Hey Hey folks, Dave here.
Just a friendly reminder that this is a critique.
I will be talking about The Silver Case for those who have played it.
If you are worried about spoilers, I suggest you pause the video and go play the game before
returning.
For everyone else, let’s continue.
In 2007 I played Killer7, and I think it changed my perception of what games can be.
It’s kind of weird to say that and not have it be hyperbolic.
Despite the unintuitive rail shooting, odd controls, and scattershot plot, when it finished
it was like nothing I have ever experienced in a videogame before, or likely since.
Heck, it made me read a 50-page plot FAQ to understand an interpretation of what I just
went through.
Granted I haven’t encountered many stories overall that play with characters being representative
of more than one thing, but definitely not in a game.
It made me a fan of Suda51 as a game developer.
The year after, I bought No More Heroes, and while it wasn’t as grandiose in its ambition,
it cemented my fascination with the man’s work.
Also, it was one of the few games to really think about the controls of the Nintendo Wii
in a genuinely creative manner.
I’ll always remember the smile on my face during the first cell phone conversation with
Sylvia Christel.
Over the years I’ve kept up with his work and have enjoyed it to varying degrees.
Subversive elements are hidden in big budget action titles like Shadows of the Damned and
Lollipop Chainsaw, and Killer is Dead is the closest I feel we've gotten to recapturing
some of that Killer7 magic.
I even played Flower, Sun, and Rain when it was rereleased on the DS.
That one is hard to get through.
A groundhog day visual novel where the solution to every puzzle was hidden in a guidebook
about the island your character was spending his reoccurring day in.
It seems the further you go back in Suda’s work, the less user-friendly it is.
You have to be willing to endure some levels of obtuseness or tedium to fully engage with
the interesting elements.
If anything, as Suda has made more games, he’s been able to hide the most interesting
elements under the surface of mechanics and user interfaces that are more accommodating
to your average player.
With this in mind, I was fully expecting to have a difficult time with the remaster of
The Silver Case; Suda’s first game under his own studio Grasshopper Manufacture.
The Silver Case like Flower, Sun, and Rain is a visual novel.
You play a silent protagonist that is part of a special forces unit that gets slaughtered
by a master serial killer who has escaped from a mental hospital.
After this happens, you find yourself working at the heinous crimes unit of the police force
and engage in some cases that all have something to do with Kamui the serial killer or the
strange circumstances surrounding him.
During this time you get to know most of the members of the force relatively well, but
this is only half the game.
The other half is following a journalist who has been hired by a mysterious benefactor
to investigate Kamui.
These episodes run in-between the case files and usually follow the events that you just
played through as the heinous crimes unit.
In some cases, your investigation spells out what just occurred during the case.
This was beneficial during the case titled Parade where the CEO of a corporation gets
kidnapped, and the background of why was very ambiguous in the case itself (or I just wasn’t
able to put it together as I was playing it).
Tokio’s section afterwards put the pieces together and made the whole thing a lot more
impactful.
Of course when the story kind of spirals inward on itself at the end, I found Tokio’s last
section kind of confusing.
The game doesn’t end in a satisfying manner.
I won’t say there are more questions than answers as that actually isn’t the case.
The story does wrap itself up nicely, but a lot of the details confused me.
Either because they were introduced too late or I didn't see threads that might have been
woven through the whole story.
I think The Silver Case is one of those works of fiction that would benefit greatly from
going through it a second time, if just to understand what’s happening as it happens.
The thing that you sometimes have to ask yourself playing a Suda game is if the annoying elements
are there on purpose.
For instance, Tokio’s investigative sections can become overly tedious.
The only interactivity in these chapters is to walk to your computer to check your email,
talk to your pet turtle, or answer the phone.
It echoes the sections of the case files when you find yourself in your apartment, although
the special forces character you play exits the apartment after checking his email or
looking in the mirror to go work the case.
That leads to more interactive opportunities, limited as they may be.
Tokio just gets to walk around his apartment.
When he goes out investigating, it’s a cutscene.
The player is stuck in almost a Groundhog Day repetition of waking up, walking to the
computer, checking it, and having the plot move forward.
Perhaps this idea is what lead to the creation of Flower, Sun, and Rain, which uses these
repetitive elements to increased thematic effect.
The tedium still stands in both cases though.
Is purposeful bad game design to make a point still bad game design?
If not, how do you tell the difference?
Papers Please was pretty overt in that the tedium of your job is part of the point, but
when does a developer gain the benefit of the doubt in these matters?
Is it when they have something interesting to say?
I will admit, there were times I thought about not continuing with The Silver Case.
The plot had me lost, the interactive elements were almost non-existent, and boy is the game
long for what it is; around 12 hours.
There was something that kept me going though, and I think perhaps it was the ideas at play.
I want to say it can’t be the characters.
The reason I want to say that is that they’re written in such broad strokes.
There are about as many uses of “motherfucker” as you’d expect in a Quentin Tarantino movie.
There’s this veneer of machismo, that what makes a man tough is saying “fuck” every
second word, and then threatening anyone who makes a joke at their expense.
When we first meet Tokio and senior detective Kasubi, this is the impression we have of
them.
As we spend more time with these characters, we do see that this is a facade that they
use to hide the real issues plaguing them, or perhaps it’s a response to the horrors
that they have to deal with in their line of work.
It doesn’t make it any less adolescent, but you start to accept it a little more because
you know where it’s coming from.
But we do get to know these characters, or at least we thought we did until the end.
All bets are off in the end.
The whole plot is a vast conspiracy and it seems almost everyone is a part of it in some
way or another.
The corpses pile up in the last couple of cases, and even the epilogue suggests that
the murder count and cause of all the problems are far from over.
After all, the character you play is still alive.
When serial killers are educated as children, brainwashed and controlled by the government,
and you play a defected product of that experiment, well it probably would be a lot safer to not
let such a person be walking around.
Although I do wonder if that’s even what the game is about.
There’s talk of crime as a virus, and how even the most abhorrent ideas can be praised
by society.
As the game was made in the late 90s, there’s a lot of talk about how the internet is going
to affect people’s lives and society in the new millennium, and the ideas and concerns
don’t seem altogether that dated.
Hell, it even has a similar reveal as the first season of Psycho Pass as to what is
actually needed to run this perfect system.
It’s just a little more ludicrous.
And it’s not a style over substance thing either.
Even though one thing that struck me was, I have never seen a videogame that looks like
this before.
The background movement, the colour schemes chosen for different cases, the portioning
off of the screen for small pieces of animation, or the use of video along with the mix of
2D and 3D art.
It definitely makes an impression.
There is substance here.
It’s just not told in a straightforward manner, and the game 's not really as engaging
as one would expect a game to be, even a visual novel.
I think it’s more interesting as an entry into the games of Suda51 to see a style and
sensibility start to emerge.
To be able to track that from the beginning, to where the gameplay becomes more important,
and yet how the ideas have not been sacrificed.
Thanks for watching.