Let's get rid of one thing right away. It's a bit of fun with Granzella & # 39; s Disaster Report 4: Summer Memories, a reboot of the PlayStation 3 title originally due out in 2011, but your reaction to it may be a big deal if you ask if you're not going on board with what the game offers. Ready?
Disaster Report 4, a Nintendo Switch game that did very badly and so on see. Running on Unreal Engine 4, it does look like a shadow on a stable screen, but the game has never made it independent for 30 seconds, let alone anything higher. Elsewhere – cutscenes are usually rather gameplay – the frame-per-second count is too low to count with the eyes. Thankfully, there are no points in this game where the graphics performance impairs your ability to do what is expected of you, and to the game's credit, it actually performs quite well – maybe even better, due to the low resolution – handheld mode.
If all of that is a violation of the law, as some people would, you probably want to appear in Disaster Report 4. If you're willing to tackle a technical jank and be open-minded, however, there is something very compelling and an unforgettable feeling of being here.
In Disaster Report 4, she takes on the role of a male and female curator as they arrive in the fictional (but apparently Tokyo-inspired) Hisui City, ready to discuss the work. Before you can reach your destination, however, there is a great earthquake, causing the bus on board to disappear and preparation should begin.
Before the quake, you were presented with a list of options that encourage you to think about what to do first when you travel to a big city, and how to respond when a traumatic event occurs. And this continues as something of a pattern throughout the game: you tend to have a range of possible reactions in various situations that you find yourself subject to a simple choice of "good or bad" binary options. While many of the decisions you are able to make may lead to the same result or have no effect on the other event, the fact that you are presented with regular opportunities to show what is going on gives the game a real feel to play a role and identity over your character.
Once you have escaped the bus crash, you can move around freely, talk with any of the many people in the area and try to figure out what to do next. Should you try to help people, because you escaped the first disaster without injury? Or should you prioritize your safety and look to escape the city as soon as possible? It can be very difficult to know where to start, since the game does not offer floating hiking trails and mission goals to follow. Instead, you hope to investigate and evaluate for yourself – but what triggers a cutscene is often a sign that you're on the right track to uncovering something useful or important. And as you progress, you travel to many very different places – from the city's busy, well-built downtown, and beyond to other rural communities, to less affluent neighborhoods.
The actual quake is one of the most important things about Disaster Report 4 – while it's the impact of all of the following, from that point on, it tends to soften its head as a gameplay mechanic, forcing you to decide the best course of action when the quake begins. Stand up and enrich yourself, or get out and fall under the weight of something that you are going through when the quake starts? Decide quickly, because without the fact that you have a life bar, in most active game situations you are alive or dead, there are no-betweens. And there is no answer to catch it all; what works when standing on an open road will certainly not serve you well while you flicker across the windows to try to reach the neighbor veranda.
Instead, the focus is on Disaster Report 4 people – Specifically, how people respond to a situation that throws the norm out of windows and forces them to live their lives in ways they may not be familiar with or comfortable with. This is tested in many ways. A prominent Japanese cultural phenomenon to get on with things even when the unthinkable happens is shown by random passengers — you are your contacts, many who seem more frustrated to be able to work than to be intimidated by a large open sink in the nearby streets.
The human desire to help those in need is especially evident during a time when two neighboring communities in the midst of a fierce conflict combine to put out fires before they get worse. And, throughout the whole story, we are given many reminders that tragedy, sadly, tends to bring out the worst in some people as it promotes the good of others – whether that is to take advantage of people, use the situation to clarify prejudices, or simply assume that common rules and laws society doesn't work when everything is chaos.
As a player character, you're not freeing from all this, either. You can approach a lot of situations like someone who wants to help, someone who is hesitant to help just because they want to escape, someone who is quick to make a yen immediately after poor people or just someone in fact a terrible person. Your choices result in the points of "Good conduct" and "conduct"; these have nothing to do with gameplay or anything but serve as a simple mathematical symbol of how you lived your virtual life amidst the chaos. The decisions you make have lasting consequences, in some cases, the characters are alive or dead based on your actions, while in some cases the various pieces saved by the preparation of the main story of your escape come to different conclusions – or not, in some cases.
The narrative culminates in one of the last very different reactions to the route you take, followed by a more playful and long-lasting approach that sees you moving to the city several times in the six months following a disaster. This serves a number of purposes: first, to bind any loose narrative material left hanging is a great game, and secondly, to give you an indication of some of the sides, stories and characters you may not have entered in your first play – which will take you about 15-20 hours, by the way. You can start running a second time, using what you have learned from the beginning to make different choices there and look for other options.
Conclusion
From a technical standpoint, the port of Transch of Disaster Report 4: Summer Memories is totally confusing. Historically and artistically, he is one of the most fascinating plays in recent memory. The real-life screening of a traumatic human tragic event has taken place far beyond the possibility of recovery from the Hollywood blockbuster treatment – and it's all about it. If you can fight past the technical shortcomings – which should, to say, be well thought out – then you will find a completely different experience on the switch, and that doesn't make sense when you look at the depth of the console library.
