(4 / 4)
Also for: Playstation 3, Windows
A CRIME STORY WRITTEN IN NEON
Halfway through Rya to Gotoku Studio's wonderful game Yakuza 0, I started dreading the fact that it would soon be over, and that I would never again be able to experience it for the first time. By then, I realized I had found something truly special. The most captivating stories tend to have such effects on the audience; of great tension, uncertainty and excitement. It felt like bad things could befall almost anybody in Yakuza 0, and their plot armor had big holes all over.So... this might stun you, but the outcome of Yakuza 0 is set in stone. Can you believe that for once, your choices do not matter? You have to accept the hand you're dealt. As a result, the creators gives themselves complete agency to tell one of the richest, most unpredictable and well-directed stories I've seen in video games. All we can do is watch and pray that nothing bad will befall these characters we've come to love.
It's a highly cinematic tale from the world of organized crime that spans several chapters. You control one of two young men through the third-person perspective, brawling your way through the seedy streets of a couple of Japanese night-club districts.
Every two chapters, the perspective switches between the two charismatic leads Kazuma Kiryu and Goro Majima, both associated with the Yakuza's Tojo clan. Their common denominator is that they're exiles, seeking a way back into the organization that expelled them. The youngster Kazuma Kiryu's storyline makes him the unlucky scapegoat in a plot of deceit and power struggle, all under the guise of the Yakuza "code of honor".
Through a prolonged cinematic, the one-eyed Goro Majima is given the best video game character introduction I've seen. Known as the "Mad Dog of Shimano", he already has a reputation in the organization, and is seeking redemption after being punished for disobeying an order. As his story starts he's managing a cabaret, which provides a good source of income for his former Yakuza family.
The game takes place over a couple of months in the late eighties, during the craze of the bubble economics, in a fictional part of Tokyo called Kamurocho and the city of Sotenbori. Just like the plot of the game, the streets are labyrinthine and claustrophobic. People are everywhere, as are commercial posters and the signposts, with their constant flux of neon light that overwhelms the senses. The visuals are detailed almost to a fault, as it creates a dizzying effect that makes it hard to think clearly.
I have personally never visited this part of the world, but can easily believe the accounts of how the Yakuza series captures the sense of urban Japan down to the smallest detail. All dialogue is in original Japanese, with only the subtitles translated to English, which further helps to elevate the sense of place. It's a crazy world of mind-numbing entertainment, controlled by shady figures at the top that constantly rake in the dough at the expense of the working class.
Part of its brilliance is how neatly the game eases you into both of these lifestyles, allowing you to both partake in the daily pleasures of the everyman and the life-or-death power struggles of the Yakuza. It is illustrated by all the magnificent mini-games you can partake in -- from pool, disco dancing and pocket racing, up to the elaborate business management later on -- which all would have been perfectly serviceable as stand-alone games a couple of console generations ago.
Within the world of Yakuza 0, you might even visit the arcades and play fully emulated versions of Out Run, Space Harrier and another couple of unlockable SEGA arcade cabinets (I won't spoil which ones). In short: If you bought Yakuza 0 expecting an intriguing crime drama, you'll soon realize you not only got that, but also so much more.
These substories convey everyday life-lessons so intentionally overwrought that it turns into great comedy. The hardcore stoicism of the main characters only strengthens the comedic effect. Imagine a tough-as-nails Yakuza helping out a street performer impersonating a statue, who desperately needs someone to distract the crowd while he takes a whiz. Or picture schooling a dominatrix in the art of sadomasochism, because she's just too kind-hearted to be any good at her line of work.
The risk of such drastic tonal shifts is that they might cancel each other out, making the impact of the sidequests ruin the main story, and vice versa. Here, the creators display a mastery of both pace and tone, assuring that won't happen. Some chapters focus on free roaming, giving the main plot some breathing room. Then the next chapter might suddenly intensify the main plot, restricting access to all the sidequests.
These combat interruptions take the game into almost Tarantino-esque moments of overblown violence, breaking off from the tension created by the drama. There's a great zest and weight to the action that brings forth the fury concealed behind the characters' cool facades. The wide range of options help each player cultivate a personal favorite, even allowing mid-combat shifts in style. Also, any technique is viable in any situation - you'll never need to develop the ones you dislike.
But in this game, Goro Majima is the true show-stealer, caught in some state of perpetual stage performance to get what he needs. His moniker "The Mad Dog of Shimano" seems thrust upon him, and the more he tries to shrug it off, the further he seems from achieving his goal of rejoining the family. The supporting characters are treated with the same respect and care, given convincing motivations for their actions. In some cases, their fate moved me close to tears.
Yakuza 0 is so good, I cannot avoid worrying how it might have altered my future frame of reference. How will I be able to return to earlier story-driven favorites? And how will it affect my future enjoyment of cutscene narration, as I try out similar titles created by lesser studios? Yakuza 0 shows an astounding level of detail in its animation that few will measure up to. Just consider that this might, for instance, be the first video game that bothered to animate a character removing his shoes as he enters a home.
It should give gamers and designers something to think about: is player agency over story outcome always desirable? Who are we to think the fate of the entire world always rests in our hands? I'd say this: If you have a good, personal story to tell, just tell it the best way you can and don't leave it in the hands of the player to ruin. Not every tale ends happily ever after. After all, at the end of every real life story, only death awaits.
It's a highly cinematic tale from the world of organized crime that spans several chapters. You control one of two young men through the third-person perspective, brawling your way through the seedy streets of a couple of Japanese night-club districts.
Every two chapters, the perspective switches between the two charismatic leads Kazuma Kiryu and Goro Majima, both associated with the Yakuza's Tojo clan. Their common denominator is that they're exiles, seeking a way back into the organization that expelled them. The youngster Kazuma Kiryu's storyline makes him the unlucky scapegoat in a plot of deceit and power struggle, all under the guise of the Yakuza "code of honor".
Through a prolonged cinematic, the one-eyed Goro Majima is given the best video game character introduction I've seen. Known as the "Mad Dog of Shimano", he already has a reputation in the organization, and is seeking redemption after being punished for disobeying an order. As his story starts he's managing a cabaret, which provides a good source of income for his former Yakuza family.
A STORY WRITTEN IN NEON
Both storylines revolve around a Tokyo back alley of surprising importance, called the Empty Lot. Located at the very heart of the game map, the alley seems to pull all the player pieces towards itself until they butt heads in a duel to the death. It seems as inevitable as fate: Whoever secures the Empty Lot will become head of the entire organization. Until then, the rules are that of raw capitalism - you either win or you perish.The game takes place over a couple of months in the late eighties, during the craze of the bubble economics, in a fictional part of Tokyo called Kamurocho and the city of Sotenbori. Just like the plot of the game, the streets are labyrinthine and claustrophobic. People are everywhere, as are commercial posters and the signposts, with their constant flux of neon light that overwhelms the senses. The visuals are detailed almost to a fault, as it creates a dizzying effect that makes it hard to think clearly.
Part of its brilliance is how neatly the game eases you into both of these lifestyles, allowing you to both partake in the daily pleasures of the everyman and the life-or-death power struggles of the Yakuza. It is illustrated by all the magnificent mini-games you can partake in -- from pool, disco dancing and pocket racing, up to the elaborate business management later on -- which all would have been perfectly serviceable as stand-alone games a couple of console generations ago.
Within the world of Yakuza 0, you might even visit the arcades and play fully emulated versions of Out Run, Space Harrier and another couple of unlockable SEGA arcade cabinets (I won't spoil which ones). In short: If you bought Yakuza 0 expecting an intriguing crime drama, you'll soon realize you not only got that, but also so much more.
SIDEQUESTING VS MAIN STORY CONTRAST
The tension of the brilliant main story is sharply contrasted with the silly sidequests that pop up just about everywhere. They mark a radical shift in tone, in no small part thanks to the absurd presentation. Told in text-only cutscenes (with the occasional funny one-word audio remark) and exaggerated gestures, they feel old school in the best possible, most charming way.
These substories convey everyday life-lessons so intentionally overwrought that it turns into great comedy. The hardcore stoicism of the main characters only strengthens the comedic effect. Imagine a tough-as-nails Yakuza helping out a street performer impersonating a statue, who desperately needs someone to distract the crowd while he takes a whiz. Or picture schooling a dominatrix in the art of sadomasochism, because she's just too kind-hearted to be any good at her line of work.
The risk of such drastic tonal shifts is that they might cancel each other out, making the impact of the sidequests ruin the main story, and vice versa. Here, the creators display a mastery of both pace and tone, assuring that won't happen. Some chapters focus on free roaming, giving the main plot some breathing room. Then the next chapter might suddenly intensify the main plot, restricting access to all the sidequests.
STREET BRAWLING COMBAT
Combat is the only element where the player is given total freedom of expression. It's handled through violent fighting brawls in the style of Devil May Cry and its ilk, with frenzied pacing and simple combos for added effect. Kiryu and Majima each have three different fighting techniques to master, with new moves and attribute boosts to unlock by investing some money. Anything in the environment not nailed down can be used as a weapon, allowing for some gruesome finishers.
These combat interruptions take the game into almost Tarantino-esque moments of overblown violence, breaking off from the tension created by the drama. There's a great zest and weight to the action that brings forth the fury concealed behind the characters' cool facades. The wide range of options help each player cultivate a personal favorite, even allowing mid-combat shifts in style. Also, any technique is viable in any situation - you'll never need to develop the ones you dislike.
OUTSIDERS TO ROOT FOR
In the midst of the vortex of mini-games, substories and their different mechanics, the magnetic characters keep the story grounded. Both main guys feel broken, like outsiders to root for. Kazuma Kiryu, already established as the series lead at the point of release, wears his grim expression like a protective mask, keeping others at bay. He seems lost, like a person still looking for his place in the world, and his story is only beginning.But in this game, Goro Majima is the true show-stealer, caught in some state of perpetual stage performance to get what he needs. His moniker "The Mad Dog of Shimano" seems thrust upon him, and the more he tries to shrug it off, the further he seems from achieving his goal of rejoining the family. The supporting characters are treated with the same respect and care, given convincing motivations for their actions. In some cases, their fate moved me close to tears.
Yakuza 0 is so good, I cannot avoid worrying how it might have altered my future frame of reference. How will I be able to return to earlier story-driven favorites? And how will it affect my future enjoyment of cutscene narration, as I try out similar titles created by lesser studios? Yakuza 0 shows an astounding level of detail in its animation that few will measure up to. Just consider that this might, for instance, be the first video game that bothered to animate a character removing his shoes as he enters a home.
It should give gamers and designers something to think about: is player agency over story outcome always desirable? Who are we to think the fate of the entire world always rests in our hands? I'd say this: If you have a good, personal story to tell, just tell it the best way you can and don't leave it in the hands of the player to ruin. Not every tale ends happily ever after. After all, at the end of every real life story, only death awaits.
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