Drakengard

One of the most important factors of gameplay is the layout of the controller. Square Enix has done an excellent job of making all of your tasks simpler by utilizing the DualShock 2 efficiently and naturally.

Got a spare 20 to 30 hours, and a hankering for mindless medieval bloodshed? Not been pressing the Square button enough? Go on -- give this an intense weekend rental.

Truly, I did not want to finish this game. I found it to be as endearing as The Phantom Menace (which does not even warrant an underline).

Though the storyline is unique and satisfying and the musical score is nothing short of brilliant, the overall gameplay elements that make up Drakengard are tedious and irksome, leaving you with a game that you may never actually finish.

Two genres thrown together that don’t really try to be better than the games that they’re based on, descending into a mundane exercise in repetition.

The main problem with the game is that it gets old really fast. [Apr 2004, p.64]

It takes many of the flaws from "Dynasty Warriors" (i.e. repetitiveness and pop-in), and makes them much worse.

gameplay 0/0 very awful Story 10/10 very important to future games from the yokoverse Armageddon 10/10 the best armageddon i have ever seen in my life, i was crying when i was completing the "E" branch

Drakengard es un título imposible de juzgar únicamente como videojuego sin traicionar lo que representa. A nivel puramente lúdico, es un juego fallido: repetitivo, torpe en su control, mecánicamente pobre y agotador incluso cuando no pretende serlo. El sistema de combate terrestre y aéreo no evoluciona lo suficiente como para justificar su duración, y la experiencia exige al jugador una tolerancia al tedio que, desde una lectura estrictamente interactiva, resulta difícil de defender. Sin embargo, reducir Drakengard a ese análisis sería ignorar su verdadero impacto. Estamos ante una obra con un peso simbólico y conceptual enorme dentro de la historia del medio. Su violencia no es espectacular ni catártica: es incómoda, reiterativa y vacía, y precisamente ahí reside su potencia. Drakengard utiliza el hastío, la repetición y la falta de recompensa como herramientas discursivas, obligando al jugador a implicarse no desde el placer, sino desde el malestar consciente. El mundo, los personajes y el tono nihilista funcionan como una crítica frontal a la épica heroica tradicional del JRPG. No es un buen juego en términos sistémicos, y ha sido ampliamente superado en cómo otros títulos —incluido Drakengard 3— articulan incomodidad y exigencia sin sacrificar tanto la jugabilidad. Pero Drakengard sigue siendo una pieza clave como objeto cultural: una obra que demuestra que el videojuego puede incomodar, alienar y cuestionar al jugador de forma activa. Su nota no premia su ejecución, sino su relevancia histórica y su brutal honestidad conceptual. Siembra las semillas de lo que será Nier Gestalt y Nier Replicant.

A title that showed promise, but was hampered from soaring primarily because of its static, somewhat limited combat and graphical issues. This is a pity considering the solid storyline, numerous weapons and multiple endings lend themselves to a large amount of replayability.

Good UI, cinematic cutscenes are great as well, but gameplay is ultimately boring, infinite amount of same looking enemies that had to be killed with 1 button

Had a really cool vibe to it. Graphics and gameplay were decent but always felt like something was missing...