Can I drop the mic on some of you now, please?
Okay, so the way I see it, anyone defending this dialogue is either:
a) 16 years old.
b) Has no idea how real people talk in any context.
c) Is choking up hard on their fanboy bat at the plate for CDPR.
d) Wouldn't be able to recognize good writing if it jumped up their asshole while they were taking an Utter. Shit.
I'm going take the Yakuza series as my primary example for this. But more on that in a minute.
"Ooh, so what we should have polite criminals? You hear them dropping the F bomb 30 times per minute in a Scorsese flick."
Okay. But that's a Scorsese film. Scorsese films are often a deconstruction of machismo using exaggerated forms of the criminal male archetype. His whole career is built on making his male characters look as awful as possible in a given context. The reason why this works for Martin Fucking Scorsese and not CDPR is because all of the dialogue in a Scorsese film is used in such a way that forwards the narrative and builds upon the characters ego and internalizations. It's dialogue that pushes things toward an inevitably awful conclusion for that character.
Whereas in the footage we've seen of Cyber Punk the dialogue is either expository or throwaway insults of the most extreme nature. It's literally swearing for the sake of it. None of it enriches our understanding of the characters we're seeing. It's used so often that it's robbed of any emotional context. It's distracting vulgarity, pure and simple.
Yakuza. I've only just begun with the series having finished Yakuza 0 and currently playing Kiwami, but from what I've seen the people handling the English localization know how to write dialogue that conveys the emotional complexities of the criminal underworld.
Yakuza's dialogue is always working to deliver as much meaning as possible while resisting the urge to fall back on the macho alpha male bravado that so obviously defines the world we're observing. How many F bombs can you count in a Yakuza game? Not many. Why? Because the characters have depth, a sense of place and purpose, and when they do drop an F bomb, you sure as shit know it's because someone is really fucking pissed off. You know shit is about to hit the fan. It's got it's time and place in the narrative. It lends itself to the ego and psyche of these characters. It hits hard and it works. It doesn't take me out of the heat if the moment, it pulls me deeper into it because it's used in such a way that enriches the emotional narrative of the moment.
Cyber Spunk 2069 is absolutely an awesome looking game. It looks to have everything one could want in a sci-fi RPG set in a Blade Runner-esque type of world. There are impressive things at work there, but the writing and dialogue is not one of them.
These days, for me personally, a game is only as good as its story. Most of the time. What I saw here was a lot of "try hard, check out my sharp edge" bullshit with no real hook as to why I should care about a bunch of foul-mouthed killers. The liberal use of the C-word was also off-putting. It's actually rather indefensible. None of it felt like it was doing anything for the atmosphere or the narrative.
Anyone wanting to defend this type of piss-poor writing is more than welcome to. I'll chop it up to really shitty taste. Utterly. Shitty. Taste.