Near: Automa was first released six years ago.
Now the owners of Nintendo Switch are able to enjoy the game’s excellent translation, which is praised as one of the best ever.
But will the former love be able to look at just over five years later?

not

Near: Automata is a game that is important to say.
Old farts see the Neon Genesis Evangelist, Across and Terra E.
Classics where the same themes of the ultimate essence of humanity were dealt with the same hard-handedness.
During the teenage years, this group formed a kind of holy Trinity, which represented the best scriptwriting and in-depth reflection that one could hope for a storytelling.
Twenty years later, they are still dear, but remembering them in the soul in the same way as remembering others past lovers.
Now distortion and embarrassment are easier to see.
A visit to Near’s world is like swimming in the stream of nostalgia.
It has almost nothing original, but the best moments are reminiscent of good times in a way that warms the heart.
In the same way, its weaker offering is painful to look at because it resembles a time that left behind a long time ago.

while waiting for the end of the world

The end of the world was long ago.
Now the remaining rips from humanity are trying to collect pieces together in the midst of destruction.

The front line fighters are the Korea Series Androids, 2B and 9s, who fight against the robotic army attacked.
The two dawn of the duo from a spine for a long story that needs to be played many times if you intend to experience everything that the game has to say.
There is also the protagonist of the original Near, Emil, whose tragic fate gives you a surprisingly touching web, which works better than the main story of the game.
The protagonists are seen as androids that should not have emotions, but from the first minutes, it is clear that they are enough.
At the same time, a dull fan service, which, from the beginning, wakes the story of attempts to be serious about humanity.
The first twenty hours are spent on 2B, which cools around panties with a constant feed.
The game serves a few unfortunate explanations for the Gothic Pilot uniform, but they are as dilute as Video Kolyma’s tweeting about why his character dresses in a web tight and bikini at the forefront.
For science fiction and movie lovers, Near: Automata does not serve anything new or revolutionary.
Its plot is a collection of carefully selected pieces of the best works of the genre.
Especially the texts of Arthur C. Clarke, Jean-Paul Sartre and Isaac Asimov are well represented.
This is by no means bad.
Good sci-fi borrow from others to comment on things that it considers important at the time of the act.
But over the years, Near has gained reputation as an original and significant video game, the story of which is annoyed as a milestone for gaming art.
When it finally gets into it, it is difficult to cover up disappointment.
In the end, however, this is a very familiar and safe transit to the most well-known themes of the genre, which covers the delicate structure under the frustrating long-stretched gaming experience.

Holism

Near: Automata is a mix of role-playing, platform and momentary efforts for bullet bends.
Its ambitious structure plays with genre expectations, clichés and mechanics.
From time to time, these experiments are exhilarating, especially when the protagonists’ journey across the end-of-the-world dystopia raises rounds in the familiar way.
First, the robots are put into pieces after the wave after another, then flying through the air through the mechanical wings and shooting everything that moves.
Eventually, the swords against the massive Android in the ruins of the gigantic megalopolis.
There’s a lot of fun, but fun and entertaining.
The problem is everything else.
The midst of action and wild disconnection is a wilderness dialogue, stinging side-by-side tasks and gray wasteland for non-eye-catching.
2b and 9s take part in the lives of a variety of rebels, discuss their place in a world they try to build and seek signs of civilization that once created their own destruction.
In theory, all this is a functional basis for a good adventure game.
It is actually exactly the same body that Horizon: Zero Dawn uses successfully.
But Near: Automata takes itself so seriously that every area feels frustrating to be a frustrating Save.
It is difficult to talk about the joy of finding when the world is a mass of gray repetition and every task is a clone itself.
A good game is able to comment on its own deficiencies using these tropes as examples of genre limitations, but it would require Near: a sense of humor that does not seem to be found in it.
Instead, the game collapses into the comforting embrace of the melodrama.

Small is beautiful

Near: Automata will be released for the first time on Switch and the expectation has not been useless.
The translation is a functional and surprisingly intact entity in every way.
Whether he played from the TV or hand console, the action is smooth and without greater technical bumps.
Even Switch Lite’s creepy bad screen in Near: The car can be found.
Only the smallest menus and subtitles require damping, but only in places.
If the Switch is on the TV, the differences in the original release can be sought carefully by blaming.
Of course, the praise must be remembered to be treated moderately, but it is the previous generation game, so it is at least expected that Switch would be able to rotate it even with its outdated iron.
However, as a warning, Near: Automata is basically an action game.
Particularly when playing a Switch Patella, you may find that your thumbs begin to scream with longer gaming sessions.
The best experience with a separate controller, which is not possible for everyone.

long is the road to the sufferer

Complaints would not seem as significant if Near: Automata was a fun gaming experience.
But it’s not.
It is an action role-playing hybrid, which, however, emphasizes the story tension.
Unfortunately, its story is like an old cake that can’t even carry a short novel stubborn, let alone tens of hours of EPO.
The main story can be reached in about sixteen hours, but this is only part of the whole.
The real ending requires a few more games.
Each new round features a glimpse of an overall picture, which you can guess well before the end of the first game.
Here’s the ultimate question of how many companies to give the game to be given that it will become good?
Over the years, it has been argued that many games require tens of hours to get up to speed.
Before a certain magical point, you can’t stop playing, otherwise you have not experienced the game properly.
Near: In Automata, I was told that only the third game would give a decent perspective.
Another friend of mine thought that without seeing every end, he had not experienced the game, as its creators have visited.
This requires at least forty hours to invest in a game that is not fun to play.
In the end, Near took me more than 30 hours to see the final texts.
I ran through the last rounds of the game by focusing only on the main story.
The final solution was exactly what I thought it was halfway through the first story.
Was the repetition worth it all?
Not really.
Towards the end, I noticed that I wanted to achieve the last leg to meet the expectations.
Every time I wanted to stop playing and leave the whole thing, I heard the voices of my colleagues and friends in my head, which reminded me that the game had to be given the opportunity.
It will be good later.
Didn’t come, but at least I can now articulate why it is.

Красная

Near: Automata requires a lot from the player, but offers very little to counterbalance.
I appreciate its ambition and the desire to mix different genres, but chaotic drugs do not pay attention to the fact that the story of the game is a predictable mess of melodrama.
It takes the player to a trip that the final solution is clear from the start.
If the game were to get it out of dramatic irony, which would emphasize themes about fate and weaving your own tragedy, the end result would be more touching.
Instead, Near: Automata is blinded by their own clever and refuses to give the player freedom or opportunity to experience any of these moments themselves.
It twists the wire when it should give the unspoken space to breathe.
In the end, one can look back and see where the path has started, and what was left without seeing.
In theory, the story encourages you to start the journey with new eyes again.
I said goodbye and left the back left as soon as it was possible.
As the poet said in time: shit trip, but after the fire was done.