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战斗力 鹅
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注册时间 2009-8-26
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https://bbs.saraba1st.com/2b/thread-1976279-1-1.html
https://www.gamespot.com/reviews/cyberpunk-2077-review/1900-6417622/
这次直接帖原文+DeepL机翻好了：
Cyberpunk 2077 has standout side quests and strong main characters, though its buggy, superficial world and lack of purpose bring it down.
Early on in Cyberpunk 2077, there's a series of side quests that has you tracking down rogue taxis run by faulty AI. You have to talk one of the taxis down from ** as it contemplates driving off a bridge, while another needs to be brute-forced into behaving, and a third is an obvious reference to a famous video game AI that manipulates you as you chase it down. It's one of the best minor questlines in the game, an intriguing and surprisingly human substory that rewards you with lots of much-needed cash. It's also an excuse to send you to every corner of Night City, a clever introduction to all the areas you haven't yet been.
I spent a lot of my playtime following side-quest threads like this one, excited about the premise and hoping to find something as interesting or fun or rewarding at the end and, in many cases, I did. But now, after finishing the main story, I can't see how most of those activities fit into the overall narrative or the character I was playing. The main story doesn't even gel with itself.
Cyberpunk 2077 draws heavily from its source material, with everything from the world itself to the life and death of Johnny Silverhand coming from its pen-and-paper inspiration. But unlike in a tabletop RPG, you aren't playing a role of your own creation in Cyberpunk 2077; you're playing V, and this is V's story, not yours. I often felt like I was role-playing two different characters: one V for the side quests and one more limited V for the main story.
That's mostly because the main story puts you on a clock. It's not literally on a timer, but it is very urgent in the way that RPG stories often are, and it has the same pitfalls as a result. It feels weird to do throwaway fun stuff when you have a serious, ever-present threat to attend to, and in V's case, it just doesn't make sense to dally.
You have more freedom to play the character you really want to during side activities, but main-story V has clearly defined priorities. I often couldn't find the character I'd been developing via side quests when I returned to the main plot--not in how I'd been shaping her personality as she reacted to events, nor in the hacker I built as she was forced into more traditional boss fights.
Welcome To The Machine
I knew from the outset that I wanted to play as a hacker, so I sped through the character creator, gave my V points in intellect and cool for hacking and stealth, respectively, and started the game. I had picked the Nomad lifepath out of the three total options because it was the only one that positioned V as an outsider to Night City; I figured that I didn't know Night City yet as a newcomer to the game, so why should V?
From what I can tell, that lifepath choice didn't affect more than the way the game starts and some dialogue options throughout (and possibly some minor side quests). Now that I've finished the story, I'm much more curious about the Corpo lifepath, in which V used to work at antagonist corporation Arasaka, and how that fits into what I played, but it doesn't feel like a majorly important decision in my experience.
The real RPG core is in your five main stats, which are further split into two or three different skill trees, each providing various benefits to combat, stealth, hacking, and so on. Using these subskills will passively level them up and give you additional benefits, ensuring you grow according to how you play in addition to how you actively invest points as you level up.
Looking the part (captured on PC by GameSpot producer Jake Dekker)
The parent skills mainly govern what dialogue options you can use and what kinds of doors you're able to open, at least in the moment-to-moment (they otherwise provide minor stat boosts). Because of this, I tended to invest skills based on my curiosity in conversations or to access areas I wanted to explore. For example, I'd bank points until I found myself in front of a door that required X points in body to force open, and then I'd level up right there and then so I could see what was behind the door. Because the subskills have their own leveling and points system, I found I could freely invest overall skill points without sacrificing my hacking goals--at least when it came to the traditional RPG progression.
Hacking into computers and transferring money to your account is one thing; it only requires enough points in the intellect parent skill, just like how body allows you to open certain doors. On the other hand, quickhacking, which allows you to manipulate cameras, turrets, enemies, and more in hostile scenarios, requires a lot of cyberware investment. Specifically, you need a good cyberdeck--which determines how many different quickhacks you can equip--that has enough RAM so you can use ones that demand more memory.
Cyberware in general is not cheap. On top of that, an early story mission is gated by a significant sum of money, so I had to do a lot of grinding before I could afford a proper cyberdeck that made my quickhacks truly effective. Until then, I felt like I had to use guns a lot more than I wanted to, which didn't fit with how I initially built my character. I didn't mind the guns overall, though; while it's not on par with dedicated first-person shooters, the gunplay is decent. It's a little clunky, even after tweaking my sensitivity settings, but the aim assist does the heavy lifting.
Once I got a good cyberdeck and equipped better quickhacks, combat really picked up for me. I had a quickhack that reset an enemy's optics--pretty much everyone in Night City has cyberware in place of organic eyes--and temporarily blinded them, which allowed me to sneak past. I was able to shut off entire camera systems easily and set turrets to "friendly mode" so they wouldn't shoot me on sight. I approached most encounters like a puzzle: I'd hack into the camera systems to see how many enemies I was dealing with, then figure out who to distract and in which direction so I could move from room to room undetected. If that didn't work, I at least knew I could jam their weapons or shock their systems from afar.
When I found my rhythm and found the cash, I really enjoyed quickhacking as an alternative approach to combat, and it was always satisfying to get in, steal a bunch of money off some computers, and get out without being spotted.
You can buy much nicer cars in Cyberpunk 2077, but all of them get you where you're goin'.
Because I was so focused on this aspect of my character (and saving money to invest in it), I didn't end up spending much time on other approaches; I got the mantis blades, which are cyberware swords that spring out of your arms, so late in the game that I barely used them. Other cyberware upgrades, like a leg modification that gives you a double-jump, were so expensive that I'd have to opt to take on side jobs just to afford them, though this becomes easier later in the game when those gigs have bigger payouts.
In fact, most nice things in Night City are prohibitively expensive, and I found that money was often the only obstacle when it came to progression. Granted, I was playing Cyberpunk on a tight deadline, so I couldn't spend much time doing odd jobs. But there is a ridiculous amount of stuff to buy and seemingly endless moneymaking jobs to take on. There's even a whole section in your quest journal dedicated to all the cars people have offered to sell you--though you start the game with a car, and I got multiple free vehicles for completing side quests, so I never bought a car and couldn't find a real reason to.
Mad City
That's emblematic of the world of Cyberpunk 2077. It is so full of things to buy, to do, to see, and yet so much of it doesn't feel essential. Night City is massive, and while you can fast travel from specific points, you'll often need to walk or drive a bit to your destination. I started to compare prices from one ripperdoc to the next--they're how you upgrade your oh-so expensive cyberware--but stopped after the third because I didn't want to drag myself across the city all day. I went clothing shopping only once for the same reason, and I'd managed to loot more than one cute outfit off of corpses anyway. There's even an entire crafting and item upgrade menu that I never actually needed to use, given that I was regularly looting better gear and items off my numerous enemies; at least in my playthrough, I had no reason to engage with these systems at all.
Night City is beautiful and vile. The architecture is often stunning, and some of my favorite sections of the game were when I drove from one district to the next, radio turned up, taking in all the neon lights and monolithic megabuildings piercing the sky. Then I'd get out of the car and hear one of the oft-repeated advertisements blaring out onto the street and quickly snap out of the reverie of driving. There's one ad that's just a man making a long, exaggerated orgasm sound that tended to pierce through any conversation I was having.
「It's a tough world and a hard one to exist in, by design; with no apparent purpose and context to that experience, all you're left with is the unpleasantness.」
The ads are one of many, many aesthetic choices in Cyberpunk 2077 that are grating with no real point. There's one ad in particular that was the topic of much discussion pre-release; it features a feminine person with a giant, exaggerated, veiny erection in their leotard and advertises a drink called Chromanticore with the tagline "mix it up." It is everywhere. And while the "purpose" of it may be to show what a sex-obsessed, superficial, exploitative place Night City is, there's nothing in the main story or any of the side quests I did that gives it even that much context--I found just one message on one of the many computers I logged into that commented on how low-brow Night City culture is. The result is that there's a fetishization of trans people at every turn, in a game with only one very minor trans character (that I found, at least) and no way to play as an authentically trans character yourself.
I found and read tons of text logs, scoured people's private messages, listened to radio and TV programs and random NPC conversations, and I struggled to find justifications for many of Cyberpunk's more questionable and superficial worldbuilding choices. It's a world where megacorporations rule people's lives, where inequality runs rampant, and where violence is a fact of life, but I found very little in the main story, side quests, or environment that explores any of these topics. It's a tough world and a hard one to exist in, by design; with no apparent purpose and context to that experience, all you're left with is the unpleasantness.
Scenes from Night City.
There are instances where the game does start to do more with an initially superficial choice, but these threads are often dropped quickly. For example, in the pen-and-paper game, the Voodoo Boys were a group of mostly white men who used "voodoo" stereotypes to scare people. In 2077, they are a group of Haitian people displaced by natural disaster (by my interpretation, one caused by climate change). At one point in the main story, you can ask a Voodoo Boys member what the name is about, given they don't actually do anything associated with "voodoo"; he tells you to ask the people that call them that and refuses to tell you what they call themselves. There's a seed of an interesting idea here--the labels given to the "other," diaspora, the trauma of losing your home--but none of this is ever explored again in the main story as I played it, nor in any of the many side quests I played, either. I didn't find another opportunity to interact with the Voodoo Boys at all.
There's so much to cover that I can't possibly touch on everything, but my experience is that there are aspects of the game that feel lost in translation, invoking cultures that aren't adequately explored or contextualized. Characters in one side quest use the word "ofrenda" as if it means "funeral" when it's actually a particular kind of altar primarily for Day of the Dead--it's unclear to me if this is a translation issue or an overall misunderstanding of Mexican customs, since you do put together an altar during the event that's being called "the ofrenda." As another example, you can go to a clothing store in Japantown and buy "yukata" that are just wrap shirts bearing only the slightest resemblance to real yukata. It's not that Cyberpunk always gets everything wrong in its incorporation of a variety of cultures and backgrounds but that the world is so big and unruly that I never knew what I would find around any corner or if I'd understand what the intent behind it was--I just grew to accept that whatever I did find, at least in terms of setting and worldbuilding, would likely be superficial.
With A Little Help From My Friends
That's the case for the world overall and its background characters, anyway. You meet a lot of people in Night City, many of whom die in your wake like you're some sort of curse, while others just call from time to time with a job for you to do. The few that don't die and have proper arcs make up V's friends and love interests, and these are the characters that rightfully stand out.
The first is Panam Palmer, who wins the award for the best name in the game. She's a rough-around-the-edges type of girl trying to make her own way in Night City and leaving her Nomad family behind in the process. This was the one instance where I felt my Nomad lifepath actually enhanced the experience--by choosing the Nomad-related responses, I actually felt like I was bonding with Panam over our similar backgrounds. Her quests are often fun, poorly thought-out heists, and by the end, I really did feel like I'd made V a lifelong friend who would drop everything to help her out.
V with Panam Palmer, who is best described as a wonderful disaster.
My favorite character, though, is Judy Alvarez, an earnest, hot-tempered, beautifully human character with the best arc in the game. She edits braindances, which are kind of like VR movies where you can acutely feel the recorder's emotions (and they're often used for **). Judy is an incredibly gifted BD editor, and she's also a member of the Moxes, a gang of sex workers that look out for one another. Judy's story unfolds thanks to her fierce and endless desire to fight for her friends, which leads to some of the most interesting quests in the game--and some of the only ones that give you the ability to properly fight back against such a bleak, exploitative world. The final section of Judy's arc was my favorite in the entire game. It's a quiet respite from the lights and sounds of the city, an intimate look into the soul of her character, and provided you meet the requirements, contains the only sex scene I saw that didn't make me want to die on the spot.
Romance doesn't play a major role in Cyberpunk, at least in what I saw and played, but you can sleep with sex workers and the occasional random NPC--although I wouldn't recommend it. The sex scenes are all POV-style to fit with the game's first-person perspective, and they are awkward. One was so awful that I actually rolled back my save and told the guy I'd rather be friends instead. He took it like a champ.
Keanu Reeves: The Man, The Legend
Legendary rockerboy Johnny Silverhand is with you for the vast majority of the game, showing up in pretty much every mission to try to influence your decisions, make snide remarks, or just kick back on a bed in the background while you talk to someone. His relationship with V is often antagonistic, sometimes playfully so, and other times outright hostile.
Johnny is, simply put, an asshole. It's a testament to Keanu Reeves' performance that I actually liked him. He treated his friends badly and women worse. As dialogue options routinely point out, he may or may not qualify as a terrorist; before he died in 2023, he planted a nuke inside Arasaka Tower, an attack against corporate imperialism that ended up killing a lot of people and an important event in the original tabletop game. He's the kind of guy who gets away with far too much, and based on what I learned about him throughout the game, I'm surprised he died at the hands of Adam Smasher rather than by choking on his own vomit after a bender.
「Johnny is, simply put, an asshole. It's a testament to Keanu Reeves' performance that I actually liked him.」
Reeves is somehow able to make all of this interesting and kind of charming rather than extremely off-putting. For the most part, Johnny is a well-written character in that I was always curious to hear what he had to say and how he interpreted the situations we were in--I was never quite sure if his advice was any good or if his opinions had any merit, but I wanted to hear him out every time. It's Reeves' delivery of these lines, which often involve Johnny chastising you for something or other, that really sells the "lovable jerk" vibe that I would normally find overplayed.
The push-and-pull of Johnny's opinions and your own adds a lot of color to even run-of-the-mill missions. At one point I didn't heed Johnny's condescending warnings and accepted a deal from a character who ended up tricking me, which also resulted in a lot of people dying (oops); another time, I pursued a side quest only because he practically begged me to do it, saying it was the most interesting thing we'd stumbled upon in a long time (and it did end up being unlike anything else in the game). The dynamic is compelling and left me on my toes, always wondering if I should listen to Johnny or follow my initial instincts.
Keanu Reeves as Johnny Silverhand in Cyberpunk 2077.
I'm not sure if there were necessarily any completely right or wrong choices in a lot of those missions, but Johnny's presence, and the ambiguity it brings, is supposed to have an effect on V's psyche, for better or for worse--it's a factor of the circumstances that put him in V's head in the first place. That Johnny could affect my decision-making, as well as how I interpreted each interaction, is a clever way to convey that.
Bullet In The Head
Aside from character highlights, side quests are far and away the best part of the game. Like the rogue taxi one I mentioned at the beginning of this review, there are quite a few clever, interesting, goofy, and sad side quests that I really enjoyed. On a gameplay level, they often provide a nice change of pace from the more combat-focused main story; sometimes you just talk to people, while a more involved one has you doing favors for Johnny since he's, you know, technically dead.
One especially intriguing side quest had me playing detective, investigating a mysterious break-in at the apartment of a Night City mayoral candidate. Mechanically, it's a simple open-world "use your ability to highlight clues" gimmick, but what follows is a fascinating and kind of creepy look at Night City corruption, gaslighting, and whether it's better to tell someone the truth if it means it could get them killed. Conversely, I also did a really silly quest that involved a clown man with a grenade for a nose that had no point but was delightful in a weird way.
He's literally just a clown, but I kind of love him?
Side quests amounted to around 35 hours of my total playtime, and they were what propelled me through. While not every one lands, there are some that feel essential in a way that very little else in the game does. These include Judy's story arc and the taxi excursion as well as a much shorter story about a depressed man who lives in V's apartment building. Even on the tight review deadline, I kept finding myself seeking out just one more side quest before bed just because I was eager to see what I would find.
All that said, when I finished the game, I felt empty. All the friends I had made, what I learned about Johnny, the way I developed my V as a character--much of it didn't seem to matter. Making friends in a lonely, sad city doesn't affect the urgency of V's main quest, and it doesn't seem to affect her priorities related to it. Discovering a police-sponsored murder coverup or the depths of corporate control of Night City life doesn't seem to change V's ambitions to be remembered as a legendary Night City merc. Falling in love didn't even give my V what she wanted.
「I got a lot out of the side quests and some of the characters, but I got very little out of the overall story.」
I don't quite understand the ending I got, but it made me sad. It didn't reflect the V I felt I'd developed, one who helped her friends and followed her curiosity. Worst of all, I have no idea what Cyberpunk 2077 is even trying to say. There's an overall theme of identity that is dashed by the dissonance between the V you actually play and the V you get in the end; otherwise, I couldn't tell you what Cyberpunk is trying to do with its beautifully grotesque world. I got a lot out of the side quests and some of the characters, but I got very little out of the overall story.
2+2=5
It also bears a mention: Cyberpunk 2077 is phenomenally buggy. I played a pre-release build that was updated during the review period, and there's a day-one patch planned as well, but the scale of technical issues is too large to reasonably expect immediate fixes. I encountered some kind of bug on every mission I went on, from more common, funnier ones like characters randomly T-posing to several complete crashes. I didn't notice much of an improvement after the update, either. In a very late-game, very important fight, the game froze on me--twice. I ended up taking a break out of frustration before attempting, and finally succeeding, the third time.
These bugs, more than any game I've played in years, took me out of the experience often. Non-interactable items like cardboard boxes will explode when you interact with something next to them; UI elements will stay on-screen long after they're meant to, which is only solved by reloading a save; characters will interrupt themselves during proper dialogue sequences by repeating a throwaway line they'd say in the overworld, seriously disrupting key moments; I died once and, upon reloading my last save, found my hacking ability no longer worked, forcing me to roll back to an autosave 10 minutes prior. The list is extensive.
This was the only bug I actually took a screenshot of.
The technical problems not only took me out of the game literally but also led me to question whether certain things throughout the game were intentional. It often took me a moment or two to determine whether a visual glitch was supposed to be happening due to V's cyberware, which is a major part of the story, or if I needed to reload the game. There were a few instances where I couldn't tell if dialogue or an event had been skipped due to a bug or by design, since there are times where the game will skip you ahead in time as part of a scene. I also found some exploration sequences frustrating because it was incredibly hard to tell if I was just missing the clue I was supposed to find or if it hadn't popped up at all, and I ended up leaving areas and coming back later on multiple occasions out of confusion and frustration. At least once, I didn't get a dialogue hint indicating what to do until I left the area and came back.
I was playing on a gaming laptop well above the minimum specs announced for Cyberpunk 2077, while another GameSpot player experienced the same severity and frequency of bugs (though no hard crashes) on an even higher-end desktop PC. Your mileage may vary, but in our experience, the bugs are obtrusive and substantial across the board, often forcing us to reload saves or exit the game entirely. It's hard to get really into a world you constantly have to leave.
But then it's hard to get into Cyberpunk 2077's world in general. So much of it is superficial set dressing, and there's so much happening all around you--ads going off at all times, gunfights breaking out in the streets, texts coming in about cars you'll never buy--that a lot of the game feels superfluous. The side quests and the characters they showcase are the shining beacon through the neon-soaked bleakness of Night City, and they give you room to explore the best the core RPG mechanics have to offer. These are what carried me through an otherwise disappointing experience.
《赛博朋克2077》有突出的支线任务和强大的主要角色群，但它的bug、肤浅的世界和缺乏目的性让它沦陷。
在《赛博朋克2077》早期，有一系列的侧面任务，让你追踪由有问题的AI运行的失控出租车。你必须劝说其中一辆出租车不要自杀，因为它正考虑开下桥，而另一辆则需要用蛮力迫它规矩点，第三辆则明显是指一个著名的电子游戏AI，在你追捕它时操纵你。这是游戏中最好的小任务之一，一个有趣且令人惊讶的人类分故事，奖励你很多急需的现金。这也是一个借口，可以把你送到不夜城的每一个角落，巧妙地介绍你还没有去过的所有区域。
我花了大量的游戏时间去关注像这样的支线任务线，我对这个前提感到兴奋，希望在最后找到一些同样有趣或有趣或有价值的东西，在很大程度上我做到了。但如今，在完成主线故事后，我看不出这些活动中的大多数如何融入整体叙事或我所扮演的角色。主线故事甚至没有与自己融为一体。
《赛博朋克2077》在很大程度上借鉴了它的素材，从世界本身到约翰尼-银手的生死都来自于它的纸笔灵感。但与桌面RPG不同的是，在《赛博朋克2077》中，你并没有扮演一个自己创造的角色，你扮演的是V，这是V的故事，而不是你的故事。我经常觉得自己在扮演两个不同的角色：一个V负责支线任务，一个更有限的V负责主线故事。
这主要是因为主线故事把你放在一个时钟上。它并不是字面上的计时器，但它是非常紧急的，就像RPG故事经常是这样的，它也因此有同样的陷阱。当你有一个严肃的、时刻存在的威胁要处理的时候，做一些丢三落四的有趣的事情感觉很奇怪，而在V的情况下，蹭蹭蹭的感觉就没有意义了。
在副线活动中，你有更多的自由去扮演你真正想扮演的角色，但主线V有明确的优先级。当我回到主线剧情时，我经常找不到我通过支线任务发展起来的角色--在她对事件的反应中，我一直在塑造她的个性，在她被迫进入更传统的boss战时，我打造的黑客也是如此。
欢迎进入这部机器
我从一开始就知道自己想玩的是黑客，所以我在角色创建器中飞快的完成了任务，分别给我的V点了智力和酷炫的黑客和隐身，然后开始了游戏。在总共三个选项中，我选择了游牧者的生活轨迹，因为这是唯一一个将V定位为不夜城的外来者，我想，我作为一个新手还不了解不夜城，为什么要让V了解呢？
据我所知，那个生活轨迹的选择除了游戏开始的方式和整个游戏中的一些对话选项（可能还有一些小的支线任务），并没有更多的影响。现在我已经完成了故事，我对Corpo的生活路径更加好奇，其中V曾经在对立面公司Arasaka工作，这与我所玩的游戏有什么关系，但在我的经验中，它并不觉得是一个主要的重要决定。
真正的RPG核心在于你的五项主要数据，而这些数据又被进一步分割成两到三个不同的技能树，每个技能树都为战斗、隐身、黑客等提供不同的好处。使用这些子技能会被动地提升它们的等级，并给你带来额外的好处，确保你在等级提升时除了主动投入点数外，还能根据你的游戏方式成长。
看起来很像 (captured on PC by GameSpot producer Jake Dekker)
母技能主要支配着你可以使用什么对话选项，以及你能够打开什么样的门，至少在当下是这样的(除此之外，它们还能提供轻微的数据提升)。正因为如此，我倾向于根据自己在对话中的好奇心来投资技能，或者进入我想探索的区域。例如，我会将点数存入银行，直到我发现自己在一扇门前，需要X点身体才能强行打开，然后我就在那里提升等级，这样我就可以看到门后的东西。因为副技能有自己的等级和积分系统，我发现我可以自由地投资整体技能点，而不牺牲我的黑客目标--至少在传统的RPG进阶时是这样。
黑客入侵电脑并将钱转到你的账户是一回事，它只需要在智力母技能中获得足够的点数，就像身体让你打开某些门一样。另一方面，快速黑客，可以让你在敌对场景中操控摄像头、炮塔、敌人等等，需要大量的网络软件投资。具体来说，你需要一部好Cyberdeck——它决定了你能装备多少种不同的快攻——它有足够的内存，这样你就可以使用那些需要更多内存的快攻。
网络软件一般来说是不便宜的。最重要的是，一个早期的故事任务是由一笔可观的金钱来控制的，所以我不得不做了很多的磨练，才买得起一个合适的网络装备，使我的快速攻击真正有效。在那之前，我觉得我不得不多用枪，而不是我想用的，这与我最初建立角色的方式并不相符。不过我总体上并不介意枪支，虽然它与专门的第一人称射击游戏不相上下，但枪支的玩法还是不错的。即使在调整了我的灵敏度设置后，它也有点笨拙，但瞄准辅助系统完成了重任。
一旦我有了一个好的赛博格，并装备了更好的快攻，战斗对我来说真的有了起色。我有一个快速攻击，可以重置敌人的光学系统--在夜城中几乎每个人都用电子软件代替了有机眼睛--并暂时使他们失明，这让我得以潜行过去。我能够轻易地关闭整个摄像系统，并将炮塔设置为 "友好模式"，这样他们就不会在看到我时向我开枪。我把大部分的遭遇都当作一个谜题：我会黑进摄影系统，看看有多少敌人要对付我，然后想出要引开谁的注意力，往哪个方向走，这样我就可以在房间之间移动而不被发现。如果这样不行，我至少知道我可以从远处干扰他们的武器或冲击他们的系统。
当我找到了自己的节奏，找到了现金，我真的很喜欢快速偷袭这种另类的战斗方式，而且总能在不被发现的情况下进入，从一些电脑上偷到一堆钱，然后离开，这让我很满意。
在《赛博朋克2077》你能买到更好得多的车，但所有车都能让你到达你目的地。
因为我太专注于我的角色这方面（和省钱投资），所以我最终没有在其他方法上花费太多时间；我在游戏后期得到了螳螂刀，这是一种从你的手臂上弹出的网络器剑，以至于我几乎没有使用它们。其他的网络软件升级，比如给你双跳的腿部改造，太贵了，以至于我不得不选择接一些兼职工作才买得起，不过在游戏后期，当这些工作有更大的报酬时，这就变得容易了。
事实上，《不夜城》中的大部分好东西都贵得令人望而却步，我发现在进阶的时候，钱往往是唯一的障碍。诚然，我玩赛博朋克的时间很紧，所以我不能花太多时间去打杂。但是有大量可笑的东西可以买，还有似乎无穷无尽的赚钱工作可以接。在你的任务日志中甚至有一整块区域专门用来记录人们提供给你的所有汽车--虽然你在游戏开始时就有一辆车，而我在完成侧面任务时得到了多辆免费车辆，所以我从来没有买过车，也找不到真正的理由。
Mad City
这就是《赛博朋克2077》世界的象征。它有那么多的东西可以买，可以做，可以看，但很多东西又觉得不是必不可少的。不夜城规模庞大，虽然你可以从特定的点快速旅行，但你经常需要步行或开车到你的目的地。我开始从一个ripperdoc到下一个ripperdoc比较价格--它们就是你升级你的哦--昂贵的网络软件的方式--但在第三个之后就停止了，因为我不想整天拖着自己穿过城市。出于同样的原因，我只去买了一次衣服，反正我已经成功地从尸体上掠夺了不止一件可爱的衣服。甚至还有一整个制作和物品升级菜单，但我实际上从来没有需要使用，因为我经常从我的众多敌人身上掠夺更好的装备和物品；至少在我的游戏中，我根本没有理由参与这些系统。
不夜城是美丽的，也是卑鄙的。建筑往往令人惊叹，我最喜欢的一些游戏部分是当我开车从一个区到下一个区，打开收音机，欣赏所有的霓虹灯和单体巨型建筑刺破天空。然后我就会下车，听到一个个经常重复的广告在街上响起，很快就会从开车的遐想中回过神来。有一则广告，只是一个男人发出长长的、夸张的高潮声，往往能穿透我的任何对话。
「这是一个艰难的世界，也是一个很难存在的世界，从设计上来说，这种体验没有明显的目的和背景，你剩下的只有不愉快。」
广告是《赛博朋克2077》中很多很多美学选择中的一个，它们没有真正的意义，令人讨厌。有一则广告在发售前就引起了广泛的讨论，它的主角是一个穿着紧身衣的女性，有着巨大的、夸张的、脉络状的勃起，并为一款名为Chromanticore的饮料做广告，广告语是 "混搭"。它是无处不在。虽然它的 "目的 "可能是为了展示夜城是一个多么沉迷于性、肤浅、剥削的地方，但在主线故事或我做的任何一个支线任务中，都没有给它提供哪怕是那么多的背景--我只在我登录的众多电脑中的一台电脑上发现了一条评论夜城文化多么低级的信息。结果就是，在一个只有一个很次要的跨性别角色（至少我发现是这样）的游戏里，处处都有对跨性别者的迷信，而且自己也没有办法扮演一个真实的跨性别角色。
我找到并阅读了大量的文字记录，搜罗了人们的私信，听了广播和电视节目以及随机的NPC对话，我努力为《赛博朋克》的许多更有问题和肤浅的世界建设选择寻找理由。这是一个大公司统治人们生活的世界，不平等现象猖獗，暴力是生活中的事实，但我在主线故事、支线任务或环境中几乎没有发现任何这些主题的探讨。这是一个艰难的世界，也是一个难以生存的世界，这是设计上的，没有明显的目的和背景的体验，你剩下的只有不愉快。
不夜城的场景
有的情况下，游戏确实会在最初的肤浅选择下开始做更多的事情，但这些线索往往很快就会被放弃。例如，在纸笔游戏中，巫毒男孩是一群主要由白人组成的团体，他们用 "巫毒 "的刻板印象来吓唬人。在2077年，他们是一群因自然灾害（根据我的解释，是气候变化造成的）而流离失所的海地人。在主线故事的某一点上，你可以问一个 "巫毒男孩 "的成员，这个名字是怎么回事，因为他们实际上并没有做任何与 "巫毒 "相关的事情；他让你去问那些这样称呼他们的人，而拒绝告诉你他们自己叫什么。这里有一个有趣的想法的种子--给 "他人 "的标签，散居者，失去家园的创伤--但这些都没有在我玩的主线故事中再次探讨，也没有在我玩的许多支线任务中探讨。我根本没有找到另一个与巫毒男孩互动的机会。
有这么多的内容，我不可能触及到所有的东西，但我的经验是，游戏的某些方面感觉在翻译中丢失了，调用的文化没有得到充分的探索或背景化。在一个侧面任务中的角色使用 "ofrenda "这个词，好像它的意思是 "葬礼"，但它实际上是一种特殊的祭坛，主要是为亡灵节准备的--我不清楚这是翻译问题还是对墨西哥习俗的整体误解，因为你确实在活动期间把一个被称为 "ofrenda "的祭坛放在一起。再举个例子，你可以去Japantown的服装店买 "浴衣"，那只是与真正的浴衣只有一点相似之处的裹身衫。这并不是说赛博朋克在融入各种文化和背景时总是出错，而是说这个世界如此之大，如此之不羁，以至于我永远不知道在任何一个角落都会发现什么，也不知道自己是否能理解它背后的意图--我只是逐渐接受，无论我发现什么，至少在设定和世界构建方面，都很可能是肤浅的。
在朋友的帮助下
反正这个世界整体和它的背景人物都是如此。你在不夜城遇到了很多人，他们中的许多人就像你是某种诅咒一样死在你的身后，而另一些人只是时不时地打电话给你，有工作要你做。少数不死且有适当弧度的人组成了V的朋友和恋人，这些角色理所当然地脱颖而出。
第一个是帕纳姆-帕尔默，她获得了游戏中的最佳名字奖。她是一个粗犷型的女孩，试图在夜城中闯出自己的一片天地，并在这个过程中抛弃了她的游牧民族家庭。这是我觉得我的游牧生活方式实际上增强了体验的一个例子--通过选择与游牧有关的反应，我实际上觉得我正在与Panam因我们相似的背景而建立联系。她的任务往往是有趣的，拙劣的抢劫，到最后，我真的觉得我已经让V成为了一个愿意放下一切来帮助她的终身朋友。
V与帕纳姆-帕尔默，用精彩灾难来形容他最合适不过。
不过我最喜欢的角色是Judy Alvarez，一个认真、脾气火爆、人性美好的角色，是游戏中弧度最好的角色。她编辑braindances，这有点像VR电影，你可以敏锐地感受到记录者的情绪（而且它们经常被用于色情）。朱迪是一位天赋异禀的BD编辑，她也是Moxes的成员，这是一个互相照顾的性工作者团伙。朱迪的故事展开得益于她为朋友而战的激烈和无尽的欲望，这导致了游戏中一些最有趣的任务--------也是唯一能让你有能力对这样一个阴暗、剥削的世界进行适当反击的一些任务。朱迪的最后一段弧线是我在整个游戏中最喜欢的。这是一个从城市的灯光和声音中安静地喘息的地方，是对她的角色灵魂的亲密观察，而且只要你满足要求，包含了我看到的唯一一个没有让我想当场死亡的**场景。
浪漫在《赛博朋克》中并不扮演主要角色，至少在我看到和玩过的游戏中是这样，但你可以和性工作者以及偶尔的随机NPC睡觉--虽然我不推荐这样做。**场景都是PVP式的，以配合游戏的第一人称视角，而且它们很尴尬。有一个太可怕了，我居然回滚了我的保存，并告诉那个家伙我宁愿做朋友。他像个冠军一样接受了。
Keanu Reeves: The Man, The Legend
传说中的摇滚小子Johnny Silverhand在游戏的绝大部分时间里都和你在一起，几乎在每一个任务中都会出现，试图影响你的决定，发表冷嘲热讽的言论，或者只是在你和别人说话的时候在后台的床上踢一脚。他和V的关系经常是对立的，有时是嬉皮笑脸，有时则是彻底的敌对。
简单地说，约翰尼是个混蛋。我其实很喜欢他，这是对基努-里维斯表演的肯定。他对朋友不好，对女人更不好。正如对话选项例行指出的那样，他可能有资格也可能没有资格成为**;在2023年去世之前，他在岚坂塔内放置了一枚核弹，这是一次针对企业帝国主义的攻击，最终杀死了很多人，也是原始桌面游戏中的重要事件。他是那种逍遥法外的家伙，根据我在整个游戏中对他的了解，我很惊讶他是死于亚当-斯马舍之手，而不是在一次狂欢后被自己的呕吐物呛死。
「约翰尼是，简单地说，是个混蛋。我居然喜欢上了基努-里维斯的表演，这是对他的肯定。」
里夫斯在某种程度上能够让这一切变得有趣和有点迷人，而不是非常令人厌恶。在大多数情况下，Johnny是一个写得很好的角色，我总是很想听听他有什么话要说，他是如何解释我们所处的情况的--我从来没有完全确定他的建议是否是好的，或者他的意见是否有道理，但我每次都想听听他的意见。里夫斯对这些台词的表达，经常涉及到约翰尼责备你的某件事情或其他事情，这才是真正卖力的 "可爱的混蛋 "的氛围，而我通常会发现这一点被过度渲染了。
强尼的意见和你自己的意见的推敲，即使是普通的任务也增添了不少色彩。有一次，我没有听从Johnny的居高临下的警告，接受了一个角色的交易，结果被他骗了，这也导致了很多人的死亡（哎）；还有一次，我追求一个支线任务，只因为他几乎是求我去做，说这是我们很久以来偶然发现的最有趣的事情（最后确实和游戏中的其他东西不一样）。这种动态很有说服力，让我一直提心吊胆，总在想是该听Johnny的话还是遵循最初的直觉。
基努-里维斯在《赛博朋克2077》中饰演约翰尼-银手。
我不确定在很多任务中是否一定有完全正确或错误的选择，但Johnny的存在，以及它带来的模糊性，应该会对V的心理产生影响，无论好坏--这是当初把他放在V脑中的环境因素。约翰尼可以影响我的决策，以及我对每一次互动的解释，这是一种巧妙的表达方式。
头部中弹
除了角色亮点外，副任务是游戏中最精彩的部分。就像我在本篇评测开头提到的流氓出租车一样，有不少聪明的、有趣的、愚蠢的、悲伤的侧面任务，我非常喜欢。在游戏层面上，他们经常提供一个很好的节奏变化，从更多的战斗焦点的主要故事;有时你只是和人说话，而一个更参与的任务让你为约翰尼做好处，因为他，你知道，技术上的死亡。
一个特别有趣的侧面任务让我扮演侦探，调查一个夜城市长候选人公寓的神秘闯入事件。从机制上来说，这是一个简单的开放世界 "使用你的能力来突出线索 "的噱头，但接下来是一个迷人的和有点令人毛骨悚然的观察，在夜城的腐败，煤气灯，以及是否更好地告诉别人真相，如果它意味着它可能会让他们被杀死。相反，我还做了一个非常愚蠢的任务，涉及到一个小丑人，用手榴弹做鼻子，它有没有意义，但以一种奇怪的方式令人愉快。
字面意义上的小丑一个，但我还挺喜欢他的?
副本任务占我总游戏时间的35小时左右，它们是推动我完成游戏的动力。虽然不是每一个都能落地，但有一些感觉是必不可少的，而游戏中很少有其他的方式。这些包括朱迪的故事弧线和出租车游览，以及一个更短的故事，关于一个住在V的公寓楼里的抑郁症患者。即使在紧迫的审查截止日期，我也不断发现自己在睡觉前只多寻求一个侧面任务，只是因为我渴望看到我会发现什么。
说了这么多，当我完成游戏时，我觉得空空如也。 在一个孤独、悲伤的城市里交朋友并不影响V的主要任务的紧迫性，似乎也不影响她与之相关的优先级。发现警察赞助的谋杀掩盖，或者公司控制夜城生活的深度，似乎都没有改变V的野心，她想成为一个传奇的夜城水手，被人记住。恋爱甚至没有给我的V带来她想要的东西。
我从副线任务和一些角色中得到了很多东西，但我从整个故事中得到的东西却很少。
我不太明白我得到的结局，但它让我很伤心。它并没有反映出我觉得我所培养的V，一个帮助她的朋友，追随她的好奇心的人。最糟糕的是，我根本不知道《赛博朋克2077》想说什么。有一个关于身份的整体主题，被你实际玩的V和最后得到的V之间的不和谐所冲淡；否则，我无法告诉你《赛博朋克》想用它美丽怪诞的世界做什么。我从侧面任务和一些角色中得到了很多东西，但我从整体故事中得到的东西很少。
2+2=5
这也值得一提。《赛博朋克2077》存在普遍到成为现象的BUG。我玩的是在评测期间更新的预发布版本，也有一天的补丁计划，但技术问题的规模太大，无法合理地期待立即修复。我每次去做任务都会遇到一些BUG，从比较常见的，比较好玩的，比如角色随机T字型，到几次彻底崩溃。更新后我也没发现有什么改善。在一次非常晚期、非常重要的战斗中，游戏在我身上愣住了--两次。最后，我出于挫折感休息了一下，才尝试第三次，并最终成功。
这些bug，比我多年来玩过的任何游戏都要多，让我经常脱离体验。像纸箱这样不可交互的物品，当你与旁边的东西交互时，会发生爆炸；UI元素会在屏幕上停留很长时间，这只有通过重新加载保存才能解决；角色会在适当的对话序列中打断自己，重复他们在超时空世界中会说的一句空话，严重干扰了关键时刻；我死过一次，当我重新加载最后一次保存时，发现我的黑客能力不再起作用，迫使我回滚到10分钟前的自动保存。琳琅满目，不胜枚举。
唯一让我截了图的bug。
技术问题不仅让我从字面上从游戏剥离，还让我怀疑整部游戏中的某些事情是否是故意的。我经常需要花一两分钟的时间来确定一个视觉故障是否应该是由于V的网络软件（这是故事的主要部分）发生的，或者我是否需要重新加载游戏。有几个例子，我无法判断对话或事件是否由于bug或设计而被跳过，因为有一次，游戏会提前跳过你作为场景的一部分。我还发现一些探索序列令人沮丧，因为我很难判断是我只是错过了我应该找到的线索，还是它根本没有出现，我最终离开了一些区域，并在后来多次因为困惑和沮丧而回来。至少有一次，我没有得到一个对话提示，说明该怎么做，直到我离开区域后再回来。
我是在一台远高于《赛博朋克2077》公布的最低规格的游戏笔记本上玩的，而另一位GameSpot玩家则在一台更高端的台式电脑上经历了同样严重和频繁的错误（虽然没有硬性崩溃）。你的里程可能会有所不同，但在我们的经验中，BUG是令人讨厌的，而且是全面的，经常迫使我们重新加载保存或完全退出游戏。很难真正进入一个你不断要离开的世界。
但是却很难进入《赛博朋克2077》的世界一般。太多的东西都是表面的布景，而且在你周围发生了太多的事情--广告随时响起，街道上爆发了枪战，短信里传来了你永远也买不到的汽车--以至于很多游戏都感觉是多余的。副线任务和它们所展示的角色是夜城霓虹灯浸透的黯淡中的闪亮灯塔，它们给了你探索核心RPG机制所能提供的最好的空间。这些是带着我度过原本令人失望的体验的原因。 |
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楼主: louge19891020
沪公网安备 31010702007642号 )
发表于 2020-12-9 14:02
不用这样为黑而黑说反话吧
差不多得了
，死亡鸽钱胡咧咧设定她应该完全不在意。
趁着有空把评测原文看完了，确实像是那种不玩游戏的游戏人写出来的东西。
