After that, we see a boss battle using the «automatic camera battle mode,» that removes the ability to move away, but shows combat from
a more cinematic perspective.
Not exact matches
On the surface, this 1965 mystery is no
more than a smartly done, intelligently written thriller but Preminger's fierce
cinematic intelligence guides a fluid camera that effortlessly tracks, glides, and reframes characters as they shift through scenes, shifting our
perspective along the way.
In terms of in - game storytelling, the game has been crafted well, often flowing straight between gameplay and
cinematic, sometimes taking you into a first - person view in certain situations, which gives you a
more personal
perspective in certain events.
The game is usually played from an overhead
perspective, but you can swing the camera to have a better look around you or just give yourself a
more cinematic angle.
Each designer (Kojima, Nakamura, and Tajiri) was at full - stride in their careers, so it's interesting to hear their different
perspectives: the emphasis on
cinematic devices and themes from Kojima (who was working on Metal Gear Solid at the time) contrasts sharply with Tajiri and Nakamura's
more «traditional» conception of design as rules and gameplay.