Shenhua's Home Renovations - What Changed in Shenmue III

Switch

Shenmue analysis at www.phantomriverstone.com
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I've made a post looking at what changed about Shenhua's house in S3 compared to S2 - the obvious one being the extra room, as well as the smaller details of what objects have been removed or changed between the two games. Overall I don't think the changes have had any material effect on the game's story (although the removal of the tapestry might hint at a reduced role for the city depicted).

Also - the loom model found on the mat area in Shenmue 2 is actually impressively intricate when viewed up close, compared to the gloomy half-covered view you get in the game!

https://www.phantomriverstone.com/2023/02/shenhuas-home-renovations-what-changed.html

floorplan-s2.jpg

floorplan-s3.jpg

s2-loom-model.png
 
Thanks for the comprehensive breakdown @Switch

While many bemoan the removal of Tapestry of Luoyang I was more sad about the removal of painting of the mountains as I was certain leading up to the release of Shenmue 3 it would be a destination we would visit.

So it comes as quite a surprise on playing Shenmue III to find that her house is now fitted with a number of modern conveniences, in particular electric appliances such as the refrigerator and running water.

This change may have been part of the decision to give the village in general some modern touches - we later find it even has a video game arcade. It does feel like somewhat of a missed opportunity for Ryo to have been able to explore a village that has remained "lost in time" hidden deep in the mountains/

I stongly concur and as more times goes on from Shenmue 3's release I wish they had leaned more into rural setting of Bailu and not had those modern conveniences you spoke about. It would have created a greater contrast to when Ryo reached Niaowu. Now I understand Suzuki's likely dilema in wanting to 'gamify' the village to allow for arcades, street lighting and so forth but I think they could have created mini-games and distractions grounded in that rural setting.

I guess the larger question was the recreation in Magic Monaco 2016 just a test to get the team up to speed with Unreal Engine 4 or was a decision made at some later point to modernize and change the house as your article highlights.

One final question, was the diagram of mirrors found in Shenmue 2 was any of that text ever legible? I assume not but I would love to know.
 
Nice article. I have said this before but I did feel annoyed when the tapestries were removed and the additional room was added in Shenhua's house. If it has been established already, ride with it. Same with the sword becoming a dagger.

I also feel the same way as the author did in the article about the introduction of modern appliances into Shenhua's home. I would have preferred to have explored a more primitive version of Shenhua's home and Bailu village, in general. We had our taste of the city life for the first two games, this was supposed to be an experience that took Ryo out of his comfort zone. I definitely think Yu's 'for the fans' intentions were good but I think he didn't fully understand a lot of our feelings. The Shenmue experience, at least for me, is not going to be compromised by a lack of lucky hit vendors or arcade games. I truly wanted Yu's original vision for the third game without any of the concessions he felt he needed to make to the fans. If that meant more overt mystical elements, no arcade games, a slower paced game, etc, I would be down for it.

I still liked the Bailu part of the game, in spite of everything, but those gripes come to the surface when I think about the game.
 
One final question, was the diagram of mirrors found in Shenmue 2 was any of that text ever legible? I assume not but I would love to know.
I'm not able to distinguish the small letters as they are too low-resolution, but perhaps someone may have some ideas. Even the large red Chinese characters at the top right of the plan are not clear, but the left vertical column looks like it may read "平面图" (=2D plan).

s2-plan-mirrors.jpg

Why would there be any controversy over Ryo sharing a room with Shenhua?
One theory I've seen mentioned is that it might have been to avoid complications with the Chinese censors, presumably to pave the way for release of S3 in China (although that didn't eventuate).

Now I understand Suzuki's likely dilema in wanting to 'gamify' the village to allow for arcades, street lighting and so forth but I think they could have created mini-games and distractions grounded in that rural setting.
The Shenmue experience, at least for me, is not going to be compromised by a lack of lucky hit vendors or arcade games.
I wonder if the modern extras in the village were added in an effort to add excitement to the gameplay for new players also. (Thankfully forklifting didn't also make an appearance!) I too did enjoy the village setting as it was presented, but if the bold step could have been made to keep it as an "at one with nature" experience I would have been all for it.
 
Why would there be any controversy over Ryo sharing a room with Shenhua?
I think it’s because Shenhua is 16 and in some markets it could be considered problematic to have a guy sharing a room with a girl that young.

Yes, I know.
 
Frankly I don't care why they changed it – even if it had been better, it ruins the immersion and sense of reality and continuity. It's the same with the ending of II and start of III and with Shenhua's clothes.

I also was disappointed to see the tapestries gone and the house and village made more modern. I preferred to think of this as a village kind of frozen in time for ages. Oh well, I guess not. It was still nice, but it could have been better.
 
I wonder if the modern extras in the village were added in an effort to add excitement to the gameplay for new players also. (Thankfully forklifting didn't also make an appearance!) I too did enjoy the village setting as it was presented, but if the bold step could have been made to keep it as an "at one with nature" experience I would have been all for it.

I wonder out loud if this was also a product of the shifting budget and development partnerships. Early on before Deep Silver got on board they perhaps had a much more scaled-down size and version of Niaowu and thus decided to add those modern elements to ensure players had those 'Shenmue' elements.

I think with such a diverse fanbase what those elements entail is different for many people. I personally never spent much time or care collecting capsule toys but I know for others it is hugely important, the same goes for forklifts, etc. I mean from a few off-handed comments it seems like Suzuki isn't as concerned with some elements of the Shenmue lore or mythology as some of us fans so it is always a balancing act.
 
As the article mentions the conversation with Shenhua in III about Luoyang, I always assumed the tapestries were removed since they wouldn't have the same weight as they did at the end of II. I would've preferred them to be kept in III, but I wouldn't say it is clear cut that those story elements are gone. After III, I assume the mountain tapestry is referring to the cliff temple, for example.
 
Same with the sword becoming a dagger.
The sword was not meant to be canon anyway. Over Shenmue 2 dev, there was a miscommunication between the 3d artist and Suzuki. And I do prefer the dagger. Unfortunately they wasted the opportunity to make it in the D3T’s remaster.
 
I think it’s because Shenhua is 16 and in some markets it could be considered problematic to have a guy sharing a room with a girl that young.

Yes, I know.
It would be a little awkward. How are they supposed to change clothes sharing the same room?
 
It would be a little awkward. How are they supposed to change clothes sharing the same room?
Couldn’t one of them leave the room for a few moments so the other can change?
 
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