#i’ve played a lot of ‘shooter’ games (or just games similar to genre) and like Sure im used to people being jerks in game chat or something

[simcardiac-arrested]

OHHHHH MY GOD COMING OFF ANON BECAUSE !??!?!? SCPSL MENTIOn!!?!??!? you are the ONLY person i've EVER seen that mentioned that game in being similar to lethal company ohhhh my god oh my god i used to be so crazy autism over that game Okay. okay. oh my godddd I LOVE(D) SCPSL SO MUCH and it makes me so so so happy to see a game like it get so popular!!! i love lethal company!!! and i love the creatures and the randomly generated facilities and the PROXIMITY chat and the lore (sigurd adn desmond<3) and i love that ALL MY FRIENDS CAN AND DO PLAY ITTT ^__^ its like 14 year old me got blessed by the autism fairy joy and beauty to the world

i don’t know how to say this in a way that wont make me sound like i shouldnt be allowed in public spaces so i’ll just go ahead and say it. I have 200 hours in scpsl

[raibebe]

Moving foreward

Genre: fluff Words: 2.457 Prompt: Samoyed hybrid Jeno x fem. reader

Warnings: unspecific allusions to childhood trauma, allusions to genetic modification

A/N: MY BABY IS BACK! And more baby and insecure than ever because this is set very early in the story and we get to learn some of his background! Bonus points for everyone who can guess which game he was playing. Also please appreciate the header, I ripped my hair out for streamer Jeno.

Hybridverse masterlist

“Wow, I can’t believe they’d just end it like that,” Jeno shook his head, falling back into his chair as he stared blankly at the ending screen of the game he had been playing on stream, “I need answers. This can’t be it. I know this isn’t it.” “We missed a few clues in the mines and the hospital I think,” he read a comment from his chat, “The mines were so creepy, you can’t blame me for that,” he whined, his ears flattening into his fluffy hair, “I was busy not getting that annoying girl killed even though she deserved it for being an absolute ass.” At that, his chat broke out in laughing emotes. “Am I wrong though?” He giggled, closing the game and enlarging his facecam for the viewers instead, so they didn’t have to look at the menu screen. For the cozy atmosphere that he was always striving for, he pulled up his curated playlist of calming videogame soundtracks. 

 “So… I kinda didn’t think we’d be able to finish so quickly, so I don’t really have anything else planned,” he admitted, “We could just jump into some other game real quick but I’m not in the mood for any shooters right now and I might launch myself out of my chair when I get jumpscared again.” He scanned the chat for good suggestions for a little while, his eyes darting over to the clock at the bottom of his screen. It was already quite late and the last half an hour of that game had been way too intense. So maybe he could just cut the stream early today and just get some extra cuddles. That would be nice. He’d very much like some cuddles. And maybe some ear scratches. 

 “Will you be playing ‘No home for us’ once it’s out?” He read out a question from one of his mods. “You know actually,” Jeno sighed, nervously picking at his cuticles, he knew that this question would be coming up sooner or later and that his answer might be unexpected. “I won’t.” Before he could even explain himself, his chat exploded with messages and confused emotes, the messages coming in so fast, twitch was barely able to buffer all of them. “Wait, wait wait, let me explain,” he asked, taking a deep breath to collect his thoughts, “I think the game is going to be great. From what I’ve seen in the trailers and promotional videos, it’s going to bring attention to lots of valid concerns regarding us hybrids and the graphics are absolutely phenomenal. But… But I think the story will hit too close to home for me. I don’t think I’d be in the right mindset to play this and for my mental health, I’ll refrain from playing it on stream. Maybe I’ll take a look and play it in private so I can tell you guys my thoughts on it at least. But I really can’t do this on stream for my own safety.”

 The tone of the chat messages immediately turned from confused to concerned at his words. The game was supposed to be a heavily story-based game following the journey of three different hybrids and it had been praised to high heavens because of that. But especially the story of the female cat hybrid had made the hairs at the back of Jeno’s neck stand up just from seeing the promotional videos and the behind-the-scenes the company had sent him because they obviously wanted hybrid content creators to talk about their game. It was eerily similar to his story even though hers would probably be even more dramatic for obvious reasons of storytelling and would only have a happy ending if you made the correct choices throughout the game. And Jeno already knew that if he were sitting alone in his streaming room, he’d go insane with anxiety over every little choice he had made because he needed this potential happy ending to happen or he’d just end up crying. 

“I- I’ve never really spoken about my story and how I ended up here but I know some longtime followers have probably a good understanding of it,” Jeno mused, sipping on his Redbull just to get a sense of comfort from having the stupid metal straw in his mouth. A coping mechanism - and a comparatively healthy one or so his therapist had told him.

 “Yeah, my story sadly isn’t the one of the golden retriever hybrid,” he laughed uncomfortably, “No privileged background despite my breed. I- I actually grew up in a shelter for most of my life and I’ll always be incredibly grateful for how good care I was receiving there, the social workers really did their best trying to take care of me and all the others.” “Prestigious breed,” Jeno read the comment flying past, his head tilting in confusion, “What’s that even supposed to mean.” He could only snort. Unsure if he should be angry and tell this person off or if he should’ve just ignored the comment to avoid fueling the discussion further. “I mean I guess Samoyeds are on the rarer side of Hybrids but there’s more to it - to me - than that. Multiple factors go into adoption and- Maybe I should do a whole video about this. With a dramatic title and all.” Jeno cut himself short with a giggle before he could get worked up about it. Some people - humans - just didn’t know what life was like for lots of hybrids. Especially the younger humans who didn’t know much about the history and the continuous fight of Hybrids for basic human rights. And while it was seen as normal for Hybrids to attend college and school nowadays, they still had a long way to go until they’d reach true equality.

“Our family just took in a cat hybrid the other day from a shelter and it has been such a process and a half.” “I’m glad to hear that”, Jeno smiled, “Not that it’s been so hard but that you decided to take someone in need in. And I  hope you’ll take the time and effort to try to understand them and learn if they need any special care so you can provide for them. I should really just make a video on this since you’re always so interested in anything hybrid matters. And you really seemed to like the last video where my girlfriend helped to test just how good my sense of smell really is.”

“I’ve actually thought about telling my story multiple times but- But it’s really not a pretty story. And I never wanted my platform to be about me as a person but rather about the games and just having fun and making your days better with it, maybe making some fun content about hybrids with my friend but that’s it. And I already know that if I end up telling my story, people will be nasty about it and tell me that I’m only doing it for attention. But at the same time, this obviously is a huge part of my life and why I am the person I am today and maybe I can do something good for the community if I use my platform to call attention to things like that.”

 A soft knock on the door pulled Jeno from his train of thought, his head snapping to where you quietly slipped into the room. Despite the heavy topic feeling like a weight pressing down on his chest, he couldn’t fight the smile that spread on his lips nor how his tail started wagging. “Hi puppy,” you whispered, mirroring his smile. Making sure that your face was out of the camera shot, you stepped into the frame, letting Jeno pull you close with a grip around your waist. “Thought you might need some company,” you explained yourself, shyly waving to the viewers who were welcoming you warmly. “I’m okay,” Jeno promised, taking a deep breath to fill his lungs with your comforting smell. “You think it’s a good idea?” “Telling your story?” In lieu of an answer, he simply nodded, looking up at you from beneath his lashes. Smiling, you playfully scratched beneath his chin, always endlessly endeared with his puppy-like mannerisms.

“I think it could be a really good thing. To shine a light on some stuff people don’t really talk about and to make people pay attention to things they didn’t know existed,” you spoke your mind, “But it will also make you very vulnerable and I don’t know if you feel comfortable doing that. It’s- It’s a heavy topic just like you said and I don’t know what it’ll do to you mentally if you revisit that time.” “So you’re saying that I shouldn’t do it,” Jeno asked, his brows pulled together in a frown. “That’s not what I said,” you smiled, gently rubbing your thumb through the crease to make him stop frowning, “I know you’re much stronger than when we first met and that you grew so much as a person in such a short time but these memories are- they’re traumatic and you know I hate nothing more than seeing you distressed or in pain.” 

With a glance to his chat that seemed to just be filled with his cute samoyed heart emote, Jeno took a deep breath, giving in to the urge to bury his face in your stomach, nuzzling into the comforting smell of your laundry detergent and something just inherently you. “I asked Doyoung for my files a while back. I have them here but I didn’t have the courage to look into them.” “Do you wanna do that?” You whispered, carefully taking his headset off so you could card your hands through his silky hair and scratch your nails gently against his scalp and along the base of his ears to relax him. “I think I do,” he whispered back, “I wanna do this. I need to know.” “Then I’ll be here to support you,” you smiled, resisting the urge to kiss the crown of Jenos head to keep your face off of the internet, “For every step of the way.” “Love you,” he mumbled into the fabric of your shirt but you were so used to hearing the words from him that you understood them anyways. “Love you too, pup.” Playfully, you pulled his chair off-screen, swallowing his surprised yelp with a sweet kiss. “I have to end the stream,” he sighed against your lips but contradictory to his words, he stole another kiss that you couldn’t help but smile into, butterflies erupting in your stomach like it was the first kiss you shared. “I’ll wait in bed,” you promised, carefully rolling Jeno back into the frame of his facecam. 

Smiling fondly, you watched him stumble over his words with a pinkened face as he said goodbye to his followers. “I- Uhm- Yeah. Oh god,” he giggled, putting his hands on his cheeks to cool down his burning face, “Yeah. I- Like. Uhm. Bye?” At his flustered stuttering, the heart emotes in his chat were replaced by laughing emotes and only then did Jeno notice that his mods must have changed the chat to emote-only mode possibly due to the comments either being mean or it becoming so many, they couldn’t monitor all of them for his mental health. “We can leave the emote-only mode now I think,” he smiled gently, “Everyone, say thank you to our mods for keeping this a safe and positive space.”

“How dare my favorite streamer make me feel single,” he read out a comment, immediately feeling more blood rush to his face, “Well, yeah for those who don’t know or haven’t suspected, that was my girlfriend and I guess we’re going to try and figure out more about my story and stuff… And eventually, I’ll post a video and share as much as I feel comfortable. To… You know raise awareness and actually use my platform for something else rather than getting jumpscared by scary-looking creatures in an old asylum.” “Hmm, yeah, I don’t know what we’ll do on Friday yet. I have to see if Haechan and Chenle are free, so we can play keep expanding our base in ‘The Forest’ and get some more exploring done for once. Yeah… Oh no, I absolutely haven’t forgotten that Chenle betrayed me and left me by myself with that crazy mutant. I’ll get my revenge.” “So yeah, we’ll let you guys know beforehand if the terrible trio will get together on Friday or if I play something by myself. There is this new ghost-hunting game I wanted to give a shot. But until then, stay safe, be kind and don’t forget to stay hydrated. Bye bye, guys.” 

Smiling into the camera and blowing a kiss to it, Jeno turned off his stream. Sighing, he slumped back into his chair for a bit, staring at the empty overlay of his streaming software. He was really going to do this. With his heartbeat picking up and his blood loudly rushing through his veins, he slowly reached out to the bottommost drawer of his desk. The drawer was empty, safe for two things: A thick, light brown file with his name written in Doyoung’s neat handwriting and the stamp of the shelter and an almost sterile-looking white one that just had the number 423 and a logo that resembled DNA splicing printed in black ink. The brown file didn’t worry him too much. Doyoung had already told him that it was mostly his medical records, court cases and documentation of his past failed adoptions. The white file on the other hand gave him chills just looking at it. He didn’t have many memories from when he was a young child - trauma-blocking his therapist had called it - but he could for some reason vividly remember the DNA splicing logo and it was enough to make him sick to the stomach. Gritting his teeth, he picked up the file to put it on his desk. Between all the dark equipment in his room, it stood out like a sore thumb. It clearly didn’t belong here. But whatever was documented in there, it was part of Jeno, no matter how much he hated it. “Tomorrow,” he whispered to no one but himself, pulling his lower lip between his sharp teeth. Tomorrow, he was going to ask you to sit down to look through the file. 

Tonight, he only wanted the comfort of your touch. And if he was demanding to be the small spoon that night, scrolling through Twitter to see the cute clips his fans had made of your visit to the streaming room, that was between him and his browser history. 

[talenlee]

Game Pile: Why Do Trans Women Love Fallout New Vegas

Released in 2010, Fallout New Vegas is a classic of the FPS-shooter RPG genre, bringing forward the Fallout 3 engine’s integration of real-time FPS combat with the previous Fallout game’s turn-based mathematical combat, and integrating them into a sort of ‘second parse’ at the let’s politely say rough execution of Fallout 3. In this game, which I have reviewed in the past, literally ten years and a much more closely-hewn Yahtzee Impression ago, you play a character called The Courier starting at the point in their story where a traumatic head injury gives you an opportunity to intervene in the existing story with a potentially all new, all exciting direction.

The story is a sort of noir cowboy steampunk fantasy – there’s the trappings of modern technology and post-apocalyptica, but the world that was and its infrastructure isn’t really important as much as it just sweeps aside a lot of options for progress. Technology is chunky and heavy and there’s a durability to everything, where things break, but they can always be fed more technology to make them un-break. Everything has an independence to it, a scrounging, foraging, make-it-work, it’ll-do-for-now technologism all typified with a gun at your hip and your duster fluttering in the hot wind.

Also, I guess, Content Warning: Drugs and violence, because that’s a thing that happens in the game and kinda comes up in this conversation. A bit. I just want one person at least to be more comfortable reading this, going on.

And it is notorious for being a game beloved by trans women. So much so that it’s a meme unto itself, a joke about being into Fallout New Vegas being a gateway to the experience of being a trans woman. And as an investigator of games, I thought I could, this Pride Month, explain to you, why all trans women love Fallout New Vegas:

They don’t, largely.

Oh, sure, there are trans women who are fans of Fallout New Vegas. A bunch of them! And they tend to describe ideas in Fallout New Vegas that excite them, it tends to be things like:

I get to shoot Matthew Perry in the face

The story is all constructed such that everyone’s story is somehow ensnared with the dam

There’s a meaningful dialectic between Caesar’s legion and his own ideology

You can do drugs and shoot baddies

Cazadores are amazing

Cazadores suck

The Courier has a backstory, has a meaningful life and narrative that you have to reconstruct through play

There’s an anti-nuclear thread running throughout the whole story

Spurs go jingle jangle jingle

The final building is exciting and beautiful and engaging

The idea that Las Vegas strip is the kind of thing that survives our worst end is darkly funny and what we deserve

There’s more. When I compose a list of this kind of thing reflecting on feedback, I’m typically trying to collapse together similar responses, and there really isn’t a lot of commonality between these unless you start to get really broad. And when you get that broad, what it tends to come down to is:

It’s an enjoyable game and I find it engaging.

What’s more there’s some feedback I got that doesn’t match the feedback given. Now, I did ask explicitly only to trans readers to respond to this question, so I have assumed that everyone who responded did, but normally, when I ask a question like ‘what’s something about this gam that excites you’ and you find a way to structure your answer to be a dunk on the question or complaining about something unrelated, I think of that as not answering the question and not being helpful.

But still, in the sense of completeness we also got:

The game is buggy and I don’t like it

The game didn’t leave an impression on me

I’ve never played the game

And okay, was this what you were expecting? These are all pretty distinct opinions, some fine enough to be about individual mobs in the game, some are big and expansive about the metatextual structure of the story, some are about the values of the story and some are about the storytelling devices and some are uuuh just about the sheer enjoyment you can get out of shooting racists while high off your face. Every explanation I’ve heard from trans people about why they personally like Fallout New Vegas has been specifically about liking the game as a game.

Not as a piece of Trans Media. Not as a piece of Trans Representation. It’s not even a game with a blatant expression of Trans Rights – you can turn the lens of this game pretty easily to see it making fun of ‘man in a dress’ narratives, if you want. You could also play the whole game and never notice the bit I’m talking about! Missing Cazadores or the Dam or the Nuclear themes? That’d be a lot harder by comparison. And Fallout New Vegas is also just a very popular game, that lots of people like.

The idea that trans women love Fallout New Vegas is therefore a kind of floating signifier. Lots of people like Fallout New Vegas. It’s not a secret mysterious cult hit. It doesn’t need special trans significance to be a beloved game in the trans community. Coming out in the right chunk of time for a community with common interests means that of course a bunch of them would relate to it. You might as well point out the common thread of trans women using Windows 7, because in the same general band of time they probably did.

Now, I don’t know if you’re aware of this, but memes are not, in and of themselves, all that complex. They’re sticky, they’re reduced coagulations of meaning, but the real thing a meme is is a unit of communication. A meme transmits meaning, and that meaning needs to be shareable. You might be familiar with some memes already like this, such as, y’know, words. The purpose of memes is therefore not so much to be explanatory in and of themselves, but to be useful for explanation. The fancy term we use for this, in describing a network of memes with related meanings that indicate a communal space, a sort of ‘meme dialect’ that a community holds to, is the word memeplex.

There’s also the potential of a sort of permissive diagnostics of it. The nature of being trans is often an end point of a series of conversations with the self and with others that are entirely about undoing a series of mental hurdles that are meant to stop trans people from considering themselves trans. Some folks have had a rock-solid ironclad long-term consideration of their gender in one way, and for some folk it’s a lot more complicated. Maybe you think ‘I would be a trans woman, but’ or ‘I mean, if I was a trans woman I’d be unhappy because I wouldn’t be attractive’ or ‘man, I’m jealous of trans women getting to solve something so simple about themselves and becoming happy,’ and those thoughts are often part of this same trapping matrix of ideas.

Maybe there’s no special reason trans girls love Fallout New Vegas, but maybe you love Fallout New Vegas because you’re a trans girl. And if that sounds like incoherent nonsense to you, then don’t worry about it.

It’s not a message for or about you.

Now join me next time for why I talk about so many trans dudes own a short-sleeved collared blue shirt with a repeating pattern of something like white dots on it.

Check it out on PRESS.exe to see it with images and links!

#GamePile #Games

[an-aussie-button-masher]

True Trailblazers - Five Classic Games that Defined Their Genre

   Everything follows a blueprint of some kind, right? Pretty much any modern game you play is part of an existing genre - they might introduce some new unique elements or mechanics, but it’s always on top of a standard style that’s usually been around for a long time…but something must have been the first. Where did these blueprints come from? Which games really set the standard for their genre? They might not necessarily have been the very first of their kind, but some games get the rules so right that everything that comes out afterwards follows their lead in some fashion. I’ve taken a look at some of the most popular and unique gaming genres of today and dug back into their past (some much further than others) to find out just which games truly stand out as the definitive trend-setters of video game history. Enjoy!

The Legend of Zelda    It’s dangerous to go alone on adventures, but fortunately Nintendo showed us how it’s done back in 1986 with The Legend of Zelda, one of the earliest action-adventure RPGs. It wasn’t technically the very first - that was Adventure (1979) - but Zelda streamlined the idea into what would become the modern RPG. It introduced staple mechanics like more open-ended non-linear gameplay, while getting rid of less relevant features like scoring points. Zelda gave us the genre’s major features by combining the item and upgrade collection and puzzle solving of adventure games with the reflex-based combat of action games - thus, the action-adventure genre. The original game may be simple and archaic by today’s standards, but the mechanics and ideas it introduced have become a mainstay of the entire genre, especially in future Zelda games.

DOOM    Modern first-person-shooters like Halo or Call of Duty have come a long way as they’ve become the genre’s current leaders, but no matter how far they go, it’s all thanks to good ol’ Doomguy. Back in 1993, id Software took the basic mechanics of their Wolfenstein series (e.g. the “camera” being the POV of the player character with just a gun barrel poking out in front) and added more varied environments, complex weapons, and brought us gaming’s most unstoppable demon-killing machine in DOOM. The game was such a genre-defining hit that for most of the 90’s, until the term “first-person shooter” was invented, similar games were simply called “DOOM Clones!” Even in modern shooters, you’ll find that the usual selection of guns are based on the arsenal used in DOOM - the basic pistol, the close-range shotgun, the bullet-spewing chaingun, the devastating rocket launcher, and so on.

The Binding of Isaac    Even random generation follows some rules, and a lot of these rules came from one sad little child in a basement. The Binding of Isaac was far from the first roguelite (a modern subgenre of roguelike games, which feature random procedural generation of runs with permadeath mechanics), but in 2011, the developers Edmund McMillen & Florian Himsl brought new twists to the roguelite formula that has stuck around ever since, on top of streamlining the usual mechanics to be more in line with modern RPGs. Isaac introduced a heavier emphasis on “macrogame” progression - certain aspects of a run, such as special currency or newly-unlocked upgrades, will carry over into future runs even if the player lost the initial run. Additionally, the massive collection of varied items and upgrades found in Isaac is now a staple feature of all roguelites. New roguelites like Risk of Rain or Cult of the Lamb may have introduced their own gimmicks, but they were added on top of the overall style of roguelite that Isaac set in stone.

Grand Theft Auto 3    What happens when you build a huge, open city, and put a hundred different things to steal and shoot at in it? You get Grand Theft Auto 3, the first true open-world sandbox. In 2011, DMA and Rockstar Studios took their old-school top-down GTA games and restructured them with the power of the state-of-the-art hardware of their time, creating the first fully 3-D GTA game and setting it within a huge, densely-packed world the player could explore at their leisure. They massively increased the scale and depth of the series, moving away from the mission-by-mission level selection in favour of the free-roaming map GTA is known for today. With greater player freedom and less restricted gameplay, players were free to go wherever and do whatever in whichever order they felt with no time limit; the plot was there to progress if desired, but there was also plenty of random other activities and collectables to gather in and out of your way if you chose to.

Resident Evil    You’re hiding from a monster with only one bullet left in your gun. The monster’s getting closer. How will you survive this horror? Look no further than Capcom’s 1996 Resident Evil, the best and original guide to the survival horror genre - it even came up with the genre’s name! You’re welcome to try and fight whatever monster or zombie horde is lurking around, but with the harshly limited resources at your disposal, it’s generally wiser to run and/or hide. Later RE entries introduced more action elements to the series, but the first game is the true survival horror experience with the bleak, oppressive atmosphere and the protagonists being easily overwhelmed instead of just being able to blast their way through anything. For an even spookier vibe, Silent Hill is one of the other best early examples of survival horror, adding elements of psychological horror to RE’s style.

   I hope you enjoyed this look at where a few favourite gaming genres all came from! Of course, there are dozens of other genres with their own classic roots - if you know of any other genre-setting games, let me know!   Reblogs and likes are much appreciated, and thank you for reading!

[dumbfinntales]

I’m not the biggest fan of FPS games. I have played some like classic Doom or Quake, plus the 2016 reboot of Doom. But I sort of always preferred if FPS games were something else other than shooting, like Metroid Prime or Deus Ex Human Revolution. Kind of a weird thing to want about a genre that is named “first person shooter”, huh? I thought that maybe I just don’t like arena shooters.

Until I played Ultrakill. For the past week or so I’ve been grinding away at this game and it’s one of the most fun games I’ve played in YEARS. Ultrakill feels like if they took Devil May Cry and turned it into an FPS. The movement feels so good and the combat is just non-stop adrenaline pumping action. And the bosses, holy crap the bosses are so good. Some of them have left me with shaking hands due to the adrenaline.

I thought that Ultrakill was just going to be a Doom-like shooter with a funny robot who craves for blood. On some part it is that, but it is so much more. The game is highly skill based and has a style meter similar to DMC. Play well, deal damage and do it fast for good scores. The game also has weird weapon combos and special tech that you gotta learn to better your play. At times the game can be really challenging, especially some of the bosses. I love that the games reward for completing a great challenge (getting the best rank on all levels) is just an even greater challenge in the form of a secret boss. Good shit.

You can punch your own shotgun pellets to propel them forward and cause a massive explosion.

The person who made Ultrakill knows exactly how to make a game feel good to play. Ultrakill has a lot to offer even now, despite being in early access and I can’t wait to see how this game evolves as it slowly becomes a complete product. Fuck yeah.

[marginalgloss]

I turn 35 tomorrow. How better to celebrate that than with some notes on the handful of video games I have managed to finish over the last ten months. In no particular order:

Judgment (PS4)

Something I think about often is that there aren’t many games which are set in the real world. By this I man the world in which we live today. You can travel through ancient Egypt or take a trip through the stars in the far future, but it’s relatively rare to be shown a glimpse of something familiar. Hence the unexpected popularity of the new release of Microsoft Flight Simulator, which lets you fly over a virtual representation of your front porch, as well as the Grand Canyon, and so on.

I found something like the same appeal in Judgment, a game which took me longer than anything else listed here to finish — seven or eight months, on and off. Like the Yakuza games to which it is a cousin, it’s set in Kamurocho, a fictional district of a real-world Tokyo; unlike other open-world games, it renders a space of perhaps half a square mile in intense detail. I spent a long time in this game wandering around slowly in first-person view, looking at menus and in the windows of shops and restaurants. The attention to detail is unlike everything I have ever seen, from the style of an air conditioning unit to the range of Japanese whiskies on sale in a cosy backstreet bar. And this was a thing of value at a time when the thought of going anywhere else at all, let alone abroad, seemed like it was going to be very difficult for a very long time.

It’s a game of at least three discrete parts. One of them is a fairly cold-blooded police procedural/buddy cop story: you play an ex-lawyer turned private eye investigating a series of grisly murders that, inevitably, link back to your own murky past. In another part you run around the town getting into hilarious martial arts escapades, battering lowlifes with bicycles and street furniture. In another, you can while away your hours playing meticulous mini-games that include darts, baseball, poker, Mahjong and Shogi — and that’s before we even get to the video game arcades.

All these parts are really quite fun, and if you want to focus on one to the exclusion of the others, the game is totally fine with that. The sudden tonal shifts brought about by these crazy and abrupt shifts in format are, I think, essentially unique to video games. But the scope of Judgment is a thing all its own. As a crafted spectacle of escapist fiction it’s comprehensive, and in its own way utterly definitive.  

Mafia: Definitive Edition (PS4)

I was amazed when I found out they were doing a complete remake of Mafia, a game I must have finished at least three or four times in the years after its release back in 2002. Games from this era don’t often receive the same treatment as something like Resident Evil, where players might be distracted by the controls and low-poly graphics of the original. 

A quality remake makes it easier for all kinds of reasons to appreciate what was going on there. (Not least because they have a lot of new games in the same series to sell.) But in the early 00s PC games like this one had started to get really big and ambitious, and had (mostly) fixed issues with controls; so there’s a hell of a lot more stuff going on in Mafia than in most games of that era. It was also a very hard game, with all kinds of eccentricities that most big titles don’t attempt today. Really I have no idea how this remake got made at all. 

But I was so fond of the original I had to play it. The obvious: it looks fantastic, and the orchestral soundtrack is warm and evocative. The story is basic, but for the era it seemed epic, and it’s still an entertaining spectacle. The original game got the balance of cinematic cutscenes, driving and action right the first time, even while Rockstar were still struggling to break out of the pastiche-led GTA III and Vice City. 

They have made it easier. You’re still reliant on a handful of medical boxes in each level for healing, but you get a small amount of regenerating health as well. You no longer have to struggle to keep your AI companions alive. Most of the cars are still heavy and sluggish, but I feel like they’re not quite as slow as they once were. They’ve changed some missions, and made some systems a little more comfortable — with sneaking and combat indicators and so on — but there aren’t any really significant additions.

The end result of all this is that it plays less like an awkward 3D game from 2002, and more like a standard third-person shooter from the PS3/360 era. Next to virtually any other game in a similar genre from today, it feels a bit lacking. There’s no skill tree, no XP, no levelling-up, no crafting, no side-missions, no unusual weapons or equipment, no alternative routes through the game. And often all of that stuff is tedious to the extreme in new titles, but here, you really feel the absence of anything noteworthy in the way of systems. 

My options might have been more limited in 2002 but back then the shooting and driving felt unique and fun enough that I could spend endless hours just romping around in Free Ride mode. Here, it felt flat by comparison; it felt not much different to Mafia III, which I couldn’t finish because of how baggy it felt and how poorly it played, in spite of it having one of the most interesting settings of any game in recent years. But games have come a long way in twenty years.    

Hypnospace Outlaw (Nintendo Switch)

If this game is basically a single joke worked until it almost snaps then it is worked extremely well. 

It seems to set itself up for an obvious riff on the way in which elements of the web which used to be considered obnoxious malware (intrusive popups and so on) have since become commonplace, and sometimes indispensable, parts of the online browsing experience. But it doesn’t really do that, and I think that’s because it’s a game which ends up becoming a little too fascinated by its own lore. 

The extra science fiction patina over everything is that technically this isn’t the internet but a sort of psychic metaverse delivered over via a mid-90s technology involving a direct-to-brain headset link. I don’t know that this adds very much to the game, since the early days of the internet were strange enough without actually threatening to melt the brains of its users. 

(This goes back to what I said about Judgment - I sometimes wonder if it feels easier to make a game within a complete fiction like this, rather than simply placing it in the context of the nascent internet as it really was. Because this way you don’t have to worry too much about authenticity or realism; this way the game can be as outlandish as it needs to be.) 

But, you know. It’s a fun conceit. A clever little world to romp around in for a while. 

Horace (Nintendo Switch)

I don’t know quite where to begin with describing this. One of the oddest, most idiosyncratic games I’ve played in recent years. 

As I understand it this platformer is basically the creation of two people, and took about six years to make. You start out thinking this is going to be a relatively straightforward retro run-and-jump game — and for a while, it is — but then the cutscenes start coming. And they keep coming. You do a lot of watching relative to playing in this game, but it’s forgivable because they are deeply, endearingly odd. 

It’s probably one of the most British games I’ve ever played in terms of the density and quality of its cultural references. And that goes for playing as well as watching; there’s a dream sequence which plays out like Space Harrier and driving sequences that play out like Outrun. There are references to everything from 2001 to the My Dinner with Abed episode of Community. And it never leans into any of it with a ‘remember that?’ knowing nod — it’s all just happening in the background, littered like so much cultural detritus. 

A lot of it feels like something that’s laser-targeted to appeal to a certain kind of gamer in their mid-40s. And, not being quite there myself, a lot of it passed me by. Horace is not especially interested in a mass appeal — it’s not interested in explaining itself, and it doesn’t care if you don’t like the sudden shifts in tone between heartfelt sincerity and straight-faced silliness. But as a work of singular creativity and ambition it’s simply a joyous riot. 

Horizon: Zero Dawn (PS4)

I stopped playing this after perhaps twelve or fifteen hours. There is a lot to like about it; it still looks stunning on the PS4 Pro; Aloy is endearing; the world is beautiful to plod around. But other parts of it seem downright quaint. It isn’t really sure whether it should be a RPG or an action game. And I’m surprised I’ve never heard anyone else mention the game’s peculiar dedication to maintaining a shot/reverse shot style throughout dialogue sequences, which is never more than tedious and stagey.

The combat isn’t particularly fun. Once discovered most enemies simply become enraged and blunder towards you, in some way or another; your job is to evade them, ensnare them or otherwise trip them up, then either pummel them into submission or chip away at their armour till they become weak enough to fall. I know enemy AI hasn’t come on in leaps and bounds in recent years but it’s not enough to dress up your enemies as robot dinosaurs and then expect a player to feel impressed when they feel like the simplest kind of enrageable automata. Oh, and then you have to fight human enemies too, which feels like either an admission of failure or an insistence that a game of this scale couldn’t happen without including some level of human murder. 

I don’t have a great deal more to say about it. It’s interesting to me that Death Stranding, which was built on the same Decima engine, kept the frantic and haphazard combat style from Horizon, but went to great lengths to actively discourage players from getting into fights at all. (It also fixed the other big flaw in Horizon — the flat, inflexible traversal system — and turned that into the centrepiece of the game.) 

Disco Elysium (PS4)

In 2019 I played a lot of Dungeons and Dragons. I’m talking about the actual tabletop roleplaying game, not any kind of video game equivalent. For week after week a group of us from work got together and sort of figured it out, and eventually developed not one but two sprawling campaigns of the never-ending sort. We continued for a while throughout the 2020 lockdown, holding our sessions online via Roll20, but it was never quite the same. After a while, as our life circumstances changed further, it sort of just petered out.

I mention all this because Disco Elysium is quite clearly based around the concept of a computerised tabletop roleplaying game (aka CRPG). My experience of that genre is limited to the likes of Baldurs Gate, the first Pillars of Eternity and the old Fallout games, so I was expecting to have to contend with combat and inventory management. What I wasn’t expecting was to be confronted with the best novel I’ve read this year.

To clarify: I have not read many other novels this year, by my standards. But, declarations of relative quality aside, what I really mean is that this game is, clearly and self-consciously, a literary artefact above all. It is written in the style of one of those monolithic nineteenth century novels that cuts a tranche through a society, a whole world — you could show it to any novelist from at least the past hundred years and they would understand pretty well what is going on. It is also wordy in every sense of that term: there’s a lot of reading to do, and the text is prolix in the extreme. 

You could argue it’s less a game than a very large and fairly sophisticated piece of interactive fiction. The most game-like aspects of it are not especially interesting. It has some of the stats and the dice-rolling from table-top roleplaying games, but this doesn’t sit comfortably with the overtly literary style elsewhere. Health and morale points mostly become meaningless when you can instantly heal at any time and easily stockpile the equivalent of health potions. And late on in the game, when you find yourself frantically changing clothes in order to increase your chances of passing some tricky dice roll, the systems behind the game start to feel somewhat disposable. 

Disco Elysium is, I think, a game that is basically indifferent to its own status as a game. Nothing about it exists to complement its technological limitations, and nor is it especially interested in the type of unique possibilities that are only available in games. You couldn’t experience Quake or Civilisation or the latest FIFA in any other format; but a version of Disco Elysium could have existed on more or less any home computer in about the last thirty years. And, if we were to lose the elegant art and beautiful score, and add an incredibly capable human DM, it could certainly be played out as an old-fashioned tabletop game not a million miles from Dungeons and Dragons.

All of the above is one of the overriding thoughts I have about this game. But it doesn’t come close to explaining what it is that makes Disco Elysium great.

[britesparc]

Weekend Top Ten #497

Top Ten PC Games No One Talks About Anymore

Blimey, Quake is rather good, isn’t it? Have you heard about it? I really hope so, because it’s only twenty-five years old. I mean, Jesus. What’s up with that? Quake is meant to be the future. It’s full of true-3D polygonal texture-mapping and real-time dynamic light-sourcing. Fancy it being a quarter of a century old. That’s ridiculous. “Old” is for things like, I dunno, Space Invaders or The Godfather or I Wanna Hold Your Hand. Stuff that our parents heard about before we were born. It’s not – it’s absolutely not – used to describe something that people bought 3D accelerator cards for. It’s not used to describe a game that popularised online gaming.

But old it is, getting silver anniversary cards and everything. No longer the angry, hungry young tiger, devouring its ancestors and growling at upstart rivals like Duke Nukem 3D – sure, you’ve got non-linear levels, interactive scenery, and toilet humour, but we’ve got grenades that bounce with real physics – Quake is now an aged beast of the forest, resplendent, battle-scarred, weary with gravitas. Quake is the game that shaped the now, but it does not represent the future anymore. In fact, arguably its greatest rival – Unreal – is the game with the lasting, living legacy, its progeny building the next generation of gaming with one of the most popular and impressive engines around, the framework underpinning everything from Gears to Jedi to Fortnite. Quake blew us all away, but arguably it ceded the conflict, secure in its status as one of the most important and influential games of all time. Quake II got plaudits for actually having a proper story and an engrossing single-player campaign (and coloured lighting!), and its immediate descendants such as Half-Life changed the nature of what FPS games could do, but in a funny way it feels like Quake has long since retired. A sleeping titan. It got old.

So it’s great that they rereleased it on modern systems! The version of Quake released last month is basically the game I remember, but tarted up a little around the edges, with texture filtering and dynamic shadows and other stuff that I couldn’t manage on my Pentium 75 back in the day. It plays great – it’s slick as anything, and you go tearing round the levels like a Ferrari with a nail gun, blasting dudes and ducking back around a corner before you get hit with a pineapple in the face. It’s the first game I’ve played in a long, long time that evokes the feel of classic PC first-person shooters of that era – which, y’know, kinda makes sense as it is a first-person shooter of that era. But that style of fast-paced run-and-gun, circle-strafing gameplay has gone out of fashion now, with FPS games usually favouring slow, methodical, tactical combat, or larger-scale open-world warfare usually involving vehicles. Whether it’s a straight-up no-frills blaster like Quake, or a game that takes you on more of a linear, narrative journey, like Quake II, or even just a multiplayer-focused arena shooter, like Quake III Arena, it does feel like a dying artform, like a style of gameplay that could do with a resurgence (and, to be fair, there are games on the horizon that look like they’re harking back to the era, so that’s cool).

But it’s not just first-person shooters like Quake that I feel have slipped from gaming’s shared consciousness. Maybe it’s my age (it’s definitely my age) but there seems to be quite a lot of games that were a big deal twenty or so years ago that are utterly forgotten now, whereas some – Doom, Duke Nukem, Command & Conquer, Age of Empires – are often namechecked or rebooted (even before the full-on 2016 reboot, Doom must have been one of the most re-released games of the last thirty years). But there are lots of others where sometimes I feel like I’m the only one that remembers it. And that’s where this list comes in: inspired by the excellent re-release of the Quake franchise, here are some other great PC games of that general era that I feel still need shouting about, even if I’m the only one doing the shouting. Maybe they don’t all need a full-on remaster or whatever, but it’d still be nice if they got a bit of modern gaming love.

No One Lives Forever (2000): coming at a time when most FPS games were still Doom-style blasters with little in the way of real plot, NOLF was different: stylish and funny, genuinely well-written (as in the dialogue), with interesting objective-based missions and a cool female protagonist. It skirted similar ground to Bond and the then-white-hot Austin Powers franchise. Two games were made and then, as far as I’m aware, it evaporated into a mess of tangled rights, hence no sequels or remakes. A shame, because it was great.

MDK (1997): the next game from the people who made the multimedia phenomenon that was Earthworm Jim, MDK was a really cool slice of sci-fi style, all sleek level design and intriguing features. It had a supremely bonkers plot which bled through into a game with a sense of humour, but mostly it was the run-and-gun gameplay and innovative use of a scoped weapon – possibly (don’t quote me on this) the first sniper rifle in a videogame. An even wackier sequel followed, but despite its cult status, that was it.

Star Trek: The Next Generation – Klingon Honor Guard (1998): it’s probably fair to say that Star Trek has not had as many great videogames as Star Wars, perhaps because Trek’s historically straightlaced earnestness just didn’t translate as well as bashing someone up the chops with a laser sword. Honor Guard shook things up by casting you as a Klingon, showering levels with pink blood and going Full Worf. It was the first game to licence the Unreal engine, and had a cool level where you walked along the outside of a ship like in First Contact. Also: shout out to the Voyager game, Elite Force (2000), which was another really good FPS set in the world of Trek, with intriguing gameplay wrinkles as you fought the Borg. It also let you wander round the titular starship between levels. Trek deserves more quality action games like these.

Earth 2150 (2000): the nineties on PC really saw RTS games come down to those who liked Command & Conquer or those who liked Warcraft, but as the decade drew to a close other titles chased the wargame crown (including Total Annihilation, which would have made this list, except I feel like the Supreme Commander franchise is a sequel in all but name). 2150 was notable for its Starcraft-like mix of three factions with contrasting play styles, and its use of 3D graphics and the ability to design and build weapons of war that could lay waste to armies and bases with spectacular results. I think the genre has ossified into something more hardcore, and this was probably an inflex point where idiots like me could still get a handle on things.

Midtown Madness (1999): Microsoft has a history of building up great racing franchises and then abandoning them, but their “Madness” line of games in the late nineties/early noughties was terrific and much-missed. Back when tooling round actual 3D cities was still new and exciting, this was a no-holds-barred arcade racer, with some gorgeous shiny chrome effects on the cars, and very nippy handling. It was great fun smashing up VW Beetles and the like. It was surpassed, I guess, by Project Gotham on the Xbox, and sadly the whole franchise was then forgotten, despite the ascendent Forza franchise mostly shunning city driving.

Commandos: Behind Enemy Lines (1998): part tactical war game, part puzzler, Commandos was famous for its gorgeously intricate graphics and its difficulty – I mean, it was way too hard for me. But its beautiful top-down design and its slow, methodical gameplay was compelling, as you evaded Nazis and solved missions with a team of unique units with special skills. Sequels followed, and western spin-off Desperados, but there’s not been a true follow-up for quite some time, despite promises; and few games have echoed its style or look.

The Pandora Directive (1996): okay, so really this is just a placeholder for an entire subgenre of game that appears to have been forgotten: interactive movies. I know, there are flirtations with this from time to time; and many of these games featured obtuse puzzles and relatively little gameplay strung between FMV scenes. Pandora was great though; a first-person 3D game with loads of old-school adventure aspects, as well as FMV, it was a noir-tinged detective story but set in the future. The Tex Murphy series (of which this was the fourth instalment) has had sequels – the most recent one was sadly cancelled only this year – but many other games of a similar ilk, such as Phantasmagoria and even Wing Commander – have fallen by the wayside. With in-engine graphics now allowing the fluidity and expression of cinematic renders of old, shooting movie inserts doesn’t seem like it’s worthwhile; but I still always loved a point-and-click game that featured digitised actors milling about. Toonstruck, anyone?

Marathon (1994): before Halo there was… Marathon! Back when I used to lug my Pentium round my mate’s house so we could play different games on different machines side-by-side, he’d bang on about this Mac-first series of games, like Doom but better, with an intricate plot and complex levels. And y’know what? He was actually onto something. There’s a style and an earnestness to the Marathon franchise, along with many concepts that would be refined in Halo years later. With Bungie now seemingly committed to Destiny, and Halo in Microsoft’s hands, I’m not sure what could possibly become of this, their forgotten FPS forebear, especially as it shares so much DNA with its offspring.  

Outlaws (1997): LucasArts are famous for two things, really: their Star Wars games and their adventures. But they made loads of other stuff too – including this intriguing Western shoot-em-up. Back when Western games were rarer than Western movies (which were rare at the time), this quirky and difficult cowboy-em-up saw you rounding up outlaws in typical oater locations such as saloons, trains, and mines. It had great music and a really intriguing set of weapons, including (don’t quote me on this) the first sniper rifle in a game. Sadly Outlaws’ success could be described as “cult” and it never got a proper sequel. and, weirdly, despite the success of Red Dead Redemption, we’ve never had a bit Western-themed FPS again. Which is really odd.

Soldier of Fortune (2000): I pondered whether to include this one, as if I’m honest I’m not sure I want this licence brought back. But I can’t deny the game was a huge deal and has seemingly been forgotten. A relatively gritty and realistic combat game with a huge variety of excellent real-world weaponry, its big hook was its incredibly detailed damage modelling, that could see you blowing limbs off enemies, or splitting open heads, or disembowelling them. Whilst its OTT violence made headlines, the granularity of its systems meant you could be more tactical, shooting weapons out of hands. But really its biggest controversy should be its association with a big old gun magazine.

There are many, many other games that nearly made the list - I almost had a Top Ten of just FPS games, for instance. Little Big Adventure was here, till a sequel was announced the other day. Hexen and Heretic I think still have a place in FPS history. Toonstruck, although without a sequel, was only really a cult hit at the time, and I feel the people who’d love it already know about it. I do tend to overthink these things, y’know.

So maybe not all of these could make a comeback, but all the same I don’t think they should be forgotten, and it does make we wonder what games will fall by the wayside twenty or more years from now. That game about the big green space marine dude in a mask – what was that called again…?

[bookworm-blogs]

Surprise Ask!: Some Kayama and Shirakumo headcannons?

I’M SORRY FOR NOT RESPONDING SOONER I’VE BEEN BUSY W/ WORK N SHIT FHFHFHH

But omg yes! HELL yess I do!!

Since you didn't specify whether their relationship would be platonic or romantic, I'll just do both because BY GOD THEIR FRIENDSHIP ITSELF IS HEAVILY OVERLOOKED. (I'm still salty about Kayama's lack of presence in the main magna regarding the Kurogiri reveal. She's just as much a friend to Shirakumo as Aizawa and Yamada, damn it! Then again Horikoshi could be holding off on us for a reason idk we'll just have to wait and see...)

Anyways! Platonic (ft. Rooftop Gang) headcannons!

1. Kayama and Shirakumo have a similar taste in music. I know our world and the BNHA world are different (apparently they haven't reached the moon yet in BNHA?? And Aizawa had a touch screen phone in Vigilantes so I'm assuming their generation and our millennials grew up a tad bit differently), but I can't help but think they would be complete nerds of 80's rock. Smashing Pumpkins, Fleetwood Mac, Red Hot Chili Peppers... These two would always contact each other on when the next album hits and be each other's first choice to concerts and would always blow all their money on band merch. Their all-time favorite song would probably be "Go Your Own Way" by Fleetwood Mac, or "September” by Earth, Wind, and Fire. They always argue about which is better.

2. These two are the BIGGEST video game nerds. Every now and then, when they aren’t busy with school or work studies, Kayama would come over to Shirakumo’s house to play games with him. Aizawa isn’t too fond of video games, and Yamada prefers to listen to different types of podcasts, so that leaves Kayama to be Shirakumo’s gamer buddy, which isn’t bad at all since this girl loves all types of games. From Animal Crossing to the Halo franchise, Kayama has a surprisingly broad range, with her favorite genre of video games being horror shooter games like Resident Evil. Shirakumo isn’t a big fan of horror and is more a fan of free world games like Red Dead Redemption or The Last of Us, though he does make an exception for point and click horror games.

3. Kayama occasionally pops in on the boys’ study sessions. Usually, Yamada would be at the helm tutoring Shirakumo and Aizawa, though Kayama would pop in from time to time to help him with harder subjects like history since she’s smart. She used to host their sessions at her house, though that quickly stopped since she always dressed up as a sexy teacher and got a little too close to the boys while showing them how to solve equations. 

4. They would regularly barge in each others’ homes. Shirakumo was especially guilty of this, as he would use his clouds to fly over to his friends’ room windows and sneak in through through them. It became such a common occurrence that Aizawa, Yamada, and Kayama all decided to just keep their windows open for the cloud boy to come in whenever. Usually Aizawa would be Shirakumo’s favorite victim (he loved watching Aizawa leap out of his skin every time he knocked on the window), though Yamada and Kayama were just as entertaining (Shirakumo once knocked on Yamada’s window and nearly went deaf after the blond screamed with his quirk on. Kayama was a bit more risky for obvious reasons). Kayama was the first one to return the favor, however, and when Shirakumo saw her sitting on his bed in the dark while petting Sushi like an evil mastermind, he let out a high pitched scream that Kayama still holds over his head to this day. 

5. Kayama and Shirakumo "flirt" with each other all the time. You know Ayame and Shigure from Fruits Baskets? How they would say something incredibly corny to each other before suddenly being like, "haha cheers mate." That's these two. Since they hang out on a regular basis, people always make fun of them by calling them boyfriend/girlfriend. One day, they got so fed up with having to explain themselves that they decided, "fuck it, if they want a show we'll give them a show." When they made their first target pass out from a furious blush and a bloody nose, Shirakumo and Kayama made this their "how to keep hoes at bay" strategy. Yamada finds their antics hilarious, while Aizawa always thought it was weird. Every time they "flirt," Shirakumo and Kayama always make sure to say "no hetero" as soon as the other person is gone.

Now for the romantic headcannons!

1. Everything is the same, except Shirakumo forgot to say "no hetero." This made Shirakumo have an existential crisis for about a month. He would always ask himself, "Why didn't I say it that time? Was I being stupid? Or did I actually mean it? What if this changes our friendship forever? Oh God, what if she hates me?" Aizawa would always be the first person Shirakumo goes to to vent his woes, sometimes even coming to his room in the middle of the night. While Shirakumo would ramble about how bad it is to catch feelings for his gal pal, Aizawa would always listen until he's done before telling him to just confess. Shirakumo doesn't, and this routine lasts an entire month.

2. Kayama realizes Shirakumo's growing crush but doesn't say anything bc she wants to hear it from him. This man tries acting like nothing's bothering him, but he was as obvious as Dipper from Gravity Falls (muttering under his breath and hopping at the first opportunity to hang out with her). At first Kayama didn't think much of it, but when she caught him glaring at a couple gawking boys in the hallway, she realized what was also going on.

3. After 3 months of awkwardness, Kayama finally dragged him off on a date. Shirakumo was terrified the entire time, waiting for Kayama to tell him he's not her type, but was shocked when she bluntly told him, "we should start dating" after watching a movie. Everything fell into place afterwards.

4. These two became the hottest couple at UA. Up until the Tasomiya Incident, Shirakumo and Kayama acted a lot like how they did before, except they now had dinner dates, movie nights, and all the fun couple stuff like making out behind the school and genuinely flirting (much to their friends' disgust. Seriously, do these two have no shame?). Kayama loved going shopping, and Shirakumo was more than happy to carry around her stuff on his clouds. Once, they got caught sneaking out to the pier at night and made a brave escape on Shirakumo's clouds. As soon as they got back to his house, they were on the floor, laughing.

5. After Shirakumo's death, Kayama hadn't dated since. Sometimes she would go out whenever her friends would set her up, but Shirakumo was the last time she ever has a serious relationship. She protects Sushi with her life, even as he grows older. Sushi was the last living remnant of Shirakumo, and she wants to keep him for as long as possible.

Little does she know he may not be as dead as she thinks... (Dun, dun dun)

Anyways yeah, I’m a slut for this rarepair and it breaks my heart that there isn’t more content on it. Fear not, my fellow CloudNight stans, for I am making a fanfic on Ao3 rn and am also gonna make a one-shot in a few days! Thank you, Nightowl, for giving me the chance to scream for a bit! ;’)

[paragonrobits]

a friend asked me to give a shot at doing an entry in this tier list they linked me to, of the video games inducted into the World Video Game Hall of Fame since 2015, and I opted to give it a shot!

My rankings are generally biased towards games I personally enjoy playing, though I will give some commentary on their historic relevance:

S-Rank

Super Mario Bros: The game that repopularized video games in the US, that arguably began the entire platforming video game genre and all its imitators and spin-offs, that spawned a new generation of video games after the Atari Crash in the US, and still a DAMN FUN game in its own right! I simply had to put this at the top ranking. After the disillusionment caused by Atari’s failures, this game brought home consoles back in a big way to the US. 

World of Warcraft: Now, I’m not much for MMORPGs. Nevertheless, I’ve followed the lore and general information in the Warcraft setting for years now, and a couple years back, my brother asked me to play it with him. I had a ton of fun, honestly! Playing a goblin mage, I believe. WoW is notable for being THE MMORPG, and still going strong. Admittedly, nowadays many games do what it does better, and the time when it was dominant as THE single game to play is past, but it was still an enjoyable experience and I really have to like how sincere the game is about its aesthetics and campy vibe. Given that the entire setting is reputedly a reskin of a Warhammer Fantasy Battle video game that went south, it’s cheery and colorful, morally gray tone is... an interesting complication in its history. (Also, HORDE. I STAN THE HORDE VERY HARD.)

The Sims: A bit of history; I did not play this game as enthusiastically as a kid as my sister and mom did. We ALL spammed the hell out of the Rosebud cheat, though; not until recent times did I actually wind up playing the game properly, when the most recent iteration of the series was free for a while. My mom didn’t care to play the game, she just liked building houses. In any case, while my attention drifted from the game now and then, I always am fascinated by the actual gameplay of caring for your simulated humans, and the way you don’t actually control them directly. This sort of hands off experience is actually a bit similar to the ‘dungeon simulator’ genre, and while the game is notorious for enabling cruelty (something I never saw the appeal of!), it’s a surprisingly wholesome experience, and it can’t be understated how unique this gameplay was at the time.

Legend of Zelda: It’s actually rather interesting how different OG Zelda is from modern games. Not just the top down perspective (which DOES pop up, now and then); the game is non-linear and allows you to go to any dungeon at any point, completing the game at your leisure, and the story is extremely barebones compared to what we may be used to. It’s quite a far cry from the linear gameplay of gradually collecting tools and working through plots that the games are known for. Breath of the Wild is, in fact, a return to form rather than an upheaval of the formula. I’ll also admit that I have a lot of affection for the gameplay of this one, as well as Link To The Past.

Donkey Kong: When you’re talking old school, as far as what you might call the modern generation of games goes (which is to say, the games that resurged after the Atari Crash), it’s hard to go wrong with Donkey Kong. It’s certainly notable for being a weird stage in Mario’s character and something that is generally ignored; it’s just strange thinking that at one point he was supposed to be abusive towards a pet ape that went in an innocent, well-meaning rampage! Personally this one kind of breaks a mold for my S-class rankings because while I like this one fine, I don’t like it THAT much; i mostly played it in the DK 64 game, and found it very difficult and that’s stuck with me. Still, I place it here for its momentous position in placing Nintendo on the map, with the influence and revolutionary technologies and gaming mechanics they would introduce, to this very day.

Pokemon Red/Blue: Hoo boy. HOO BOY it is honestly something of an oversight that I didn't immediately shove this beauty straight to the front of the S-line because good god I love this game. It's been years and years, long since I was but a whee Johnny playing a strange new game for the first time just because there was a cool turtle creature on the cover (because I was super into turtles back then), and I still love this game. Even with the improvements made to the formula since then (getting rid of HMs, the fixes and new types introduced since) there's still something lovable about this game, even as something as basic as the official artwork that just tugs my heartstrings. This game is highly notable for being an RPG that popularized the monster collecting/befriending gameplay (so far as I know), and as an autistic person, i really appreciate knowing the whole thing grew out of an autistic man's bug collection hobby from when he was a child. Pokemon is an absolute juggernaut of a media influence, and THIS is where it all began. It's first stage evolution, you might say. And not like a Magikarp or anything. This one's more like one of the starters... appropriately enough. Final Fantasy 7: This is probably a bit of a controversial take, but FF7 was not actually one of my favorite Final Fantasy entries back in the day. I never played much more of it than the beginning missions, as my cousin owned the machine in question, and I moved out before i could play it much. Final Fantasy 3 (in the US; it's more generally referred to as 6 now) was my favorite for a long, long time, and that game pioneered many of the traits that would be associated with 7: the epic story, the complex ensemble cast, though 7 really expanded on that basic idea, and previous games were hardly shabby in that regard. 9 is my favorite of the pre-10 era, with its extreme shake ups to the mechanics of the game. No; what makes 7 stand out is that it was a shift towards making Final Fantasy a constantly shifting, unique franchise where every entry was its own thing; it introduced 3D graphics with a fun and cartoony style mixed with a story that wouldn't be out of place in a cyberpunk story, and heralds Squaresoft (as it was called at the time) splitting off from Nintendo, with its censorship policies, and doing its own thing with Sony, with a great deal more freedom to write as they pleased. The party design also stands out, which each character having their own unique function in the party while the Materia concept allows a degree of modular skills to be installed, customizing them in ways that, in my opinion, the best entries in the franchise (on a gameplay level) would revisit. Colossal Cave Adventure: I'll be honest; I never played this game, and I don't believe it's particularly familiar to me at all. However, I chose it for this vaunted spot in S-rank because games of this nature, of text-based prompt and responses, are some of the most interesting things imaginable! Games like AI Dungeon are similar in some respects, and its impressive to think just how dang old this game is, and yet it managed to pull off basically being it's own DM. It has an interesting history; created by a man who worked on the precursor to the Internet, the game was made to connect with his daughter and was inspired by recent entries into Dungeons And Dragons, and later expanded upon by other programmers. It's notable that while Zork is the sort of game that would probably involve more immediate recognition (I actually mistook it for Zork at first, from the screenshot), this game was the first of its kind, and that always deserve some recognition. Minecraft: I absolutely LOVE Minecraft, and it's rightfully one of the most popular games, if not THE most popular game, of the last couple of decades, and it's interesting to think just how unconventional it is; the game is, effectively, a LEGO simulator, and as someone who honestly always wanted tons of LEGO sets as a kid but could never afford them consistently, there's something genuinely very appealing about Minecraft's basic set up. It's open approach and lack of a goal, just gameplay mechanics that encourage you to build and do as you please, makes for a very relaxing and unusual mentality not often seen in games until this point; it doesn't even have a storyline, it simply gives you a world to play around in. Of note, Minecraft's entry seems to have relevance towards video games becoming a cultural touchstone; Minecraft's visual aesthetic leans towards both blocky LEGOs and retro graphics, and certainly proves that games don't need to strive for hyper realistic graphics to be appealing. ----- A RANK Doom: I genuinely like Doom, a lot! I still have memories of replaying this game frequently, long before Doom 2016 and Eternal were glimmers; it's just genuinely very fun to play. That said, I feel that there's other games that are a bit more historically notable and while i like this game, not quite as much as other entries. But it cant be understated that this was THE first person shooter, and more to the point, was fundamental towards game design as we know it. Of note, it pioneered the idea of a game engine, which has had tremendous impact down the road in terms of making a flexible baseline system that latergames were programmed around. Additionally, the first three episodes being free, with the additional ones being purchased as part of the full game, this was, I think, the first demonstration of a demo. Back then, we called this shareware; a game which was free but had full features locked off, but otherwise you could play it however much you wanted. There's a REASON Doom winds up on more systems than Skyrim! Ultimately, while it's not one of my favorite games, it's impact on the business of gaming and the functions of game design cannot be overstated. Pac-Man: This game, is THE game that made video games a phenomenon and its worth thinking about that and how video games as a modern institituion can be drawn, however broadly, from Pac-Man's commercial success. I should note that while I've played this game extensively, it's not something I'm particularly good at; there's a LOT going on here and its a bit much for me to handle. That's probably a strength; there's a reason people had to fake their accomplishments and falsified high scores. It's worth noting that Pac-Man is a unique thing in that it has been rereleased many times over, and every generation has found it enjoyable and fun, unlike other games that set trends only to be lost out in the end. (Goldeneye, for instance!) The Oregon Trail: Like many other people I assume, I first played this game as something available on school computers. Purportedly made as an educational game to teach students about history, this game may be notable for, among other things, being an entry point towards the idea of resource management in video games (as well as being hellishly difficult, by the standards then, but that DOES illustrate a point, does it not?). It's also the oldest, most continuously available game ever made, even now being ported to smartphones, or so I hear! It seems to be a very early example of edutainment games, and a genuinely great one at that. It probably helps that a selling point is that it doesn't really mince around with its subject matter; anyone who's played this game knows that total party kill is the default assumption, as it was in life. Street Fighter and Mortal Kombat: I place these two together as I feel that they form a duo of sorts, and defined fighting games of my childhood and modern gaming experience; name a fighting game, from Injustice to something as deliberately different as Smash Bros, and it has SOME relation to these games, even if its in terms of doing something completely different. These games set a mold for fighting games! Among other things, both games feature iconic characters as a selling point, and to this day fighting games make their mark based on how signature their characters are. Mortal Kombat is of course an incredibly violent game (though very tame, by modern standards), and its fatalities and depicitons of violence sparked thought and arguments on what video games ought to be allowed to depict, for better or for worse. It's not implausible to suggest that the overly strict restrictions on what video games could depict go back to Mortal Kombat's fatalities, specifically (since there's far worse games predating it, though too graphically primitive to be obvious). Street Fighter, conversely, strikes me as having more characterization and depth, especially as far as fighting systems go; I find it hard to be interested in many fighting games now, if they don't offer as much depth as the likes of Street Fighter 2. Street Fighter stands out for innovating multiplayer play, initially in the arcade, and its not implausible to say that the likes of Smash Bros is a descendant of sorts of the specific mentality Street Fighter brought to the table. Consider also that it is STILL a mainstay in the remaining arcades and cabinets in service today! Tomb Raider: This is a game i legit liked back in the day, and there's some part of me that's sad that the platforming, puzzle solving and focus on exploration has not really made it back into the modern Tomb Raider series, last I checked. There's probably something interesting in that Lara Croft represents a bit of an intermediate period between platforming mascots and modern Edgy Protagonists; you know the ones. Balding white dudes with vague dad vibes, but this is not a slight on Lara; she definitely has a ton of personality, even just at a cover glance. This game had a strong focus on exploration, and that's honestly something I really like. Super Mario Kart: I'm going to be controversial here; complaints about the Blue Shell are kinda overrated. It's not that different from, say, a red shell hitting you from behind when you're close to the finish line. But, jokes and old 90s memes aside, this game has some interesting status in that it started the idea of making spin-off games in dramatically different contexts; Crash Team Racing and Sonic Drift, for example, are listened as similar games. On a franchise level, this began the trend of Mario becoming a truly flexible character who could do pretty much whatever was required of him, not just the original platforming games, and its possible his imitators never quite learned the same lesson. Though one wonders what Miyamoto might have thought if he'd known how many thinkpieces he would spawn with 'why does mario go-karting with Bowser when they're enemies?'. For my part, I favor the idea that the other games are in-universe fictions they're actors on and this is their actual dynamic, or that Mario is a relaxed dude who doesn't mind playing kart games with his foe. (I mean, he's not Ridley. Bowser's easy enough to get along with.) Animal Crossing: Again, I have to emphasize that I've never actually played this game, at least on a consistent basis (and by that, I mean I MIGHT have played it on the Gamecube, once, in the early 2000s), and have to speak from what I've seen of what it sparked. And I really do like the way it really codified the sub-genre of relaxed, open-ended games where the player is free to do as they like, without much stress or fear, which is something I think more games could stand to do. On my personal list of features that my ideal video game would have, Animal Crossing would definitely offer a few ideas. I am reminded of farming simulators, such as Harvest Moon or Stardew Valley; while they are different beasts entirely, there's a familiar sense of non-combat relaxation that's pleasant to see. Spacewar!: This machine is GODDAMN old, and like an old fogey predating modern humans, it deserves our respect. It's so old, it predates Pong. Supposedly created as part of predictative Cold War models, with an emphasis on emulating sci fi dogfights, producing a game that soon proved popular, for over a decade remainign the most popular game on computer systems, and a clumsy foray into arcade gaming (that didn't pan out, unfortunately) led to the creation of Pong by its creator, which is another story all its own! And Pong is directly responsible for the idea of the video game itself; this game launched the entire video game industry as we understand it! No small feat, indeed. ----

B RANKED Sonic The Hedgehog: I must state that I DO like this game, though not as much as later entires like Sonic 3 and Knuckles, or the Sonic Adventure series; the fast paced action seems a bit hobbled by the traps and need to be careful of surroundings, which would seem to run counter towards the whole idea of GOTTA GO FAST, y'know? But the game presents an interesting viewpoint on the nature of mascot gaming; created specifically, so it is said, as a rival to Mario, Sonic was designed as a mascot with attitude, and inspired a host of imitators; he's probably the only one to escape the 90s more or less intact, and this may have something to say about his flexibility, star power, and also the fact that he's a pretty mild character, all things considered. This game certainly has its place in gaming history, giving an important place in the console wars of yesteryear. Believe me, I was a kid in the 90s, Sonic was a HUGE deal. Space Invaders: This game is noted to have catapulted games into prominence by making them household, something outside of arcades, and it shows! An interesting detail of note is that supposedly, the Space Invaders were meant to all move at high speed, but this was either too hard to play against, or too costly on the processor; it was found that by making them speed up as they were defeated, it created an interesting set of challenge. You have to appreciate game history like that. In general, its success prompted Japanese companies to join the market, which would eventually produce what I imagine was a thriving, competitive market that would eventually get us Nintendo and it's own gamechangers down the road. Grant Theft Auto 3: I'm going to be honest with you. I don't much care for this sort of game. The Saints Row series, with its fundamental wackiness, is the kind of game I really DO like if I'm going for something like this, and GTA sort of leaning towards the 'cruel for fun and profit' gameplay is really unappealing for me. However, I'd be remiss if I didn't address this game, and what seems to come up is two things: the game's sheer freedom in its open world (which certainly pushed the bar for games of that nature, and has made it a byword for gamers screwing around in a game just to see what ridiculous things they could or couldn't do) and the infamous reputation from the mature aspects of the game. Personally, I'm not much for this game's take on maturity (if I wanted to discuss a game of that nature, I'd suggest, say, Spec Ops: The Line) but I really do appreciate what this game and its series did for the open world genre, and the sheer possibilities presented for letting you do what you wanted. King's Quest: I've never played this game, but I am a HUGE fan of the point and click genre (also known generally as the adventure game genre) that it spawned; without this game, there's no Monkey Island, no Sam and Max, no The Dig or Full Throttle, or Gabriel Knight. This game was similar to previous text-based games, with a text parser to input commands, but with the distinction of a graphical interface to move their character around, which would be the seed of later games such as the SCUMM engine of Monkey Island and other Lucasarts games (which, to me, ARE Adventure Gaming). The puzzles, comedic sensibilities, and interface innovations originated with this game, and codified those later adventure games i love so much. Starcraft: This is another one those list of 'games I should have already played by now'. I'm not much of an RTS person, barring forays with games such as Impossible Creatures, Warhammer 40k: Dawn of War, and more strange entries such as Brutal Legend, and I contend that the combat aspects of 4X games like Civilization DO count on some level; the specifics of troop movement and unit strengths/weaknesses are a bit beyond me, when you get to more complex stuff. Starcraft, reading between the lines, really introduced the idea of multiplayer culture especially for RTS, pioneered the Battle(dot)net system (which I mostly recall from Diablo, if I'm being honest!) as well as the idea of relative strengths and powers for individual factions so that they became characters in their own right. It's still a very popular online game, and that says SOMETHING. Also, I tend to use zerg rushes, so I would probably play Zerg. Probably. (There is much speculation on whether or not, like Warcraft being a failed Warhammer Fantasy game, if the same holds true for Starcraft and Warhammer 40k. I lean on the side of 'probably not'; the differences are too notable. The Zerg and Tyranids have some similarties, but that's probably because they're based on the same broad hive mind evil insect aggressor trope, and they have enough differences from there to be very distinct from one another. It's not like how OG Warcraft's orcs were very obviously warhammer orcs with less football hooliganism.) Bejeweled: This is a firm case of a game that I don't play, but I really have to respect its influence on gaming as a whole. Apparently it started as a match three-type game with a simplistic formula that proved wildly popular (perhaps making a point that simpler can be more effective, in game mechanics), with a truly explosive record of downloads; over 500 million, it seems. Thus its fair to say that this game set the precedent for casual games, which have become THE market. Regardless of your feelings on that genre, this one was a real game changer. (Pun intended, absolutely.) ----

C RANK Pong: "By most measures of popular impact, Pong launched the video game industry." This line alone saws it all, I think. It wasn't the first video game, but it was one of the more early ones, and its the one that really made video games and consoles successful, gaining widespread attention from the mainstream audience, as well as getting Atari recognition (for better or for worse, but perhaps that was just a development of being on top, so to speak; maye the console wars at least kept the big three honest). It also started the arcade revolution of games, and this humble game is essentially responsible for the entire state of video games as a concept, as we know it today. Halo: No disrespect to Halo, but it's just a game series I've never quite been able to get into. Those games are very hit and miss for me; games like Call of Duty, Battlefield, Gears of War and everything like that are just... hard for me to get into. It takes something specific like Borderlands or the Besthesda Fallout series, or something else, for me to get hooked, and Halo just doesn't do it for me! Nevertheless, I would be QUITE remiss if I simply dismissed it, and there's reasons for it to be inducted into the hall of fame barely three years into the hall of fame making inductees. Firstly, it was Microsoft's big entry into the console wars, and it must be said this was a MASSIVE upset and a completely unprecedented shift in the assumptions of the console wars back then; NO ONE expected microsoft to actually do this, let alone redefine gaming out of Sony and Nintendo's favor like that. At the time, PCs dominated FPS games, and Halo showed that consoles could do it just fine. It must also be said that it has a very intricate and complex system of lore, backstory and material that was quite distinctive for a new setting back in the day, and while I've seen people object to it's gameplay, I suspect that its with the benefit of hindsight; Halo offered an extremely unusual degree of freedom in achieving the goals set out for you. (Cortana also didn't deserve getting her name slapped onto that search assistant that eats up all your RAM.) Where In The World Is Carmen San Diego: Surprisignly enough, based on the article, this game was NOT an adaptation, but the source material of this character. This is where the fancy, mystery lady in the red coat started! Evidently this game was originally an edutainment game with a cops and robbers theme, and inspired by Colossal Cave Adventure from higher up on the list, and one must appreciate the effort that went into it. This one is ranked low, mostly because it didn't seem TOO notable to me. Honestly I'm surprised this is where Carmen Sandiego started. (And that she doesn't get enough credit as an iconic theatrical villain who won't go a step too far, but that's another rant.) -

D LIST

Here we are. The D LIST. The bottom of the sorting pile; the lowest of them all, the... well, the ones that I honestly don't necessarily dislike, but couldn't place higher for reasons of notability, personal interest, or perceived impact on the history of gaming. John Madden Football: Sports games, as a whole, really do NOT do it for me. I don't like real like sports at ALL (with, as a kid, a brief interest in boxing and that was just because they had gloves like Knuckles from Sonic the Hedgehog) so its hard for me to say that I find the history of this one all that compelling. Even so, there's some interesting elements in how this game was a sequel to a previous failed attempt, with a bold new attempt at a more arcade-style action game with a more dramatic take on the players, who would in turn be rated in different skill sets. The Madden series is STILL going so... it worked out pretty well, I'd say. (FUCKIN EA WAS BEHIND THIS ONE??? wow, EA is older than I thought.) Microsoft Flight Simulator: It's honestly a bit painful sorting this one so low, since I had many happy times as a wee Johnny playing this game back in the old days. I mean the OLD, old days. This was like, the days when Usenet was the preferred way for people to talk online. (Not me, though. I didn't talk to people, then. I was even less social than I am now, which is saying something!) All the same, I suppose that it was important to not crowd too many entries in a specific folder, and statistically, something had to keep getting knocked down, and in the end, I couldn't honestly say I still enjoyed this one enough to place it higher. Still, credit must be given where it is due; this game stands out for being an early foray into simulator gaming, showing a realistic depiction of actual flight. It has apparently been updated and rereleased many times since, which is impressive! Tetris: I like puzzles. So it might be surprising to hear this seminal game ranked so low; firstly, I like different KINDS of puzzles (like weird ones where you have to fling your sense of logic to the moon and back, or make use of gaming mechanics) and honestly this game is kind of stressful for me. You gotta keep an eye on a lot of different things flying around all at once, and constantly move things around, and that kind of attention and quick thinking does NOT come easily to me. All the same, I really have to admire how it was born from it's creator's pleasure in solving mathematical puzzles about sorting shapes into boxes, in a manner strangely remniscient of Satoshi's bug collecting that became Pokemon. Certainly the game's simplicity has proven a universally appealing thing, and may say something about the value of keeping it simple. Microsoft Solitaire: This game apparently became pay-to-get some time ago in recent computer generations, and let me tell, you, it was genuinely depressing to find that out. I remember younger decades, from the 90s and on, when this game was a regular and free feature in Windows computers fir MANY years. You got a computer, this game was on here. I was a kid, and i remember watching my mom play this game and makign the cards go WHOOP WHOPP all over the place and marveling, because I couldn't ever do the same thing. (A related note: I am terrible at this game. Go figure!) Of note, this game was massively widespread, and just EVERYWHERE, and I think everyone who ever played a computer back in those days instantly remembers it in some way. It was just... ubiquitous. Centipede: Oh, ol' Centipede. I don't mean to be mean to you. But between the likes of Pokemon and Super Mario Bros, even the arcade Donkey Kong, someone had to keep dropping down the leaderboard that is this tierlist, and unfortunately, there were other games that felt higher up than you. All the same, you're a very good game, and honestly, I like you more than some other games ranked higher for reasons of relevance to gaming history. Certainly more than anything else in D-listing. The colorful and appealing palette is noteworthy. That trackball controller! Amazing! (More games should use trackballs. They're fun and easy to use.) At the very least, Order of the Stick did a joke with you once, and that's better than anything I can do for you. All the same, you're a cool game.

[notafrogblog]

Who wants to read an entire fucking essay I’ve been writing over the last few months it’s about viddy games wooooooo

Video Games's Popularity

16% of entertainment hours in 2018 were spent playing video games, according to a study by The NPD Group, an American market research company (Stych). Video games have become more and more popular as they have become easier and easier to access through consoles, computers, tablets, and phones. Video games and gaming have become some of the most popular topics to watch on youtube, twitch, and other platforms, which is shown by the fact that youtube has a trending section just for video game content. I myself watch video game content whenever I get the chance. Merriam Webster defines video games as "an electronic game in which players control images on a video screen." If you use that definition for video games, it means gaming is a lot more widespread and prevalent than you'd first think. It would be a struggle to find anyone below the age of twenty who's never played a video game in some form. There are thousands of people in online communities who discuss video games and the people who play them, on sites like Reddit, Twitch, YouTube, Tumblr, Instagram, and more. Video game music, posters, clothing, and general merchandise is popular and lucrative for the companies that make and sell the products. People continue to invest their time, money, and energy into playing and enjoying video games. Video games are such a big part of the online community and my life that I decided to take this opportunity to learn more about them.

While researching this paper, I found different types of sources than I was expecting. Many articles on video games are outdated, poorly written, or simply didn't contain much information. Most possible sources were game reviews, tabloid-esque gossip, or talked about events occurring recently in the gaming community. These weren't very helpful for the type of topics I wanted to discuss. When I set out to write this, I expected to find more analyses of video games or game genres as a whole, or perhaps more in-depth writing. Although I did find articles that were in-depth, they were often very niche, scholarly, or outdated. Video games as a culture moves indescribably quickly, with new games always being released. The vast amount of content and places to share said content on the internet makes video games so widespread, it's near impossible to categorize and talk about video games a whole, rather than individual games or franchises. I suppose that's why there are so many game reviews. People are always looking for new games to play, new content to view. I did my best to find articles and sources I could use to talk about video games a whole, as a culture, and as a complex and nuanced form of entertainment. Part of my own interest in video games is due to the large variety of games and game content available. I would consider myself fairly knowledgeable about video games, especially after researching this essay. But I don't know much about games as a whole, or why people play them. As much as I love to talk about and watch video games, I don't play them often myself. I wanted to know what made other people love playing video games so much. Both my brothers are very engrossed in their respective games and consoles, and I found myself wondering what compels them to put their time and energy into something that doesn't give me that same satisfaction. Which begs the question, why do people play video games? What keeps them coming back? What makes video games so enjoyable?

I started by looking in the school databases, and on credible sites like the Washington Post and the New York Times. Video games is such a broad topic, but many articles focused on specific games or events. While I researched, I wondered what is so compelling about video games. I had some hypotheses. Video games often have a plot, a list of tasks to complete, or some sort of storyline. I found an article about the stories and plotlines of first-person shooter games, one of the most popular genres of games. In the article, David M. Leeson explains what differs between a multiplayer and a single-player shooter: "Most multiplayer shooters are gameplay-driven: play sessions consist of one or more matches, in which players compete with each other (either individually or as teams) to win the game, either by scoring points or capturing objectives. Most single-player shooters, by contrast, are story-driven: play sessions consist of one or more levels, in which the player is told the story so far and then must overcome a series of obstacles to find out what happens next." Already this provides some insight into what compels people to play video games. Multiplayer shooters, such as Fortnite, some Call of Duty games, Battlefield games, and Counter-Strike: Global Offensive, depend on other players to keep you interested. Winning a match is the main objective. In single-player games, the goal isn't to win a round, it's to complete the story. In a way, this makes a single-player shooter similar to a book or a movie. The difference between them is that the player takes an active part in moving the plotline forward, which keeps the player interested and motivated to find out what happens next.

A storyline isn't the only thing that can be necessary to keep a player motivated. The gameplay plays a big role in keeping the player interested in continuing the game. Games have two main parts, speed and strategy. Speed-based games rely on fast reflexes, immediate feedback, and quick thinking to be enjoyable. Games like these require you to be in the moment the whole time, ready to react to whatever is thrown at you. Games that are more speed-based include titles such as Super Smash Bros. Ultimate, Legend of Zelda: Breath of the Wild, and endless runner games such as Temple Run or Subway Surfers. Despite being very different games in style, aesthetic, plot, and goals, these all rely on speed as a main mechanic. Another aspect of games is strategy. Strategy-based games take a slower route, and are more based on planning and thinking before you act. Strategy games often have some sort of back-and-forth mechanic between the player and some sort of other entity, usually a non-player character (npc) or the game itself. This includes games such as battling games such as Pokemon, storyline games like Stardew Valley and Animal Crossing, and many mobile games. Strategy games require the player to think about what they want to do before they do it, and often have multiple storylines or options for how to play the game or what to do when. All games have elements of both strategy and speed, but usually one takes precedence over the other. Each category of game has its pros and cons and its own problems.

There are a few problems with speed-based games that the developers must remedy for the game to be enjoyable. Firstly, games with speed-based mechanics are often very easy to pick up and learn. Many Super Smash Bros. players will mash buttons or spam attacks rather than use combination attacks or the full variety of moves available. Speed-based games must introduce a learning curve for players to learn new skills, become better at the skills they already have, and some sort of challenge that requires those skills to be used. Another problem with speed-based games is the lack of variety. One character with only one set of moves can quickly become boring to play. Most games don't have this problem, with many games having multiple characters. Breath of the Wild, however, only has one playable character, Link. Nintendo keeps BotW from becoming boring by having Link have many weapons and clothing to collect and choose from to use, food items to temporarily boost stats, and a way to upgrade Link's health points as the game grows more difficult. Many endless runner games (i.e. Subway Surfers or Temple Run) lack this attribute, which causes players to become bored of them after playing for a while. While they may include customizable or lots of character choices, the changes are purely cosmetic and don't impact the gameplay.

Strategy games have issues as well, most notably those to do with speed. Strategy games often have a slower pace, and making the pace too slow can cause players to become bored. This was an issue with the role-playing game Final Fantasy VII, a 1997 turn-based rpg by Square Enix. Final Fantasy VII is set to have a remake by Square Enix, the first part of which was released on April 10, 2020. An article I discovered addressed some flaws in the original game as well as what the remake should have to make the game better. The article reads: "Modern releases of Final Fantasy VII include an option to speed up combat by a factor of three, and after turning it on, you quickly learn that you almost never need to turn it off to more carefully manage the flow of battle, such is the monotony of just attacking and healing over and over. This speed boost is greeted by latter-day players as a crucial "quality of life" improvement. It doesn't matter how many oakleaves you've acquired in 22 years; when letting the player essentially skip the gameplay is treated as a godsend, you don't have a very good game." (Vogt) As said in the quote, the ability to speed up gameplay shouldn't be necessary. The gameplay is also described as monotonous. Games must be interesting to keep players motivated to continue playing. Keeping players interested in the game is a big part of video game making.

Game designers and developers must put player enjoyment first when making a game. Even if the ultimate goal is to make money or gain popularity in the community, player enjoyment is what leads to a game's success. If a player isn't having fun playing a game, they won't recommend it to others, or join an online community about it, or even continue playing it. For this reason, I decided to find information about the process of game design and development, where ideas came from, and how enjoyment of the game came into the mix. I found an academic study of a game jam in 2013. A game jam is an event where multiple groups of game makers come together to make games in an allotted time using a given prompt. The study discusses multiple aspects of the game jam, including initial ideas, prototyping, and game development and testing, the latter of which is shown in the quote here: "Participants [in the game jam] removed systems within the game (e.g. attacks requiring combinations of buttons rather than single buttons) or reduced the total number of components used (e.g. fewer game levels or types of enemies). Swapping mechanics occurred when already implemented systems were buggy or dysfunctional or when playtesting (personally or with others) showed them to be overly complex or unintuitive." (Zook) This quote shows how game developers must think about how the players will interact with mechanics, especially mechanics they aren't used to. Mechanics are how you do things in the game, whether it be with certain buttons, an item, movement, interaction with the environment, or a combination of these. Mechanics must be easy to pick up on and learn for beginning players, but difficult to master so as to keep players entertained. The quote shows how initially complex mechanisms such as button combinations or buggy systems can be unintuitive for the players, and therefore need to be fixed. If a player has difficulties with the game's function, it won't be fun to play. Games must be fun if they want to keep players interested.

For this paper, I interviewed one of my friend's younger brothers, an avid player of video games. Ian plays video games for a few hours every day, he says, on xbox, nintendo switch, and mobile devices. In the interview, he says that what he thinks makes video games enjoyable is having fun. Although he plays video games more suited to younger users, there were a few things he had to say about games he disliked. The main things he didn't like about games were the difficulty (too hard, too easy) bad graphics, or he "wasn't as interested as he thought he was." His viewpoint as someone who plays a lot of video games is very useful for the question I'm asking. Difficulty of games is something that is hard to balance for game developers. As discussed earlier, the mechanics must be intuitive so the player can pick up on them easily. However, if the entire game is easy, the player will get bored, just like Ian did.

"What makes video games enjoyable?" is the question I've tried to answer. So, what does make video games enjoyable? I'd say it's a variety of things. Video games are so complex, and what makes them entertaining is even more complex. There's such a huge variety of video games available to play, on dozens of platforms and consoles, and in many different ways. Expecting to find just one answer for such a broad question would be unjustifiable. So, I've determined a couple things that make video games enjoyable. As Ian said, games should be fun. Fun means different things to each person, so different games will be better for different people. Different difficulties and styles of games will be different for different people. A more casual game style, like mobile games or kid's games, might be more enjoyable for a gamer like Ian. However, strategy based games such as Pokemon, Assassin's Creed, or shooting games such as CS:GO might be more suited to older players. In short, what makes video games enjoyable is the variety of games there are to play. Games are for everyone, and each type of video game has people who enjoy it, and people who don't. There is no one clear answer to this question. Unfortunately, this means that if I want to be more involved in playing video games, I'm going to have to try some games and find out what I like. If you're interested in video games, I suggest you do the same.

Works Cited

Jabr, Ferris. “Can You Really Be Addicted to Video Games?” New York Times, 22 October 2019, https://www.nytimes.com/2019/10/22/magazine/can-you-really-be-addicted-to-video-games.html. Accessed 2 November 2020.

Leeson, David M. "Northrop Frye and the story structure of the single-player shooter." English Studies in Canada, vol. 37, no. 2, 2011, p. 137+. Gale In Context: High School, https://link.gale.com/apps/doc/A294194389/SUIC?u=midd34407&sid=SUIC&xid=e5b85bc6. Accessed 18 Oct. 2020.

Merriam-Webster. Merriam-Webster, https://www.merriam-webster.com/dictionary/video%20game. Accessed 5 November 2020.

S., Ian. Personal interview. December 2020.

Stych, Anne. “Americans' favorite forms of entertainment are digital.” bizjournals, 28 March 2019, https://www.bizjournals.com/bizwomen/news/latest-news/2019/03/americans-favorite-forms-of-entertainment-are.html?page=all#:~:text=The%20shift%20to%20digital%20is,research%20by%20The%20NPD%20Group. Accessed 2 November 2020.

Vogt, Ryan. "For all its greatness, Final Fantasy VII wasn't a good game. Let's remember why." Washingtonpost.com, 7 Apr. 2020. Gale In Context: High School, https://link.gale.com/apps/doc/A619723232/SUIC?u=midd34407&sid=SUIC&xid=0b17c660. Accessed 11 Oct. 2020.

Zook, Alexander and Mark O. Riedl. "Game Conceptualization and Development Processes in the Global Game Jam." School of Interactive Computing, College of Computing, Georgia Institute of Technology, http://www.fdg2013.org/program/workshops/papers/GGJ2013/ggj13_submission_4.pdf. Accessed 11 Oct. 2020.

[eloarei]

In lighter news... Ah, well, actually it’s just because I’ve been trying to distract myself. Anyway, I’ve been playing video games pretty incessantly this past week or two. See, I usually have a bunch of games sitting around on my PS4 that are half-finished, or I downloaded and never played. So right now I’m sitting here waiting for Mass Effect to come out, so I decided I’d try to knock a few of them out. And since I’m here, I may as well chat about them a bit.  In rough order of my beating them recently:  Assassin’s Creed 3: 

(Ziio~~! I love Ziio. Haytham too.) Man, it took me 9 years to beat this game. Actually, that’s why I never played any of the recent AC games. But now I’m done, so I can move on! This is a really different game from previous AC games, but also very nice in ways. Connor (or  Ratonhnhaké:ton) is a pretty cool protag; I like his no-nonsense nature but how he’s also just a little bit of a dork. His design is cool too, and I liked that some scenes took place in his native language.  The Tyranny of King Washington DLC was actually pretty great too. The eagle flight thing was a game-changer.  Of course, I couldn’t talk about AC3 without mentioning Haytham, Connor’s dad. Finding out he was a templar was totally ‘Top Ten Video Game Betrayals’ lol. 

Greedfall: 

I started this game with no idea about it, and I found I liked it quite a lot. It’s a little bit in the same vein as Dragon Age. Gameplay-wise it definitely has some similarities, though the characters aren’t quite as likeable. I was fond of the natives, although the politics got a bit tiring. The ending was... somewhat predictable, though I don’t know what I would have suggested doing otherwise. Little phrases from the natives’ language are gonna be stuck in my head forever from how much they said them, like ‘on ol menawi’ and ‘carants’. 

Final Fantasy 7 Remake: 

Like every other FF7 fan, I was nervous about this, but I’m really happy with how it turned out! The gameplay was pretty good; the expanded story was nice; the characters were fantastic. I loved how they turned out. The English was so much more natural than a lot of dubs/translations feel, and some of their lines were genuinely funny. I liked just about everyone. Oh my god but little Marlene? Literally so cute that I wanted to cry every time she talked. So cute. Best little kid I’ve ever seen in a game.  Really looking forward to the next one! Literally I think the only thing I didn’t like about this one (compared to the original FF7) was that max-leveling a materia doesn’t spawn a new one, and that there’s only 1 ‘All/Magnify’. Maybe having more would be too over-powered. 

Manual Samuel: 

A much smaller game, and probably the most amusingly frustrating game I’ve ever played. Rich entitled Samuel dies, and Death says he’ll bring him back to life if he can survive one day doing everything manually. Which means you have to breathe, blink, and move both feet and hands separately. And talking is a nightmare. Of course then you also have to fight robots. TBH it’s really fun and very stupid-funny, but it made me scream. Highly recommended if you can get it for 50 cents like I did.  Little Acre: 

Another short game, Little Acre is a very cute point-and-click adventure about a single dad raising his little daughter in a cottage they share with grandpa, who happens to have made a portal to another world. It’s all hand-drawn adorable animation, cute voice acting, and typical point-click puzzles. Another 50 cent recommendation!   Control: 

This is the game I’m on currently, and I’m enjoying it a lot, even though I’ve had to use more walkthroughs than I like to admit. It’s very spooky, and I’m not good at spooky games! XD; But the more powerful you get, the less the shadows and enemies scare you. It is very ‘Lovecraft Cosmic Horror’, though most people don’t consider it a horror game. Wherever it’s creepy, it’s usually a little funny too, and just... strange. The powers you get are pretty cool, but my favorite thing is the main character Jesse: she frequently says exactly what you’re thinking! (For example: “ ‘Alright, time to clean up,’ she says, as she pulls out her gun.”) She’s very genre savvy and it makes the whole odd affair seem friendly in a way.  I haven’t beaten the game yet, but I’m close. I’ve avoided most spoilers. although I know just enough that I’m excited about a couple points I haven’t gotten to yet.  Another very recommended game, if you like semi-spooky shooters, government conspiracy, and some tough optional boss battles. Might even be worth watching a playthrough if you can’t play it yourself.  Have you played any of these games? What did you think of them? =] 

[gothamcityneedsme]

I saw this bouncing around my dash and decided to fill it out myself for fun :)  I decided to not double-list any games, and I tried to mix up the companies I used too so that the list would be more unique.

Long post, so I’m doing a readmore for my longwinded part lol.

(read more)

Favorite Game: Star Wars: Knights of the Old Republic 2: The Sith Lords - I could talk about this game forever.  How it tears apart the Star Wars universe from within, how it creates a compelling story while challenging the usual themes, etc.  I could talk for ages about the characters and how their motivations slot in place, and how this game lends itself to interpretation and analysis alongside roleplay.  It’s just a wonderful game, one I deeply love and will always love.  It’s a game that isn’t afraid to have you talk to other characters for twenty or thirty minutes at a time and honestly I’m always riveted at every line.  This game deserves the cult fanbase it has, but I think there’s a lot the fanbase misses in appreciating this game.  (Note...gameplay is a little janky and a community made mod restores a lot content that was cut before shipping-the game wasn’t properly finished).

Best Story:  Fallout New Vegas - It’s the setting that makes the story here, and all the moving pieces and factions alongside the main conflict really make this game stand out.  There’s so many little pieces to find along the way in the world and the way the main quest splits based on who you want in power feels important--and you are choosing a future for this whole region.

Favorite Art Style: The Witness - This game is peacefully wonderful with its visuals.  There are wonderful nature scenes and nests of wires and panels spreading in various parts of the island that are fascinating to look at.  The environment is half of the gameplay in most areas, so it’s important to look around even though exploration is not really the gameplay.  You find puzzles in the world, even in nature, and it’s fascinating.  The colors are bright and beautiful.  There is even a map in the middle of the island inside of a lake that helps you track your progress if you notice it (it isn’t like a normal ‘map’).

Favorite Soundtrack: Shin Megami Tensei IV - I love video game soundtracks, but SMTIV is something special.  The music booms in ways that make you really understand the atmosphere of the world, and there’s a great mix of different kinds of tracks for different places.  I love the tracks for the other worlds you enter, and the themes of the different routes are done so well.  Some of the music draws from past SMT games, but the remixes done for this game really are stunning to me, and there’s so many fantastic original tracks.

Hardest Game: I Have No Mouth and I Must Scream - I love this game but I literally never touch it without a walkthrough, which is why it gets to be the hardest game on the list, despite being a point and click adventure game lol.  Also just emotionally this game is challenging too, but I definitely mean this more in terms of getting a ‘perfect run’.

Funniest Game: The Stanley Parable - Trying to make this list has taught me that I don’t really play many ‘funny games’.  I don’t know if a game where multiple endings demand that you kill yourself should count as a ‘funniest game’, but it is also a game where the narrator tells you to stare at a fern and memorize its features, so....it counts.

Game I Like that is Hated: RWBY Grimm Eclipse - I’ve been playing this game since it was in early access and have loved it the whole time.  I find the gameplay soothing and fun, and I like playing the different characters.  It’s a game I play to chill out and just enjoy some fun battle mechanics.  It’s a fun game and I’ve spent over 100 hours in it, so I hope I like it, lol.

Game I Hate that is Liked:  Nier Automata - Neither this game’s gameplay or story impress me, and the fact that you have to replay basically the same stuff from a more boring-to-play-character’s pov in order to SEE all of the plot is a huge damper on the experience.  The story, to me, someone who engages with a lot of robot-focused fiction, is far from impressive or new, and it hardly engages with genre specifics at all, let alone in a new or interesting way.  I view this game as ‘a story with robots in it’ rather than ‘a story about robots’, which, to me, is a detriment.

Underrated: Nevermind - This game is amazing and very unheard of--and when it is heard of, it has been marketed incorrectly.  Nevermind seems like a horror game, and does market itself as one a bit, but it’s much more than that.  It’s more about trauma, recovery, therapy, etc.  This is a game that is so mindful about the topics it engages in that I am impressed by it every time.  It’s heavy with symbolism and character, despite lacking conversations or other similar game mechanics.  This is a lovely game that I really wish more people knew about-`p5-all of the patients are so interesting, and the focus on recovery and mental health is impressive.

Overrated:  Fire Emblem - I sort of mean this as the series as a whole really.  I have enjoyed the entries I have played somewhat, but I overall consider the series much less impressive than I was led to believe by others.  The gameplay especially is not impressive to me in any regard, even though I sometimes do find myself enjoying it.  The stories are alright, but many of them are weighed down by the gameplay and as a writer and person who likes to analyze writing, it’s very hard to do so when it isn’t able to fully exist under the chains the gameplay forces on it.  There are ways to mix gameplay and story well, Fire Emblem has not really done that in any of the entries I’ve played.  That being said, I don’t regret playing them, and I will occasionally replay, but I consider them mediocre games at best.

Best Voice Acting: Devil Survivor 2 - I love the voice acting in this game.  I feel like all the characters are really suited to their voices, and it’s really easy for me to visualize their voices.  They really bring the game to life and make both the dramatic and the funny scenes more enjoyable.

Worst Voice Acting: Jedi Knight Jedi Academy - I love this game, I really do, but some of the voice acting is janky.  Some of it is okay too--I think Kyle Katarn’s voice actor does fine, and some of the others I like NOW but hated when I was a kid, but the male protagonist voice in this game is just awful.  Which is bad when Jennifer Hale is the female voice actress lol.  His performance is passable though unless you’re playing darksided--the darksided ending to the game lacks all punch when you’re playing the male protagonist.

Favorite Male:  Battler Ushiromiya from Umineko no Naku Koro Ni - He’s the protagonist for most of the visual novels and I adore him utterly, especially once you move past episode 2.  He’s a wonderful character who I care about deeply.  I love his drive and how he fights--he’s someone who is easy to cheer for.  He matures well throughout the series and his character development is just wonderful.

Favorite Female:  Naoto Shirogane from Persona 4 - I really like how Naoto fits so well in the game, especially for being a final recruit--oftentimes the final recruit of Persona games (post 3) have a bit of a more difficult time feeling right with the group.  Naoto works really well though, and I love her struggles and story as well.  I think the difficulties she has concerning living as a woman in her field hit very deep to a problem that has existed for a very long time.

Favorite Protagonist: Connor of Daventry from King’s Quest 8 Mask of Eternity - I’m like, one of four fans of this character in the world, lol.  KQ8 is not a very well liked game and it does have a lot of issues, both with age and with how much of a departure it is from the series prior to it.  It’s strange to take a puzzle adventure game and make it a hybrid with what basically is a shooter, and it doesn’t really work.  Add to that the fact that you spend most of your time in the game without anyone around to talk to and it leads to this really polarizing and weird experience.  For me, Conner goes through what I would consider to be the ‘Ultimate Nightmare Scenario”.  Everyone in the world is turned to stone except him (and he survived out of mere chance) and so now it’s up to him, practically alone, to save the entire world.  There is no game lonelier than this.  I adore him for his bravery in the face of it, and how he just picks up to do what must be done because someone should do it, and if no one else can, then he will.  I also really love how he apologizes to people who are encased in stone while he takes money from their houses to help him on his journey.  I really do think he went back after the game was over and gave everyone heaps of gold to pay them back with interest lol.

Favorite Village:  Oakvale from Fable - The first Fable is the only one I really like, and it was one of the games I played when I was little, so the hometown in the game always meant a lot to me.  I like how you grow up there and how your tragic backstory is there--and then how you get to return to the town years later after you’ve come into your own, and you can see it completely rebuilt.  I like to spend a lot of my time in this town, just wandering around it and playing the minigames.  Even though I have a house in every town, Oakvale is where my hero calls home.

Most Hated Character:  Merril from Dragon Age 2 - I don’t really want to lay into how I feel about Merril, but what I will say is that it was suggested to me that I totally ignore her when playing, and I did so.  I only met her for her quest, dropped her off in town, and literally never spoke to her or interacted for the rest of the game.  I had a much better experience for it, honestly.  She appeared after I made my choice in the end of the game, which felt weird since I hadn’t spoken to her in several ingame years, but other than that, the game was totally fine without her.  I sort of just wish you could kill characters in DA2 the way you can in DAO, then I’d just do that, tbh.  It doesn’t suit very many (or any) of the characters I rp in DA2 to keep her around or support her in any way.

First Game I Played: Mixed up Mother Goose Deluxe - I’m not actually sure if this is the FIRST game I’ve ever played or not, but it’s one of the first I played alone as a kid.  I really loved it--this is probably what created my love for point and click adventures, and the game was very silly and fun.

Favorite Company: Bioware - I’ve always been a sucker for Bioware games, ever since Knights of the Old Republic 1 was my favorite childhood game.  I love how they do stories and party members, and while I’m not a fan of all of their games, I really love what they’ve made and their style of storytelling and character driven plot.  Even though sometimes their stories get cliche, I think the suit video games well and most of my early gaming was within their games.

Hated Company: EA - Bioware truly only started to go to shit after the EA acquisition, so I fucking hate EA.   I know Bioware had issues before EA too, but I definitely don’t think EA has helped the situation whatsoever.

Depressing Game: The Beginner’s Guide - I relate to this game as a creator and a writer, and it affects me deeply because of the story it tells and the questions it raises.  It makes me reflect on how I think of myself as a creator, and it reminds me of friendships I used to have.

Creepy Game:  The Path - God, I love this game.  It’s just aimlessly wandering around and finding symbolic scenery and watching your current character comment on it.  Then, you go off to find your girl’s wolf, and each one is different and unique to her, and you watch it ‘kill’ her--and facing her wolf is the only way each girl can truly mature.  Whenever you get to grandmother’s house, the camera switches to first person, and your eyes keep closing, so you can only see while clicking to move.  It forces you to keep moving so that you can see, but since you are moving, you only get to see things somewhat vaguely.  It’s got a great atmosphere, and I love the symbolic storytelling.

Happy Game: Eastshade - This game is so sweet.  There’s some drama around to with many of the quests, but I like this as an rpg without combat, and I think this would be a really good kids game.  There’s a lot to see and explore, and the game was made to be really pretty so that you want to paint several aspects of it.  It’s really lovely to just wander around in this game and bike around the area, painting anything that suits your fancy.  As long as you don’t finish the main quest, you’re free to wander, and materials do respawn, so you essentially can infinitely paint once you get far enough.

Favorite Ending: Virtue’s Last Reward - I love the questions this game asks and where the ending goes.  It thematically ties together--the whole reason the game itself exists is to get the attention of a ‘higher being’--the player, essentially.  I love how it plays with that concept, and even though the final game in the series doesn’t entirely pick this idea up where this game left it, standalone this game is stunning in how it comes together.

[tokiro07]

Thinkin’ about the term Soulslike again (though I don’t know if I’ve ever talked about it here)

I really dislike the idea of naming genres after specific games on the basis that it leads to stagnation in the development of games and doesn’t actually tell you anything about those games if you aren’t already familiar with the source

Metroidvanias, for example, by and large either try to perfectly mimic Super Metroid or Symphony of the Night to the point where a lot of them will practically use the same upgrades with different visuals or names in my experience, rather than reimagining or refining the core experience of exploration and discovery (some people have called these games Sprawlers, but I like to call them Explorers)

Roguelikes, fortunately, have now boiled down the genre to just two major, generalized mechanics, procedural generation and permadeath, but for some reason have retained the name even though they are nigh unrecognizable as “Rogue” games anymore. Some Roguelikes have even cut down on the permadeath with a persistent upgrade system that have resulted in them being called “Roguelites,” even though they already had nothing in common with Rogue aside from being Procedural games

“Soulslikes” at the moment seem to be leaning towards the former for the most part, though they are slowly but surely drifting away from that. Now, I haven’t played many Soulslikes, but from what I’ve seen, almost all of them have the following:

a limited, slow-use health restoring item

a currency that is dropped upon death (usually retrievable at the point of death)

a checkpoint area designated for the usage of said currency, recovery of the health item, and/or upgrades and customization (these may vary, but there’s usually a combination of these) BUT also restores all of the enemies in an area (if applicable)

enemies with high damage output but consistent predictable and exploitable attack patterns

combat heavily based around animation speed

a dodge or parry mechanic that helps give the player control over the pace of the battle

obscure lore often told through environmental storytelling or vague item descriptions

Dark Souls itself also has several elements that are frequently seen in its clones, but not necessarily all of them, including:

character customization

variable weapon builds

an RPG-style leveling system

a stamina-bar that recovers over time

an item that increases health and allows for a mechanic that makes combat easier at the risk of inviting some form of danger

a semi-open world that encourages familiarity and creates shortcuts over time

With all of these elements, Dark Souls itself is effectively an Exploratory Action RPG, with its world functioning similarly to a Metroidvania and while having a customizable/upgradable character that can perform real-time combat. The question is what Dark Souls does differently within these genres that makes it unique, much like how Rogue differentiated itself from other turn-based RPGs of the time (procedural generation and permadeath)

I think when most people think “Soulslike,” they think games that emulate the look and feel as closely as possible, like The Surge or Nioh for 3D games or Salt and Sanctuary or Hollow Knight for 2D. These all, to my knowledge, use similar kinds of currency systems and combat systems

These systems have led to people like Yahtzee Croshaw labeling Soulslikes as “Recursive games”, on the basis that they encourage one to throw themselves at one challenge again and again until they learn it by heart, often through asking the player to specifically face the thing that defeated them rather than go another way. 

While I see the argument here, I think that this definition is actually too broad. A linear platformer will do the exact same thing, but if you die repeatedly to a  specific enemy or obstacle in a Mario game and keep trying until you get it, does that make Mario a “Soulslike” game? Not at all, but any video game that has a failure state is, by its very nature, recursive. Not all games do this, but all that do can’t be referred to as “Recursive games”

Dead Cells, for example, inherently lacks this feature. Sure, its procedural nature promotes a “just one more go” mentality, but what you’re doing is inherently different every time. You aren’t facing the same challenges, as enemies and item builds are always different. However, what remains is the combat-style

I’ve always felt that the most important part of something being similar to Dark Souls is the enemy encounters that are dictated by health/stamina management and pace control. Because this is so heavily rooted in Dark Souls’ unique method of combat, I’ve been referring to it as a Precision Combat game, as precise inputs and timing are often necessary for survival, and an understanding of how both the player and the enemies behave is necessary for progression 

What muddles this is that we already have terms like “Action” and “Fighting” to define specific genres, and those terms are just too close. Fighting games are, in a sense, Precision Combat games that remove everything extraneous: no level progressions, no upgrade systems, just pure mechanics in typically one-on-one battles against a specific character being used by an opponent. Action games, however, basically mean anything that has some kind of combat encounter in it at all, allowing it to span Platformers, Fighters, Shooters, Brawlers, Puzzlers, anything, so much so that it’s a near pointless concept. One could argue that by calling something a Combat game, it immediately implies a greater focus on the precision of the action, thus making the “Precision” in Precision Combat redundant. We could also call it “Precision Action,” but that comes with its own problems

Many games have had precision action elements since the inception of gaming. The most notable that I can think of from the NES days would be Ninja Gaiden and The Mysterious Murasame Castle, both of which require quick reaction time and strategic attacks, generally not allowing players to simply brute force their way through. However, while these could strictly speaking be called Precision Action games, that doesn’t mean that they are “like Souls,” nor do they resolve the fact that modern games are taking inspiration from Dark Souls’ unique mechanics to spawn a new genre. It just becomes the same problem that Recursive had: it can apply to too many things that already exist rather than honing in on what makes Dark Souls itself unique

A friend of mine called Dark Souls a “Strict” game on the basis that the failure to act in a precise manner is entirely on the player, that Dark Souls is “tough but fair,” but honestly I think that’s just a fancy way of conveying the same idea.

In the same conversation that Recursive was introduced, Yahtzee’s associate Jack Packard suggested that Soulslikes be called Fight-or-Flight games to highlight the decision making process that the player goes through: “do I have the right items for this encounter?” “How far am I from the checkpoint?” “Should I avoid the enemies to preserve health, or fight them to get their drops?” Jack and Yahtzee determined that this couldn’t work because the player can’t run from boss encounters, and thus those moments remove a core gameplay element that Fight-or-Flight would imply. I, however, think they were on the right track

For one, the bosses are the very reason one has to consider whether to fight or flee in the first place; there is always going to be something that the player needs to save their resources for, something that they can’t flee from, so the question is what to do in the moments where that choice is available. However, I think there’s a way to potentially reconcile this issue while retaining the high focus on player choice: Risk/Reward

Now, many games have elements of risk and reward, particularly procedural games where if the player is having a good run, they may want to play more cautiously, but “Soulslike” games have a particular way of baking these sorts of choices into every single moment. Every attack animation is a risk because they’re exploitable by an enemy, every usage of the healing items is a risk because they’re exploitable, every enemy is a threat that can cause the player to lose their precious items, every enemy attack, even from bosses, is exploitable but reacting to them may leave the player open. “Do I attack now?” “Do I heal now?” “Do I fight this enemy?” “Do I run past them?” “Do I use my currency on this upgrade/item, or save it?” These are all ideas that are present in other games, but Dark Souls and its contemporaries utilize it in such a specific way that I think one could make the argument that it’s their defining feature

Risk/Reward also has the benefit of removing the necessity for combat altogether, whereas Fight-or-Flight explicitly states that combat is an element of it. This could allow non-action games to potentially recontextualize Dark Souls’ Risk/Reward mechanics into something else entirely, similarly to how Toki Tori 2 took out Super Metroid’s action-centric upgrade system and replaced it with a consistent moveset used for puzzle-solving, and all “upgrades” were actually moments where the player would discover new ways to use what they already had to progress

I don’t necessarily think Risk/Reward is a perfect solution, as like I said it can technically be applied to a lot of other games (ex: in any turn-based RPG, one can choose to attack, defend, or heal, risking the enemy’s actions), and it’s not the most elegant thing to say (ex: to encompass all that Dark Souls is would require calling it a Risk/Reward Exploratory Action RPG), but I think it’s a step in the right direction

If nothing else, it helps make it clear why a game like Sekiro, which removes nearly all of Dark Souls’ mechanics and even boils the combat down to a single weapon type, can still be considered a “Soulslike;” moving the enemy into a vulnerable position potentially leaves Sekiro vulnerable as well, but the player needs to take that risk to win a fight

I’ve also seen the word “dynamic” used to describe the combat in both Dark Souls and Sekiro, which ties back into what I was saying about controlling the pace of combat. This could also work and may be useful in conveying the idea of decision making, but it may have more difficulty in translating to other genres. That said “Exploratory Dynamic Action RPG” sounds better than that mouthful I said before, even if it’s still a bit long

It may be years before we get a good answer to this question, and it really will be determined by what elements survive the refinement process and remain recognizable, but for now, I think I’m going to start trying to work either “Risk/Reward” or “Dynamic” into my conversations about Dark Souls until I hear something better

[prokopetz]

since I've seen a lot of super niche games, do u have any games which, mechanic wise, are like hollow knight, ori and the blind forest, and dead cells, and in the 3d realm, sunset overdrive and Spider-Man. basically, games that are heavily momentum and movement based.

Sure. I’m reasonably certain this query was prompted by my mention of The King’s Bird and Sayonara Wild Hearts in a post earlier today, so I won’t repeat them here. A few other titles along similar lines that may interest you:

Fist’s Elimination Tower - An arcade-style platformer that gives you a limited number of lives (the exact number varies by difficulty level) to complete 150 levels, with each level consisting of a single-screen setpiece. The twist? You only have five seconds to clear each screen! Momentum isn’t encouraged so much as mandatory.

Just Shapes & Beats - A bullet-hell shooter that entirely dispenses with the shooting: your objective is simply to survive each wave. Not a unique conceit, but this one is very rigorous about telegraphing its punches, including a fully integrated – and amazing – soundtrack that provides audible as well as visual cues for what’s coming.

Katana ZERO - A side-scrolling slasher that gives you a limited ability to slow down time and parry bullets. Like most games of the type, both the player and enemies die in one hit, but it avoids the constant start-and-stop that many similar titles are prone to by making downtime between deaths practically nonexistent.

Lonely Mountains: Downhill - A low-key mountain biking simulator, this one strikes the rare balance of being just realistic enough to give a real sense of weight to the gameplay, and being just arcadey enough that it’s not going to frustrate you with tripping over every random root and pebble. It’s pretty much as fast-paced as you want it to be.

Overclocked - A robot-punching puzzle platformer with brief visual novel interludes and strong transhumanist themes. Unlike many entries on this list, its accessibility features are practically nonexistent, but it’s free to play, so at least you won’t have wasted your money if you try it out and discover that it’s not for you.

Rifter - This one’s a bit similar to The King’s Bird in its core gameplay, though it’s low on exploration and trades wall-skipping flight for a grappling hook. It’s also not terribly approachable for newcomers to the genre, and isn’t trying to be; if you’re not very experienced with momentum-based puzzle platformers, maybe come back to this one.

Run or Die - An endless runner that mixes things up with a suite of special movement abilities that constantly swap and reconfigure themselves as you play. Supports both mission-based and survival modes, with daily challenge leaderboards if you’re into that sort of thing. Also, you can unlock the ability to play as a corgi.

Super Cloudbuilt - A self-labelled “rocket parkour” game with shooter elements, albeit not terribly challenging ones – you’ll die from running into or falling off of stuff far more often than you will from getting shot at. Maybe not the best choice if you have a thing about heights, as it takes place in a world that literally has no ground.

Touhou Luna Nights - A lightweight Metroidvania with challenging boss fights. Possibly an odd choice when “momentum” is our main criterion, given that its core mechanical gimmick is literally stopping time, but it manages to make that not feel like an interruption. One of the more well-produced fan games I’ve encountered.

Velocity 2X - A funny little genre hybrid that swaps between twin-stick shooter and side-scrolling runner modes. Each level has multiple completion criteria, including speed, high score, and number of collectibles obtained, so you have a fair amount of flexibility in terms of how you want to approach things.

I’m also going to throw in off-the-main-list recs for Celeste and Hyper Light Drifter. They’re both off-list recs because they have strong momentum-based elements, but they’re mixed in with a lot of other stuff; Celeste is very cerebral for a precision puzzle-platfomer, so your momentum is going to be broken up by a lot of squinting at the screen and wondering what the hell you’re expected to do here, while in Hyper Light Drifter the momentum-based play comes in short, frantic bursts, interspersed with long stretches of undemanding, nearly walking-sim-like exploration.

(The latter is also off-list because if you’re citing Dead Cells, I’m almost 100% certain you’ve already heard of Hyper Light Drifter, but for the sake of completeness, here we are!)

In terms of forthcoming titles, you might keep an eye on any of Aeon Must Die, Get To The Orange Door, or Pepper Grinder.

[winchesternova-k]

Iden is right there. Want a lead with color? Play Battlefront 2. Stop lying and saying that was the most requested thing. It never was. If so, how comes Jedi Fallen Order did as well as it did with a white lead? Despite you people claiming you was going to boycott. How comes it’s getting a sequel? How comes that same white lead is getting a whole franchise? How comes it was nominated for a BATFA. I don’t even want to come across as rude but they gave you a game with a WOC and people ignored her and now she’s barely even talked about. It’s about the money. Disney are business people.

this is a lot of assumptions for someone who doesn’t seem to know what they’re talking abt. have u spoken to star wars fans of colour recently bc yes, it is the most requested thing. did u see what happened w finn? or did u ignore that?

u have literally no idea whether i’ve played battlefront or not. i haven’t, but that doesn’t change the fact that there should be more than one lead of colour. if i had that wouldn’t change the fact that i can still criticise other parts of the franchise. i adore tfa but im incredibly critical of the rest of the sequel trilogy and it’s mess of bigotry and abuse apologism bc surprise! i can like things and be critical of them at the same time!

this is the first star wars game i’ve played and there WERE a lot of requests for the lead to be a poc. i literally saw it. i don’t recall anyone saying to boycott but sure keep that victim complex up 😋

and what the fuck do u mean by “you people”? bc that feels distinctly racist. leave poc alone and let them be upset w disney (i’m white too which just shows that u assume everyone who calls out racism must be a poc which is interesting, and by interesting i mean racist)

also, i literally fucking said in my post that cameron monaghan did a good job. i love him as an actor and he did a good job. disney still should’ve hired a person of colour.

i said NOTHING abt the game’s content. the plot is sound and the chs are good. doesn’t change the fact that disney’s fucking racist. even if i agreed that them hiring another white man wasn’t problematic, there’s still the whitewashing in game and the cultural appropriation woven into the entire canon. and the second sister who is acting as cal’s foil is a woc! having a single person of colour from any race or ethnicity in a piece of media and making them evil and have to be defeated by a white person is always racist! and that’s just from where i am at chapter three.

battefront is a completely different type of game. i literally didn’t know abt it until recently. disney also did next to no ads for it so when it didn’t do as well bc of the lack of ads shitheels like u would say white leads r more popular. then they can say “ooh look! white ppl sell better!” that’s a pretty common marketing technique amongst racists. netflix has done it repeatedly. the lead for battlefront should be more popular, but do u know what i saw the last time i saw an ad for battlefront? rey. and the time before that? obi wan. this is literally the first i’ve heard abt there being a woc as the lead. the only ads i ever saw for it emphasised the fighting rather than the story, which from a quick browse was apparently badly written. the ads made it sound like it was in a similar style to injustice

also r u rlly saying that poc should have to play a shooter game as opposed to an action game to have a lead of colour bc that’s racist pal. poc should be able to play any genre of star wars game (or any franchise) and find a ch of colour and guess what! they can’t do that! bc disney!! r racist!!

ur right the battlefront lead should be more popular and well known and fandom should acknowledge her more. she should’ve gotten better from both disney and fandom. that doesn’t change the fact that cal should’ve been played by a moc.

and srsly, ONE lead of colour? as opposed to HOW MANY white leads of the years? get over urself. poc deserve better than that and u know it

also pal, if u think going “but,, but the money!!1” is going to make an ANTICAPITALIST sympathise w disney u came to the wrong fucking blog. everyone should do the right thing even if it costs u profit.

anyway disney know that poc leads r just as profitable as white ones. y’all r v quick to forget how profitable black panther was

and surprise surprise sometimes ppl who want more diversity still play games that don’t have it. what exactly is ur point?

but sure, keep telling urself that a man of colour wouldn’t have done as good a job 🤷 ur racist and lying and it shows and YES ur rude

tldr; disney didn’t advertise battlefront having a woc lead which is shitty. fandom also erased her which is equally shitty. one lead of colour in the entire franchise is not enough and cal should’ve been a moc. fuck disney and their corporate greed.

eta: tfa is also a goddamn racist mess, i meant to say that i was critical of it as well as the rest of the sequel trilogy and my adhd made me forget fvgfvg

[receptorconsuming]

could u recommend some steam horror games!! (specifically retro indie games)

yeah of course! I can’t remember 100% all of these games, but many of them contain common triggers (particularly body horror, suicide, and sexual assault)  so please be aware of that!! Also, because a lot of these are 15+ years old, they contain racism and homophobia typical of older content, unfortunately.

-The Penumbra Collector’s pack ($9.99, 2007) comes with Black Plague and Overture, two of my all time favorite horror games. Similar to Amnesia, just a very back-to-basics survival horror game. Has some of my personal favorite twists and scares!

-The Still Life pack ($14.99, 2002) is a series of point and click horror games about solving murders. The games themselves are far from perfect, but they have a great vibe and atmosphere.

-World of Horror ($14.99, 2019) is a game done in the style of retro horror manga. It’s gorgeous and super fun, but still in early access! It feels like you’re walking around a Junji Ito manga :’)

-The Witch’s House (free for lq ver, $14.99 for hq ver, 2012) is a brilliant RPG horror game done in the style of many, much older horror rpgs. Steam also has some other classic horror RPGs that I’d definitely check out, as well!

-Corpse Party ($14.99, 2016 rerelease of 1996 game). I know I mention this one on every list but it’s one of my all time favorites!! It’s a retro horror rpg with some really genuinely disturbing and thought-provoking content.

-Misao Definitive Edition ($4.99, 2011) A retro-styled horror RPG that has some interesting twists. A shorter version of the game is also offered for free.

-Condemned:Criminal Origins ($14.95, 2006) I haven’t played this one yet, but I’ve heard great things about it. A horror shooter game where you solve supernatural murders.

-Harvester ($5.99, 1996) “The most violent adventure game of all time” is kind of an oversell, haha, but it lives up to that title in some ways!! It’s a great classic horror/gore game, especially if you’re into vintage games.

-Saya No Uta: Song of Saya ($14.99, 2019 rerelease of 2003 game) is known as one of the darkest mainstream visual novels. It’s about a student who begins to see everything as flesh and gore, except for a beautiful monster named Saya.

-I Have No Mouth and I Must Scream ($5.99, 1995) Is a tale about outsmarting an evil computer that utilizes a lot of psychological concepts. It’s an awesome game that I’d strongly recommend.

-Togainu No Chi: Lost Blood ($14.99, 2020 expanded release of 2005 game) Another visual novel known for its extremely dark content, togainu no chi is an “erotic” horror story about a young man surviving in the wasteland left of Japan after WWIII. Also, I want to warn that this game contains EXTREMELY graphic depictions of sexual assault, and includes many topics that are often seen as too intense (even for the horror genre), so please be wary going into this game.

Of course, Steam also has some classics like Resident Evil, FEAR, The Crooked Man, etc.! I didn’t include those, just in case you’d already been through them! I hope that helps! <3