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Yazuka Kiwami 3 Director Defends Casting Alleged Sexual Assaulter

Yazuka Kiwami 3 Director Defends Casting Alleged Sexual Assaulter https://ift.tt/igaM6xe Yazuka Kiwami 3 director Ryosuke Horii justified the controversial casting of actor Teruyuki Kagawa as Goh Hamazaki in a recent interview, saying, "We tried to think of someone who makes you go, 'This guy's a creep.'" Horii spoke to Japanese outlet GAME Watch (independently translated by IGN ) about the casting, which has drawn criticism because Kagawa has been accused of sexual assault. Horii said the team made their decision based on what performance they would most like to see in the game. "Hamazaki is a sleazy, persistent, and militant yakuza, right?" Horii said. "Since he isn't an explosive character like Kanda, when we tried to think of someone who makes you go, 'This guy's a creep,' naturally it was Kagawa--that was the main factor. Kagawa's acting is fun to watch. Even when he's chopping a pig's feet off with a chef's k...
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How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later https://ift.tt/GvgXNM4

The Borderlands franchise holds a peculiar place within the history of the gaming industry, kickstarting a genre that has gone on to become a different kind of beast. After all, though the concept of combining both RPG and first-person shooter mechanics was first seen in 2007's Hellgate: London, the loot-shooter genre owes its popularity to 2009's Borderlands. And yet, today, many of the most popular loot-shooters are also live-service games (like Destiny 2 and Warframe). Borderlands is not, having never adopted that format. It instead has multiple sequels--some of which diverge from the original game and don't feature any looting or shooting.

Like these other live-service game franchises, however, character-driven storytelling has been one of the main unifying pillars of Borderlands, which has been supported by a writer's room. "Gearbox is casually unique in the sense that we maintain a writer's room," Gearbox Entertainment associate director of narrative properties April Johnson told me. "So we don't just plunk you to work on a project and say, 'Okay, enjoy the two of you doing this--we have multiple things that we are working on, so we won't Voltron up as a full unit until later.'"

Having a constant writer's room is a strategy you usually see in story-driven live-service games where maintaining a narrative vision over multiple years--over a decade in the case of some games like Destiny--is important. It's not often seen in AAA franchises that feature several sequels and recruit a new set of writers from project to project. Gearbox Entertainment is not wholly unique in this strategy within the gaming industry, but it is a rare exception and the team points to this as one of the reasons for how the studio has managed to curate a specific narrative voice across all its projects.

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