#been replaying the ezio games lately

[froschli96]

you know, i always find it really funny when dudebros complain about syndicate and odyssey being too "jokey" or not "taking its characters seriously" or whatever…

like, did y'all collectively sleep through "it's-a me, mario!", "i meant besides vaginas", ezio inventing the latte, bartolomeo's... just... *gestures vaguely* entire character, etc?

like, it's fine to have preferences of course, i myself prefer a more serious and grounded tone, but these are usually the same people who tout the ezio trilogy as "peak assassin's creed", call ac1 a glorified tech demo and hate on connor for being "too serious and boring", like? make it make sense!

[miralyk]

love the drawings you've been making for desmond and alex, what's ghosts in the machine? first i see them crawling out of your screen and now everyone's angels devils or monsters, i don't know if i'm missing something!

ah man, think it's time to try to summarize everything and apologize LMAO;; ty for asking though, i should've made things less confusing! this will be a Pretty lengthy post for irl context/backstory and "actual au" info so be ready if you want to read everything!

(for starters, the title's just a pun on the philosophical phrase "ghost in the machine" interpreted Literally and taking inspiration from clay in ac revelations, since he Was a ghost in a machine and jokingly called "my guardian angel" by des, haha)

the short version: basically, "ghosts in the machine" is what i've called the au(?) where i just doodle silly "artist talking to her art muse(s)" stuff like these kinds of comics instead w me,, the ""art muse"" is whatever i'm hyperfixated on (currently desmond, the assassin brotherhood as a whole, and alex/prototype lmao):

the Full LONG version: when replaying prototype and ac awhile back, i also posted fanart on LOFTER (china’s local version of tumblr) and made a mainlander mutual/friend who drew fanart too, like her oc w the assassins in an animal shapeshifter 刺客信条乙女向 (assassin’s creed otome) au! as i’m vietnamese-american and she’s chinese, we use translators and send pictures/doodles to talk about the games and our days, and when i was replaying prototype, she started ac2 too and sent me this as commentary:

from there, whenever we’d text or send pics/art, it became a running joke of sorts to also include our ""game companions"" like that fanfiction thing of “author’s note where the author and fictional characters comment on the situation and/or talk to each other”, and my doodles also became us or our computers being accompanied by them LMAO;; that’s pretty much the origin and setting of the particular doodles; just the daily shenanigans and art struggles of an artist (me and her) talking to their art muses (characters from special interests) haunting them and their computers

as for the "supernatural" aspects, at some point desmond and alex got drawn an as angel and devil because i’ve had ridiculous “protected by a guardian angel” luck lately like surviving a car crash unharmed, they’re my favorites and associated with me, the motifs match the duo, etc, it's not really that deep and/or for a "Lore Reason";;

likewise, the brotherhood got drawn as ghosts to emphasize the “we/our computers are haunted by them” joke more, along with how my friend and i are both asian and used to like ghosts and ancestral worship casually being a part of our lives already LMAO (ig in the context of the au then, they’re basically desmond’s ancestral spirits disney-mulan-style that freeload off of his vietnamese protectee (me) for both spiritual veneration or "worship" like staying relevant in this modern age via fanart)

for example, i'm also considering drawing like altair, ezio, connor, and edward as the vietnamese four holy beasts just to play around, things like that! there's no special lore reason aside from just personal thoughts and "oh that'd be fun to draw", they just thematically fit well being four prominent “legends” and being desmond's ancestors, etc,, haha

at the end of the day, "ghosts in the machine" are just silly shenanigans of me drawing what's on my mind, from who/what i'm hyperfixated on (aka impromptu art muses for me), any thoughts/frustrations i have w daily life or drawing stuff,, and "hm this sounds cool, i could draw this design or Cool Thing" stuff. it's not really an au persay (plus i still really cringe and feel self-consciously wary about the embarrassing self-insert aspect of all this, help lmao), it’s just,, just silly personal scribblings that are kind of sharing an inside joke to everyone now, but i'm happy to know people still humor these silly drawings and are curious if there's more to it, thank you!

[mumms-the-word]

A and B for the ask meme :)

Thanks for the ask!!

A: Of the fanfic you’ve written, which is your favorite and why?

I think I’m most proud of Choosing to Live, because it was a moment where I stepped out of my comfort zone (I had never written “you” POV fic before) and also the first time I really got to see my work actually inspire or touch the emotions of my readers.

But Close was probably one of my favorite random things to write (Halsin + Tav playing hide and seek in a closet, what’s not to love) and I enjoy writing anything from Dani. I just love writing banter lol

A Macabre Masquerade is also a lot of fun for me because it’s an ambitious project (multi chapter post-game adventure), but right now my brain is buzzing to write the Atlantis-inspired and The Mummy-inspired Gale fics 👀

B:  What was the first fandom you read fic in?  Which was the first you wrote fic for?

I think the first fandom fic I actively started to search for was Dragon Age? I’m super late to the “reading fic�� side of fanfic. My AO3 account is literally less than a few months old.

The first fanfic I wrote was Assassin’s Creed 2 fanfic and no one EVER read it 💀 I must have been in middle school or early high school. I wanted Ezio to fall for a female assassin so bad, but I was afraid of messing with the plot, so I made up a female assassin who was just another of Ezio’s flings, and who fell in love with one of the masked doctors in town who was secretly part of the order but not an assassin himself

It was cringe as all hell but I still have the files 💀

I was making up (but not writing) fanfic in my head for Harry Potter way earlier than that, though. My character was Sirius Black’s daughter, naturally. I would just reread the books for the hundredth time and insert the character in all the scenes until it got to the point I couldn’t read the series without thinking of her 😂 thank god I can’t remember her name now but I still have vague memories of some of the scenes I replayed in my head over and over and over again

[danceswithdarkspawn]

Hi hello, 6. 7. 12 and 16 for the video game ask

hello friend!

6: A series you’ve enjoyed since your early days of gaming and still enjoy to this day whether it still has games coming out or is one you return to

The Sly Cooper series is a series I hold with great nostalgia because it is one of the first few series that introduced me to video games, along with Spyro the Dragon and Crash Bandicoot. I haven't played it in such a long time, but I loved everything about the games, from the characters, the story, the environments and game mechanics.

7: A series you’ve lost interest in

I wanna say Assassin's Creed. I played through the first 5 games I think (so the original, the Ezio trilogy and AC3). I lost interest at Black Flag because the sailing around pirate thing didn't really appeal to me. I've heard the series has gotten better with recent titles, but I think I'm just too attached to Altair, Ezio and Desmond.

12: A character you particularly like in the game you’re currently playing

I'm currently playing Ark Ascended as new content just came out earlier this week. Ark doesn't have many characters that you interact with directly, but their stories are told through notes they left behind. I think overall my favorite character is Mei Yin Li. I talked about this a little in the Dinosaur Ask I did a while ago, but if you're unaware, the characters come from vastly different points in history. Mei Yin is from the Han Dynasty, specifically during the Yellow Turban Rebellion.

I relate the most with Mei because to me she best represents the game and your goal as a player with her incredible determination to survive and push on. She's also an exceptional warrior who swears vengeance on those who harm innocents and her friends, including her tamed dinosaurs.

Being from Ancient China, Mei Yin goes through a lot internally, especially later when joining a much more technologically advanced tribe hailing from the ~22nd century. She faces death, betrayal, apocalyptic disaster and more, but she is unwavering in her determination to survive and reach her goal. To her, there is no other option.

16: A game you’d like to replay that you haven’t

Probably either Witcher 3 or Skyrim. It's been a while since I've played either and I've had a hankering for both lately, but I'm bouncing back and forth between Dragon Age and Ark brainrot at the moment.

[aauditoree]

So, I've been replaying Assassin's Creed 3 (yes, I'm going through all the games again because I love pain) and...my god. It pains me to admit it, but I feel now I've never appreciated Ratonhnhaké:ton as much as he deserved.

Don't get me wrong, I've always liked him a lot - but I've always felt kind of...detached from him? I guess I could blame it on the fact that when AC3 came out, I was still completely blinded by my love for Ezio and there wasn't much room in my heart for another character. Also, I was very young, and perhaps didn't have the experience necessary to relate to and understand Ratonhnhaké:ton's personality and behaviours.

But now that I'm going through it again...my god. I'm so in love. Young Ratonhnhaké:ton is so cute, so naive - and yet so clever and determined. He's such a great character and I'm happy I'm finally getting to appreciate him the way he deserves - better late than never, I suppose! Now I've just got to catch up with all the love I didn't show before...hope you lot are ready to deal with my ramblings about the guy.

[foxstens]

tried playing liberation

it was weird. i could definitely see myself playing this game like it doesnt feel as off as the others and it’s a city setting which seems to be a really important factor for me in these games

but the new engine is very noticeable like aveline moves and climbs faster and she’s more responsive to the controls which should be a good thing but it’s not because it means she’s more likely to do things i don’t want her to do

there’s this system called the persona system where you can dress up as an assassin a slave or a lady and they all fit different situations and have different notoriety systems and stuff, conceptually it’s really cool and it reminds me of the disguise missions but the entire game

but i feel like the game isn’t particularly clear on what the heck is going on. like i was on the first mission dressed as a lady looking for some stolen goods or whatever and i got attacked by four random dudes for no reason. they didn’t show on the minimap at all and they didn’t have detection meters so i guess they weren’t guards but idk what they actually were. like they attacked me while i was sitting on a bench? also i got desynchronized while tailing a guy because i didnt realize i was right in his face until it was too late and somehow he still saw me when i turned a corner and should’ve been out of sight?? idk it was wack

idk i just feel like the game doesn’t explain things very well despite having a checkpoint every two steps to get you to your first viewpoints, and also the combat is abysmal. i cannot see shit, there’s barely any indication when you get hit or when you hit an enemy, and you gotta fight like 7 guys when you’re dressed as a lady and thus have limited combat abilities?? wat.

also in the same mission you have to enter the mansion undetected but it’s not even hard bc you just gotta bribe the first group of guards then literally walk past three other guards while they’re doing their walk cycle because it takes them a thousand years to notice you. like im a huge fan of the suspicion and detection system but this isn’t really great design tbh. 

aveline’s exertion sounds are also a bit weird while climbing like there’s nothing wrong with the sounds themselves but they just come too often, like why sigh when you just took a tiny step over a ledge even 52 year old ezio didn’t sigh at that much lmfao

the cutscenes also look weird like you’d expect them to look waaaay better than the previous games but no the faces look soulless and like they’re made of rubber wtf. there’s also no cool sound effect when you open a chest. sad :(

so honestly i would play it but i already got too frustrated at the combat and the game not holding my hand when i need it to soooooo yea no. i’d rather replay the ezio trilogy instead eh

[schraubd]

David's Personal Top Ten Video Games

This is something I've been wanting to do for a long time. It is a personal list, reflecting the games that have stuck with me the most over the years. I'm not enough of a gamer to claim it is anything comprehensive, and it has a strong bias to the sorts of genres that I like. Nonetheless, I'd stack these games against any that have been made in my lifetime. Anyway, without further adieu ....

Honorable Mentions:

Portal 2: How can a game with virtually no “dialogue” (if that means conversations between two characters) have some of the best spoken lines in all video game history? I have both the original and a capella versions of the Turret Opera on my iTunes (yes, I have “Still Alive” as well).

Railroad Tycoon II: A brilliant simulator that makes you actually feel like a turn-of-the-century robber baron (by far, the game is most fun to play when set in the late 19th century). If every man goes through his “trains!” phase, this was mine. As in real life, I am not good at playing the stock market.

Horizon: Zero Dawn: Robot dinosaurs! Incredibly, Horizon: Zero Dawn takes a core concept that sounds like word association from an over-caffeinated twelve-year boy and makes an entirely serious game about it—and it works. It works so well, in fact, that I loved it despite the fact that the plot and entire world-building background centers around my single greatest phobia (no, not that—being alive for the extinction of humanity).

10. Sid Meier’s Gettysburg: I find it odd that very few games have sought to replicate Gettysburg’s spin on an RTS—focusing combat around regiments rather than individual units and prioritizing morale over raw numbers. But the thing I like best about Gettysburg—and sadly it’s mostly unique too—is in how it concentrates on controlling territory (and terrain). Many RTS games, for me, might as well have a blank screen over 80% of the map between my base and my opponent’s base. You build up your force, and then try to swarm your opponent before he or she swarms you. But in Gettysburg, the goal of missions is not “wipe out your opposition”. It’s to capture and hold a ridge, or dig in and hold an exposed farmhouse.

My only critiques are that I want this game to be bigger. I want it to encompass dozens of map spanning the entirety of the Civil War. I want to be able memorize even more obscure Union and Confederate generals and wonder if they really were “mediocre” or if that was just a game balance decision. The random battle generator is okay, but this game screams for user-created expansions which I’ve never been able to find.

9. Crimson Skies: A pulpy fun flight simulator taking place in an alternate history 1930s where America has fractured and Zeppelin travel rules the day. The game doesn’t hesitate to lean into its concept (phrases like “broad” and “floozy” abound), and it does a great job world-building in a relatively short period of time. Somehow, I could meet an enemy “ace” for the first time in the middle of a mission and yet still feel like we had a history of epic dogfights together of which this was only the latest. Meanwhile, each of the locations the game takes you to (Hawaii, the Pacific Northwest, Hollywood, the Rocky Mountains, and New York City) are a blast and a half.

A sequel, High Road to Revenge, was released on Xbox and leaned a little too hard into the arcade-y elements (power-ups, automatic evasive maneuvers with the press of a button, and so on). But the original PC game was just right—planes flew exactly like how someone who knows nothing about planes thinks planes fly, which is just perfect. You felt like an ace pilot because of your skill (even though behind the hood the game is really holding your hand). Piloting a gyrocopter through half-built New York City skyscrapers, or a prototype single-engine through the Hollywood "O", is great. Doing it to evade local security, then doing a loop and turning both guns on them -- well, that's the cat's meow.

8. Mass Effect (Trilogy and Andromeda): As far as I’m concerned, the definitive space opera (even muscling out Halo). Fabulous voice acting (listening to Martin Sheen play evil Jed Bartlett is one of the great joys of my life) and memorable plot lines pair with a morality system that at least inches away from “basically decent person or utter asshole.” The universe feels genuinely alive, like there’s an ecosystem and civilization that you’re very much apart, but also moves in your absence.

I can’t really separate out the core trilogy games from one another (each sequel seemed to simultaneously step slightly forward and back), which is not I think an uncommon position. What may be more uncommon is that I think Andromeda stands right in there with the core series. Yes, it was disappointing that it took us to a brand new galaxy and only gave us two new species (while eliminating many of the more backgrounded Milky Way aliens). But I was much more disappointed that there will be no DLC or sequels to continue the story and tie up loose ends.

7. N and N++: There can’t be any serious controversy that N is the greatest Flash game ever made. While Flash demands simplicity, N is not so much simple as it is elegant. It is the perfect balance of speed and control, thoughtfulness and twitch-trigger reflexes, serene relaxation and butt-clenching tension. Once you master the floaty physics and the unique enemy styles, you will truly feel like a ninja—stripped to its core essence and deprived of all the usual but unnecessary bells and whistles. A virtually unlimited supply of levels guarantees you endless gameplay.

And so it is unsurprising that N was one of the rare flash games that made a successful jump to a full true game (in the form of N++), one that has a strong claim on being the greatest platformer ever made. The developers were wise not to disturb the basic formula: run, jump, and slide around a level, dodge obstacles and traps that will kill you instantly, reach the exit. Repeat ad infinitum. But N++ adds just a splash of additional flavors and spices into the mix. A perfect trip-trance soundtrack that sets the mood perfectly (and may single-handedly stave off keyboard-smashing frustration). A few new enemy types that deepen the game without ruining its austere grace. And perhaps most importantly, it adds a bunch of extra, semi-secret challenges (which can be used to unlock still more levels) waiting for the very best-of-best players.

Of all the games on this list, I might be in absolute terms “best” at N++ (there are a non-trivial number of levels in the game where I have a top 100 or even top 10 score on the global leaderboards). And yet there is not the slightest chance that I will ever perfect this game, or even come close to it. Nor is there any chance I will become permanently sick of it. A simple concept, executed brilliantly. The perfect N++ level is also the perfect description of the game.

6. Final Fantasy IX: The question was never whether a Final Fantasy game would make this list, only which one. I’ve long had a soft-spot for FFIX, which I feel is often overlooked inside the series (in part because even on release it seemed players were already looking ahead to the Playstation 2). Yet it’s hard to find fault in Final Fantasy IX as an emblem of a straight-forward JRPG. It has a moving story, fun gameplay, beautiful music, loads of quests to do and places to explore, a fabulous supporting cast (Vivi might be my favorite Final Fantasy character ever written), and a lead character you don’t want to punch (*cough* Final Fantasy X).

Final Fantasy IX is often described as “nostalgic”, and despite the fact that it was only the second game in the series I had ever played, I got that feeling instantly. Try listening to the soundtrack for “Frontier Village Dali” without feeling a little melancholic. You don’t even have to have played. But I recommend that you do.

For the record, my ranking of Final Fantasy games that I’ve played goes: IX, VII, XII, XV, X, XIII.

5. Assassin’s Creed: Brotherhood: One difficulty in judging games within a series is how to compare an earlier game which still had some rough edges but represented a quantum leap forward versus a later game which didn’t do anything super-novel but tweaked the formula to perfection. That, in a nutshell, is the difference between Assassin’s Creed II and Assassin’s Creed: Brotherhood. Now, for me, this is an easy call for idiosyncratic reasons—I played AC:B before AC II, and so I experienced the former as both the perfected model and the quantum leap forward as compared to the original game. But I respect that for those who played the series in order, this is a harder call.

What should be easy for anyone is to agree that together, Assassin’s Creed II and Assassin’s Creed: Brotherhood represented the AC series reaching its full potential. Ezio continues to be the best protagonist the series has seen to date. Renaissance Italy likewise is the ideal setting for both AC’s vertical and horizontal platforming elements and its shadowy-conspiracy/secret-history plotline. As a franchise, Assassin’s Creed really launched the parkour/open-world exploration genre, and Brotherhood was the first game where every single element of what that genre could be came together. Other more recent games have been tons of fun (Black Flag and Syndicate are I think highlights), but these two games are the reason this series is so iconic.

4. Might and Magic VI: The same problem posed by AC2 versus Brotherhood emerges with Might and Magic VI and VII—except here, I did play them in order. Like the previous entry, I do think that VII ultimately improves upon the formula set out in Might and Magic VI. It’s more versatile, has more replay value, a touch more balanced (and that’s not getting into ArcoMage) … all in all, probably a better technical game.

But Might and Magic VI is for me iconic—it may well be the first RPG I’ve ever truly loved (and given the way this list is stacked in that direction, that’s saying a lot). Virtually all the things that characterize what I love in games today, it had in at least skeletal form. Open world exploration? Check: It was the first game where I felt like I was a true pathfinder—meticulously crawling over every corner of the map to find each obscure bandit’s cave and goblin fortress. To this day I still have the lay of the land in Enroth basically memorized. Overly detailed worldbuilding text to read? Absolutely: my obsessive-streak came out in reading every single artifact description, conversational option, and quest backgrounder (it is canon that Enroth, and the entire planet it resides upon, was blown up in a magical explosion—a fact I’m still resentful towards 3DO for long after it disappeared into bankruptcy). Slight genre-bending? The splash of Sci-Fi onto the fantasy setting was delightful to discover for someone who had never played any of the prior entries in the series. And some of the music—well, the White Cap theme is a thing of beauty, and on my computer “Adagio in G Minor for Strings and Organ” is still listed as “Church Dungeon Music.”

3. Heroes of Might and Magic III: If comparing earlier, more revolutionary games against newer more polished ones presents a problem in the Assassin’s Creed and Might and Magic series, it presents no trouble at all in Heroes of Might & Magic. That’s because the third installation in the series both represented a huge jump forward from what came before and is unquestionably the best entry in the overall sequence.

Sure, some of the expansions are a bit goofy, but they still work—sharpshooters and enchanters are massively overpowered, but they’re generally used in missions that would otherwise be impossible. But the main campaign is fabulous—a surprisingly intricate and interwoven plot that bridges Might and Magic VI and VII compliments outstanding strategy gameplay. And that doesn’t even get into the acre of standalone maps provided, plus countless more available on the web thanks to a map editor so intuitive, even I can use it (I’m terrible with map editors).

As a result of all of this, Heroes III is maybe the only game on this list that can compete with N++ regarding infinite replayability. This is fortunate, because—given the fact that Heroes III was a full-budget release and was not supposed to be “simple”—it ages incredibly well. Even the graphics hold up (no need for that remastered remake—which doesn’t even include the expansions!).

2. Witcher III: As you may have noticed, this list has a strong bias towards RPGs. My preference is toward “Western” RPGs (which have a go-anywhere/do-anything exploration mentality) compared to “Japanese” RPGs (which are more linear and story-driven), but Witcher III does an incredible job of synthesizing the best of both. It has a huge open world to explore, one that feels alive and dynamic—but there is also an incredibly rich story filled with deep, well-written characters (of which Geralt—the player character—is but one).

Gameplay-wise, Witcher III really hits the perfect balance. I simultaneously felt like the biggest bad-ass in the room, but also like a single slip in concentration or bit of overconfidence and my corpse would unceremoniously end up at the bottom of whatever cave I was in. But Witcher III particularly stands out in how it subverts certain common RPG tropes. You are a hero, but you’re not particularly well-liked. You’re a powerful warrior, but you’re still ultimately treated as a pawn in larger political machinations. Your interventions do not always save the day, and sometimes don’t even make things better. If a mission starts with a villager worrying that their beloved has gone missing, nine times out of ten that person has been devoured by a monster well before you ever get there. While many games claim to place the hero in difficult moral dilemmas, Witcher III is a rare case of following through (some games might give you the choice to let a trio of witches eat a group of kids whom you recently played hide-and-seek with, but few make it so that might actually be the more moral of the options in front of you). There’s even a quest where you help a knight rescue a lady in distress from a curse, then lecture him that he’s not entitled to her romantic attention as a reward (talk about a timely intervention in the video game genre!). Over and over again, the game reinforces the message that being really powerful and doing “the right thing” isn’t enough to fix a fundamentally broken system.

Most impressive is the emotional impact that Witcher III dishes out. Sometimes this is a result of rich character development that pays off over the course of the entire game (as in “The Last Wish” quest). But sometimes it shows up in even relatively minor sidequests—the epilogue of the “Black Pearl” quest was one of the more brutal emotional gut-punches I’ve experienced in a video game. Ultimately, this was a game where one always felt like each character was a person—they were imperfect, they had their own interests, hopes, dreams, strengths and foibles, and while you were a little better with a sword and gifted with some preternatural abilities, you were still only one player in a much bigger narrative. As a result, Witcher III might well be, in my estimation, the perfect RPG.

Oh, and Gwent is ludicrously addictive. Let’s not forget that.

1. TIE Fighter: I don’t think this list has a particularly “modern” bias. Still, there’s something impressive about the number one game on this list also being the oldest by some measure. TIE Fighter originally came out in 1994, and the definitive Collector’s Edition was released in 1995. It is, to this day, one of the best games ever made. And that’s not a retrospective assessment. Star Wars: Tie Fighter holds up even played right now.

For starters, it is one of the few elements of the Star Wars universe to get the Empire right. I’m not saying that the Empire is the real protagonist of the series. I am saying that they wouldn’t view themselves as evil—as much as naming spacecraft “Executor” and “Death Star” might suggest otherwise. TIE Fighter is quite self-assured in presenting you as being a force for law and order in the galaxy, battling not just seditious rebels but pirates, smugglers, and other anarchic forces that threaten to tear civilized life apart.

Let’s start with something often overlooked in TIE Fighter: the music. It’s probably the only context that the phrase “kick-ass MIDI soundtrack” makes sense. But that’s not even the half of it. The iMuse system dynamically and seamlessly arranges the musical cues to reflect what’s going on around you in the mission—you can literally follow important mission updates (e.g., a wingman being shot down, or reinforcements arriving) simply by the way the melody shifts. I’m not sure I’ve ever encountered anything quite like it since. To this day, the number that accompanies an incoming enemy capital ship fills me with exhilarated dread.

Gameplay-wise, TIE Fighter is almost shockingly rich. The core mission requirements are challenging, but by no means out of reach. But embedded in each level are a series of secondary and secret bonus objectives. These unlock a parallel plot of the Emperor’s Secret Order—but always present a brutal risk/reward calculus. That’s not unrelated to the fact that you’re often flying, well, TIE fighters (not noted for their durability)—but the challenge extends well beyond physical peril. TIE Fighter actually gives you an “invincibility” option if you want it, and yet even with it on some of the later missions and bonus objectives will strain every piloting skill you’ve ever developed.

Most importantly, the secret objectives usually are more involved than “blow up everything in sight.” They reward initiative and exploration. Maybe your primary mission objective is to destroy a rebel space station. But just before it goes down, you spot an escape shuttle fleeing the station. Take it out? Maybe—but maybe the occupants are VIPs best taken alive. So you switch to ion cannons and disable it for capture. Yet that extra time you just spent has given the rebels enough breathing room to summon reinforcements—now an enemy cruiser is bearing down on you. Take out its missile launchers and clear path for bombers while praying that your own Star Destroyer will arrive soon to back you up. All on the fly. All while dogfighting starfighters, dodging mines, giving your wingmen orders … it’s insanely, beautifully chaotic.

Did I mention this is all happening in 1995? 90% of games released today don’t have that kind of depth or spontaneity. In terms of playability, replayability, and just plain fun, TIE Fighter stands alone, and unchallenged.

via The Debate Link https://ift.tt/2HbDTEl