I’m aware of the following issues. If you find any more or notice anything odd with the dialogue that isn’t listed here, please leave a comment below or contact me and I will do my best to look into it.
You have to enter your character name using a Japanese keyboard layout. I recommend you copy and paste some katakana into the name entry screen if on PC, or locate a katakana character layout sheet online and use it to help you enter a name on PS3.
In the Forest of Myth and Kainé’s Story sequences, I have improved the text overflow issue (words cutting off at the end of lines and continuing on to the next). However, whenever the main character’s name is stated I am unable to edit the layout of any text for the rest of the containing paragraph. This is due to being unable to account for varying lengths of the character’s name.
Sometimes radio text (the text that appears in the top left corner of the screen while characters are talking) flashes by very quickly. It seems the timing is a bit off on rare occasions.
Screenshots & Videos
I have a full no-commentary walkthrough/playthrough of NieR RepliCant on PS3 using version 1.0.4 of this mod, which I will link the playlist for below. Of course, newer versions of the mod will have slightly different dialogue:
Below are a few HQ screenshots of some of the edited dialogue in action:
About This Mod
Since April 2019, I have been working on refining the English-patched version of NieR RepliCant originally released by RikuKH3. This patch replaced all of the Japanese script in the game with the English equivalent from the Western release, where the main character is replaced with an older man. RikuKH3 also altered some of the dialogue, for instance so that the word “father” was replaced with “brother” in conversations between Nier and the character Yonah.
Instances of his English counterpart still resurface (one which particularly sticks out to me is when Nier is being asked about his wedding “a long time ago”, despite being barely out of his teenage years at this point in RepliCant).
I decided to comb the entire script and rewrite dialogue that made Nier sound like a middle-aged man (as he is in the English version) so that it better reflected his character as a teenage boy and young man. Over time the purpose of the mod changed from just being a way for me to experience a satisfying English localisation of RepliCant, to a way of archiving the original PS3 game for English speakers (as of 29/03/20 an official remaster of NieR RepliCant has been announced).
A lot of re-localising of the dialogue in NieR meant I had to go back and reference the original Japanese script. I don’t speak Japanese other than whatever odd words and phrases I have picked up, so I have tried my best to get the general gist of conversations and incorporate them into the existing highly enjoyable English translation, albeit with alterations where necessary to make it make sense in context.
This is a re-localisation and I have never intended for this mod to be a complete re-translation of the game from Japanese.
This mod was a labour of love by a huge fan of the NieR series (*cough*), and if somehow Square Enix suddenly decided after all these years to remaster, localise and release RepliCant to the west, I would urge anyone to buy that instead as they would do a far superior job than I ever could! – Edit: As of 29/03/20 an official remaster of NieR RepliCant has been announced by Square Enix in celebration of its 10 year anniversary, which is absolutely incredible news.
One thing I should note is I stuck to using Americanised/Americanized English for this modded script, because the existing English script which I based it upon uses it.
Please let me know what you think if you try out this modded script. I won’t be doing any more major updates as I do not want it to be influenced by the new remastered version, but I always enjoy hearing feedback.
After a lot of hard work and late nights, I’ve finally completed the latest and possibly last major update I will do for my NieR RepliCant English re-localisation patch. The download is located over here.
I was originally going to release this just before Christmas 2020, but held back due to wanting to test the changes I did to the sound novel parts of the game… and oh my am I glad I did.
Turns out, I had completely broken a lot of it. Always make backups, friends. Luckily I had some to fall back on, although ended up re-structuring pretty much every single bit of sound novel dialogue in the game, including everything I had worked on before.
My previous method (the one which resulted in disaster) was to create new lines containing a maximum amount of characters in order to break up the text appropriately. I thought this would be OK as I had seen examples in the original English script where it had new lines compared to the Japanese one. However, the game had a fit when I tested this, resulting in a lot of missing text. The new method was to manually go through every line in every novel, breaking up the text using a guess-timated amount of spaces and then testing it until I got it right. Needless to say, I now know the Deathdream castle layout off by heart…
If it were easier to break up the lines I would have wanted to make it look a bit prettier, but at least now it’s acceptable. All of the sound novels are now readable without words being broken up and overflowing onto the next line—EXCEPT when the main character’s name is stated in the text. Where this occurs, I have no way to account for how long the player would have made their name, so I have no choice but to leave the rest of the paragraph it as it is, overflows and all.
Unless resolution affects how the text is laid out, the majority of the text should now be fixed. And yes, I spent many hours fixing the part of the game everyone hates. I feel that this is fitting for the themes of the game, at least.
Other than the text overflow issues, I also combed through the whole game and made quite a few dialogue edits to things which bothered me. So even if you hate the sound novels, there are quite a few improvements outside of those.
Now I’m going to not even think about NieR for a good long while! Take care, friends.
Congratulations! You’ve made it to the end of 2020. For some reason I’ve had a bit more time this year to play and complete games… So I thought I’d end the year by sharing five that I really enjoyed, and would want others to as well. It’s not a “top five”—apart from one which is definitely my favourite—and it isn’t a list of ones that were released this year, but ones I’d recommend that I played and finished this year, and as spoiler-free as possible. So here goes:
What is it?: An action-adventure/puzzle game set in a fictional solar system. You are a young Hearthian, living on a planet called Timber Hearth, and you’re just about to go on your first space adventure. Not to be confused with “The Outer Worlds”, though, which was released the same year but is an entirely different thing. Why I like it: I’m not sure exactly what order I’d put the others in this list in, but this is absolutely my favourite game I’ve played this year, and in fact one of my favourites of all time. It’s best played blind as the entire premise of the game is about exploring, but I loved looking for any and all information and experiences to flesh out my knowledge of the game’s universe. It’s worth it, because the more you explore and understand the more the game will pay you back in droves. It is fascinating, hilarious, wondrous, and terrifying. I wish I could experience it for the first time again. Finally, the art direction and soundtrack are… out of this world. Sorry.
Return of the Obra Dinn
What is it?: A puzzle/murder mystery game with a lot of story to uncover. You take the role of an insurance inspector in the year 1807, investigating a ship which has turned up after being lost for five years. All of the crew have disappeared, and it’s your job to find out what happened to them. Luckily, you have a supernatural pocketwatch to help you, which will let you look back in time when you find certain clues, and figure out the fates of each of the sixty(!) crew members. Why I like it: The most immediate thing to notice is the 1-bit-style graphics (even though it is fully 3D). This might turn some people off, but I find it very clever and it works very well with the mood and setting of the game. It also provides a unique aesthetic (an overused word these days but the only one to use here!) in a modern gaming landscape. I was initially drawn towards this title because it’s by Lucas Pope, creator of Papers Please, which is very near and dear to me. And it didn’t disappoint. I enjoyed exploring every inch of the Obra Dinn, finding out obvious “fates” certain members encountered, and using deduction to figure out others. And the soundtrack is gorgeous, it must be said.
What is it?: A survival horror revolving around the surreal experiences of a Canadian gentleman who has suffered a serious brain injury. Why I like it: This is another one of those games which is best played knowing as little about the story as possible, but I really like the way it plays with the concept of what consciousness is, and the excellent use of sound direction to really give you the spooks. It has an optional “safe” mode which turns it into more of a terrifying walking simulator rather than a traditional survival horror, and in some ways this actually enhances the experience, although you can’t change it for your current save game once you’ve chosen. If you like the TV series Black Mirror, you’ll like this too.
What is it?: An action-adventure/brawler set in late 80’s Tokyo and Osaka. You play two simultaneous but linked stories about two members of the Yakuza: fresh-faced newbie Kazuma Kiryu and the somewhat more experienced one-eyed ex-Yakuza Goro Majima. Why I like it: From what I wrote above it sounds like a serious crime drama, right? Well, it is. Kind of. This was my first journey into the Yakuza franchise, and when I first started playing I have to admit I wasn’t really hooked by the many names and branches of the Yakuza being introduced to me. I found it quite heavy and hard to follow. But I kept playing a little bit every time I had a gaming session, and once I began the first Majima section of the game it drew me right in. The main storyline is gripping, the side-stories are mostly very entertaining and it likes to poke fun at 80’s Japanese cheesiness for good measure. Plus it’s quite satisfying to swing a motorbike around at a horde of enemies. And how can I forget: You can run a hostess club, and it’s extremely addictive! I can safely say I am now a Yakuza fan, albeit a little burnt out on sidequests for now. And the memes, oh goodness the memes.
What is it?: An action-adventure game where you play as a wolf deity in a fantasy/folklore version of ancient Japan. The lands have been stripped of their colour and life, and you must bring it back. You can draw shapes with ink on the screen which will have various magical effects, like causing trees to grow or fixing broken bridges. Why I like it: The setting is fascinating and beautiful, the soundtrack is spine-tingling, and I found it therapeutic to scour the lands of Nippon with my Celestial ink brush, making everything green again. I liked the way the story evolved, subverting your expectations of what direction it will take and revealing deeper information about characters you think you already had sussed out. It is a very long game and starts off slowly, but is absolutely worth the time in my opinion.
So that’s the list. There are other games I would have wanted to include, but either I haven’t completed them or I had to make the difficult decision not to include them in my favourite five. If I inspire even one person to try one of these games then that would be just great.
Here’s to a decent end to 2020, and a more decent 2021!
Hello friends. I have been quiet for a while, but have also been tapping away at an update to my English re-localisation mod for NieR RepliCant (PS3). It will possibly be the last one I’ll do in anticipation of the “new version” of the game on PS4, NieR Replicant ver.1.22474487139… which is coming out next year. I see the old PS3 game and the upcoming new version as different entities, and don’t want this archival project to be influenced by the new version, or feel as though I must change it to be the same as the new version, or otherwise step on its toes.
I originally wanted this post to be a Christmas gift, announcing the release of this new update, as I have now technically completed it to my satisfaction. However, I did some extensive editing of the Forest of Myth sequences to hopefully address the text overflow problems there and want to give myself a little more time to briefly play through the game and test these parts out. I’d love to release it this side of the New Year, but likely it will be sometime in January 2021.
So I’ll update soon, but in any case I hope you all have as good of an end to 2020 as you possibly can!
It’s called High Scores: A History of Video Games Music and is being hosted by the BBC’s Mark Savage. The first episode is currently available to listen to so far, and guest features persistent video game fanatic Charlie Brooker (yes, that Charlie Brooker) showcasing a selection of his favourite video game jams through the years, along with some nostalgic and amusing anecdotes to go along with them.
Though just a teaser for the series which begins properly on March 10th, this first episode is worth a listen for anyone interested in the history of games music, and has piqued my interest for what’s to come. Radio 6 has had excellent high-quality programming about video games music in the past and I expect this will be a continuation to that theme. I look forward to next week’s show!
High Scores: A History of Video Games Music is being broadcast live every Sunday at 13:00 on BBC Radio 6 with recordings available to listen to for 30 days after airing on Radio 6’s website. You can also listen to it using the BBC Sounds app. Click here for more information on how to listen to Radio 6.
Word on the internet-street is that A.I. Gigapixel, the AI that uses machine learning to upscale low res images with very impressive results, has been used to upscale the prerendered backgrounds in Final Fantasy VII. The project is called the Remako HD Graphics Mod, by CaptRobau, and has its own blog over here (click for link).
I need this so much, I thought when I heard about it.
I love Final Fantasy VII, it being the first Final Fantasy I ever played to completion . It had me hooked within seconds with its sci-fi setting, interesting but easy to pick up battle mechanics, distinctive characters and captivating storyline. It also looked beautiful, and I remember thinking, at ~13 years old, that every screen looked like a work of art.
But I know that looking at the game now can be … a little offensive on the eyes at times. Truthfully, it hasn’t aged particularly well since its birth in 1997. The beauty is still there, hidden beneath the pixels and the blocky chibi characters, but more often than not can’t be appreciated as much with the modern eye (and the modern monitor, which just emphasises the imperfections).
I’m partial to a modding challenge, and so I rolled up my sleeves. I’m partial to it, but that doesn’t mean I know what I’m doing. Pure determination is my fuel half the time.
Through a mixture of following tutorials, trial and error, erasing my progress entirely at one point and reinstalling the game and mods from fresh once realising I’d messed up, I managed to mod my 2013 Steam rerelease of FFVII. And it was worth every blood, sweat and teardrop.
Below are some meaty comparison screenshots between vanilla (on the left) and modded (on the right) FFVII. As well as Remako, I took the opportunity to install some other graphics and sound mods too, including a remastered soundtrack. Click each thumbnail to see a larger image.
If you’re interested in trying to mod your own PC copy of Final Fantasy VII, you can learn how to do so over on the QHIMM Forums (click for link). Using the base mod 7th Heaven, you can then install plugin mods to personalise FFVII’s graphics, character and object models, UI, sound and gameplay to your own taste. However, note that the Remako mod isn’t built into 7th Heaven at the time of writing and must be downloaded separately. Also make sure that you only download the FF7 Game Converter from the QHIMM forum linked above, as the one on CaptRobau’s blog is currently an old version which caused me some technical issues.
I feel indebted to the creators of these mods for breathing new life into a game I’ve wanted to pick up for a while, but was put off to an extent by the graphics. This will certainly scratch my FFVII itch in lieu of waiting for the remake to happen!
Some VERY FUN TRIVIA: This is the first actual turn-based game I’ve featured here on Turn Based Turnip! See, I told you it was fun.
It was with great joy that I heard the Victoria and Albert museum (V&A) in London was holding an exhibition entitled Videogames: Design/Play/Disrupt, and even though I was fortunate enough to obtain guest tickets, the price for admission is quite reasonable, I feel, at £18.
I would say book tickets in advance and get there early for sure; this exhibition is a bit outgrown for the space it occupies in terms of how popular it is, and if you leave it until later in the day like we did you will definitely feel like you’re walking around in an eternal queue at first, unable to properly appreciate the work on display.
The exhibition opens up on all the meatiest content first, with an impressive towering screen showing clips from thatgamecompany’s masterpiece Journey accompanied by its breathtaking musical score. An entire wall is then dedicated to displaying the developers’ sketchbooks, research notes and video footage taken on sand dunes, giving a fascinating insight into the thought processes and, well, journey that the game took during its development.
Further detailed ‘behind the scenes’ of games being exhibited include, but aren’t limited to, work from Bloodborne, The Last of Us and Splatoon. Also of note is a display from Tale of Tales, a studio that I am a big fan of and whose work I have always found to be extremely thoughtful and well presented. They are most well known for their Red Riding Hood-inspired jaunt through the woods called The Path, and their showcasing of arthouse-worthy game The Graveyard is a brilliant illustration of what they’re all about.
Subjects that are most concentrated on in the exhibition are supporting artwork behind the games on display, development of different technical processes such as prototyping through to finished environments and characters, and exploration of videogames as an artform, by acting as a platform on which to make statements on politics, society and the wider world around us.
Further areas to discover are a hall showing off the world of Esports, and an interactive room full of modern arcade cabinets and several experimental games making use of physical objects, one example from Australia being the front half of a real car being used as a controller.
As a finishing touch, the shop at the end of the exhibition has a selection of game memorabilia—clothing, accessories, jewellery, and posters and prints, including signed limited edition Journey prints (if they’re still in stock that is!).
Videogames: Design/Play/Disrupt is overall a fascinating snapshot into the world of videogames today, and a brilliant opportunity to see them in a multitude of lights as diverse as the people who make them.
The exhibition is running until 24th February 2019, and more information can be found at vam.ac.uk/videogames. Tickets are £18, or free for members of the V&A.
A short time ago, I bought a game for around a pound called Fahrenheit in a GOG.com sale. My word, what an experience that was.
What is it?
Fahrenheit (known as Indigo Prophecy in North America), released in 2005, was Quantic Dream’s second game after Omikron: Nomad Soul. More recently, they are known for Heavy Rain, Beyond: Two Souls and Detroit: Become Human. As with the company’s other titles, It is written and directed by David Cage.
As I’m just discovering now, the version of Fahrenheit available on GOG.com is “uncensored and uncut”, so this whole article applies to that version. It has nudity, blood, sex, all that malarkey.
What’s it about?
New York City: You are Lucas Kane, very much a Regular Joe, who becomes possessed in a diner toilet and murders an innocent stranger. He’s shocked at what he has done when he comes to, and sets out to discover who or what is really behind the murder.
Conversely, you are also stern-and-smart-but-scared-of-the-dark Carla Valenti and comic-relief-yet-also-sometimes-serious Tyler Myles, two police officers on the case of the diner murder. They must discover evidence to prove who and where the murderer is.
On rare occasions, you also assume control of Lucas’ brother Markus Kane, a priest and overall swell chap.
Depending on what actions you choose and dialogue trees you follow during the game, different outcomes can be observed. However, these all eventually converge to result in the same overall story arc (albeit with three variations on the ending).
An important aspect of the game is the mental health bar (or “mental ‘ealth” as Cage himself tells us during the tutorial). This applies to every main character, and ranges from maxed out at “Neutral” to hitting rock bottom at “Wrecked” which can, but not always, result in a game over.
The mental health bar is affected positively and negatively by certain events, eg. Drinking coffee or using the toilet increases it a little while many main story events will negatively impact it by a large amount.
Is it good?
Hmm! The short answer is yes, and I’d definitely recommend it, even if it is now quite dated. It is, if anything, very interesting to see the origins of a lot of mechanics behind Quantic Dream’s later titles. The long answer though? Read on!
The QTE conundrum
Firstly, I need to point out the Quick Time Events (QTEs). These are rampant in Quantic Dream’s games, and in later titles I actually find them to work quite well in instilling a sense of urgency in tense scenes. In Fahrenheit, however, I found them to often be a hindrance.
They take the form of two simultaneous Simon Says visual cues, where you must push the correct colour that corresponds with the one flashing up on the screen. They’re used not only for action sequences, but also during slow-moving cutscenes in order to unlock extra parts of it. It does get a bit tiresome, but once you get the hang of it it’s generally tolerable.
Fahrenheit makes extensive use of motion capture technology, which was very ambitious at the time and using the movements of live actors helped to convey Quantic Dream’s intention for the game to be presented as an “interactive movie” rather than a standard “video game”. I commend this, it was a great way to make the game feel more accessible to a wider audience than what was seen by the public as the stereotypical “video game” audience, and an excellent way of presenting a narrative-focused experience. All good. Good job.
But when you look at Fahrenheit from now in 2019, when technology in games has advanced exponentionally since 2005, the high detail mocap animation applied to low polygon characters and objects looks quite comical at times. I don’t think this necessarily detracts from it; it is a product of its time and we need to appreciate it as such. But it can be pretty funny.
There are mega spoilers for the story below including the ending, so be warned.
That story, though.
After the murder, Lucas flees to his apartment and tries to resume normal life. He goes to work, but it is clear something is not okay because he starts hallucinating that giant lice are chasing him around the building.
Of course, his coworkers can’t see them and after the chase it cuts to Lucas writhing around on the office floor with his colleagues wondering what the hell is wrong with him. As am I, lads, I think to myself.
We alternate between controlling Lucas struggling with evading authorities and trying to find out who the “real” killer is, and Carla and Lucas trying to find him. There’s even a scene where a witness at the diner has to construct an E-fit of Lucas, and it is incredible.
I really like this aspect of pitting multiple characters under the player’s control against each other. It works well in inciting conflict in the audience over what is right and wrong, and what outcome do you really want. There are successful examples of this being used in Detroit: Become Human, for example (spoiler in the following video link) a decisive fight scene between two opposing protagonists where the player is put on the spot to choose who succeeds.
The thing is, the entire time I was very much rooting for Lucas to get caught.
He kept demonstrating to me how unlikeable he was, be that boasting about how many times he’s read a Nietzsche book, being dickish to his priest brother Markus, oh yeah and KILLING a man at the very beginning.
The game just couldn’t prove to me that Lucas was not in fact responsible for the murder no matter how much it tried. I constantly thought, All of this, all these hallucinations and being possessed, it’s all in his head isn’t it? He’s had some kind of mental breakdown and this is the result. I mean, the game does place certain emphasis on mental ‘ealth, after all.
OH HOW WRONG I WAS
Things started to get weird for me and my sister, who were playing the game together, when we had to endure a scene with Carla avoiding patients in an asylum who get free from their rooms. It’s not often that I feel a deep sense of disturbance playing a game, but the whole time me and my sister kept looking at each other going, what the actual hell is this scene! I suppose the developers felt they needed to inject some drama into the chapter but this sequence was completely unnecessary to everything!
Okay, I have to admit I had to go back and remind myself of what exactly happened after a certain point, because it just got so completely insane that I don’t think I took it all in when I played it for the first time. I’m not going to run through every single event in the game, but I’ll try and summarise as briefly as possible. Even though it was a struggle to collate everything together into a digestible chunk, the crazy ending is worth it.
Forewarning: it is a bit mad.
Lucas ends up being the suspect of another murder – that of Agatha, a blind old lady / spiritual medium who helped Lucas find out who possessed him— a man in a hooded coat— by putting him into a trance. He sees Agatha’s spirit and on her advice visits a specialist on Mayan civilisation called Prof. Dimitri Kuriakin.
After questioning Dimitri under the guise of a journalist, Lucas realises that the murder he committed in the diner, by cutting his victim’s heart arteries (hearteries, heh), was a Mayan sacrifice. Dimitri said that back in the day, a Mayan Oracle would possess another person and perform a human sacrifice through them, disconnecting the victim’s heart by cutting the arteries. Murdering via proxy allowed the Oracle’s soul to remain “pure”, or something. Ergo, the bloke in a hooded coat who possessed Lucas was an Oracle and is the true murderer. Still with me?
Good. *Heaves huge sigh and continues*
Dimitri says that the possessed person then committed suicide after the sacrifice. Lucas didn’t, however. THE PLOT THICKENS.
The Oracle lures Lucas out of hiding by tying his ex-girlfriend Tiffany to a roller coaster in an abandoned theme park. Lucas rushes to her rescue, but ends up getting both of them killed by falling off of the roller coaster (good job).
Lucas is brought back to life as what I will refer to henceforth as Zombie Lucas by a group of AIs called the Purple Clan. The Purple Clan reveal that they were the ones disguising themselves as Agatha’s ghost earlier on.
The entire game so far has been punctuated by seeing homeless blokes around the city. It’s New York, so OK. BUT ACTUALLY it comes to light that the homeless people are part of a secret underground organisation called the Invisibles that is monitoring the Purple Clan, and the clan that the Oracle is a member of which has secretly ruled the world for centuries (the Orange Clan).
Both clans are trying to locate a little girl called the Indigo Child, who is a pure soul that has never been incarnated before and holds the secret that will grant whoever hears it immense power. The Invisibles are trying to make sure that the Indigo Child doesn’t fall into the wrong hands. Got it?
SOMEHOW, Lucas manages to convince Carla that all of the above is true. He’s so convincing that she loses all powers of critical thinking and respect for herself and when they’re in the Invisibles’ secret underground base they have unprotected sex on a hobo’s mattress.
I’m telling the truth, see!
By this point, Tyler (remember him?) has noped the fuck out by either moving out of state with his girlfriend Sam, or staying behind in NYC to help people affected by the freak cold weather (you decide). He is the wisest person in the entire game.
Lucas, as it turns out, has special power called Chroma which resists the powers of the Oracle. This is why the Oracle was unable to make him kill himself after the murder in the diner. He got this power from being exposed to some magical sciencey artifact in a military base that he lived on when he was a child, while he was still in his mother’s (a scientist at the base) womb.
WE ARE NEARLY THERE.
Lucas kidnaps the Indigo Child girl from an orphanage (actually this happens before the hobo base bit but I’m putting it here for ease of explaining things) and takes her to the military base to learn the secret from her and gain immense power. He then battles the AIs and the Oracle, and depending on your performance during the last chapter of the game you get one of three endings, only one of which we experienced:
We got the “Good” ending, where the freak winter ends and everything is looking rosy, and Zombie Lucas and Carla are expecting a magical Chroma Indigo Baby or something that will save the world. I’ve got to admit I lost the will to live at this point.
It took me a few days to digest all that happened towards the end of Fahrenheit, but eventually I came to some conclusions.
I can’t bring myself to believe that anything after the abandoned theme park scene happened at all. You know the game’s emphasis on mental health? I don’t think it would be too far fetched to say that Lucas was always mentally unstable and imagined all of the supernatural events up until he dragged Tiffany up to the top of the roller coaster HIMSELF. I think that he survived the fall but either completely lost his mind or entered a comatose state, and everything that happens from this point onwards was a completely invented construct by him.
I think that there was no possession in the diner whatsoever. There was no Mayan sacrifice cult, that Lucas warped what the Mayan specialist told him to fit around his own deranged ideas, and above all he was just an unfortunate victim of some sort of psychiatric disorder.
This also makes me feel better about the ending, for both me and my sister were just floored by everything – the underground Hobo organisation, Zombie Lucas, zombie hobo mattress sex with Carla, zombie Indigo child baby with Carla after knowing her for three months … Just, no. I refuse to believe any of that was real. You intended me to feel this way, right, Cage? Right?!
This game is amazing.
My, this was a long one! I thought it was just going to be a quick jaunt about how crazy this game was, but it ended up being full blown therapy for me to work through what the heck it was all about and to get my brain back into alignment really. Thank you for sticking it out to the (insane) end!
Fahrenheit is absolutely a good game in many ways, but there’s definitely a certain badness to it that evokes a similar feeling to certain bad/good movies I’m a fan of— I’m thinking of the works of Tommy Wiseau or Neil Breen, where they take their projects seriously but the end result demonstrates unintentional hilarity. I’d be very interested to find more good-but-possibly-bad games to add to my collection!
As a final-final little thing, on my travels I discovered this fascinating blog post from back in 2010 by unseen64.net which showcases beta images from Fahrenheit.