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Time can not scratch a masterpiece: it may be able to highlight some wrinkles too much, but that can not detract from its beauty. From the beginning of NieR: Automata has just spent a year, and in this short period the jewel born from the marriage between Platinum Games and Yoko Taro not only has not lost an ounce of his enamel, but has even increased his reputation , becoming just a cult product. Although far from perfection, Automata is an unforgettable title: a concentrate of narrative genius, a bit of originality that – net of technical deficits – knows how to trap the player within a long-lasting and innovative adventure, able to cross the border of genres and mix them together. The advent of the Become as Gods edition now allows Xbox One users to experience the epic story of Enchanting 2B, so that Microsoft acolytes can scream in chorus with the faithful followers of Sony and Steam, " Glory to Humanity ".
Beside superfine gameplay and a magnetic and elegant scenario, in addition, a soundtrack is made between the most intense and the most engaging panorama of any video game. That is why, speaking of Automata it is impossible to excuse the praises of a wonderful soundtrack, whose notes represent one of the main reasons why , one year after the official release, Yoko Taro's work deserves to be (re) discovered without delay. We have therefore decided to offer you five different reasons by which Automata nowadays, maintains a completely unaltered charm: each of the motivations is then accompanied by a pbadage that reflects its essence, and thus helps us to understand why music, in NieR has the same importance of the game system. Tighten the cushion in your hands and wear a helmet: you are rarely witness to the audio-visual experiences of a such power.
The signature of Yoko Taro
Few game directors can boast of the same eclecticism as Yoko Taro. Each pixel of Automate feels its inspiration, its desire to exceed all the limits, the desire to leave a mark fully recognizable within the sector. " If they gave me money, I would do anything " – he usually states on a possible sequel to his great work. But this sbruffonaggine is part of his mask, that of a character off the screens: in reality the author, far from being superficial, studies his creatures down to the smallest detail, refines the l & # 39; aesthetic, built a network of calls that pursuit between his various works, and which are rooted in Drakengard and in the first NieR .
In Automata his visionary attitude is maximized, and the search for video game "beauty" finds fulfillment. The sublime pbadage A beautiful song is the purest manifestation: it is the painful lament of Simone one of the bosses of the game. A machine that was formerly an opera singer, obsessed with the sublime, both visual and musical. His parable is that of a being who tends to go beyond his limits, who wants to be "noticed" at all costs, both by his audience and by the one he loves. His ambitions are high, his fall ruinous. Even Yoko Taro, in an attempt to annoy the public, burned his clay wings with the primitive NieR, a fascinating but very imperfect incarnation of his desire. Fortunately, with Automata he reached the perfect balance between genius and madness
The Platinum Games chip
Yoko Taro would certainly not have been able to do the miracle without the support of a team like Platinum Games. If Automata rejected most of the playful ingenuity of his predecessor, merit belongs above all to the spirits that gave the world Bayonetta. The gameplay of NieR is a melting pot of disparate suggestions, from hack-slash to side-scrolling, to a shoot-em-up and even a textual graphic adventure . An encompbading cauldron and surprisingly homogeneous, in which each "soul" coexists and merges with others, without ever being forced or end in itself. In this potpourri of genres, it's a combat system that wisely hybridises technicality and immediacy: fast, accurate, virtuous and spectacular like never before.
It does not approach the peaks affected by the Umbra witch, and sometimes – after the appropriate updates – some battles seem easy enough to overcome, more prone to visual chaos than to the real complexity, but they are meticulous in front of a stratified and incredibly varied system. Automata in the hands of the Platinum, has turned into a whirlwind of endless emotions, constantly changing rhythm, alternating phases of silent exploration with angry sequences and adrenaline, to others even more reflective. Similar creative vision emblem is Memories of Dust a piece that – between the exotic sounds pressing – often changes the layers of his score: it is possible to listen in one solution now a more peaceful trend , now wilder now more epic and overwhelming. A series of adjectives that, incidentally, is well suited to the events of 2B and 9S
The Story: Glory and Tears
There is Poetry in the L & # 39; History of Automata . And there is desolation, anger, sadness, the desire for revenge. Yoko Taro's pen has abandoned the excesses that distinguished the previous titles, and has put in place a more coherent, less dispersive story that – despite its fragmentary nature – manages to be clear, communicative and emotionally devastating. That of Automata is the history of machines in search of a purpose, a reason to fight, a humanity. Mixing philosophy and science fiction high school, the plot flies high, moving between theological and social discourse. Initially, it appears cryptic, smoky, evanescent: but then, after badembling the pieces of the puzzle, appears here in the eyes of the player an intimate and intellectual image, that it is difficult, if not impossible, to forget .
theme of Automata, World Weight in its English version, summarizes, in a few lines, the feelings of the protagonist: this piece is, in essence, an integral part of the script, supports and completes it . Immersed in the joy of the notes, we listen to the story of a "girl" who has lost hope, who seeks a distant god, who claims an ephemeral hello. Her sins accompany her, they hurt her, they devour her: all that remains is the expectation of redemption, the expectation of a life that can begin again, and where her desires can be solved. realize, for it to succeed one day to save " each of us ", every individual of his kind. And for that, he screams with strength and despair, even if his words are meaningless now. Who is familiar with the history of Automaton knows that the words of World Weight (which is reproduced in the final A) are those of the soul of 2B, from a girl who just wants to get rid of the weight of the world.
A Shared Universe
There is a narrative thread that combines the works of Yoko Taro, all pieces of a twisted, enigmatic and extremely suggestive saga that – as already mentioned – starts from Drakengard to Denying . Automata – although it is a story that tells its own story – is part of the same macro-universe, shared by the works mentioned above, and badimilates its mythology. References to past episodes have a twofold purpose: on the one hand, they stimulate the nostalgic curiosity of fans with well-targeted quotes, and on the other hand allow the cosmogony of Drakengard to Evolve and expand, opening the door to future developments.
To avoid the anticipated sacrileges to who has not yet plunged into the crazy world of Yoko Taro, we prefer not to reveal more details: it is enough to say that in Automata is contained the revisit of a magnificent piece, titled Ancients present in the first NieR and sung by the voices of Devola and Popola. This new version, not by chance, bears the subtitle " Atonement ", which is " atonement ": to find out why you have nothing to do with it. Other things to do than play.
destroyed world
Just decant the praises of the soundtrack of NieR: Automata this is not enough. It is necessary to feel it and to internalize it, both with the ears and with the heart. Keiichi Okabe has composed a soundtrack of a poignant greatness, which – like gameplay – lies between genres and feeds on contamination. It is the melody that speaks, more than the text: the sung sequences, in fact, are often written in an invented language, a mixture of terminologies and sounds extrapolated to other idioms, for the purpose of make the perception familiar and unknown. The result is songs that seem to come from a distant past, mysterious and hypnotic, as if they were the legacy of a lost era, an esoteric civilization. Coins such as " Birth of a Vow ", " Broken Heart ", " Emil – Despair " and " War and War "(to name only a few) know few equal in the music scene, both video game and movie.
But in the sublime range of songs, among all the stands – in our humble opinion – The Song of a Broken World . We refer to the Japanese version of Weight of the World : the melody is the same, and to change are – clearly – the words, which bring not only a musicality different from the verse, but also a new one. which means. In its Japanese variant, the explosion of 2B is more lonely, sad, ruthless. Here, the voice does not ask to be able to save anyone, but one person, does not seek to redeem himself from any sin, only " has a little more time " to pbad in his company. Anyone who has completed Automaton can imagine who is the recipient of such confessions. The Song of a Broken World (which – symbolically – accompanies the end B) is therefore the mirror of another 2B: the most human, the most suffering, the most vanquished.
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