Death Stranding - Resumen en la primera página.

KnightSolaire escribió:Perdona pero es que yo no he afirmado que el protagonista tenga algo que ver con Daryl no se de donde te sacas eso solo he dicho que se me haría raro llevar a Daryl (por que es un clon 100% de el) y que preferiría de Kojima un personaje 100% original y que la elección del actor evidentemente es por el tirón que tiene en The Walking Dead.

KnightSolaire escribió:Entonces el protagonista del juego sera Daryl de Walking Dead? Se me hace raro la verdad no se de Kojima esperaba que creara nuevos personajes ya que uno de sus puntos fuertes es que crea personajes con mucho carisma como los de MGS pero si todo el rato llevamos al Daryl no se...

TendoPain escribió:Como os estais pasando con el chaval, por eso cada dia me dan mas asco los foros. A ver, todo lo que diga el no tiene porque ser 100% literal, yo le he entendido pues que le recuerda al actor de walking dead, ¿y que? ¿Acaso no es verdad y pasa algo por eso? Tampoco es para ponerse asi todos contra el. No todas las personas se explican igual de bien. De todas formas es lamentable que os tenga que decir yo esto y no os deis cuenta por vosotros mismos.

"La idea de que la vida y la muerte que están conectadas", explica. "Los animales están conectados, las personas y muchas cosas". Sin embargo, es la pequeña historia de Kobo Abe una de las más fuertes dentro de Death Stranding.

"En esta corta historia, Abe se da cuenta que la primera herramienta creada por el humano es una vara. Ésta sirve para crear distancia entre las cosas malas y él –para protegerse. La siguiente herramienta concebida es la cuerda, con la que se aseguran cosas que son importantes"

davidDVD escribió:Ecuaciones relacionadas con la física cuántica en las chapas:

Vaga escribió:(06-14-2016, 02:21 PM)

r=2GM/c² aka Schwarzschild radius (sometimes historically referred to as the gravitational radius) is the radius of a sphere such that, if all the mass of an object were to be compressed within that sphere, the escape velocity from the surface of the sphere would equal the speed of light. An example of an object where the mass is within its Schwarzschild radius is a black hole. Once a stellar remnant collapses to or below this radius, light cannot escape and the object is no longer directly visible, thereby forming a black hole.

discuss

r=2GM/c² también conocido como el radio Schwarzschild (a veces históricamente referido como el radio gravitacional) es el radio de una esfera tal que, si toda la masa de un objeto fuera a ser comprimida dentro de esa esfera, la velocidad de escape de la superficie de la esfera equivaldría a la velocidad de la luz. Un ejemplo de un objeto donde la masa está dentro de su radio Schwarzchild es un agujero negro. Una vez un remanente estelar colapsa hacia o por debajo de este radio, la luz no puede escapar y el objeto ya no es directamente visible, por consiguiente formando un agujero negro.

"TO SEE A WORLD IN A GRAIN OF SAND,
AND A HEAVEN IN A WILD FLOWER,
HOLD INFINITY IN THE PALM OF YOUR HAND,
AND ETERNITY IN AN HOUR."

WILLIAM BLAKE
AUGURIES OF INNOCENCE

"Para ver un mundo en un grano de arena,
y un paraíso en una flor silvestre,
sostén el infinito en la palma de tu mano,
y la eternidad en una hora"

William Blake
Augurios de inocencia

...Blake was a mystic, a visionary, with at least one foot in the Otherworld – if not more.

William Blake is probably most famous for the opening verse of his “Auguries of Innocence”: “To see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.” The verse formed one of the centrepieces of the Tomb Raider movie about Lara Croft at the height of her fame; it was probably an hour even Blake would not have been able to prophesize.

The verse was Blake’s rephrasing of “as above, so below”, expressing Blake’s adherence to the notion of correspondences. He shared with the Hermetics that if one could really see, everything was double, micro- and macro-cosmic. To this, he added, that “without contraries there is no progression”. Ackroyd begins his biography of Blake by stating that “in the visionary imagination of William Blake there is no birth and no death, no beginning and no end, only the perpetual pilgrimage within time towards eternity.”

The future, as the opening verse might suggest, was Blake’s obsession – but so was the past, as the future would restore the glories of the past. Blake not so much romanticised, but “mythicised” the past, especially Celtic-megalithic Britain and the Druids, a past that he had labelled “Albion” and which was largely seen as a Garden of Eden – but British in nature.

Blake had not arrived at this framework by reading, even though he was influenced by those who had written about Atlantis; primarily, Blake had experienced. Since childhood, Blake had visions, which, unlike most people, stayed with him throughout life – if not grew in their intensity. He believed that this gift was innate with all, but he had merely retained it beyond childhood.
...

But just like Mozart left his Requiem unfinished, so did Blake die before completing his illustrations of Dante’s Inferno – the voyage into death. The commission for Dante's Inferno came to Blake in 1826, but his death in 1827 meant that only a handful of the watercolours were completed.

For Blake, it would not have mattered. He had, it seems, achieved his personal ambition in life and completed his spiritual quest. What had he learned? “These states exist now. Man passes on, but states remain for ever; he passes through them like a traveller who may as well suppose that the places he has passed through exist no more, as a Man may suppose that the states he has passed through exist no more. Everything is eternal.” He added: “This world of imagination is the world of eternity… There exist in that eternal world the permanent realities of everything which we see reflected in this vegetable glass of nature.” Hence, Milton had died, but he still existed; so did Jesus; so did – would – Blake. As above, so below. As before, so after. As in life, so in death. There was only Eternity, in a grain of sand, a knot, or a flower, his paintings, or poems, or in Blake himself.

gatito20 escribió:@caren103

Lo puse en el otro hilo que esta abierto.

senji escribió:Me mola entrar a este nuevo hilo, de un juego que no sabe,os cuando sale, que no sabemos qué tipo de juego será, etc.... Y ver a la gente comiéndose ya el tarro(en el buen sentido ) , sacando teorías de un mero teaser....

GRANCACIKE escribió:jajaja el prota es dios con la cruz en el vientre y viene a salvar a la tierra en plan profeta por lo que están haciendo con la vida en el planeta estos 5 mamones jajaja es una teoría no?

gome88 escribió:Leo los foros, y veo ya gente diciendo del juego que ya es goty porque es del Kojima, y no entiendo porque la gente se tira tanto de pecho por este hombre que lo único que ha hecho bien es el Metal Gear 1, aunque bueno teniendo en cuenta que lo que se suele leer son las noticias pagadas por los cheques en blanco de Kojima a Meristation, o la noticias pagadas por Kojima a través de maletines a Hobbyconsolas y que la gente es de rápida manipulación no me extraña este fanatismo.
Señores vamos a calmarnos, el juego no enseña nada, no digo ni que este bien ni este mal, hay que darle tiempo, y no os dejeis llevar porque sea de Kojima el más sobrevalorado del mundo de los videojuegos, aunque ya con los billetes que maneja mínimo tendrá gráficos y siendo de Kojima veremos algun unicornio de fuego volador que no pinta nada en el juego, pero aparte de eso, no tiene mala pinta el juego.

coco182 escribió:Yo ya le he echado 30 horas al teaser

gatito20 escribió:

coco182 escribió:Yo ya le he echado 30 horas al teaser

¿Donde esta para probarlo?

Javiyaury escribió:

gatito20 escribió:

coco182 escribió:Yo ya le he echado 30 horas al teaser

¿Donde esta para probarlo?

Lol
aun ni se sabe de que ira el juego....no hay teaser ni demo ni nada por el estilo...solo un video mostrado en el E3 donde solo si eres Rappel, acertaras algo....bueno ni eso xD

dijey escribió:

gome88 escribió:Leo los foros, y veo ya gente diciendo del juego que ya es goty porque es del Kojima, y no entiendo porque la gente se tira tanto de pecho por este hombre que lo único que ha hecho bien es el Metal Gear 1, aunque bueno teniendo en cuenta que lo que se suele leer son las noticias pagadas por los cheques en blanco de Kojima a Meristation, o la noticias pagadas por Kojima a través de maletines a Hobbyconsolas y que la gente es de rápida manipulación no me extraña este fanatismo.
Señores vamos a calmarnos, el juego no enseña nada, no digo ni que este bien ni este mal, hay que darle tiempo, y no os dejeis llevar porque sea de Kojima el más sobrevalorado del mundo de los videojuegos, aunque ya con los billetes que maneja mínimo tendrá gráficos y siendo de Kojima veremos algun unicornio de fuego volador que no pinta nada en el juego, pero aparte de eso, no tiene mala pinta el juego.

Menudo hateo...BESTIAL, lo mejor de todo es que no habrá probado el teaser..

gome88 escribió:Nowea que hateo hacia mi y no se sabe ni que no hay nada para probar, asi son los fanboy de kojima jajajaja

WIRED: I’ve watched the trailer for Death Stranding and I’m still confused. What the heck is this?
KOJIMA: It’s a teaser, so the only thing I can say is, watch it. You can see the crabs, the whales, all things, they all have these umbilical cables. Norman, as he stands up. It’s a very important part, this connection. That’s the keyword. What people are playing today in open-world action games, or linear action games, it will compare naturally to them. It will feel familiar. But after an hour or two of playing, you will start to feel something different, something new that you haven’t played. The story is about connections, what you call “strands” in psychology—how people are connected.

How does that affect gameplay?
There’s an author that I’m a huge fan of named Kōbō Abe. Among his work is a novel called The Rope. He mentions that the first tool that humanity invented was the stick, to keep away bad things. Right now, looking at today’s online games, you see a lot of sticks—pistols, weapons, things that are the equivalent of the first tool. Abe, in his novel, mentions that after the stick, mankind invented something that keeps things that are important close to you—the rope.
In Death Stranding, there will be the equivalent of sticks. But also, I want to tie people together with the equivalent of ropes.

So it’s a multiplayer game?
It’s not so simple. It’s a new system. It’s not as if today you have online gameplay where you fight with guns, and I’m swapping them for ropes.

When I hear “stranding” I think of being alone on an island. But you mean it in the sense of strands connecting people.
I’m using both meanings. Connecting people through gameplay is the basis of the game. Trying to connect one character to another, or to connect life and death.

You’ve selected very specific words for this title. Why “death”? Action games all have death in them. Why is it so important here?
In arcade games, you have this notion of dying, putting another quarter in, and coming back. That hasn’t changed in the 35 years that I’ve been making games. In this game, life and death will be part of that, but I want to give a different twist to that notion.

Your history stretches back to designing 8-bit games. How does that inform your design of a big-budget game for PlayStation 4?
Back when I started making games, technology was very limited, so I couldn’t show players what was in my head. There were specific rules we had to follow, and that was game design. It was like the game of chess, where you have a piece that represents a knight and he’s limited to a specific movement. Today, we could render an actual horse with all the freedom a real horse would allow. Game design has changed a lot. With current technology, we don’t need to be limited. Marketing-wise, you have to set a genre for your game, because people will ask if it’s horror or sci-fi, action or RPG. You need to put a tag on it. But it isn’t that limited anymore.

You were going to work with Norman Reedus at Konami, and you’re working with him now. What’s that relationship like?
I’ve never gone through an agency, or through casting, to find actors, or authors, or musicians. There are some actors I have in mind and I talk directly with them, and figure out if we’re going to be able to have a successful relationship. With Norman Reedus, we had an unfortunate situation where the project we were going to work with him on didn’t happen, and many things happened to me. He was worried about me, and afterward when we met again, he was such a nice guy. When I started to work on my first project here with my new company, I wanted to make sure that I worked with someone I was comfortable with.

Is it liberating being separated from Metal Gear, not having to make another one? Or are you sad you can’t make another?
At Konami, I had ideas for other games, but Metal Gear was the priority. Being able to work on something new is a nice feeling.

Anyone would have published your game. Why Sony?
We’re an independent developer, and we can work with anyone. I was fortunate to have many offers from different places. But for our first title, as I’m trying to set up a company, and get people to work with me, and trying to create a new IP—doing all of this in such a short time is very difficult. With all these concerns, you can lose your concentration. Working with Sony, I have a long history with them, a relationship of trust. They’ve allowed me a lot of freedom and been very supportive of the things I wanted to do.

JoseWolf escribió:¿El Kojima este es tonto? Ahora entiendo que lo echasen o estuviese hasta los huevos de él en Konami. Para 2020 se va el jueguecito...cada vez estoy más harto del mundo de las consolas. Al menos lo ha dicho antes de la salida de la PRO para que nadie se compre la consola por el juego, porque tened por seguro que para 2018 saldrá PS5 por lo que como mucho será un juego intergeneracional, y a unas malas los que tenemos PS4 ni lo catamos. Para eso que no anuncie nada y lo diga cuando le queden un par de años de desarrollo que era lo esperado, 2018 o así pero macho son 4 años lo que quedan. Hype al mínimo.

VENOM-SF escribió:El tonto eres tú...lo que que ha dicho es que el juego saldrá antes de los juegos olimpicos de 2020, no que el juego se vaya a 2020; y encima lo ha dicho en plan de coña.

A ver si mejoramos la comprensión lectora

VENOM-SF escribió:

JoseWolf escribió:¿El Kojima este es tonto? Ahora entiendo que lo echasen o estuviese hasta los huevos de él en Konami. Para 2020 se va el jueguecito...cada vez estoy más harto del mundo de las consolas. Al menos lo ha dicho antes de la salida de la PRO para que nadie se compre la consola por el juego, porque tened por seguro que para 2018 saldrá PS5 por lo que como mucho será un juego intergeneracional, y a unas malas los que tenemos PS4 ni lo catamos. Para eso que no anuncie nada y lo diga cuando le queden un par de años de desarrollo que era lo esperado, 2018 o así pero macho son 4 años lo que quedan. Hype al mínimo.

El tonto eres tú...lo que que ha dicho es que el juego saldrá antes de los juegos olimpicos de 2020, no que el juego se vaya a 2020; y encima lo ha dicho en plan de coña.

A ver si mejoramos la comprensión lectora

cercata escribió:Si sale para 2018 sera un truño o un arcade ...

Un juegazo lleva su tiempo, 3-4 años si empiezas de cero, en vez de partir de otro juego de la saga.

Para mi el problema es haberlo anunciado tan pronto.