TheHunterKiller692
Active Member
Y'know the saying "Keep the politics out of our games?" I definitely think it applies to any criticism of DOA I've formulated thus far.
What passes for lore is not enough to justify DOA 4's entire plot (which wasn't hinted at all in the marketing, unless you count the TV spot with cherry-picked cinematics), and once again, I feel like going back to DOA 3 still makes it abundantly clear that both games go nowhere with big ideas and concepts that its audience simply doesn't want to evaluate on a personal note.
For example, Helena. I get the whole "My parents are dead, and I want to avenge them." shtick that feels reminiscent of a Batman comic, but without subtlety or nuance in any scene Helena is in. Like, how in the blue hell do you just inherit a $30 trillion or so company and think "Yeah, I'm totally gonna get back at my parents' killer with an elaborate ponzi scheme to trick the world into doing my bidding."? No one, that's who. Christ almightly, she makes Lexcorp look level-headed with her nonchalant "Fuck you, I do what I want cuz I'm a blonde." mentality, further exacerbated when she basically gets blindsided by Christie admitting she pulled the trigger on Fame in the "climax" of DOA 4's "plotline".
Even worse, there is no fucking way that everyone can just ignore Raidou supposedly pulling the strings without people coming to grips that Raidou has nothing to lose and wants to burn the world and boil the oceans. For a Hadouken. Really?
This raises the question of DOATEC even having to be this scummy without a Megatron/StarScream-style relationship between Raidou and Victor Donovan, where VD basically tries to destroy most, if not all, evidence of Japan's ties to the tournament, but only through surgical deployment of fireteams across Japan. NOT a fucking building with fire coming out of the windows and goddamn helicopters sitting on a helipad untouched.
For Christ's sake, I don't think Itagaki even had the balls to be interested in communicating to the audience on a deeper level, instead choosing to be as wide as an ocean, but deep as a puddle, in terms of his overall message.
This wouldn't be so bad if Ayane weren't so blatantly in on the plot to kill Kasumi to settle a sibling blood feud that's at risk of making her a poster child for Raidou's propaganda efforts and was like "Hey, wait. I don't want to be following in Raidou's footsteps.", instead trying to find her own path and reconnect with her mother for closure. And the best part? Cutting out the superfluous "DOATEC is evil." BS and allowing the characters to grow naturally through parallel arcs.
Oh, wait. That would imply I'm not working with a goddamn sexual predator here.
What passes for lore is not enough to justify DOA 4's entire plot (which wasn't hinted at all in the marketing, unless you count the TV spot with cherry-picked cinematics), and once again, I feel like going back to DOA 3 still makes it abundantly clear that both games go nowhere with big ideas and concepts that its audience simply doesn't want to evaluate on a personal note.
For example, Helena. I get the whole "My parents are dead, and I want to avenge them." shtick that feels reminiscent of a Batman comic, but without subtlety or nuance in any scene Helena is in. Like, how in the blue hell do you just inherit a $30 trillion or so company and think "Yeah, I'm totally gonna get back at my parents' killer with an elaborate ponzi scheme to trick the world into doing my bidding."? No one, that's who. Christ almightly, she makes Lexcorp look level-headed with her nonchalant "Fuck you, I do what I want cuz I'm a blonde." mentality, further exacerbated when she basically gets blindsided by Christie admitting she pulled the trigger on Fame in the "climax" of DOA 4's "plotline".
Even worse, there is no fucking way that everyone can just ignore Raidou supposedly pulling the strings without people coming to grips that Raidou has nothing to lose and wants to burn the world and boil the oceans. For a Hadouken. Really?
This raises the question of DOATEC even having to be this scummy without a Megatron/StarScream-style relationship between Raidou and Victor Donovan, where VD basically tries to destroy most, if not all, evidence of Japan's ties to the tournament, but only through surgical deployment of fireteams across Japan. NOT a fucking building with fire coming out of the windows and goddamn helicopters sitting on a helipad untouched.
For Christ's sake, I don't think Itagaki even had the balls to be interested in communicating to the audience on a deeper level, instead choosing to be as wide as an ocean, but deep as a puddle, in terms of his overall message.
This wouldn't be so bad if Ayane weren't so blatantly in on the plot to kill Kasumi to settle a sibling blood feud that's at risk of making her a poster child for Raidou's propaganda efforts and was like "Hey, wait. I don't want to be following in Raidou's footsteps.", instead trying to find her own path and reconnect with her mother for closure. And the best part? Cutting out the superfluous "DOATEC is evil." BS and allowing the characters to grow naturally through parallel arcs.
Oh, wait. That would imply I'm not working with a goddamn sexual predator here.
