Sunday, May 9, 2021

Yakuza Combat Will Forward Be Turn-Based Going

Following the reveal of Lost Judgment, an interview with Ryu Ga Gotoku Studio director Toshihiro Nagoshi and producer Kazuki Hosokawa has surfaced on IGN. Lost Judgment brings Ryu Ga Gotoku back to its action-combat roots, leaving many fans to wonder if that meant the Yakuza series would also return to that style following last year's Yakuza: Like a Dragon.Speaking to IGN, Nagoshi and Hosokawa confirmed that the Judgment series will carry on the studio's action style of gameplay, while Yakuza will continue to evolve as a turn-based RPG. "The Yakuza series has been transformed into a turn-based RPG," they told IGN. "On the other hand, over the years, Ryu Ga Gotoku Studio has accumulated resources and know-how of making flashy and exhilarating action games that are effortless to enjoy. We decided that we should let our signature action gameplay live on through Lost Judgment." Yakuza: Like a Dragon's turn-based combat Romain Mahut of GameBlog was in attendance at a virtual "Judgment Day" event that followed the Lost Judgment reveal and asked if the studio considered using turn-based combat similar to that of Yakuza: Like a Dragon for Lost Judgment. "For Yakuza: Like a Dragon, we changed the game's battle system from action into a turn-based RPG," Nagoshi said in response. "This was a huge challenge for us, but it was well-received, which we were thrilled to hear. We did discuss the possibility of developing that battle system further for our next title, and while we may pursue the turn-based system even outside the Yakuza series, the conclusion we ended up at was that because this is a different series, the best approach would be to keep them separate and refine what makes each series great. It's my hope that our customers feel the same way we do. That's why we chose 'action' as an important keyword for the Judgment series.  Nagoshi also said on the Judgment Day video he believes that, when possible, a simultaneous global launch is "the right way to go" and that the team has "determined to make every effort to support this for all [its] games moving forward." This is significant as the Yakuza series has a long tradition of Western versions releasing years after the Japanese version. Following the success of Yakuza 0 in the West, the release windows have narrowed, but Yakuza: Like a Dragon, which debuted last year, still had a 10-month gap between the Japanese and worldwide releases. Lost Judgment's action-oriented combat Yakuza: Like a Dragon is available now on PlayStation 5, Xbox Series X/S, PlayStation 4, Xbox One, and PC, while Lost Judgment comes to PlayStation 5, Xbox Series X/S, PlayStation 4, and Xbox One on September 24. For more on what we thought about Yakuza: Like a Dragon, check out our review here. For more on the history of the Yakuza series, read our retrospective featuring interviews with Nagoshi and other members of the team here. For more information on Nagoshi's career, you can read our profile on him here. [Source: IGN, Sega of America on YouTube]
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    CS Interview: Janelle Monáe on Social Horror-Thriller Antebellum

    CS Interview: Janelle Monáe on Social Horror-Thriller Antebellum

    CS Interview: Janelle Monáe on social horror-thriller Antebellum

    ComingSoon.net got the chance to speak to eight-time Grammy nominee Janelle Monáe (The Glorias) to go over her role in the upcoming socially driven horror-thriller Antebellum, this week that is set going to digital platforms!

    With the film going for a mind-bending approach at exploring the true terrors of days gone by and its link with today’s world, Monáe reflected on her behalf own link with days gone by and how she actually is influenced because of it being an artist and person, referencing William Faulkner’s iconic quote from 1951’s Requiem for a Nun, “days gone by is dead never, it’s not past.”

    “What I believe this film handles is how it’s all connected,” Monáe expressed. on today “There’s no chance to speak about what’s going, when it comes to white supremacy and systemic racism, without discussing slavery and the way the racist policies we’ve today weren’t rooted in exactly the same ideologies whenever we were stolen and forced to go to America. For me personally, I’m constantly attempting to ensure that we don’t just forget about what happened to the lawyers, the doctors, the artists which were stolen and forced to call home and now because of that here, we don’t have the freedom to jog without having to be shot still. Still as black women we have been being experiencing and silenced violence disproportioned. It’s all connected and our future will probably be determined by us analyzing what happened, how did we here get, and I believe that’s what this film touches on, past, future and present.”

    When it found getting to the center of her character, a female with many similarities to herself, the 34-year-old star discovered that her biggest creative challenges was wearing down where she was at each point in the story and how exactly to remain in keeping with her diverse traits over the very different regions of the film.

    “She actually is so layered and based on what your location is in the film, she had to adjust to her circumstances and I believe for me personally, I had to determine how exactly to not get overwhelmed with the start, end and middle,” Monáe explained. “I had to break the movements up and work out how to be sure that despite the fact that she was devote different circumstances, you see at the core that she actually is a fighter still, you still note that she actually is a thought leader and that she actually is ready to take risks and she still cares about her community. All those plain things would have to be consistent through the entire film and the type.”

    Though it results in one of the most difficult to view moments in virtually any film coping with the topic, Monáe recalled that building an off-camera rapport with her antagonist costars had not been only vital prior to the cameras began rolling, but brought some brighter moments on her behalf on set also.

    “With the antagonists, it had been very important that people surely got to know one another as humans,” Monáe described. “I needed to learn what they stood for beyond being actors, I needed to learn about their own families, I wanted to learn about why they thought to the project yes, because we were likely to be getting on a plantation together. I needed to learn that it is a character you’re likely to be playing and that in true to life you’ll never do anything such as this or desire to be part of it. You need to ask those relevant questions, because that is sensitive for black visitors to put themselves in the portrayal to be an enslaved person. And we did, we’d plenty of philosophical conversations, we ate lunch together and what I really like most is that the antagonists in the film always ensured that I felt safe and that I was okay. After every take, I remember Jack just, I recall Eric, I recall Jena again asking again and again, ‘Are you okay? Are you currently uncomfortable? Does this cause you to uncomfortable? I want to know, I would like to make certain I’m being authentic to the type however, not at the trouble of one’s safety, and mentally physically.’”

    Building the chemistry with her family and friends in the film also became vital that you Monáe since it both helped her further enter the mindset of Veronica but additionally gave the audiences a supplementary emotional layer necessary for a horror protagonist.

    “I believe with my friends in the film, we talked and something of things that would make a difference is that whenever this happens to Veronica, when she undergoes this traumatic events or event, folks have to empathize with her,” Monáe noted. “When she’s gone, her presence needs to be missed and the plain items that help the audience, for me, miss her is her interactions with her family. Once you note that this woman is really a mother, she actually is a companion, she actually is a wife, she actually is and was loved by her community, you are created by it root on her behalf even more. It humanizes her in a genuine way that feels familiar then one that you’d desire to protect. You should desire to anyway protect human life, but I believe that seeing her in the context of her family and friends makes you desire to root on her behalf a lot more in this film.”

    In , successful author Veronica Henley (Monáe) finds herself trapped in a horrifying reality that forces her to confront days gone by, present and future – before it’s too late. Advocacy filmmakers Gerard Bush + Christopher Renz (Bush | Renz) – most widely known because of their pioneering advertising work engaged in the fight for social justice – write, produce and direct their first feature film, teaming with QC Entertainment, producer of the acclaimed films Get Out and BlacKkKlansman, Zev Foreman, Lezlie Wills, and Lionsgate for the mind-bending new thriller Antebellum.

    The film stars Janelle Monáe, Eric Lange, Jena Malone, Jack Huston, Kiersey Clemons, Gabourey Sidibe, Marque Richardson, Robert Aramayo, Lily Cowles, and introducing Tongayi Chirisa. Directed and compiled by Gerard Bush & Christopher Renz. Made by Raymond Mansfield, p.g.a., Sean McKittrick, p.g.a., Zev Foreman, p.g.a., Gerard Bush, Christopher Renz, and Lezlie Wills, p.g.a.

    The movie shall premiere as reduced On-Demand release, on September 18 debuting on all platforms. The film will undoubtedly be released in select international markets theatrically.

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