Resetera’s mod (and loud minority of its userbase) team are authoritarian fascists who purge people for slightest disagreement. So, quite an understatement.
I love the Japan IGN review, it starts extremely factually:
The manuscript is a review of “Cyberpunk 2077”, a new work of CD PROJEKT RED, which will be announced at 9 am on December 10, 2020 Japan time. I received the build for review at 7:53 pm on December 1st of the same year, finished 62 hours of play at 12:43 pm on December 7th, and wrote this article. The character build in this play is female for sex, female for gender, and bisexual for sexual orientation. Its roots are nomad, and its ability is a net runner who uses Katana.
The main equipment used for the review was 880-110jp of the “OMEN” series manufactured by Hewlett-Packard. The installed CPU is Intel’s 8th generation Coffee Lake 8700K, and the graphics card is Nvidia’s GeForce 1080 Ti. The memory is 32GB of unknown brand, and the game data storage destination is SSD of unknown brand. Frame par second is the maximum setting of all graphic options (excluding ray tracing), and we confirmed about 60 on average.
And ends with very different vibe:
When CD PROJEKT RED released Cyberpunk 2077 in 2012, the Internet was still a brighter place than it is today: YouTube hadn’t even started to monetize, Twitter wasn’t a place for kids to fight, and Twitch didn’t even exist. So eight years ago, the word “cyberpunk” sounded rather warm and fuzzy, a nostalgic nod to that movement that was so popular in the '80s. Back then, there were still no unmanned drone strikes, no cryptocurrency exchanges, no incitement to division by speakers on social networking sites, and the term "cyberpunk The first Blade Runner 2049 hadn’t exploded, Mariya Takeuchi’s songs were sleeping at the bottom of a sea of information, TSMC’s (a Taiwanese semiconductor manufacturer) market capitalization was less than a fifth of what it is today, and Blade Runner 2049 hadn’t even been announced.
But we know that in the eight years that have passed since then, the cultural context of our cyber and physical spaces has changed rapidly. In a day when the nature of human connections has changed so much, the significance of this work, which hints at the future of capitalist economy and society, is too great to be presented in the most digital medium of today’s art: video games. And it is even more gratifying that the message it conveys is neither explicit nor singular, but austere, complex, plural, and richly human.
Just as fifty years ago, when Johnny blew up the Arasaka Tower with a nuclear bomb on that day and nothing changed, it is unlikely that a revolution will solve all the problems of the past. Yes, the only way to navigate this world, which is as complex as, or even more complex than, Night City, is to work together, in the same way that V and Johnny did, sometimes unwillingly and sometimes hurtfully, in a precarious collaboration with others. And it helps to have an insatiable interest in the world itself - a spark of curiosity that this work has rekindled.
