In early September, Bethesda SoftWorks released the long -awaited Starfield spacecraft action. The delight of the release of such a large -scale RPG was quite quickly replaced by disappointment from primitive mechanic, the structure of the game and some graphic aspects. Users consider the source of the problem the Game engine itself Creation Engine, which is inferior in many things of even the scandalous release version of Cyberpunk 2077, which was published in 2020.
The network increasingly began to compare Cyberpunk 2077 and Starfield, especially in the field of dialogue system. According to the players, the dialogue part in the new game Bethesda "Strongly outdated". Nevertheless, the former quest designer CD Projekt Red and the current Cyberpunk Loroved Patrick Mills do not agree with this conclusion. Through social networks, he tried to explain why comparing Cyberpunk 2077 and Starfield is not entirely correct and why Bethesda relies on a similar system of dialogs.
Many users were disappointed with the camera during dialogues in Starfield, which remained unchanged since the time of Oblivion, as well as the general production of dialogs. As Mills notes, this is not the problem of the game engine. According to the developer Cyberpunk 2077, in the Creation Engine you can without any problems make an updated system of dialogs that would be more kinematographic. Obviously, the developers deliberately took such a step for the sake of large -scale freedom in the general game world Starfield.
You cannot make a scene with Judy on the roof in Starfield, because the scene can be launched on a hundred different planets
– explains Patrick Mills, Loroved Cyberpunk 2077.
Mills believes that players see in Starfield "outdated" system of dialogs, but for some reason they forget about the very scale of the game. Bethesda sacrificed the spectacular of conversations in order for users to hear them at various points in the world and do not encounter restrictions. In the same Cyberpunk 2077, some dialogs are limited by location and time.
I had a bug in the temple of a ball in Baldurs Gate 3, there, during a dialogue with a shedouhart, the camera did not switch to a cinematographic appearance, but it was clear how the game determines the free space at the level, transfers heroes there and puts it to the right places. Everything is automatically and capable of working on a thousand planets.
He is more likely about a higher level of production, with light, composition, dynamics with the environment. But in Starfield, it was hardly possible to achieve such a level of production as in the main plot of cyberpan. Yes, even in Cyberpanka itself, most of the side dialogs are a static call. And BG3 in this regard is true a unique project that has an incredible amount and quality of the production, taking into account the volume of text. And no matter how sad it would not be for the consumer, but give the reference execution as an example, always losing. There are no games that are perfect at once in everything (and speech here is not only and not so much about Starfield). There is always a stronger project even in a separate field that it is not a reason not to strive for the better, but the reason to look at the picture as a whole and how well the individual elements interact.
You are quiet! Now the fanatics of the Starfail will run and will explain what success it is, everyone cannot come to terms that BG 3 and other projects of Todd’s mine are cleaned for the second month
So Starfield is not so bad, he is aaa middle peasant, whose main problem is tremendous underflict. In general, I missed the Bas Belch Sandstones and in 50 hours I received what I wanted. And BG3 is a game that we will recall with a breath for a long time. The main thing is that the Larias, as usual, is still piled on content and the technical part is corrected, then any other RPG will not even make sense to compare with BG3.
Sobsna could arrange special dialogue zones in the game world, which the surroundings renewer would carefully generate. Or, it would be possible to make more complex behavior of the blanks during the dialogue, they could add a gesture of which, smoked, waved his hands, took out a boot from his pocket, anything else. It would be possible to arrange the so -called eight during tense dialogs, as in the film. For such exercises, specific environment is not needed.
IMHO "Developer Cyberpunk 2077" I tried to explain why in modern games it will turn out like in the old ones, if you score a bolt.
I agree about the eight. 4 did in Falach – it was quite good. I don’t understand why they did so dejectedly in Starfield. And in general, any interaction in the game is dull. Honestly, I try to play, but constantly drives sleep ..
frank lies and covering.
It would be simple to admit that Starfield was 80% developed by neurutus and fitted under an outdated engine in every sense. Hence the zero plot, empty locations, the optimization curve, the modular world. Tes6 will not be much better for because and it was snat.
The engine is not outdated in every sense, the requirements for the iron are sooooo even modern!
Probably you can compare with Kalofduti where there are also jokes about the engine but, in principle, there is a good graphics, it seems at the time of exit.
And why in F4 the gazebo was able to make a good setting of dialogs with a kinemographic camera, and in Starfield could not?
Why, without fear of sin, the cuckoo praises the rooster?
Well, yes, you cannot do animation, because it is difficult and therefore you read "You got the battery from the robot", "Having studied the traces, you saw that they went there".
"Obviously, the developers intentionally took such a step. "
It is obvious that they decided on all fronts that it will do so, and this scale of them generated a neural network, where it is full of identical points of interest.
That is, stupidly took and diluted the game with a huge amount of water.
Guardian of the Galaxy. Circular guarantee.
Once again I notice that the neural network prefers to see Negroid Asians in the world 😏
All the explanation, in Starfield, the system of dialogs is not staged and can work absolutely everywhere. The same with the NPS, they have animation of the face or body weaker than in some linearly plot game, because the dialogs are not with a couple of created characters, but with hundreds of NPS, who will not have enough animations of the world, therefore the approach to such case must be different, and accordingly the temptation generation of behavior and animation of a person during dialogues, and not pre -recorded, the same applies to Skyrim, Oblivion, etc.
In fact, I think you can do but a bulky stem will be a procedural one by itself. It is necessary to record the animation of faces for each phonetic letter and the transition of letters with different emotions and then mix them all as multi -layer animations. Only then it will have to be extrapolate in different languages and voice acts will need a complex editor of dialogs such as notes something. so that the sex of emotions is tia am animation maximum rage, sarcasm surprise the stach is neutral and all this for every sound through mixing balancing. It’s easier to close the navara through neuron. And all sorts of TM animations of Morshin who are in shadeers and cheeks to shake if thick. The rest is also procedurally all inclusive of the playcaste for gas and the position of the body so that the character like an eagle owl has a head without turning if it is taken by surprise. but there are a lot of programs there to work nada to encode the shutdown of Kostya and the influence of each bone.
I am to the fact that the Starfield is not an obsolete system of dialogs, but simply its way to implement another, that’s all. So the production dialogs that used Mouses Kepher were still in the zero, they are not outdated. There is just a way in which the actors play everything to the cameras. And there is a way in which the facial animations genate automatically using the presets, while this method is quite at a qualitative level in the Starfield. It will certainly look worse than the staging, but for artificial animation it looks quite high quality
You can distinguish a mock for the face and for the body as in la noir, but there, from technical restrictions, it was separately made. And so in the theory of Mona it was only to leave the front and at this time so that the character is to say pyil firewood and walked along AI and it would be completely dynamic.
only now make such a number of captures of the face delusional for a long time and expensive.
The second option is when the staged scene is launched. But usually in games, 2 approaches are combined, this is a setting if the character was clicked in a random place.
In the same year, of a war on Pek, even in my opinion, finally, there is no animation of the animation of the conversation where the character is the character and the player would not notice if I do not confuse anything.
I’m not sure that the problem is in the dialogs and the absence of the production. This did not interfere (and does not interfere) play, for example, in Skyrim. The problem is not in monotony (tell me about the monotony of the fif, KS and Dota, as well as a number of games). You can understand all this. The problem is prolonged in Core-gamdemes. Any game holds emotions. Both positive and negative. If you take the same BG 3 or even cybercurva for an example (to which there were a number of completely different questions): developers give an emotional connection with partners (this is not the only, but quite relevant gamemelon strategy). There they are not blanks for us (carry my cargo), but persons with your cockroaches. We are attached to them, romance someone, in general we are connected and upset if something bad happens due to our rash actions with them. In Starfield, they also tried to roll the drama (I will not spoil), but! Who are all these people? These are just blanks, one more than one less. That is, they try to arrange a drama using the NPS on which we, for the most part, do not care.
Also, this game is generally stingy for emotions. At the same time, there are interesting quests and interesting places. But it does not cause a desire, for example, to break the monitor or, on the contrary, be proud of a certain achievement. The game is generally stingy for challenge. The whole challenge of the game is only to come to a high -level location and methodically picking very thick and painfully beating, but stupid enemies.
At the same time, the rest of the game is not so bad. Unfinished mechanics or obviously absent, of course do not make it better. For example, dead space. That is, he is, but. But he is, yes. There are even cosmic battles. Who are also quite boring and do not give any vivid emotions. In fact, the cosmos in the game is statistical and nothing happens in it. Yes, somewhere they can give us a quest, somewhere pirates live and attack. But all this looks exhausted. We do not even have an illusion that someone is moving in space besides us. And the problem is not even that space is essentially just a transition by locations. In the masses, the effect of even piloting was not, but the space was felt. There is a bunch of potentially interesting mechanics who simply are (and different weapons with different damage and aiming of individual modules and boarding). But you can literally beat this with a couple of lines of code, not even globally changing anything. The most banal example: in "empty" Sectors spun pirates. We destroy a more fat local "Boss" Pirates spun less frequently, but patrols UC/FC appear. Banal and primitive? Yes. This idea took less time than I write it. However, this would make the cosmos a little older, at least the illusion of some kind of dynamics would appear. I’m not talking about the fact that possessing Betesda resources could be done so much. and a working economy and a lot more. But what Betesda did? That’s right: I went along the lazy path. As a result, the game is a typical problem of modern game design: the content with a rampart, something even somehow works. There are interesting quests and places. The game itself is really not.