Gross, Druckmann had the Ellie-centric sequel explore complex and fraught relationships between women. It analysed the cycles of violence that emerge and fester within those unable to deal with their own vengeful motives. It’s a sprawling epic that works as a distinct milestone for how far the studio’s approach to character and narrative has come. It will likely make for an astonishing season (or two) of the TV show. We’re even already seeing signs of its themes in this first season through new character Kathleen, whose community suffers while she blindly chases revenge for her brother’s murder.

The success of The Last of Us as a show is a reflection of Naughty Dog’s maturation as a storyteller. While the studio hasn’t put out a bad game since the days of Crash Bandicoot, there's been a clear and fascinating growth period over the past 15 years that has seen it evolve from exciting games studio to remarkable storyteller. We often talk about how video games need to be sufficiently changed and translated for an adaption to be successful. HBO certainly has done that for The Last of Us, but the fact that Druckmann and showrunner Craig Mazin were able to use so much of the game’s original script (and even direction) wholesale is the ultimate testament of Naughty Dog’s maturing narrative talents.

Matt Purslow is IGN's UK News and Features Editor.

Nexon's Medieval Fantasy Brawler Warhaven Shutting Down 6 Months After Launching in Early Access

Nexon's medieval fantasy brawler Warhaven is shutting down on April 5, 2024, just six months after it launched on Steam in Early Access...