Cyberpunk 2077 – did you get your money back? (Picture: CD Project)
Thursday’s inbox tries to imagine what was expected of CD Projekt with Cyberpunk 2077, while a player is looking forward to Dodgeball Kunio-Kun.
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Every lie implies a guilt to the truth
I had no illusions after so many messy delays and other red flags that Cyberpunk 2077 would be released in anything but perfect condition. I’m ruling out the buggy game. No problem, I can handle mistakes. It turns out to be a smaller buggy than I expected. In fact, there are fewer bugs than in Assassin Valhalla’s Creed. The latest game has crashed my PlayStation 4 so many times that I’m afraid it will burn my console.
What I didn’t expect was a complete lie about the horror of Cyberpunk on PlayStation 4. The way in which this has been approved not only by CD Projekt Red, but also by Sony and Microsoft is incredible and unacceptable. It has all the characteristics of a game designed for the PC, where the PlayStation 4 version has a last minute shoot-in. Huge compromises are everywhere. There are no cars or pedestrians in Night City. Basically, it’s like the poor guy’s GTA.
The graphics are terrible to say the least. It’s no exaggeration to say that not only are there better games on PlayStation 3, but sometimes I wondered if I was playing an N64 game. Rather ironic for all the pre-launch hype about the transgender poster, it can not really be seen in the game because it is so blurry. Games such as Ghost of Tsushima and Red Dead Redemption 2 show what is graphically possible with the basic graphics of PlayStation 4. Cyberpunk knows no excuses.
Worst of all is the frame rate. Although the latest version of the software works, many aspects of this game are simply not playable. I can’t do some of the first missions because the awful frame rate is a big inconvenience, especially during a fight. It is a pity that the game was released in this state, especially after years of development for a game that was announced before the PlayStation 4 was even available.
So it was with sadness that, for the first time in my life, I asked for a refund for a game I was eagerly looking forward to. It is not surprising that Sony initially rejected my request for a refund, stating the terms and conditions. However, this is where the phrase comes in – your legal rights are not affected, in particular the Consumer Rights Act 2015. However, we have the right to expect the digital content to be of satisfactory quality. This means that it meets a standard that a reasonable person would consider satisfactory, taking into account the suitability for its intended use and the absence of minor defects, which are important factors in assessing the quality of the product.
It is clear that Cyberpunk 2077 does not meet this criterion, especially because CD Projekt Red has essentially admitted to lying (again, within the law). So, after a brief exchange of messages and threats of action, Sony reluctantly gave me my money back. So if you want to get a refund from Sony, Microsoft or another retailer, the 2015 Consumer Protection Act tells you he’s your friend.
What is not
I have to ask why something is coming to Sony or Microsoft to break Cyberpunk?
The certification process is essentially about whether players have paid a fee and whether they will break the game or hack the system.
Since I’ve been familiar with video games, there have been a lot of broken games (which haven’t been repaired). So much so that I think GC could write a book about it.
But it was never aimed at the manufacturer of the platform.
I understand that the game has a big impact, so expect a kickback because it’s broken. But it should be addressed to CD Projekt to grow as much as possible and release a less expected product.
One way to tackle this problem could be to create a latest generation version for Xbox One and PlayStation 4. Reduce resolution to 720p, reduce human traffic, and the best performance settings are preset. Then sell it for a lower price (£20 to £30?).
They must have a way to give the money back to the people who bought the last generation for the full price.
GC : Reduce the price and give something back to the customer? Yeah, that’s not gonna happen.
I don’t understand the whole Cyberpunk 2077 controversy, GC?! Come on folks, CD Projekt Red, sorry, has been a highly respected gaming studio for almost 20 years and now it’s all basically undone at some point? Just a few days? How can they seriously think that the PlayStation 4 and Xbox One basic consoles can solve all performance and maintenance problems? Show no real game plots, except on PC or consoles of the following genres, and hand out review copies to anyone so close to the official launch date?
What did they really think and what did they hope to achieve with this madness? Will he be the number one gambler in 2020?
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This is a great
I’m currently playing Cyberpunk 2077 on PlayStation 4 and have been suffering from some pretty serious bugs for some time now, such as textures that aren’t loaded, bodies floating in the air and frequent crashes. Oddly enough, the problem now seems to have solved itself and the game works much better.
I wonder if CD Projekt Keanu Reeves shouldn’t have dropped and used his fee for some more quality control? He adds nothing to the game, and yes, I know he was Johnny Mnemonic and Neo in the ’90s, but he’s clearly one phone call away.
Despite the problems, I enjoy the game, which can roughly be summed up as Deus Ex Theft Auto.
I’m always excited about new games being added to the Nintendo Switch Online applications, but this time I’m more excited about the additions to the Japanese versions than the games we’ll have for the NES and SNES.
I hope I can fall on the menus of Dodgeball and Hebereke Kunio-Kuna without having the slightest idea of the Japanese language. I’m also looking forward to a game of ping-pong, without really knowing why.
GC : For the record, Dodgeball Cunio-Kun is part of the River City Ransom/Gandia Street/Renegade franchise.
All this discussion about who should share the responsibility with CD Projekt Red seems as normal as the technical state of Cyberpunk 2077 itself, and I increasingly believe that this only serves to shift the blame and unfairly shift it away from publishers and developers.
I fully agree with the arguments put forward against pre-ordering most games, but when it comes to the responsibility of consumers to support the behaviour of publishers, I don’t think it should be about the quality of the game. It is true that players can be blamed for throwing money at a publisher without wondering if a game is worth it, but why should we be accused of expecting a game to work as a minimum standard if we pay £45 for it?
What is the basis of this principle? How many matches have been held in the state, especially in recent years? I’ve seen the usual examples of No Man’s Sky, Fallout 76 and Battlefield 4. These are exceptions for me, and I’m happy to be corrected, but the vast majority of triple-A games released these days have minor performance problems or at worst bugs. So why should we base all our expectations and principles on a small minority of criminals, as if they represent this apparent inevitability?
I have even less time for the argument that assessors should be more accountable. Anyone desperate for criticism will not accept for a second that a critic refuses to evaluate a game because the version to which he does not have access may not work, while he already has a version that seems to work perfectly. Especially when the status of the other versions of the game is presented in detail on the corresponding page, when it becomes really clear. Should critics instead play five or six versions of multi-format games before giving an informed opinion on each of them?
As far as the CD Projekt Red is concerned, it seems impossible to me that a few weeks ago they didn’t decide to ask for forgiveness instead of permission, and that’s exactly what happened. They probably adopted this line of restoring confidence that we had long before the 10th amendment. December.
I think they believed the hype after The Witcher 3 and realized too late that they had bitten off more than they could chew. It’s hard to imagine how this could have happened in the area of project management, but given that it only takes a few hours of gaming to realise that, as a development team, they still have important technical/design lessons to learn before they can promise one of the most talked-about games of the decade.
hp: I’d like to see how much the finished game looks like the famous Behind Closed Doors demo people drooled over a couple of years ago. Apart from the defects, I’ll probably try the game again when I get a PlayStation 5.
GC : There have been several demonstrations behind closed doors, but the first one turned out to be the first real mission, and it looks exactly as promised. At least as far back as we can remember.
Wait till you see
. Personally, I don’t even know why GC showed an e-mail from Mark in my inbox on Wednesday. You’re more generous than I would be in your situation, given his vague insults that you and the other reviewers are gullible and that you don’t meet his criteria for….. Which he never explained.
I’d say the critics did a good job with Cyberpunk 2077. Every review I’ve read from reliable sources has succeeded in pointing out errors and criticizing the (seemingly very good) game underneath. If you don’t know the state of Cyberpunk, you ignore it, or – and I suspect this is what happened to Mark and he’s trying to blame others for his mistakes – you blindly pre-ordered the game.
My policy is always to wait for reactions, whatever the game, and this policy has paid off. I’ll buy the game next year, when I get a PlayStation 5 and CD Projekt has solved the problems. At this point it will be as if nothing has happened, and I will make sure that the next big outing that follows will have the same logic.
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Rather interesting reading element next to Zelda : The breath of nature against Wizard 3 this weekend. I really enjoyed working with The Witcher 3 at the beginning of the year, and I understand why it’s so popular with gamers, especially those who enjoy the story, character development, world building, and sideways quests in video games.
Bloody Baron’s series of searches in particular is one of the most poignant and insightful I have ever seen in the media. I was struck by the delicacy and the nuance in the morality of judgment on many levels, the humanity in this story of guilt, misfortune and resentment that really touched me.
Geralt is an extremely nice and funny hero, along with other well-written characters such as Ennefer, Ceri, Dandelion, Triss, Crookback Swamp, and the Bloody Baron mentioned above, as well as a few others (I haven’t played the DLC yet).
In fact, I felt that the battles in The Witcher 3 were better than many people thought, with a sense of rhythm, strategy and a convincing visceral challenge when playing at the most difficult difficulty level. The world view was also amazing to look at and a pleasure to live practically.
That said, Breath of the Wild is just the best of both games when it comes to the most important aspect of the game for me: the gameplay.
Everything from controls to interactivity, player office, map and inventory system, world/open level design, combat and traversal mechanics, physics engine, puzzle design, artificial intelligence, shipbuilding, weather system, and most importantly, gameplay, it seemed to me that The Witcher 3 was at the forefront of innovation and efficiency.
There is an organic and infallible quality to begin an adventure and to be subtly led to points of interest that for me go far beyond the feeling of exploration and discovery in The Witcher 3. Nothing is more beautiful and rewarding than to catch a glimpse into the distance of the seductive orange light that marks the virgin sanctuary from an elevated point of view, and then go out to travel there and plunder its treasures.
In my opinion, The Witcher 3 doesn’t have that irresistible incentive to experiment and manipulate the gameplay parameters to your heart’s content, it’s a much stiffer and more conservative gameplay experience outside of the character. It’s amazing how the Zelda community continues to find increasingly creative ways to use the game’s exceptionally flexible mechanics and design.
Nor do I think that the Breath of Nature gets enough praise for the elegance with which his story fits into his relatively serene post-apocalyptic world, or for the effectiveness of his visual narrative. I don’t think there are any fundamental flaws in the story of Breath of the Wild, except perhaps the almost total absence of a story for Ganon and a rather daring voice playing.
Other aspects of the design of Breath of the Wild that I found disappointing were the very vague maze, the sanctuaries of failure and the sanctuaries of repetitive combat tests, the rather weak bosses except Ganon and the excellent leader of the DLC monks, and the lack of variation in the design of the enemy.
Fortunately, when one looks at Breath of the Wild’s performances on a macro level, one cannot help but admire his mechanical and structural ingenuity, his daring spirit and his artistic brilliance. Breath Of The Wild is undeniably the pinnacle of modern game design, and remains, in my opinion, the best game ever made.
Galvanized gambling machine
There is only one thing that Cyberpunk 2077…. can save. VR mode.
If Microsoft wanted to buy a Project Red CD, now would be the time.
GC : Here’s an idea.
The topic of this weekend was suggested by the Xane reader, who wonders : How much money have you ever regretted spending on an item related to video games?
It may be a youthful mistake or a recent purchase, but which game, equipment or product would you rather not buy?
Do you blame the game itself, or the article, or the deceptive marketing, or the critics – or do you just have the wrong idea of what it is? Did the mistake change your attitude in any way, and have you made a similar mistake since then?
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