In a way, you can think of Wolf Rush as a game that "sees" better than "plays."
There are many elements in "Swift Wolf" that resonate with you. For example, the déjà vu storyboard composition, the familiar rhythm of music, and the magic but just happen to be a metaphor for reality. You may have seen these images somewhere, but the lines that are condensed into impression symbols end up converging into another kind of thing.
It's like a Japanese western radish slice supervised by Shinjiro Watanabe, composed by Yoko Kanno, set by Atsushi Nishikori, and supervised by Shimizu Itch. The essence of "Swift Wolf Stride" has a very good appetite and face, and the nonsense style is extremely unorthodox, and the whole is between the spectrum and the spectrum.
This is not to say that "Swift Wolf" is a poor imitation work, or a simple spoof stitching monster. Rather, it uses the most flattering design ideas in the old food, some of the more conventional elements that the audience likes to hear. For example, the classic big three formation, the relics of deceased friends, the script of willingness and self-redemption, and so on. It uses the most appetizing and digestible crude content to choreograph a heart-stopping story.
No matter what kind of gimmick you are attracted to, the storyline is undoubtedly the absolute core of "Wolf Rush". Even with its heroic performance of controlling giant robots to fight, the background of the worldview of the magical wasteland, it will only be these rotten people in the game that will drive you forward.
How bad it is, from the undisguised line style in the game, you can get a glimpse of one or two.
This kind of satire, even humiliation, is like the main theme of the game, always making the player realize that this is a bottomless, street-ridden world. Strangely, this kind of vulgar language humor can make the player's sense of immersion double, and each line is like a magic, allowing the player to appreciate it sentence by sentence and analyze the metaphors in it.
"Swift Wolf" uses straightforward and exposed, but has another deep meaning, in the video game, which focuses on interactive experience carriers, the first to achieve the pleasure of reading, with "seeing" to give players the motivation to play and explore. This is very different from the general gameplay of video games, which is very different, and even seems to be a bit of a lack of commitment.
But you can't deny that when these spicy text arrangements are combined into short sentences, they do have unexpected effects.
The script of "Swift Wolf" is just right to find a connection point between virtual and reality, which seems to be a reasonable dialogue in a magical background, but it also metaphorically expresses the state of mind of the player in reality. This arrangement, which blurs the boundaries of electronic software, provides a full sense of substitution and topicality for the game, and creates a novelty with rotten vulgarity.
In other words, "Swift Wolf" is reflective, and the absurd is mixed with introspection. Telling the truth with jokes is also a unique behavioral trait of contemporary people. The frankness and tore of every rotten person in the game represents the other side of every player- at least, it will be the epitome of some personality. This invisibly outlines the humanistic care for the game, and the game establishes a communication with the player's spiritual world with words, so that the player is immersed in the game's massive dialogue lines.
However, the fancy lines are not a means for "Swift Wolf" to cover up the shortcomings, its gameplay is as powerful as the script, and the style is equally strong.
I'm not a master of fine art, and I can't explain to you in technical terms where it's so powerful, but if you look at a screenshot, you can guarantee the taste.
"Swift Wolf Rush" adopts the AP point system turn-based gameplay mode, the lower grid represents the distance, the numbered grid represents the favorable terrain, and the various values on the mech represent the loss of each area, and the simple and clear UI design makes the game effortless to play.
At the same time, the driver, one of the main characters in the plot, is also part of the content of the battle. Whether it is the body or the pilot, the content can be customized, providing enough patience for "Wolf Rush", the main strategy of the gameplay, so that the game has enough routines to try.
For example, if the offensive core ends the game early, or keeps the defense exhausted until the opponent runs out of ammunition, or even relies on some less honorable off-field means, the characters in the game can do whatever it takes to win the game.
The protagonist group, built on the basis of mechanics, drivers, and generalists, provides plenty of choice both inside and outside the gameplay. For example, in the first battle of the game, Shadow sells the entire game, and the deceived driver is unaware of it.
"Swift Wolf Rush" unfolds a series of main plots from the perspective of "Shadow", and intersperses it with combat gameplay and garbage words, connecting all kinds of characters in the game together. As the number of characters increases, the story behind each character is dug up, and more features and plot options, npc favorability will also be unlocked, and finally serve the narrative of the game together. This establishes the source of the game's driving force.
Whether it is fighting, chatting and spanking, making money or listening to songs, it can be said that everything in the game is for the advancement of the plot and the excavation of the character story. Perhaps, you are running for the battle of giant robots, but under the subtle influence of the game flow, these strong styles of dialogue and the burst of character stories will make players gradually tend to dissect the story core of "Wolf Rush", rather than clinging to every battle.
It is worth mentioning that whether it is combat or daily life, or even the page of the customized robot, the garbage words are the elements of the implementation, which maintains the tone of the game and does not appear to be the rhythm of the game.
In a way, you can think of Wolf Rush as a game that "sees" better than "plays" because it has a lot of maps and non-stop repetitive runs, as well as dialogue performances that can't be fast-forwarded.
In order to enrich the emotions of the characters, the game inevitably provides an almost lengthy plot preparation, which leads to a much smaller proportion of combat elements. Players may have to wait half an hour, or even an hour of reading experience, to usher in an exhilarating battle.
The lack of proportion of combat gameplay may make players who do not like to read sleepily.
But this kind of "play" is obviously one-sided, just a summary of the combat gameplay, and it is the concretization of manipulation. The game provided by Wolf Rush is a more holistic and atmospheric gameplay experience.
For example, in the ten hours of almost a drama experience, the game soundtrack is very suitable for the plot performance and the game scene. I'm not a professional, but the film and television experience provided by "Swift Wolf" is all-encompassing comfort — country, blues, rock and roll genres corresponding to cowboys, bars, and rings. Through the screen, the game reflects the seemingly monotonous color lines in the eyes of the player, but it is enough to describe the picture with gorgeous, and the ears hear the rhythm that is completely in line with what is seen in the eyes.
In this combination, players will unconsciously immerse themselves in the world constructed by the game, enjoying the atmosphere created by lines, battles, plots, and music. This process of experiencing the atmosphere, along with the process of discovering the story, and the process of manipulating the robots to fight, together constitute the neat and complete play of "Wolf Rush".
This sounds a bit literary, and the literary and artistic seems to cover up some deficiencies. However, the gameplay of "Swift Wolf" itself is not bad, but the proportion is small, it chooses narrative as the core content of the game between narrative and manipulation, and the proportion of manipulation inevitably declines, which is the trade-off of the game's creative ideas, which is the premise of the game to choose players, and at the same time, this also clarifies the audience group of "Swift Wolf".
Under the two-way choice between the game and the player, the player who can stay needs at least a little affection, have a little time, and it is best to have some bad taste, otherwise it is difficult to keep the glass heart broken in a large number of garbage words. And not only enjoy the pleasure of manipulation, reading and exploring, if it can also become one of your pleasures, then "Wolf Rush" almost reached the bottleneck that this category can reach, and it will certainly bring you a worthwhile game experience.