It's a good mechanic, that can be vastly improved in other games, not just visually but in functions as well and how to gain the resource too. I really think that the Mirage sequel will be great.
So this first one is a good example of using focus to circumvent a game design issue: You can no longer cut ropes while perched on top of them, so the only way to have an angle from which you can cut the rope *before* air assassinating your first target was to air cancel from the side. Being able to throw projectiles while hanging would also have worked. Usually focus is more important for leaving a climbing position in order to react to a guard you otherwise couldn't reach because you're stuck there by the failure of the movement system Now the second one opens some questions about the chronology of events. Every good action scene tells a story, and a story has a beginning, a middle, and an end. First John get into a fist fight with the assassin that's been sent after him, until they both realize they're in a gun shop and are surrounded by weapons. So instead they smash out the glass cases behind them and grab knives. But John is forced to throw his knife at the second assassin who's just rounded the corner to buy enough time for his next move, leaving him unarmed. So turns his opponent's knife back on him just in time before the second assassin tackles him to the ground. A third comes out of nowhere and nearly impales John's nuts by tthrowing a knife at them, causing everyone else to realize they don't have to be getting so close. So they smash out more cases and start throwing every blade they can get their hands on. One of the assassins runs out of projectiles and charges John, which turns out to be a fatal mistake when John takes him hostage and uses him as a shield to catch all the remaining projectiles. By now the assassins are too injured to keep this up, so John uses their slower reactions to give himself time to work his throws up to their heads. The last one hits the ground, and John hits him with one, two, three knives in a rhythmic pattern and they're all dead. The end. Everything has a clear continuity of why it happened in the story when it did. Cause, then effect. So in your clip, Basim distracts half the guards with a cherry, then throws down a smoke, then jumps, then throws a knife at the guy on the left, then things get muddy. We know whatever we see under focus is just happening really fast, so fast the Animus can't keep up, but we should be able to figure out what's going on here by filling in the gaps in information. So somewhere between the cuts he somehow air assassinates the first ground target, then runs over to the second by the smoke - but wait, why did he smoke the knife target if he threw the knife *before* reaching the ground? Surely that guy would be dead by the time he reached the second ground target, so there's no reason to worry about him observing the next two kills. He's faster than most guys, but no one's faster than gravity. If he actually threw the knife afterwards then why did we see him do it *before* any focus cuts? It doesn't make any sense. There's no chronology, so there's no story. This is a totally incomprehensible action scene. The other most common example involves him somehow parkouring up a wall with no handholds or making a jump multiple times farther than anyone possibly could. Hyper-realism sits just outside the limits of reality, in the realm of the theoretically possible, the barely explicable. Assassin Focus, unless severely handicapped through self-imposed limitations, is completely impossible and inexplicable
I personally entirely hate it, the implications it holds on a lore/presentation level, the raw gameplay flow and interaction, the fact it's often usable as a movement crutch (this is 90% on the movement system), and how it's visually executed in game. It feels off, too easily acquirable, and visually disconnected from the utter weight that breaking an animus simulation with something of the sort should have. This is partially counteracted by their explanation of Basim entering a flow state or whatever, but the problem is that this explanation is utter dogshit, and that they had a miles better one literally served on a silver platter: (Valhalla spoilers for other readers) Considering Basim's own blood, after revival, is used for memory reproduction and synchronization, it would make sense for it to host insanely high sync potential, considering he's literally a walking, talking primary source. This high sync potential should allow for you to slightly break/fast forward the simulation for what should be a FAR higher cost, potentially affecting health (if it was interpreted as sync). This would tie it in with lore better, and potentially allow for the Animus to get FAR more involved in the visual end. Imagine assassin focus getting triggered causing a fake animus loading screen and UI to pop up, targets marked with thin, debug-screen looking lines and fake "code"/logs, heavier visual glitches on the screen, an abstergo/assassin logo appearing in a corner, big text boxes describing what's happening and the progress of the "fast forward", a robotic voice akin to AC1 notifying you of the fast forward happening, an older-school Animus loading noise revving up as if it's getting pushed as hard as it gets, your sync/healthbar steadily decreasing. But no, a couple of screen tears, particle effects, and sploingy glitch noises sealed the deal lol (God I fucking hate AF)
I think it’s pretty cool tbh
It's a good mechanic, that can be vastly improved in other games, not just visually but in functions as well and how to gain the resource too. I really think that the Mirage sequel will be great.
So this first one is a good example of using focus to circumvent a game design issue: You can no longer cut ropes while perched on top of them, so the only way to have an angle from which you can cut the rope *before* air assassinating your first target was to air cancel from the side. Being able to throw projectiles while hanging would also have worked. Usually focus is more important for leaving a climbing position in order to react to a guard you otherwise couldn't reach because you're stuck there by the failure of the movement system
Now the second one opens some questions about the chronology of events. Every good action scene tells a story, and a story has a beginning, a middle, and an end. First John get into a fist fight with the assassin that's been sent after him, until they both realize they're in a gun shop and are surrounded by weapons. So instead they smash out the glass cases behind them and grab knives. But John is forced to throw his knife at the second assassin who's just rounded the corner to buy enough time for his next move, leaving him unarmed. So turns his opponent's knife back on him just in time before the second assassin tackles him to the ground. A third comes out of nowhere and nearly impales John's nuts by tthrowing a knife at them, causing everyone else to realize they don't have to be getting so close. So they smash out more cases and start throwing every blade they can get their hands on. One of the assassins runs out of projectiles and charges John, which turns out to be a fatal mistake when John takes him hostage and uses him as a shield to catch all the remaining projectiles. By now the assassins are too injured to keep this up, so John uses their slower reactions to give himself time to work his throws up to their heads. The last one hits the ground, and John hits him with one, two, three knives in a rhythmic pattern and they're all dead. The end. Everything has a clear continuity of why it happened in the story when it did. Cause, then effect. So in your clip, Basim distracts half the guards with a cherry, then throws down a smoke, then jumps, then throws a knife at the guy on the left, then things get muddy. We know whatever we see under focus is just happening really fast, so fast the Animus can't keep up, but we should be able to figure out what's going on here by filling in the gaps in information. So somewhere between the cuts he somehow air assassinates the first ground target, then runs over to the second by the smoke - but wait, why did he smoke the knife target if he threw the knife *before* reaching the ground? Surely that guy would be dead by the time he reached the second ground target, so there's no reason to worry about him observing the next two kills. He's faster than most guys, but no one's faster than gravity. If he actually threw the knife afterwards then why did we see him do it *before* any focus cuts? It doesn't make any sense. There's no chronology, so there's no story. This is a totally incomprehensible action scene. The other most common example involves him somehow parkouring up a wall with no handholds or making a jump multiple times farther than anyone possibly could. Hyper-realism sits just outside the limits of reality, in the realm of the theoretically possible, the barely explicable. Assassin Focus, unless severely handicapped through self-imposed limitations, is completely impossible and inexplicable
Ain't reading all of that
@@mathemanntastisch Sucks to be you
Wow
@@mathemanntastisch Then don't comment and keep scrolling lmfao
nah, should be more like ghost of tsushimas chain kills rather than teleporting
A good mechanic in the wrong game
Ok
Ok
It's a good mechanic, and the only one that is "unrealistic". An improvement in realism not like Odyssey and Valhalla
I personally entirely hate it, the implications it holds on a lore/presentation level, the raw gameplay flow and interaction, the fact it's often usable as a movement crutch (this is 90% on the movement system), and how it's visually executed in game. It feels off, too easily acquirable, and visually disconnected from the utter weight that breaking an animus simulation with something of the sort should have. This is partially counteracted by their explanation of Basim entering a flow state or whatever, but the problem is that this explanation is utter dogshit, and that they had a miles better one literally served on a silver platter:
(Valhalla spoilers for other readers)
Considering Basim's own blood, after revival, is used for memory reproduction and synchronization, it would make sense for it to host insanely high sync potential, considering he's literally a walking, talking primary source. This high sync potential should allow for you to slightly break/fast forward the simulation for what should be a FAR higher cost, potentially affecting health (if it was interpreted as sync). This would tie it in with lore better, and potentially allow for the Animus to get FAR more involved in the visual end.
Imagine assassin focus getting triggered causing a fake animus loading screen and UI to pop up, targets marked with thin, debug-screen looking lines and fake "code"/logs, heavier visual glitches on the screen, an abstergo/assassin logo appearing in a corner, big text boxes describing what's happening and the progress of the "fast forward", a robotic voice akin to AC1 notifying you of the fast forward happening, an older-school Animus loading noise revving up as if it's getting pushed as hard as it gets, your sync/healthbar steadily decreasing.
But no, a couple of screen tears, particle effects, and sploingy glitch noises sealed the deal lol
(God I fucking hate AF)
Bro that sounds so damn cool I love that idea so much
I miss when Ac went all out with the Sci-fi of it all
@@Wbubbles3998 Thank you homie, and yeah, I miss it too :(