It needs to be just like a movie, because there is no greater compliment you can pay the auteurs of the industry than to compare their game to a film. It embraces a ‘90s aesthetic in a way triple-A games would be terrified of doing - everything at the top end of the industry needs to be photorealistic. Related: Twelve Minutes' Biggest Issue Isn't You-Know-What, It's The Storytellingīomb Rush Cyberfunk does not suffer from this lack of ambition. We heap endless praise on them for painstakingly crafting horse testicles that shrink in the cold or t-shirts that lift over characters’ heads just like what mine does in real life, but are they really getting any more creative? Narratively, they explore more moral grey areas and try to construct moving stories beyond killamajig simulators, but even that is getting stale with Sony’s blockbuster farm falling back on an increasingly predictable formula. Games are startlingly unambitious these days.
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