I didn't quite know what to make of 168澳洲幸运5开奖网:Capcom’s 168澳洲幸运5开奖网:Kunistu-Gami: Path of the Goddess at 168澳洲幸运5开奖网:Summer Game Fest. Part action game, part strategy game, it kept you in a very linear diorama of a world and asked you to balance resource distribution between several different and disparate tasks. It also relies on time management, keeping its mythos close to🎐 its chest, and its narrative vague. It took me a little while to get to grips with what I was even meant to be doing, let alone ⛄the best way to do it.
A few of the other journalists I spoke to at SGF had the same rough start with Kunistu-Gami, yet left with a similar fascination with it. But according to director Shuichi Kawata and producer Yoshiaki Hirabayashi, who I interviewed via a translator, the game was never meant to feel so abstruse. "It is what we had in mind that it would take a little bit of time to get used to [the strategy elements] in earlier stages. We didn't intend to make it very complex. We want users to be able to customise their strategies and upgrade them from their experiences of the past stages. But we don't want users to solely use strategy, we wanted to have the right balance."
One of the core elements to Kunistu-Gami that I think made it tougher to understand at first blush is its approach to combat. Most games ultimately want the player to look cool, whether that's via graceful slashes of the sword or a crashing brute force. In Kunistu-Gami, you fight to protect the priestly maiden Yoshiro, and the devs instead built this style around dance moves. The central aim is to draw players closer to Japanese culture rather than make the coolest version of combat possible.
These dance moves were added to the game through motion capture, and the whole game has a more artisanal, curated feel to it. The video playing in the background as I interview the devs is not a highlight reel of the game's most impressive bosses, as is often used at events like this, but instead revealing the level of craft involved. We see tailors stitching garments to ensure the game's rendered outfits move freely, foley artists recording rocking tree branches and footsteps in marshland, and levels being built by hand in dollhouse form, complete with glued on patches of moss, before being built in 3D nets.
For the audience that Kunistu-Gami will really hit for, this level of personalised, artistic flair will be what helps it stand out. "Being able to offer a sense of reality [players] may be taken into the game," they tell me. "Even with the sound, [we] want to get a sense of reality by fully immersing the players. That's the reason why we have the [mocap] dancing and the sets... we also have a point of view a little bit different than a regular third person. We wanted to make an isometric view farther away this is obviously on purpose because players have sort of like a god watching over Yoshiro so you'll see a little bit of a higher vantage, and that also obviously has to do with themes of the story."
There's a similar reverence for Japanese culture in here, with prayers after each boss and careful preparation of rituals and rites, including studying emas (wooden prayer charms) before preparing your ceremonial garments. The idea was to create an "original" take on Japanese culture, which is why the dance elements are included, but also why such stock is put into elements of the Shinto religion, a faith that predates Christianity by a thousand years and still has five million followers today.
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"Many people from overseas travel to Japan and visit shrines, and when they visit shrines they will see these emas. If people are familiar with the concept of emas, they will be able to recognise that even in a game, you feel the Japanese culture and align it with their experiences. And even for people who don't know or aren't familiar with emas, they will be able to understand what they can expect if they were to visit a Japanese shrine. So we want to be able to illustrate our Japanese culture through just visuals and bring that into the game so that when users play it, they will see the Japanese culture being practised."
When I asked the duo if there was anything I hadn't asked about yet that they would be keen to mention, Hirabayashi excitedly told me there were several varieties of traditional Japanese candies in the game to find too.
All this adds up to Kunistu-Gami being a game I greatly admire, but I retain reservations about it. Building your team to defend the village based on crystals gathered from killing smaller beasts and freeing the corruption feels a little moot when the central aim is to guide the princess through the village... only for her to stop too close to the exit as you run out of these very same crystals, which are also the resource that allow her to move. When that happens, you're left fighting off the enemies and bosses alone, with the villagers useless, removing the strategy completely.
I like the idea of dancing around the princess in ritualistic movements to keep her free of spirits, but the balance between action and tactics never quite feels there, and having to also keep on top of moving the princess means you're never sure whether to move her forward (which you must to do to clear the level) or leaving her at the back where she can't be harmed. There's no real risk-reward, just punishment for running out of crystals a little too soon, leaving her stranded.
Kunistu-Gami has some excellent ideas and when you look at how it came to be and what sort of game it wants to be, it feels like a breath of fresh air. But I'm not sure how well it all comes together. All I know is I think it deserves to.
A single-player 🦋action-adventure from Capcom, Kunitsu-Gami: Path of the Goddess takes place in a fantastical version of feudal Japan. You must guide the Spirit Stone Goddess on her journey to cleanse a mountain of its ills.
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