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goombasa · 7 months ago

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Who was Crash Team Rumble For?

By the time this blog post goes up, it will have been almost two months since active support was ended for Crash Team Rumble. While the game is currently still online and can be played, and pretty much everything has been made really easy to unlock for anyone who jumps on the game at this point, this being an Activision title, it's only a matter of time before it goes offline for good and can never be played again. The game was actively supported for only 9 months, putting it roughly on par with any Live Service game being put out by Square Enix.

While you could say that the game's sunsetting is due to its developer, Toys for Bob, went completely independent, getting out from under Activision's thumb (good for them, btw, I'm really happy about that), I think Activision would have put another one of the dozens of other studios they own on this project to continue developing and maintaining it if the game had been a smash hit.

So that begs the question: Who was this game for? Because I think it was a game that was just very poorly timed and very poorly thought out.

I need to preface, this is not an attack on the developers who worked hard to put out and keep the game going, nor is it an attack on the game's fans or its quality. I actually have not played the game, though I have followed it at a distance, just out of curiosity, because I actually think that the idea has some merit; a competitive MOBA platformer game? That's decently unique! But was this what people wanted to see from Crash? No, I don't think so.

Look, Activision actually managed to work up some good will with Crash Bandicoot over the last few years, with a very well received remake of the original trilogy, a remake of Crash Team Racing that brought together some of the best tracks, characters, and mechanics from multiple Crash racing games, and a brand new Crash platformer with Crash 4: It's About Time.

And then they turn around and make a live service MOBA game? Please forgive me, but I don't think there's a lot of crossover between Crash fans and MOBA players, is there?

I'm totally fine with franchises branching out into new genres. In fact, I encourage it. Placing characters in different genres away from their norm is a great excuse to experiment and show off mechanics or standard features in new lights. Mario is an excellent example of this, as he's dipped into puzzle games, RPGs, racing games, and of course sports games, and has managed to create something very entertaining almost every time. Sometimes, the shift doesn't work out for a multitude of reasons, like with Sonic Chronicles (though I'm one of those freaks that still believes that Sonic could work as an RPG), but more often than not, if an honest attempt is made, I think it's a good thing. Even Crash himself has pulled it off, with his racing games. Sure, not all of them were great, but they were overall decent at least, and the first game and its remake manages to stand on the same level as Mario Kart in terms of how fun it is.

But MOBA? I don't see it. The core audience that this was trying to appeal to, Crash fans, I don't think, were interested in a game that has no single-player element to it, and is essentially a grind fest for characters and cosmetics. Yes, I say that knowing that CTR was basically used as a testing grounds for this, what with its limited events and its ever-rotating Fortnite-style shop, but that at the very least was something that could be ignored in favor of just completing missions in the game. Here, though, the grind is kind of the entire point, regardless of how fun the game itself is.

This also kind of extends to Spyro fans as well. Some of the last playable characters to be added to the game consisted of Spyro, Elora, and Ripto, from the spyro series, once again squandering the good will that Activision had managed to earn with the Spyro Reignited Trilogy. Rather than using that momentum to revitalize another beloved classic Franchise that would hopefully translate into more sales over time with new mainline games, Spyro and friends are once again essentially playable cameos in their brother series. It was an attempt to rope in the Spyro audience in the same way they tried to rope in Crash's audience into a live service experience.

So it's a situation where the target audience was alienated by the rather extreme shift in genre. But the other big factor, probably the biggest, and by some measure the most obvious point, is everyone's sick of Live Service games in general. Everyone's sick of games that are meant to go on forever, sick of games that require you to play them every day or you miss out on rewards, sick of games that require an extreme grind to unlock basic cosmetics, or new characters, or new arenas or tracks or basically anything that they can hide behind an arbitrary achievement that will be gone eventually. It's a highly over saturated market that the industry all decided to try to catch up to after Fortnite became the big thing. This isn't just a problem with Crash Team Rumble or with Activision, this is a problem industry-wide, a very costly one. Crash was just an unfortunate victim of a much larger trend.

So to sum up, who is this game for? Not really anyone. It's a live service game releasing in a time when everyone is sick of live service games, it's a unique type of multiplayer game that, while it is cool to see a new idea in an over saturated market, it might have been too much of a departure from the familiar for those established and interested in MOBA's, and it managed to isolate and push away its intended fanbase of Crash and Spyro fans because this wasn't the experience they wanted coming off the heels of the successful revival of the franchise. I'm not saying this idea couldn't have worked (my understanding was this was originally supposed to be the multiplayer mode for Crash 4 before it got spun off into its own full game, and it was replaced with a very basic, rushed multiplayer mode in the main game), but the timing was all wrong and the player base just wasn't there.

It's a shame. As I said, I had no real interest in playing the game, and after its launch, it just sort of dropped off the map in terms of mainstream gaming news coverage until its inevitable end of service at the end of March. And the worst part about it all is that I just know that Activision is not going to take any of these lessons to heart, or are going to learn the exact wrong lessons from this whole debacle. Or maybe they just won't care. People are still going to buy Call of Duty anyway, right?

#Crash Bandicoot #Crash Team Rumble #Make More Platformers #no one wanted this #Activision is a shitty company

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groundlevelcliff · 10 months ago

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Point of view (making it harder than it has to be)

Learning RPG Maker MV is going well - as well as one can judge that when they're on the third 10-minute tutorial video - but the thing that struck me once I ran the thing was how small every tile and character is.

That doesn't pose a problem in and of itself, but the player character in this project is a housecat. Since cats are tiny in relation to their surroundings, I had already intended to double the size of each tile. At this point I'd have to blow up each non-player sprite by four just to get the scale right! I'm already going for a pixelated look, but scaling to that degree is excessive - not to mention that it'd make placing even a single item a multi-tile ordeal. What I'll likely do is double each person-sized sprite, then find a plugin to double the zoom level from there.

That's a minor concern, though. What really bothers me isn't the size - it's the perspective.

The perceived size of a sprite is going to carry the tone far more than the actual height and width would. I could quintuple the size of the entire game, but if it's all in top-down view, the player is still stuck looking at the top of everyone's dome. They're going to feel bigger than both the character and the scene, which is antithetical to what I'm trying to convey.

The 3/4ths view is MV's default - not because of anything inherent to the engine, but because every innate sprite resource is drawn in that perspective (as are most user-made resources). It's something we're all used to seeing by now, so we usually ignore the implication that the viewer's watching things happen from the sky. Since most people interpret this view as the "normal" perspective, though, I worry it would struggle in communicating situations where the player character themselves is smaller than the average person.

Side view...just feels flat to me. I don't think anything scary has ever happened in side view.

If I want the player to really feel too small for their surroundings, the only other option I can see is to put the camera in between those two views - something approaching a 1:2 perspective. But I had no idea just how hard it is to find examples! Just about every pixel art tutorial focuses on 3/4 view, side view, or isometric. Isometric actually is pretty close to a 1:2 ratio, but the viewpoint is always at an angle! It's made up of diamonds more than it is squares, and even if that's something MV is capable of handling, I really don't want to mess with all that.

I realized today, though, that working from zero like this is going to get me so wrapped up in theory and research that it's going to be half a year before I ever put tile to map. Why not do a case study of other games?

Hamtaro: Ham-Hams Unite!

This is a weird pick, but this Game Boy Color title informed about 80% of my taste in games (the other 20% was Fallout: New Vegas.) Just a straight-up adventure game. No combat. Just puzzles. It's clearly inspired by point-and-click adventure games without any of the clunky UI weirdness of other genre titles ported to console (COUGH, Maniac Mansion for the NES). I really could talk about this game all day if I don't rein it in, though, so I'm going to focus purely on the visual design.

Hamsters are about three inches tall, which means everything in the environment has to be HUGE in comparison. This is way more dramatic than what I'm planning, but looking at an extreme example may make it easier to see what makes it tick.

Here's what's interesting: the perspective in this game is all over the place.

Locations are divided into chunks that I'd say are roughly twice the size of the GBC's screen. What's funny is that the perspective often changes from one chunk to another.

The environments are often in plain old 3/4 view - like in this first screen of Sunflower Market - while the characters are in profile. They don't feel conflicting...though the scene kind of breaks apart if you stare at that bicycle for too long.

But then you get scenes like the very next room - the characters, floor, left wall, and cardboard boxes (including the "alley" between them) all seem to be at a closer angle, with only the slide being somewhat off.

Look at the left wall and where it meets the floor - it's angled towards the horizon because it's in perspective. But in the previous screen, the angle of the newspaper stacks and the little curb behind the sick hamster are completely straight, because they're purely being seen from a top-down perspective.

The produce shelves are in 3/4 and straight:

But the outside of the fridge is in perspective again:

There's also this screen, which is fun despite the front and back shelves disagreeing on where the vanishing point is:

So the artists couldn't decide what view to use either! But one thing you notice when looking at all the screens together is how every single one includes something that reinforces how small you are and how big the world is. The newspapers, the strawberries, the tape on the cardboard box. The fridge door's handle peeking from the top of the screen places it far lower than it should be in relation to Hamtaro, but it was included for readability; if it wasn't there we might mistake it for a building or weird wall.

Let's leave the market and look at this classroom "cafe" from Sunflower Elementary:

You access this tabletop by climbing up a broom handle (bottom right). The artist could've just colored the floor and wall and called it a day, but they made the conscious decision to have the foot of the life-sized skeleton model visible in the corner. You can examine this model when on the ground floor, and it's enormous. What point is there to include it, other than to emphasize how this grade school child's desk is a staggering height for the player?

Little Nightmares

Maybe it would've made more sense to start with this one? Well, whatever.

I knew I'd have more luck finding write-ups and dissections on this game than an obscure licensed title from 2002, and I wasn't disappointed. In an article published on Game Developer (formerly Gamasutra), Chris Priestman writes "The world that you travel through in Little Nightmares is clearly built for people who are much bigger than Six and so travelling through it is both unwelcoming and challenging. To enhance that, shapes and bodies are exaggerated and bloated, stretched into surreal and sometimes horrific forms."

And he hit the nail on the head! I've actually been playing with the perspective of the cat's owner specifically, tweaking the angle and exaggerating the proportions of his body to make it seem like he's looming over the world around him. But there's a fine, fine line between "mild fish-eye lens effect" and "this guy's straight up drawn in the wrong angle." There's also a drastic difference between pixel art and Little Nightmares' 2.5 D space, but seeing the latter successfully convey that feeling just makes me more determined to make it work.

Focusing on the environment itself, it's not that the player doesn't fit in their surroundings - it's that they're entirely, completely engulfed by them. A good few rooms wouldn't feel unusual in another game with a human-sized character, but open stretches of floor feel yawning and insurmountable. And it's not actually all due to size! Speed plays an enormous role. Six is small, but unlike the lumbering giants of Shadow of the Colossus or RPGs where everyone has the same walking speed, she's also not very fast. In fact, Little Nightmares' giant enemies are pretty spry!

The Legend of Zelda: The Minish Cap

Let's not look at this one for perspective tips, okay?

Stuart Little 3: Big Photo Adventure

Sure, why not? I didn't think 3d sandbox games were worth looking at since there's no real shot composition and you can, y'know, just make the models bigger, but I like this shot. Placing the camera just a couple inches off the ground stretches out the stage more than I expected.

In any case, I've got a lot of playing around to do before I find something that clicks, but I think I've got more direction than I did before.

#i was trying to figure out what to title this post and every option sounded like a m/m fanfic title #including this one. whoopsies!#''why didn't u look at ham-ham heartbreak instead'' dont talk to me. heartbreak's environments are all hamster sized.#hamsters having a pop up cafe on a school desk is realistic but having a hamster-sized ferris wheel and coaster? dont be goofy!!!!

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electric-soulja-boy-porygon · 3 months ago

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@juneboat I hope you don't mind me reposting your tags, but I couldn't agree more!

I think that while OP isn't wrong for feeling the way that they do, there is a bit of a misunderstanding for what Undertale is really meant to be.

Undertale is a story about being set loose in a world where you can decide how you want to interact with it. This distinction is what made it so famous, especially with the fact that historically, RPGs did not give you the kind of mechanical freedom to interact with the game the way Undertale does. I won't lie and say it was the first RPG to have branching plotlines or different endings, which would be laughable, but the ability to decide how you want to actually play the game (through violence or through puzzle solving) was something novel about Undertale.

It's true that the game encourages you to solve it nonviolently, but I think it's worth noting that the game doesn't actually punish you heavily for playing a neutral run, because the neutral run is the INTENDED play!

Undertales No Mercy run is deliberately achieved only if you go through the painstaking effort of hunting down every single monster in the game. This isn't how most people are going to approach it on their first playthrough, especially since the game gives you a "Go from point A to B objective" that most people are likely to follow.

And the neutral ending is... Fine! It's a perfectly serviceable ending where the character you play as escapes the underground, but doesn't really change it for the better. Depending on who you kill and how many you kill, characters are going to have different feelings about you, but the game doesn't really punish you for it. Your reward for beating Undertale's neutral route is that the player gets to escape the Underground. That's not an unhappy ending.

The Pacifist ending, as beloved by the fandom as it is, is meant to be Undertale's post game. It appeals to the people who played the game and enjoyed the characters and want better things to happen to them. It very explicitly does not have much to motivate you with unless you are a player who cares about the world of Undertale.

And you don't have to do it! You can replay Undertale as many times as you want, and you will only get the Pacifist ending if you go out of your way to achieve it. And yeah, the game does reward you for doing that, because it makes sense that if you're pursuing this route, you want to see the characters be happy. You are going out of your way to do homework, and the game gives you the reward it suspects that you want to be given.

No mercy is the only game that punishes you, and it really only does so by questioning why you're playing Undertale. Undertale gives you the ability to play the game this way, but it questions your completionism because it's not really a game that's made to be torn apart in the way No Mercy makes you do. That being said, it does give players a lot of good stuff: Players are rewarded for playing No Mercy with Stats, and with cool boss battles. If you're interested in the world, you can still learn some really unique things about characters that you wouldn't see in any other mode.

But ultimately, Undertale isn't a game about killing everything in your way, and so the game is going to question players who do so. I don't think every player has to like that, but that's fine. The point of Undertale is to make you think about how you want to play, and what the consequences of your choices are going to be, but if you find it's metatextual philosophy to be annoying, that's fine. You can still enjoy a game and not really enjoy what it's communicating.

But yeah, I don't really agree with OP that Undertale is overly moralistic so much as it's just a game that has Themes and lets you explore what those themes mean through more options than people are used to having.

As much as i do enjoy the kind of story undertale presents and i do enjoy the gameplay, i do ultimately come away with feeling like ultimately, part of the message of the work is that there is a correct way and an incorrect way of engaging with video games as art, and that the game’s creator is the one who sets that correct path. Undertale is, in part, about teaching you to engage with undertale correctly, and punishing you with a far worse time if you don’t engage with it the way the author wants you to. It’s about playing the role in the stage play correctly. Saying the right things to the characters you interact with.

#Undertale

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absolutepokemontrash · 3 years ago

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The Demon Bros Play DND!

Who’s ready for some Stupid Headcanons?

So, the Satanic Panic of the 1980s claimed that the tabletop RPG known as Dungeons and Dragons had the power to turn your children into satanists and devil worshippers. So of course, the brothers have totally played DND after hearing about all the human world nonsense.

Lucifer the Back-up Back-up DM

He’s too busy to play this game dammit, stop inviting him! What do you mean both Satan and Simeon can’t DM the one-shot? Ugh... fine.

Despite all his UUUUUUUUGGGGHHH, Lucifer is a damn good storyteller, prepare to be immersed as hell.

Also, sorry guys, he’s a rule whore. If something’s against the rules, YOU AREN’T DOING IT.

He’s also a complete sadist who will randomly get everyone to roll perception checks for NO REASON.

Lucifer has definitely stood up and slammed his hands on the table while giving a description for extra effect, Mammon screamed and nearly fell out of his seat which REALLY ruined the mood.

“Everyone, we’re rescheduling, I’m too busy.”

He’s been a player a few times, and he’s NOT good at it. All his characters end up being really generic and boring. He’s better at being the world and everything in it, not the dummy wandering around it.

Human/fighter lookin’ motherfucker

In conclusion, he’s a good DM, but he’s probably too busy to play.

Over-Powered Self Insert (Mammon)

This game is for nerds! He’s not playin’, Levi!

Fine, his character is great and amazin’ and is also him. MC! What do these numbers mean-

Mammon’s the type of player to make his character a self insert and not take it too seriously, then get really REALLY attached as the campaign progresses.

He’s the type not to make a backstory for his character either, so go wild DM MCs!

He also both purposefully and accidentally metagames a whole bunch. Like dude, YOU know this, YOUR CHARACTER DOES NOT.

Shit he forgot his dice, can he borrow some?

“Okay MC, that’s five points of piercing damage.” “I RUN OVER AND HEAL THEM! I’LL SAVE YA MC!”

Mammon goes out of his way to save MC’s character long before it would make sense in-character to do so.

“Well, as your first man it’s my duty to save your character! You’ll probably be a blubberin’ mess if I didn’t...”

He’s not the best role player, but he’s also not the worst at it either. He tends to break character when things get too serious and he doesn’t know what to do.

Notes who? He came in here with one sheet of printer paper and it’s for doodling only.

He and Asmodeus start the tavern brawls. No question about that.

Theft is very common, he’s stealing from everyone, including but not limited to: the party, the royal guards, the dead enemies, the giant fuck-you dragon that Satan dropped in there to deter Mammon from stealing...

“I’m gonna steal that crown from the dragon.” “Roll stealth.” “Nat 20 BITCHES.” “Fuck you.”

If his character dies, may the Demon King have mercy on his greedy little soul because he’s going to mope about it for a damn long time.

Over-Powered Self Insert Again (Leviathan)

His character totally isn’t a self insert, shut up! He just looks and acts like an idealized version of himself!

He’s the one with twenty pages of character info and backstory AND the amazing commissioned art.

Levi has about 40 sets of expensive blue dice that he claims gives him the best rolls but an average session with him usually leads to roughly 10 crit fails.

While his luck with dice isn’t that good, he’s the player who will get as much out of their turn as possible, AKA break out the calculators and notes we’re doing some math.

His turn goes on for at least ten minutes because of all the shit he’s doing. When you finally think it’s over he goes “I still have my movement!”

Takes notes like a madman, every bit of lore and character info is being written down, meaning it’s a headache for everyone involved if there’s a continuity error because Levi WILL point it out.

“So you all head to the east, the great Valley of-” “Hang on, valley? In the second session you said there was a mountainous area to the east.” “Levi, shut up.”

Levi is the self appointed “guys come on let’s get back on track!” player, and whoever’s DMing is grateful to have him.

Levi is kind of the opposite of Mammon in terms of character seriousness, at first he’s taking everything super seriously and then as the campaign goes on he slowly loosens up and has some fun.

Out of curiosity one day he searches up a magical girl DND class and he’s ALL OVER IT. PLEASE LET HIM BE A MAGICAL GIRL NEXT CAMPAIGN-

Damn good at roleplaying, he’s carrying the entire in-character discussion until everyone else gets into it.

The Done With Your Bullshit DM (Satan)

So, this is the game that’s supposedly summoning him all the time despite the fact that he hadn’t been up to the human world since the 50s... what the fuck is everyone on up there?

It was the 80s, probably a lot of drugs.

When Satan DMs, you can only break the rules if it enhances the story... or if it fucks with Lucifer’s really boring character.

He will fudge dice rolls every once and a while, he also gets very attached to the characters everyone has made so he doesn’t want to perma-kill any of them unless they roll a DND quadruple natural 1 sin or something.

As attached as he gets, he isn’t above completely raging, killing everyone’s characters, and ending the session if everyone’s being annoying.

Don’t worry, your characters will be safe and sound next session once everything calms down... just don’t mention how Satan burned your character sheet right in front of you. It’s your fault if you didn’t make a second copy of your character sheet!

He’s pretty decent when it comes to improv when a player stumbles into something he didn’t plan out, but that’s not going to stop him from getting a little annoyed.

Though, if you somehow manage to get to the big bad too soon... yeah sorry, he’s got a way more dramatic fight scene planned, your player’s getting conveniently blasted out of there.

As a player, Satan is pretty decent at the game overall, but he tends to be a little aggressive if there’s an overarching mystery to be solved.

He needs to understand what’s going on! He doesn’t care if it upends the plot or it’s too early to find out! He needs to know!

His character is actually distinct and different from himself, Satan thinks it’s more interesting that way. All the books he’s read have made him a pretty awesome role player!

Satan’s notebook both as a DM and a player is filled to the brim, no detail is too insignificant to be put on the page.

Satan doesn’t fear dungeon puzzles... dungeon puzzles fear Satan.

“Are you all stupid?! This puzzle is so easy a four year old could solve it!”

I ROLL TO SEDUCE- (Asmodeus)

At first he didn’t want to play, he doesn’t play these kinds of games, sweetie. He’s too pretty.

When he’s finally convinced he puts a decent amount of effort into his character, but leaves the backstory pretty open.

Asmo would probably be the bard... right? No. He’s the warlock with the magic sugar daddy patron, and the warlock patron is spoken to as such.

“Hey baby... how’ve you been? Have I been good~?” “...”

Huh! Who woulda thought that all the bedroom roleplaying would transfer so well to DND!

Simeon is the only DM that doesn’t immediately shut this down, so Asmo will be extra inclined to play if Mr. Nice Shoulders is DMing.

When he gets really into it he buys a bunch of sparkly and very pretty dice, they bring him good luck in every roll!

Asmo has a fictional harem, no question about it. It gets to the point where Satan, Lucifer, and Simeon stop describing NPCs as attractive.

He’s rolling to seduce either way, he’s turned many an antagonist into a lover. To be fair, Asmo’s horniness has gotten everyone out of a lot of jail cells... so they can’t complain.

His notes consist of really random comments about the plot and the other players. It’s also COATED with doodles.

‘Wow, this character is such an asshole, I hope Belphie kills them.’ ‘Shit.’ ‘MC looks so cute when they play their character!!!!!!!! :D’

Poor bab forgets the rules a lot... it’s just too much to remember, okay?! How was he supposed to know that he ran out of spell slots an hour ago?!

Please help him, MC...

*Dice Cronch* (Beel)

Homeboy has been given edible dice, no question. He has also eaten the non-edible dice...

Beel goes to Satan for help with making his character, and he ends up really loving the character! :D

Problem is, he’s not that good at roleplaying... D:

“Can my character eat that person?” “Beel, no- you know what? Let me check what you’d need to roll to do that.”

I’ll save you MC part 2 electric boogaloo, but when it comes to Beel, the entire party is getting protected, no matter how little it makes sense in-character.

While Beel does take notes, a lot of them don’t end up being very important for later events. For example, he’ll jot down stuff about the layout in one room, but it turns out he didn’t take notes for the room that was actually going to be used for a boss fight.

He’s always nice to the NPCs, shame Belphie doesn’t show them the same courtesy.

Murder Hobo (Belphie)

Chaotic evil.

“Belphie, your character’s alignment is neutral good, remember?” “Fuck that, this guy’s annoying me.”

If Belphie doesn’t like an NPC, it’s up to the rest of the party to stop him from derailing the campaign and killing them.

He has space themed dice because cow-man likes space and thought they were pretty.

Notes? NOTES? You think Belphegor, the Avatar of SLOTH, takes notes? HAHAHAHAHAHAHAHAHA-

He’s drooling all over the notebook... ew. Someone wake him up and tell him it’s his turn.

He puts about 35% effort forth to make a halfway decent character, and approximately 4% effort to actually roleplay.

Belphie sleeps through important plot details so he’s almost always really confused. He’ll turn to MC and ask them to explain what he missed before not learning his lesson and going back to sleep.

Wake him up for the dungeon puzzles though, he and Satan love those.

“Okay, we can’t see what’s in the room because none of the conscious party members have dark vision?” “Nope, what do you do?” “...I shove Mammon inside and shut the door.” “WHAT?!”

Bonus! The Best DM (Simeon)

Our favourite angel has homebrewed this entire campaign and boy fricken howdy are these players going to enjoy it.

Simeon fudges the dice rolls to avoid anything too irreversibly bad happening, buuuuuuut he’s still a total asshole who does the random perception rolls to keep everyone on their toes.

Everyone gets a character arc god dammit, even if they don’t have a backstory, one will be provided!

He’s got a map, he’s got miniatures, he’s got dice and backup dice for the backup dice, he’s got DM notes for days!

Simeon could be a voice actor with the amount of character voices he can do, no one ever gets confused with who’s talking.

Did someone just uncover a massive bit of plot that was meant to be found out later? Good job! No harm done! Simeon’s DM improv is second to none, and the plot will adjust accordingly!

#Obey me #Obey me!#Obey me Headcanons #obey me! headcanons #Obey me Lucifer #Obey me Mammon #Obey me Simeon #Obey me Leviathan #obey me beelzebub #Obey me Belphegor #Obey me Satan #Obey me Asmodeus #Obey me MC #obey me shall we date #obey me! shall we date?

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loquaciousquark · 4 years ago

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Talks Machina Highlights - Critical Role C2E111 (Redux! Oct. 13, 2020)

Gooooood evening good evening good evening, all! I started the VOD late for this recap and somehow the first four or so minutes of the show have a Twitch audio copyright claim, so I am reduced to only reading Brian's lips when he asks if we're on the internet. Hilariously, Marisha's background room is a comfy-looking blue/gold fabric wall with a ceramic colorful abstract lamp and a yellow silk scarf over the lampshade, and Taliesin's is an industrial looking games room in grey and black with multiple monitors, overhead speakers, and mysterious metal fixtures behind him. What a treasure this group is, honestly.

Tonight's guests: Marisha Ray & Taliesin Jaffe, discussing episodes 110 and 111 again. I wildly speculate once more about what might have caused their absence: jury duty? Sam appearing on The Masked Singer? Something to do with the animated show? One day, we’ll know, one day... (One day this “copyrighted audio” section will come back from the wars, too. Ugh!) Finally! The audio comes back to reveal Brian discussing the endless reality of digital meetings and Marisha talking about (I think) her glare-reducing glasses she’s wearing. Welcome to the New Age (welcome to the New Age, to the New Age).

Announcements: Marisha suggests checking out Dimension20, another live tabletop gaming group, which premieres live on Wednesdays at 4pm (CollegeHumor).

Brian immediately wants to know how they feel about the revelation that Molly is alive. Taliesin’s personal reaction: he “knows some things” he can’t talk about and is aware of several possibilities that might be going on, but had a sneaking suspicion that there would not be a body for them to find. He says it’s almost all there for anyone to see in past material. Marisha’s personal reaction: she just wants to know how she’s doing with her theories, & was trying to block Tal’s face out deliberately as she was going off on her theories in the last episode. Taliesin says he thought her ideas were pretty good!

Cad has no clue what to think - it’s like listening to your friends talk about Buffy. Marisha thought it was a 50/50 Molly would still be there, but Beau had no idea. Not that it mattered, because as soon as Matt went through with it the reveal still blew their minds. Tal laid out his plans for the character with Matt during Campaign One (towards the end) after they all got their VM tattoos.

It is a “horrifying and gross” thing to dig up a body, and Beau was pretty reluctant to do it. Tal, as Cad: “Sometimes dead’s better.” The moral quandary of trying to speak with a dead friend was very different here than the frequent occasions they used the spell in C1.

Taliesin says his poker face is very bad, so it’s easier for him to over-react and let it all play out. The only other player he can see very easily from his place in their current setup is Travis, and because he knows Travis doesn’t watch TM, tweet, or participate in social media, he admits he thoroughly enjoyed watching Travis freak out at his freaking out. He says he only knew about 20% of what Matt described at the end of that episode. He was picking things to mug to increase Travis’s surprise. I love this so much.

Taliesin provided the table left leg shake; Travis provided table right. Ha!

Beau is really accepting her role in the Cobalt Soul. It’s good when “as a person, you feel like you can settle into your calling. Sometimes you can do more from the inside than fighting from the outside.” It’s a mirrored but opposite path of Keyleth from C1; Beau felt like she was too good for her duty, while Keyleth thought she wasn’t good enough.

Caduceus is not a big believer in jumping to conclusions. He does have an idea/notion of the “city of the undead” and thinks all this necrotic energy must come from somewhere, and wonders if this is the “capital of anti-death.” He’s willing to believe whatever he sees. This is one of the few things that trigger a bit of loathing and disgust in him. It was terrifying that the Wildmother didn’t know anything.

Beau is pretty confident in her Charlie Day impression laying-out-the-research last episode. She enjoyed taking the things that were known & extrapolating around them; this is a huge facet of Marisha’s own personality and she really enjoys it, so she built a character this time that would allow that kind of puzzle-solving. It’s also why she repeatedly notes when Beau journals, so she can avoid metagaming. Trent’s mention of Vess Durogna’s tomb raiding was completely circumstantial, and the only reason she’d made the connection to the Tombtakers was because she’d recently reviewed those notes for a separate unannounced project. Sometimes she tries to make connections and Matt is like, “It was...just descriptive. Just flavor. The curtains were red...” and she has to discard a paragraph of notes. She feels like it’s still something they have to do because of “look at what he does! Look! It’s totally valid!”

Cosplay of the Week: @kitsunstudios with a gorgeous Caduceus with a very intricate silk vest.

Caduceus’s takedown of Trent! One of my favorite moments in the entirety of C2. Taliesin felt Trent was an asshole; Caduceus felt sorry for him because of how dumb he thought he was. Caduceus’s response was "this is the dumbest man I’ve ever met in my life. He’s so dumb! Is nobody going to tell this guy how dumb he is? Oh, they’re all freaked out. Somebody needs to tell this guy he’s an idiot before somebody gets hurt.” (Marisha: “Before?”) Tal says it was the product of several years of therapy and many drunk conversations with Whitney Moore. It was from a genuine place of concern from Caduceus. “How are you allowed to have this much power and be that dumb?”

Brian loved how funny it was to watch everyone tiptoe around Trent and then Caduceus bulldoze through the end of the meal.

Taliesin: “Damage doesn’t make you interesting or better. It’s not what makes you good. Character isn’t found in damage. Just recovery.”

Brian & Marisha commiserate going through the stage where believing surviving something automatically made you a stronger person, better for the pain; instead it just meant you had to pick up the pieces after. Marisha talks about how strength through survival may be true for some people, but it shouldn’t be considered a necessity. Taliesin talks about how he used to think he had to be miserable to write. Brian talks about how believing he liked reading and writing miserable things only limited him for years.

Marisha feels it’s a C2 theme that almost all the PCs have someone trying to handwave or take credit for their accomplishments or explain their pain as being for their own good (Trent, Beau’s dad, Obann). She thinks it’s interesting to see all the various ways people try to take credit for your work/delegitimize you as a person. She loves that RPGs allow you to explore these odd moralities in interesting ways. The only way to fight it is to have a sense of your own self-worth, which is a problem a lot of the M9 started with.

Caduceus likes everyone, and really likes people who appear to need role models (Eodwulf). “With the right friends and the right bar and the right attitude, I think he’d be okay. Come over here where it’s so much better. That seems like an exhausting friendship that you have there.”

Marisha loves the mix of personalities in the M9; Veth, Cad, & Jester were all “we kind of like them!” after the dinner, and she immediately made eye contact with Travis and they both shook their heads. She knows Beau has to go along with it for Caleb’s sake for now, but she & Fjord are pretty sus of Trent’s proteges.

Beau is less concerned about Artagan’s relationship to Jester because “he showed his ass--she’s less worried about Jester now because a little of the magic is gone.” It’s a little like becoming an adult and realizing your parents are also just adults & human. Caduceus wasn’t suspicious of the Traveler for a long time until they got to the island. Aside: Taliesin loves the pantheon in D&D. “The notion of attempting to apply common Western conceptions of religion to a world where you have a pantheon of interventionist gods as baseline makes no sense to me. Everyone admits that every other god is there and doing shit; it has more in common with ancient Rome than anything else.” Now that he knows it was a con, he feels the wind had been taken out of it. He does have a sense that Jester’s gotten back together with an ex: “I hope that I’m really happy for you.” They’re both interested to see how Jester navigates the new relationship.

My internet goes out, of course. I panic for a second, thinking I’ve lost everything above, but all is well! Thanks, Form History Control addon!

Marisha loved punching Artagan, but regretting rolling so poorly. “I miss violence.” Dani lets us know it’s been about four episodes since the last battle.

There’s no way the Cobalt Reserve doesn’t have a single document on the Eyes of Nine. Beau believes “there are no real secrets” because people are just bad at not writing things down. For there to be no information at all seems really suspicious for her.

Fanart of the Week: @oddalchemist on twitter with some awesome Beau conspiracy red-thread boards overlaid a distant shadowy Molly walking away.

Caduceus feels a little guilty for really enjoying his time right now with the M9 and not wanting to go home. He’s starting to suspect that he’s going to go home very different than when he left. “He has the softest problems. I don’t know if I want to move back in with Mom & Dad.”

Beau is trying to get comfortable with the idea of being happy. Jester is probably Beau’s first real best friend & one of the first healthy female friendships she’s ever had. As long as she still has Jester in her life, she doesn’t care. For Yasha... “At the end of the day, Beau is a lonely person and has always been a lonely person. And I think you kinda reach this point where once you’re not lonely anymore, you can kind of come out of the fog and realize that was horrible! And terrifying! And is even more terrifying now that I know what I could have, and I don’t want to go back to that. At the end of the day Beau doesn’t want to be lonely anymore. There’s always been that flirtation with Yasha, but everyone had to figure their own shit out. And now it feels like it’s coming out a little bit of that haze, maybe this actually could be...” There are a lot of ways they complement each other & are good-different from each other. Marisha believes people can be attracted to more than person at once.

Caduceus doesn’t think nature turned against him on Rumblecusp, it was just a reality of nature being dangerous and violent. “He has a complex relationship with nature.” He doesn’t expect special treatment.

Thoughts on the mansion: “Man, it’s nice to be seen.” Marisha: “I don’t know how I ended up becoming the Scanlan of this campaign, but I’m living for it.” It felt like an echo of “I’m better for having known you.” They compare Marisha taking specific notes on the campaign to Liam taking specific notes on people’s favorite tapestries, comics, etc.

They talk about missing theme parks and daydream a park version of the mansion in CritRoleLand. It’s lovely.

Taliesin never expected Divine Intervention to work; he just wanted to roll some dice. He’s still processing what he saw/heard. They all agree it was very useful in the Vokodo fight.

Vilya! Marisha: “Ah! Ah! Ah!” As a player, Marisha was so deep in Beau’s eyes she didn’t pick up it was Vilya at first (especially since Matt really emphasized they should not be looking for C1 NPCs). Marisha’s brain melted. She bawled her eyes out on the ride home after that episode. Right after it ended, Laura told Marisha “Keyleth finally gets her happy ending,” and it makes Marisha emotional again since Keyleth’s story ended so bittersweetly. She talks about the very real feelings of “just wanting them to be happy, though!” She went back and listened to all her old Keyleth playlists. Everyone was teary after the episode. “Everyone has these 100% real memories of being these characters and having these good times.”

And that’s that for that! Thanks for your patience, all, and is it Thursday yet?

#critical role #critical role spoilers #talks machina #talks machina spoilers #long post for ts

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obiternihili · 3 years ago

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For some reason i want to share a yugioh headcanon: The original game designed by industrial illusions was actually much more like a tabletop rpg than even magic the gathering. Levels, which seemed useless in the original presentation of the game, actually represented the equivalent of stats like dexterity streamlined into a table you'd have to memorize against types (level 4 warriors can do such and such, level 3 can't, no need to roll dice though). This was meant to encourage lateral thinking in gameplay; cards would have unique effects and stuff printed on them, but most card effects would be things like "winged beasts have implicit flying" or "monsters of these types or with visible hands in their artwork can be equipped with hand tools, these can't" or things like "level 4 or higher warriors can destroy stone artifacts" or something.

The skill of the game is memorizing the manual to make lateral moves on time-limited turns, in addition to the tcg mechanics. It's why Yugi's deck is so eclectic, why he could destroy the moon with catapult turtle, why fusions didn't seem to need a card at first but were just created and sometimes could fail, and why you didn't have to disclose all effects; you and your opponent were expected to have implicit stuff memorized. You really could have a bad deck that would look bad by traditional tcg standards - high card diversity, weak stat averages, few effects - if the overall synergy in the lateral move interactions was good. Sort of how the real world mtg and konami yugioh games punish card diversity and encourage you to make decks of a certain type and core strategy, while a game like pokemon punishes that and makes you design your teams with type coverage in mind. So you'd get kind of three kinds of players - people playing it like a tcg with a core strategy, low card diversity, etc like Mako Tsunami or Bonez or most players really; players who rely on general game theory principals like field advantage (="strength", also why crush card virus is a Kaiba card) like Kaiba; and swiss army knife players that rely on lateral strategies and synergies to overtake various different kinds of players like Tsunami or Bonez (since if umi or yami were destroyed, they'd just lose), like Yugi. Although Yugi would still be a kind of overly lucky player of that kind because of the millennium puzzle's fate controlling shit letting him effectively stack his deck for every duel. And to some degree, each player made use of all three strategies, since the monotype strategy would lead to reliable draws which is more in the game theory world.

What Kaiba did was computerize the game so you didn't need a referee or shadow game magic to enforce the rules (but also to cram vr tech in to get revenge on Yugi traumatizing him with magical visions of the monsters). Then with the expert rules after acquiring Industrial Illusions he streamlined a lot of the obscure or exceptional unique rules (like the game might have originally relied on something like artwork to make effects like "only effects male monsters" work and he just set the interactions according to type) and reinterpreted the level system to reflect costs in field advantage to make the game more like a normal tcg in terms of things like basing strategies around card advantage and obscure game theory things (conveniently, the general-intellect-reliant strategies Kaiba thought were more reflective of a skilled player/worthy human being/etc (since yugi's strategy could be just being a nerd obsessed with the game and the type based ones ironically to kaiba's character are just the gacha/pay to win elements of the card game) and the ones he played to). The manuals with secondary interactions still existed, though, and players were still expected to have those rules memorized, which is why it was never a thing to have to disclose every effect of your cards, even though that's a given in every normal tcg.

And the manuals of interactions and special rulings and such were why there was enough to the game to make into a highschool out of for gx. Offscreen between duel monsters classes and game theory classes, there would have been a business/econ focus, since game theory is applicable in those areas. And the heavy classism in the school came from Kaiba being a cutthroat business competition might makes right type and designing his school to teach people what happens if you fail in the business world, as much as him just being a weird asshole.

It also makes some sense of Kaiba's tragic backstory and the fact that he blatantly didn't have the freudian excuse and was just based on some asshole rich kid pay to win type KT encountered once when he was a villain of the week. He considered the pay to win strategies such a basic fact that even though due to his background he thought those strategies were third rate, he still thought that not even managing that much was a mark against people who he thought could otherwise afford to demonstrate their abilities beyond that (and he'd have a warped idea of what middle class people could do having gone from very poor to very rich), and thought the lateral strategies Yugi used were just not really utilized at the competitive level the way Yugi did. Kaiba's use of the term "weak cards" was triply loaded, in effect: weak in terms of low lateral abilities/utilization of game mechanics anyways, weak in terms of cheap, weak in terms of giving advantage. As he understood Yugi's strategies better, the first sense fell off, Kaiba stopped valuing the second sense since Yugi proved pay to win wasn't as much of a thing as it is with real world tcgs, and he came to emphasize the third sense.

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ethankyou · 7 months ago

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A Sheik spinoff does sound like a cool idea, but why not just have a Zelda game starring Zelda as Zelda?

A lot of people were already really excited about the possibility of a playable Zelda in TOTK, which didn't happen. There's also a time where the Zelda substory in Skyward Sword was a section where you played Zelda.

The Hyrule Warriors have also made pretty interesting uses of moves for Zelda. While I know the HW series might be a bit hit or miss with folks, that's still a place to start.

I think a Sheik game could be cool, but Sheik appeared in 1 game. It's telling that the way in which a Zelda game starring Zelda is considered is if she pretends to be someone else. Somehow Nintendo does not seem to know what to do with their princess characters (Peach's first outing as a platformer where she uses her emotions as super powers is notoriously misguided. The more recent peach one is fine. She does a lot of dress up but that's more on brand for Mario type abilities anyway).

Ocarina of Time is like Final Fantasy 7 for TLOZ series - great game, but can we please move on?

Three Zelda game pitches off the top of my head.

A Zelda game in the Downfall or Adult timelines (where the hero Died or the Hero never returned). Zelda's Kingdom is besieged by Ganondorf. When it becomes clear that the hero is not returning, she must take up the mantle herself by obtaining the Triforce of Courage (which has no owner in this game since there is no hero). She also regains the Triforce of Power (Slaying/Sealing Ganon) which returns the Full Triforce to her. This is a 3D one.

A 2 player game, where Link & Zelda have to work together, in a sort of Four Swords/Triforce Heroes kind of deal, but they have seperate move sets. Could play like Eastward, where you need to swap between them to solve puzzles. You could make an extra twist by having Ganon be a third playable character and the three of them have to work together to stop another evil (in a Bowser in Mario RPG sort of deal - I'm saving this Kingdom only so I can have the chance to rule it again later). Zelda isn't the star per say but she shares the spotlight. This feels like a top down Zelda.

A Zelda game set in one of the many, many, many... many times she has been trapped in a crystal, or magical amber, or a light seal, or within a calamity cocoon, or twilight or what have you. Sure she has to spend the whole time waiting for link but what's this? She was just recently practicing close-up magic and she just so happens to have a deck of cards in her pocket! That's right it's a Zelda Solitaire game, where she plays Solitaire! You can retheme the background to be one of the many ways Zelda has been captured. You can theme the cards around Zelda stuff too, like diamonds are rupees, spades are master swords, clubs are moblins, and hearts are just hearts.

That last one is tongue in cheek but hey there's crossover potential for almost every single Zelda game out there!

The Sheik game is cool too though.

“Within the development team, too, there have been talks about how it might be cool to have a game that features Sheik as a protagonist. It’s having maybe a Zelda spin-off with Sheik as a protagonist, for example, I don’t think that’s an impossibility.” said Shigeru Miyamoto, 2016

#tloz #the legend of zelda

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dmsden · 4 years ago

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Adventure on the Fly - Personal Plot for Aarakocra

Hullo, Gentle Readers. This month’s personal plot article takes us into the Elemental Evil Player’s Companion for a look at that high-flying race, the Aarakocra. If you need a copy of the Elemental Evil Player’s Companion, well, you can grab the PDF for free! Check it out at https://dnd.wizards.com/products/tabletop-games/rpg-products/player%E2%80%99s-companion

Aarakocra have been in D&D since the 1st edition Fiend Folio, but I’ve rarely seen them used. I was excited when they were given PC status, and I’d love to see someone play one over a long term campaign.

Just to get the elephant in the room out of the way, yes, the fact that they can fly at first level is a big deal. Their ability to fly is pretty much their only real racial trait, other than the rather limited ability to use their talons as weapons. Sure, I suppose a player could RP kicking at at enemy, but, unless they’re flying to begin with, it’s hard to imagine this being used super regularly.

With this in mind, this is going to inform some of your storytelling. If anything, you can use this ability to inform some of your storytelling decisions. If the PCs need to scout ahead as they travel, view a region from above, scale a cliff, or cross a bridgeless ravine, obviously an aarakocra is going to be enormously useful. This doesn’t make them completely immune to all the perils normally associated with similar activities, however. A human-sized eagle is going to be pretty noticeable, allowing goblins in the dense forest to begin preparing an ambush, or a cave fisher to start checking out a choice morsel.

Another storytelling element that immediately jumps out at me about this race is the “fish out of water” feeling. Unless it’s an all-aarakocra party, the aarakocra PC is likely VERY different from their companions. They are going to get stares if they enter even a fairly cosmopolitan city, and some people might treat them as a hunting prize, or want to collect feathers from them as a souvenir. While the novelty of having people gawk will lose its luster quickly, realizing they have a target on them might make things very uncomfortable very fast. Many people might not consider the aarakocra civilized, never having run across such people before.

An aspect of the aarakocra that’s very interesting is their tie to the Elemental Plane of Air. This means that, historically, they have battled with the forces of Elemental Evil Earth, such as gargoyles, immediately giving a foe that an aarakocra PC should recognize as a foe. They are also tied to old D&D lore involving the Wind Dukes of Aaqa and the Rod of Seven Parts. That immediately sets me thinking about old modules, including the Age of Worms, which also involves said Rod and mentions the Wind Dukes from the first adventure. If I knew I was going to have an aarakocra PC, you can bet some of these plot elements would become important in my campaign.

One thing I would talk to with the player right off the bat is where their character comes from. If they are native to the Elemental Plane of Air, as many aarakocra are, I would work with them to find out what brought them to Greyhawk, or Faerun, or my campaign setting, or what have you. Do they have a quest? Are they in exile, seeking redemption? Are they hunting down a threat from the Elemental Planes? Undergoing some kind of rite of passage?

Even if they’re native to your world, they’re still generally presented as keeping to their own, so the same questions will still apply. What brings them out of their general isolation to get them adventuring? To my mind, it seems like this journey from isolation would provide a lot of fodder for adventure and story.

I would absolutely provide moments for the aarakocra to use their speed and flight to save the day. A message might need to be delivered to a wizard in a tower, or a daring scout to fly ahead and warn the king’s army of the ambush lying before them. Maybe a puzzle laid by a people known for levitating around reveals clues when viewed from above. Or perhaps there are Nazca Line like formations that reveal a secret when viewed from the sky.

I hope this has made you think about having an aarakocra in your campaign. I know many DMs who wouldn’t want to allow it, but I definitely would. Rather than fear the aarakocra’s flying ability, I would tend to embrace it. It’s part of what makes this race so unique, and, if you’re aware of it, you can design around it.

Next month, we’ll be looking at that most reclusive of backgrounds, the Hermit. Until then, stay healthy and warm.

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papermariosuggestion · 5 years ago

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What are you hoping for from a new Paper Mario? What's your "golden ideal", I guess?

I could spend, like, years thinking of things I’d like to see in a Paper Mario game, but I’ll try to narrow it down. Here are some of the main things I’d really like to see:

☆ New partners (plural)

• Based on previously established Mario species, preferably “enemy” species, as “The circumstances of one’s birth are irrelevant; it is what you do with the gift of life that determines who you are.”

• Unusual, but believable, and perhaps even poignant, backstories and fully realized character arcs. I want to care about these characters because I’m invested in this world, its inhabitants, and those inhabitants’ personal successes and failures, not just because their design is so kawaii and/or their dialogue is so funny, though those things are a plus.

• Distinct personalities and opportunities to show those personalities off (through design, body language, dialogue, etc).

☆ RPG mechanics

• Built on the solid foundation established in Paper Mario (N64)

• Turn-based combat

• A leveling system where you get to choose which stat to increase

• Badges (Including superficial badges like the L Emblem and Attack FX badges)

• Something new, like being able to use two partners to perform a Bros.-Attack-like move, or maybe even stats specifically pertaining to your partners.

☆ New locations

• It’s a delicate balance. Locations should both feel like they could realistically exist in Mario’s world and feel like something we’ve never seen before. TTYD has some great examples of this (Rogueport, Boggly Woods, Twilight Town, etc). Super Paper Mario has some creative locations as well, but because it takes place in another dimension, not in the typical world that Mario inhabits, none of them really feel particularly “Mario-esque” in nature. They’re all a bit off-brand, so to speak.

• On a technical level, graphics are improving all of the time, but that doesn’t automatically lead to more intriguing and/or more visually satisfying designs. At it’s core, Mario is a fantasy franchise, an escape from reality, and the Paper Mario series is one of the few series in the franchise that really builds out- or at least used to really build out- its world, and that world was interesting because it was new and mysterious, it practically begged to be explored. Paper Mario games should show me something I can’t see in reality; I know what paper and cardboard and lemons and steaks look like, show me underground cities and palaces, show me sprawling gardens with talking flowers, show me a floating tourist trap in the sky. The biggest limit is your imagination, so let it run wild, and show me that, show me that Alice in Wonderland-like controlled chaos.

☆ An interconnected world and motivated backtracking

• No stage-selection maps. Even if the game is fairly linear, I don’t need to have that shoved in my face. I don’t want to feel like I’m working my way down a to-do list, glued to a track, I want to journey through the world and explore somewhat freely.

• No fast travel by default (maybe you unlock fast travel after beating an optional challenge like the Pit of 100 Trials)

• No pipes that take you right from the hub world to the chapter area; I wanna walk…

…and I want it to be through a believable, expansive, intricate world that changes as I progress through the game, a world I could see hundreds of times and never get sick of because its details are constantly in flux, and because those details are the kind that make it feel realistic and lived-in. I don’t want to be teleported from A to B, or confined on a path from A to B to C, I want to explore, I want to discover, I want to experience this world and to form an attachment to it. This alone would make backtracking more worthwhile, but…

• …another way to make backtracking even more enjoyable would be to add events that make walking into a game in and of itself, like having to follow a creature up in the trees, or having to get through a cursed area in Mirror Mode, or having to dodge and weave through falling rocks because there’s a huge earthquake destroying- and altering the actual geometry of- the area. Walking doesn’t have to be a chore for you to complete in order to get on with the game, and it shouldn’t be, it should be part of the game, just as engaging as anything else you’re involved in.

☆ Non-linear elements

• The game should still be fairly linear overall, because Paper Mario games are chapter-based stories with beginnings, middles, and ends, but having some say in which chapter comes next, or which partner you meet, or even just which puzzle you solve next would give the player a stronger sense of agency. Story-driven games are at high-risk of making the player feel like they’re just along for the ride, and this would help to counteract that.

☆ Spin dashing

• Gotta go fast! Getting rid of spin dashing always felt like an odd choice to me. Characters like the Yoshi kid, Carrie, and Dashell kind of replaced it, in the sense that they allow you to move quickly, but being able to speed up without switching partners, as well as being able to spin attack and just to witness the utter chaos of Mario flinging himself across the screen again, would make backtracking and walking around in general less of a slog. It would also give you more agency in the overworld and serve as a nice callback to the original game.

☆ Free-moving NPCs & situational dialogue

• In past games, NPCs have been confined to certain paths and locations. They might move from chapter to chapter, but they would always stay in the same general area until you triggered an event that placed them somewhere new. I’d like to see characters wandering around, going in and out of buildings, visiting other locations, having private conversations with one another, getting into fights, buying and selling items at the shop, putting on different clothes, and doing just about anything else they would typically do in-universe. Obviously this would be huge challenge to program, but we’re talking about an ideal here, and anything in this general direction would be an improvement in my eyes. We already see a bit of this in the series, but I’d like to see even more.

• When NPCs say things like “Where are your manners, Mario? You shouldn’t climb on the table” and “Don’t be so careless. There are too many enjoyable things in the world to gamble with your life!” it makes it feel like they actually see what you’re doing and care about what you’re doing. Having NPCs respond to you differently because of where you’re standing, or what partner you have out, or what badges you’re wearing, and so on, makes them into more than just set decoration or a sign to read, it makes them people, or at least more person-like. Nintendo’s been pretty good about this in recent years, probably because technical improvements have made it easier than ever before, and I think it would be fitting for a series known for its world-building.

☆ Dynamic lighting design & a day/night system

• This is all about aesthetics because, as it turns out, visuals are pretty important in a video game. Paper Mario (N64) had some really interesting lighting design, notably in darker areas like the secret passage in Peach’s castle, and we haven’t really seen a lot of that since, despite having more advanced technology that would allow for advanced lighting.

• I’d like to see things like swinging chandeliers that cast beams of light, and cracks in the ceiling that light pours through, and mirrors/reflections that Mario uses to solve puzzles, and shadows that hint at secrets. Lighting is a huge part of shaping a world, and using it in a variety of different and meaningful ways just makes your world seem that much more complex and grounded.

• As for the day/night system, I am picturing a game that visually changes based on the actual time of day, kind of like Animal Crossing games do, but not a game that requires it to be a certain time of day for any gameplay purposes, not for the main quest, not for side-quests, and not even for easter eggs. All I want is for it to be bright when I play in the morning, orange when I play at sunset, and starry when I play at night. This also would add to the game’s replayability, as different chapters would look and feel different depending on what time of day it was when you played through them.

☆ Easter eggs that reference other games in the franchise

• I want it to be clear, beyond a shadow of a doubt, that the Mario we see in Paper Mario games is the same Mario we see in other Mario games, not another person, and talking about the time he visited Isle Delfino or when Bowser fused with a sentient tennis racket would really drive that home.

• Make me really look for some, though. It’s cool to spot easter eggs in plain sight, but what’s really rewarding is having to dig for them. I don’t just wanna see Luigi standing in the background, I want to spot little inconsistencies and cracks in the walls and cryptograms spread throughout the world. Sure, the five-year-olds playing might not find them on their first playthrough, but when they’re fifteen and they remember that awesome Paper Mario game they played a decade ago, they won’t just be revisiting a world they’ve fully explored, they’ll be playing on a whole new level, figuratively speaking.

☆ amiibo Compatibility/functionality

• I’m not a big fan of DLC in general, as it’s often overpriced, but I do think amiibos are neat; using a real object to unlock something in a virtual world makes the virtual world feel just that much more alive to me, that much more like it’s a little world I can actually affect.

• The Paper Mario series never really got official merch, and while you do see a bit of your partners’ lives in the epilogue, it’s only a glimpse into their future, so getting little figurines of past partners that make them appear in the game, tell you about a recent adventure they had, and give you a unique badge based on their abilities/personalities/experiences, would be like a dream come true.

☆ Just be creative (I know it’s not that simple, but like, figure it out)

• Surprise me; throw in something inventive and revolutionary, like Wall Merging from A Link Between Worlds or The Aperture Science Handheld Portal Device from Portal. There’s a whole universe of possibilities out there; please dream a little bigger than items disguised as a gameplay element and a hammer that fills in glaringly obvious gaps in paint. Nintendo’s always pushing the video game industry forward with their creative consoles. Use that, take whatever whacky control method they come up with next and integrate it like Super Paper Mario did- but hopefully even better than Super Paper Mario did- with the Wii remote.

• I see fans writing stories, and drawing characters, and making sprites, and working with all kinds of mediums to make art that knocks everything from recent “Paper Mario” games out of the park. Obviously Intelligent Systems can’t just steal those ideas, but I’d love to see them get on that wavelength and match that passion.

• Make a game that you’d never want to put down because you just can’t get enough of it, and don’t even bother with that “You’ve been playing for a while. You wanna take a break, grab a snack, chill out for a sec?” message; if I die playing your game because it’s truly that good, I see that as an absolute win. That’s legendary game design, my friend; aim to make a Paper Mario game so good it’s worth dying for, and if you fall short of that, hopefully you’ll still land on something pretty awesome.

#paper mario #papermariosuggestion #ask

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aion-rsa · 3 years ago

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15 Best PlayStation One RPGs Ever Made

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In our look at the best Super Nintendo RPGs ever, we mentioned that the SNES is arguably the greatest RPG console in video game history. Well, if there is a console that makes that discussion an argument, it would have to be the PlayStation One.

With a lot of help from Square, Sony quickly established the PlayStation as not just the home of incredible RPG experiences but as a console that was capable of effectively convincing people who previously had no real interest in RPGs that they absolutely needed to devote 50+ hours of their life to the next gaming epic. That sudden rise in genre popularity inspired some of the industry’s greatest RPG developers to try to outdo each other creatively and commercially.

The result was a classic collection of role-playing experiences that still rank comfortably among the absolute best ever made. With due respect to the 20+ other games that deserve to be on this list, these are the 15 best PS1 RPGs ever made.

15. The Legend of Dragoon

The Legend of Dragoon’s legacy has only grown since the game’s late 1999 release, and it’s not hard to see why. While this game was initially criticized for not living up to the standards of some of the other PS1 RPGs we’ll soon be talking about, time has been kind to the various things this game does so very well.

The Legend of Dragoon makes up for its slow story with an incredible combat system that emphasizes an almost QTE-like mechanic that helps ensure you’re rarely simply watching a battle play out. This RPG’s character transformation mechanic is also one of those brilliant gameplay concepts that should have been copied many times since this game’s release. There’s also always been something special about the fact that Legend of Dragoon‘s ambitious CGI cutscenes ensured this epic spanned four PS1 discs.

14. Wild Arms

Wild Arms is another one of those PS1 RPGs that were initially overshadowed by some of the all-time classic games it had to compete against, but the thing that stood out about this title at the time is the thing that still makes Wild Arms special to this day: its style.

Wild Arms‘ blend of sci-fi, fantasy, and western design concepts shouldn’t work nearly as well as it does here. Developer Media.Vision deserves a lot of credit for ensuring this game’s ambitious world always felt cohesive and for finding some truly clever ways to subvert genre expectations through this title’s approach to exploration, combat, and puzzles.

13. Breath of Fire III

The Breath Of Fire III vs. Breath of Fire IV debate will likely not be settled here, but the third entry in this series ultimately gets my nod due to the ways it so clearly raised the bar for this franchise and its genre competition.

Breath of the Fire III’s 3D visuals and voice acting helped sell this game’s engaging story, while the game’s combat and wonderful cast of characters ensured you were constantly engaged and ready to see where this absolute gem was going to take you next.

12. Front Mission 3

Front Mission 3 rewards players willing to put the time into its fairly complex mechanics and deep storyline with one of the best tactical RPGs of the era and one of the best mech games ever made.

This game is rightfully remembered for its customization options and often punishing tactical gameplay but I don’t know if it gets enough love for its faction-driven narrative and the ways its visuals convey epic mech battles without relying on more traditional action gameplay.

11. Castlevania: Symphony of the Night

The only reason this all-time great game isn’t higher on the particular list is that there are just other PS1 RPGs that better represent the genre and the kind of epic experiences we think of when we think of one of the best RPG platforms ever.

Having said that, the way that Symphony of the Night incorporated RPG elements not only changed the franchise forever but eventually helped inspire developers everywhere to enhance their own action titles by utilizing role-playing mechanics. This is still one of the best blends of role-playing and action/adventure ever made.

10. Valkyrie Profile

Long before God of War took us on a journey through Norse mythology, Valkyrie Profile caught many PS1 gamers by surprise with its unique blend of Japanese design and a Norse narrative that tasks you with assembling the perfect party of heroes to assist you through Ragnarok.

Valkyrie Profile‘s true calling card, though, is its turn-based combat system that essentially assigns a button to each character in your party. Getting the most out of your party of heroes requires you to successfully assign each character the right actions at the right time in order to unleash powerful combo attacks. It’s complex, original, and a whole lot of fun.

9. Lunar: Silver Star Story Complete

Lunar: Silver Star Story Complete may have started off as a Sega Saturn title, but it’s hard not to ultimately remember this as a PS1 game due to the many ways that Sony’s first console allowed Lunar’s developers to share their full vision for this classic.

It’s true that Lunar is an “old-school” JRPG in a lot of ways that might turn some people off, but when level grinding, party management, and methodical turn-based gameplay are done this well, it’s hard not to see this as one of the ultimate genre comfort zones.

8. Star Ocean: The Second Story

It’s hard to talk about Star Ocean without eventually getting around to the fact that it has almost 90 possible endings, so let’s not bury the lede. What’s even more impressive than the game’s number of possible endings, though, is the fact that many of those endings are clever, logical, and, in their own ways, complete.

Really, though, this game’s incredible number of possible conclusions just highlights the various ways this sci-fi/fantasy title makes you feel like every action you do truly matters and that anything can happen. I also have to pay respect to this game’s brilliant “private action” system: a unique mechanic that allows your party members to have their own adventures that ultimately contributes to some of the best sidequests in RPG history.

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25 Best RPGs Ever Made

By Matthew Byrd

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By Matthew Byrd

7. Xenogears

Xenogears features a fascinating blend of styles and mechanics that is quite appropriate considering the details of this game’s complicated development history (it started off as a pitch for Final Fantasy VII before briefly being designed as a Chrono Trigger sequel). Admittedly, there are times when you can tell this game is trying to find its creative voice and gameplay footing.

Yet, all the concepts this RPG touches upon ultimately come together to form something wonderful and memorable. It features one of the best ATB combat systems ever, a complex and creative story, a lot of heart, great visuals, and a truly incredible soundtrack. Sure, the game struggles a bit in the second half, but it’s easy enough to overlook those shortcomings as the byproduct of ambition.

6. Final Fantasy VII

Final Fantasy VII should be a victim of its own success. After all these years, all the praise, and all of the discussions, you would think we’d be at the point where the dreaded term “overrated” might linger just above this game’s legacy.

That’s not the case, though. Maybe Final Fantasy VII was eventually surpassed, but it’s truly tragic to imagine what RPG gaming in the ‘90s and early 2000s would have been like if it wasn’t for this game. It alerted millions to the fact they loved video game RPGs, and it did it without sacrificing depth, quality, heart, or ambition.

5. Final Fantasy Tactics

Considered by many at the time to be the best tactical RPG ever made, it has to be said that the most impressive thing about Final Fantasy Tactics is the fact that it’s still difficult to argue against this game’s claim to that title nearly 24 years after its release.

Final Fantasy Tactics‘ surprisingly accessible (yet still deep and rewarding) gameplay perfectly complements its colorful visuals, engaging character, and surprising story. I don’t know if it’s the best tactical RPG ever made, but it may always be seen as the standard in the eyes of many.

4. Vagrant Story

It feels like people have been waiting for Vagrant Story to get the love it deserves ever since the game was released in 2000. While Vagrant Story absolutely has a cult following, it seems pretty clear at this point that it’s just never going to reach that level. It’s too difficult, too different, and it will probably never get the remaster it deserves.

However, those who have played Vagrant Story know it was Square’s most mechanically ambitious and unique PlayStation RPG. From its stunning visuals to its deep combat and mature narrative, Vagrant Story has honestly aged better than all but a few of the games of this era. A game this different and innovative shouldn’t feel as complete and confident as it does.

3. Chrono Cross

From the moment Chrono Cross was released, it feels like the first line about this game has been that it disappointed those who were expecting a direct follow-up to Chrono Trigger. Even when we learned that the Chrono Cross team never really saw this as a Chrono Trigger sequel, Chrono Cross still lived in the shadow of its all-time great predecessor.

Maybe there are ways that Chrono Cross would have been better off sticking closer to that SNES classic, but even at the time of its somewhat controversial release, many praised Chrono Cross for its innovative combat, weird and wonderful story, large cast of characters, music, visuals, and commitment to defying expectations at every turn. This shouldn’t be your first PS1 RPG, but it might be the one you end up remembering most fondly.

2. Final Fantasy IX

Final Fantasy IX was essentially Square’s PS1 swan song. While the title’s return to the medieval fantasy style of classic FF games highlights the studio’s jovial mood at the time, the fact is that many people wondered if Square could recover from the controversial Final Fantasy VIII and produce an RPG that effectively ended their unbelievable run of hits in style.

The fact they managed to do just that is an accomplishment that should never be overlooked. To this day, I struggle to think of even a handful of RPGs that challenge Final Fantasy IX’s charm, humor, and cast of characters while still providing a role-playing adventure that will feel rewarding to veterans and newcomers alike. This is an across-the-board triumph that delights and impresses in equal measure.

1. Suikoden II

Suikoden II was pretty much “doomed to fail” from the start. It was released in the wake of Final Fantasy VIII’s massive debut, wasn’t widely distributed, and featured “retro” graphics that initially turned quite a few people off at the time of cinematic PS1 visuals. It didn’t help that its predecessor was a very good, but not great, RPG that also failed to find a wide audience.

Yet, Suikoden II is quite simply one of the best games ever made regardless of genre. I would love to tell you about its nuanced and deep politically-driven narrative, varied combat system, minigames, world-building elements, and score, but how long can you really talk about Suikoden II without getting around to its cast of over 100 recruitable characters and the ways Konami managed to make each and every one of them (as well as their interactions with each other) among the best of their era?

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I wouldn’t call this a perfect game, but at the same time, I’m struggling to think of a single thing I’d change about it.

The post 15 Best PlayStation One RPGs Ever Made appeared first on Den of Geek.

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kingjasnah · 4 years ago

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Is there the full list of brandersons favourite games reposted somewhere?

i dont think so? or not that ive seen. u can literally just sign up for the newsletter on his website but screw it ill just post them for u. it sure was a TRIP scrolling past these to get to the interlude though. undertale is on this list.....im shakign at the thought that adolin was based off ff10 tidus but i cant get it out of my head now

#10: Katamari Damaci

I love things that make me look at the world in a new way. Katamari did this in spades. It is an imaginative, bizarre vision with unique gameplay. It is like nothing else in the world and I love it for all its strangeness and occasional lack of gameplay polish.

I was transfixed the first time I played it, and have looked forward to it being remade and rereleased on multiple different consoles. I love the cute—and somehow creepy at the same time—storyline. It feels like a fever dream more than a game sometimes, and is probably the closest I’ll ever get to understanding what it’s like to do drugs.

#9: Undertale

This is an oddball on this list because I think it’s the only game that is not a franchise from a major studio��but is instead an indie game, which I believe was originally funded on Kickstarter.I loved how this felt like a novel as much as a game. It was one person’s vision; a single story told really well, with a huge amount of personality. The humor was just my kind of wonderful/terrible, and I was instantly enamored with the characters.That probably would have been enough, but it is a nice deconstruction of video games as a medium—and has not one, but multiple innovative gameplay mechanics. Together, the package left me enamored. This is a work of genius that I feel everyone should at least try, even if it ends up not being for them.

#8: Fallout: New Vegas

I have played all of the core Fallout games, and I was one of the (it seems few) who was really excited when it moved from turn-based tactics to first-person shooter. While Fallout 3 was good, it didn’t have the charm of the first two.New Vegas delivered on everything I was hoping to see. The charm was back, the writing sharp, the quests imaginative. The gameplay was engaging and branched in a variety of directions, the gunplay was solid, and the atmosphere immersive. I of course love the first two games in the series—but New Vegas combines everything I like in gaming into one package. (As a note, I own the Outer Worlds, and am looking forward to digging into it. Consider this item on the list a recommendation of other Obsidian games—like Knights of the Old Republic Two—regardless of genre, as I’ve found them universally to be superior to their contemporaries.)

#7 Super Mario World

When I was eleven, I flew (alone, which was very exciting to me) from Nebraska to visit my uncle Devon in Salt Lake City. Before I left, my father gave me $200 and told me to pay for my own meals while on the trip—but of course, my uncle didn’t allow this. At the end of the trip, I tried to give him the money, which he wouldn’t take.I mentioned my dad would take the money back when I got home, but that was okay. Well, my uncle would have none of that, and drove me to the local mall and made me spend it on a Nintendo Entertainment System. (This uncle, you might guess, is an awesome human being.)Since that day of first plugging it in and experiencing Mario for the first time, I was hooked. This is the only platformer on the list, as I don’t love those. But one makes an exception for Mario. There’s just so much polish, so much elegance to the control schemes, that even a guy who prefers an FPS or an RPG like me has to admit these are great games. I picked World as my favorite as it’s the one I’ve gone back to and played the most.

#7: The Curse of Monkey Island (Monkey Island 3)

I kind of miss the golden age of adventure gaming, and I don’t know that anyone ever got it as right as they did with this game. It is the pinnacle of the genre, in my opinion—no offense to Grim Fandango fans.This game came out right before gaming’s awkward teenage phase where everything moved to 3-d polygons. For a while after, games looked pretty bad, though they could do more because of the swap. But if you want to go see what life was like before that change, play Monkey Island 3. Composed of beautiful art pieces that look like cells from Disney movies, with streamlined controls (the genre had come a long way from “Get yon torch”) and fantastic voice acting, this game still plays really well.This is one of the few games I’ve been able to get my non-gamer wife to play through with me, and it worked really well as a co-op game with the two of us trying to talk through problems. It’s a lovingly crafted time capsule of a previous era of gaming, and if you missed it, it’s really worth trying all these years later. (The first and second games hold up surprisingly well too, as a note, particularly with the redone art that came out a decade or so ago.)Also, again, this one has my kind of humor.

#6: Breath of the Wild

I never thought a Zelda game would unseat A Link to the Past as my favorite Zelda, but Breath of the Wild managed it. It combined the magic of classic gameplay with modern design aesthetic, and I loved this game.There’s not a lot to say about it that others haven’t said before, but I particularly liked how it took the elements of the previous games in the series (giving you specific tools to beat specific challenges) and let you have them all at once. I like how the dungeons became little mini puzzles to beat, instead of (sometimes seemingly endless) slogs to get through. I liked the exploration, the fluidity of the controls, and the use of a non-linear narrative in flashbacks. It’s worth buying a Switch just to play this one and Mario—but in case you want, you can also play Dark Souls on Switch... (That’s foreshadowing.)

#5: Halo 2

Telling stories about Halo Two on stream is what made me think of writing this list.I’m sometimes surprised that this game isn’t talked about as much as I think it should be. Granted, the franchise is very popular—but people tend to love either Reach or games 1 or 3 more than two. Two, however, is the only one I ever wanted to replay—and I’ve done so three or four times at this point. (It’s also the only one I ever beat on Legendary.)It’s made me think on why I love this one, while so many others seem to just consider it one of many in a strong—but in many ways unexceptional—series of games. I think part of this is because I focus primarily on the single-player aspects of a game (which is why there aren’t any MMOs on this list.) Others prefer Halo games with more balanced/polished multiplayer. But I like to game by myself, and don’t really look for a multiplayer experience. (Though this is changing as I game with my sons more and more.)I really like good writing—which I suppose you’d expect. But in games, I specifically prefer writing that enhances the style of game I’m playing. Just dumping a bunch of story on me isn’t enough; it has to be suited to the gameplay and the feel of the game. In that context, I’ve rarely encountered writing as good as Halo 2. From the opening—with the intercutting and juxtaposition of the two narratives—to the quotes barked out by the marines, the writing in this game is great. It stands out starkly against other Halo games, to the point that I wonder what the difference is.Yes, Halo Two is a bombastic hero fantasy about a super soldier stomping aliens. But it has subtle, yet powerful worldbuilding sprinkled all through it—and the music...it does things with the story that I envy. It’s kind of cheating that games and films get to have powerful scores to help with mood.The guns in Two feel so much better than Halo One, and the vehicles drive far better. The only complaint I have is that it’s only half a story—as in, Halo 2 and 3 seem like they were one game broken in two pieces. And while 3 is good (and Reach does something different, which I approve of in general) neither did it for me the way Two did, and continues to do.

#3: Final Fantasy X

You probably knew Final Fantasy was coming. People often ask if the way these games handle magic was an influence upon me. All I can say is that I’ve played them since the first one, and so they’re bound to have had an influence.On one hand, these games are really strange. I mean, I don’t think we gamers stop quite often enough to note how downright bizarre this series gets. Final Fantasy doesn’t always make the most sense—but the games are always ambitious.Ten is my favorite for a couple of reasons. I felt like the worldbuilding was among the strongest, and I really connected with the characters. That’s strange, because this is one of the FF games without an angst-filled teen as the protagonist. Instead, it has a kind of stable happy-go-lucky jock as the protagonist.But that’s what I needed, right then. A game that didn’t give me the same old protagonist, but instead gave me someone new and showed me I could bond to them just as well. Ten was the first with full voice acting, and that jump added a lot for me. It has my favorite music of the series, and all together is what I consider the perfect final fantasy game. (Though admittedly, I find it more and more difficult to get into turn-based battle mechanics as I grow older.)

#2: Bloodborne

Those who follow my streams, or who read other interviews I’ve done, probably expected this series to be at or near the top. The question wasn’t whether Souls would be here, but which one to pick as my favorite.I went with Bloodborne, though it could have been any of them. (Even Dark Souls 2—which I really like, despite its reputation in the fandom.) I’ve been following FromSoftware’s games since the King’s Field games, and Demon’s Souls was a huge triumph—with the director Hidetaka Miyazaki deserving much of the praise for its design, and Dark Souls (which is really just a more polished version of Demon’s Souls).As I am a fan of cosmic horror, Bloodborne is probably my favorite overall. It really hit the mix of cosmic and gothic horror perfectly. It forced me to change up my gameplay from the other Souls games, and I loved the beautiful visuals.I am a fan of hard games—but I like hard games that are what I consider “fair.” (For example, I don’t love those impossible fan-made Mario levels, or many of the super-crazy “bullet hell”-style games.) Dark Souls is a different kind of hard. Difficult like a stern instructor, expecting you to learn—but giving you the tools to do so. It presents a challenge, rather than being hard just to be hard.If I have a problem with Final Fantasy, it’s that the games sometimes feel like the gameplay is an afterthought to telling the story. But in the Souls games, story and gameplay are intermixed in a way I’d never seen done before. You have to construct the story like an archeologist, using dialogue and lore from descriptions of in-game objects. I find this fascinating; the series tells stories in a way a book never could. I’m always glad when a game series can show off the specific strengths of the medium.In fact, this series would be #1 except for the little fact that I have way too much time on Steam logged playing...

#1: Civilization VI

This series had to take #1 by sheer weight of gameplay time. I discovered the first on a friend’s computer in the dorms my freshman year—and I can still remember the feeling of the birds chirping outside, realizing I’d been playing all night and really should get back to my own dorm room.That still happens, and has happened, with every game in the series. I have a lot of thoughts on this series, many of them granular and too specific for this list. (Like, it’s obvious AI technology isn’t up to the task of playing a game this complex—so could we instead get a roguelike set of modifiers, game modes, etc. to liven up the games, rather than just having a difficulty slider that changes a few simple aspects of the game?)I’ll try not to rant, because I really do love this game series. A lot of people consider IV to be the pinnacle of the series, but after V unstacked units—and VI unstacked cities—there was no way I could ever go back. If for some reason, you’ve never played this grand patriarch of the 4X game genre, it’s about starting with a single stone-age settler who can found a city—then playing through eras of a civilization, growing your empire, to try to eventually get offworld with a space program. (Or, if you prefer, conquering the world.)It’s a load of fun in the way I like to have fun, and I feel like the series has only gotten better over the years. My hat is off to the developers, who keep reinventing the series, rather than making the exact same game over and over.Now, about that request for difficulty modes...

there are runner ups but for the sake of anyone whos on mobile and cant get past a read more (first of all omg im SO sorry) ill refrain. anyway he thought WHAT loz game was the best before botw?

#mix between HARDCORE judgement and like. yea. yea ff10 was pretty good wasnt it #but i dont think its anywhere near the best of them #long post #im read mores dont work imm so fucking sorry this is so long #MOST of these games are good its just so wild its so wild its SO wild #asks #Anonymous

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za3k · 4 years ago

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2020 Videogames

In 2020 I’m newly retired, so I’ve had free time. I think it’s fun to do reviews, so without further ado here’s every video game I played in 2020!

I recommend:

(4/5) Among Us – Very fun. It’s only fun with voice chat with friends, so I’ve only gotten to play once or twice. I’ve been watching it more than playing it. Also free to play for mobile gamers–I’m tired of the “everyone buys a copy” model of group gameplay.

(4/5) Brogue. Brogue is an ascii-art roguelike. It’s great, and it has a nice difficulty ramp. It’s a good “quick break” game. I play it in preference to other roguelikes partly because I haven’t done it to death yet, and partly because I don’t need a numpad?

(4/5) Cook Serve Delicious 3. One of the more fun games I played this year. You get really into it, but I had trouble relaxing and paying attention to the real world when I played too much, haha. I own but haven’t played the first two–I gather this is pretty much just a refinement.

(4/5) Green Hell. Price tag is a bit high for the number of hours I got out of it, but I haven’t finished the story. Great graphics, and the BEST map design I’ve seen in a 3D game in a long time. It feels like a real place, with reasonable geography instead of copy-pasted tiles. I love that as you walk along, you can just spot a cultivated area from the rest of the jungle–it feels more like it’s treating me like an adult than most survival games. Everything still gets highlighted if you can pick it up. I played the survival mode, which was okay but gets old quickly. I started the story mode–I think it would be fine, but it has some LONG unskippable scenes at the start, including a very hand-holdy tutorial, that I think they should have cut. I did start getting into the story and was having fun, but I stopped. I might finish the game some time.

(4/5) Hyperrogue. One of my recent favorites. The dev has made a fair number of highly experimental games, most of which are a total miss with me, but this one is fun. I do wish the early game wasn’t quite as repetitive. Failing another solution, I might actually want this not to be permadeath, or to have a save feature? I bought it on steam to support the dev and get achievements, but it’s also available a version or two behind free, which is how I tried it. Constantly getting updates and new worlds.

(4/5) Minecraft – Compact Claustrophobia modpack. Fun idea, nice variety. After one expansion felt a little samey, and it was hard to start with two people. I’d consider finishing this pack.

(4/5) Overcooked 2. Overcooked 2 is just more levels for Overcooked. The foods in the second game is more fun, and it has better controls and less bugs. If you’re considering playing Overcooked, I recommend just starting with the second game, despite very fun levels in the first. I especially appreciate that the second game didn’t just re-use foods from the first.

(4/5) Please Don’t Press Anything. A unique little game where you try to get all the endings. I had a lot of fun with this one, but it could have used some kind of built-in hints like Reventure. Also, it had a lot of red herrings. Got it for $2, which it was well worth.

(5/5) Reventure. Probably the best game new to me this year. It’s a short game where you try to get each of about 100 endings. The art and writing are cute and funny. The level design is INCREDIBLE. One thing I found interesting is the early prototype–if I had played it, I would NOT have imagined it would someday be any fun at all, let alone as amazing as it is. As a game designer I found that interesting! I did 100% complete this one–there’s a nice in-game hint system, but there were still 1-3 “huh” puzzles, especially in the post-game content, one of which I had to look up. It’s still getting updates so I’m hoping those will be swapped for something else.

(5/5) Rimworld. Dwarf fortress, but with good cute graphics, set in the Firefly universe. Only has 1-10 pawns instead of hundreds of dwarves. Basically Dwarf Fortress but with a good UI. I wish you could do a little more in Rimworld, but it’s a fantastic, relaxing game.

(5/5) Slay the Spire. Probably the game I played most this year. A deckbuilding adventure through a series of RPG fights. A bit luck-based, but relaxing and fun. I like that you can play fast or slow. Very, very well-designed UI–you can really learn how things work. My favorite part is that because it’s singleplayer, it’s really designed to let you build a game-breaking deck. That’s how it should be!

(4/5) Stationeers. I had a lot of fun with this one. It’s similar to Space Engineers but… fun. It has better UI by a mile too, even if it’s not perfect. I lost steam after playing with friends and then going back to being alone, as I often do for base-building games. Looks like you can genuinely make some complicated stuff using simple parts. Mining might not be ideal.

(5/5) Spy Party. One of my favorite games. Very fun, and an incredibly high skill ceiling. There’s finally starting to be enough people to play a game with straners sometimes. Bad support for “hot seat”–I want to play with beginners in person, and it got even harder with the introduction of an ELO equivalent and removing the manual switch to use “beginner” gameplay.

(4/5) Telling Lies. A storytelling game. The core mechanic is that you can use a search engine for any phrase, and it will show the top 5 survellance footage results for that. The game internally has transcripts of every video. I didn’t really finish the game, but I had a lot of fun with it. The game was well-made. I felt the video acting didn’t really add a huge amount, and they could have done a text version, but I understand it wouldn’t have had any popular appeal. The acting was decent. There’s some uncomfortable content, on purpose.

(4/5) Totally Accurate Battle Simulator (TABS). Delightful. Very silly, not what you’d expect from the name. What everyone should have been doing with physics engines since they were invented. Imagine that when a caveman attacks, the club moves on its own and the caveman just gets ragdolled along, glued to it. Also the caveman and club have googley eyes. Don’t try to win or it will stop being fun. Learn how to turn on slo-mo and move the camera.

(4/5) We Were Here Together. Lots of fun. I believe the second game out of three. Still some crashes and UI issues. MUCH better puzzles and the grpahics are gorgeous. They need to fix the crashes or improve the autosave, we ended up replaying a lot of both games from crashes. It’s possible I should be recommending the third game but I haven’t played it yet.

The Rest

(3/5) 5D Chess with Multiverse Time Travel. More fun that it sounds. If you play to mess around and win by accident, it’s pretty good. Definitely play with a second human player, though.

(1.5/5) 7 billion humans. Better than the original, still not fun. Soulless game about a soulless, beige corporation. Just play Zachtronics instead. If you’re on a phone and want to engage your brain, play Euclidea.

(3/5) A Dark Room. Idle game.

(1/5) Amazing Cultivation Simulator. A big disappointment. Bad english voice acting which can’t be turned off, and a long, unskippable tutorial. I didn’t get to actual gameplay. I like Rimworld and cultivation novels so I had high hopes.

(3/5) ADOM (Steam version) – Fun like the original, which I would give 5/5. Developed some major issues on Linux, but I appreciate that there’s a graphical version available, one of my friends will play it now.

(4/5) agar.io – Good, but used to be better. Too difficult to get into games now. Very fun and addictive gameplay.

(3/5) Amorous – Furry dating sim. All of the hot characters are background art you can’t interact with, and the characters you can actually talk to are a bunch of sulky nerds who for some reason came to a nightclub. I think it was free, though.

(0/5) Apis. Alpha game, AFAIK I was the first player. Pretty much no fun right now (to the point of not really being a game yet), but it could potentially become fun if the author puts in work.

(4/5) Autonauts. I played a ton of Autonauts this year, almost finished it, which is rare for me. My main complaint is that it’s fundamentally supposed to be a game about programming robots, but I can’t actually make them do more than about 3 things, even as a professional programmer. Add more programming! It can be optional, that’s fine. They’re adding some kind of tower defense waves instead, which is bullshit. Not recommended because it’s not for everyone.

(3/5) A-Z Inc. Points for having the guts to have a simple game. At first this looked like just the bones of Swarm Simulator, but the more you look at the UI and the ascension system, the worse it actually is. I would regularly reset because I found out an ascension “perk” actually made me worse off.

(5/5) Beat Saber. Great game, and my favorite way to stay in shape early this year. Oculus VR only, if you have VR you already have this game so no need to recommend. Not QUITE worth getting a VR set just to play it at current prices.

(1/5) Big Tall Small. Good idea, but no fun to play. Needed better controls and level design, maybe some art.

(0.5/5) Blush Blush. Boring.

(3/5) Business Shark. I had too much fun with this simple game. All you do is just eat a bunch of office workers.

(3/5) chess.com. Turns out I like chess while I’m high?

(3/5) Circle Empires Rivals. Decent, more fun than the singleplayer original. It shouldn’t really have been a separate game from Circle Empires, and I’m annoyed I couldn’t get it DRM-free like the original.

(3/5) Cross Virus. By Dan-box. Really interesting puzzle mechanics.

(4/5) Cultist Simulator. Really fun to learn how to play–I love games that drop you in with no explanation. Great art and writing, I wish I could have gotten their tarot deck. Probably the best gameplay “ambience” I’ve seen–getting a card that’s labeled “fleeting sense of radiance” that disappears in 5 seconds? Great. Also the core stats are very well thought out for “feel” and real-life accuracy–dread (depression) conquers fascination (mania), etc. It has a few gameplay gotchas, but they’re not too big–layout issues, inability to go back to skipped text, or to put your game in an unwinnable state early on). Unfortunately it’s a “roguelike”, and it’s much too slow-paced and doesn’t have enough replay value, so it becomes a horrible, un-fun grind when you want to actually win. I probably missed the 100% ending but I won’t be going back to get it. I have no idea who would want to play this repeatedly. I’m looking forward to the next game from the same studio though! I recommend playing a friend’s copy instead of buying.

(2/5) Darkest Dungeon. It was fine but I don’t really remember it.

(2/5) Dicey Dungeons. Okay deck-building roguelike gameplay (with an inventory instead of a deck). Really frustrating, unskippably slow difficulty curve at the start. I played it some more this year and liked it better because I had a savegame. I appreciate having several character classes, but they should unlock every difficulty from the start.

(2/5) Diner Bros. Basically just a worse Overcooked. I didn’t like the controls, and it felt too repetitive with only one diner.

(2/5) Don’t Eat My Mind You Stupid Monster. Okay art and idea, the gameplay wasn’t too fun for me.

(2/5) Don’t Starve – I’ve played Don’t Stave maybe 8 different times, and it’s never really gripped me, I always put it back down. It’s slow, a bit grindy, and there’s no bigger goal–all you can do is live.

(3/5) Don’t Starve Together – Confusingly, Don’t Starve Together can be played alone. It’s Don’t Starve, plus a couple of the expansions. This really could be much more clearly explained.

(1/5) Elemental Abyss – A deck-builder, but this time it’s grid-based tactics. Really not all that fun. Just play Into the Abyss instead or something.

(1/5) Else Heart.Break() – I was excited that this might be a version of “Hack N’ Slash” from doublefine that actually delivered and let you goof around with the world. I gave it up in the first ten minutes, because the writing and characters drove me crazy, without getting to hacking the world.

(2/5) Everything is Garbage. Pretty good for a game jam game. Not a bad use of 10 minutes. I do think it’s probably possible to make the game unwinnable, and the ending is just nothing.

(1/5) Evolve. Idle game, not all that fun. I take issue with the mechanic in Sharks, Kittens, and this where buying your 15th fence takes 10^15 wood for some reason.

(4/5) Exapunks. Zachtronics has really been killing it lately, with Exapunks and Opus Magnum. WONDERFUL art and characters during story portions, and much better writing. The gameplay is a little more varied than in TIS-100 or the little I played of ShenZen I/O. My main complaint about Zachtronics games continues to be, that I don’t want to be given a series of resource-limited puzzles (do X, but without using more than 10 programming instructions). Exapunks is the first game where it becomes harder to do something /at all/, rather than with a particular amount of resources, but it’s still not there for me. Like ShenZen, they really go for a variety of hardware, too. Can’t recommend this because it’s really only for programmers.

(1/5) Exception. Programming game written by some money machine mobile games company. Awful.

(4/5) Factorio. Factorio’s great, but for me it doesn’t have that much replay value, even with mods. I do like their recent updates, which included adding blueprints from the start of the game, improving belt sorting, and adding a research queue. We changed movement speed, made things visually always day, and adding a small number of personal construction robots from the start this run. I’m sure if you’d like factorio you’ve played it already.

(3/5) Fall Guys – I got this because it was decently fun to watch. Unfortunately, it’s slightly less fun to play. Overall, there’s WAY too much matchmaking waiting considering the number of players, and the skill ceiling is very low on most of the games, some of which are essentially luck (I’m looking at you, team games).

(3/5) Forager – Decent game. A little too much guesswork in picking upgrades–was probably a bit more fun on my second play because of that. Overall, nice graphics and a cute map, but the gameplay could use a bit of work.

(3/5) Getting Over It – Funny idea, executed well. Pretty sure my friends and I have only gotten through 10% of the game, and all hit about the same wall (the first tunnel)

(3/5) Guild of Dungeoneering – Pretty decent gameplay. I feel like it’s a bit too hard for me, but that’s fine. Overall I think it could use a little more cute/fun art, I never quite felt that motivated.

(1/5) Hardspace: Shipbreakers. Okay, I seriously didn’t get to play this one, but I had GAMEBREAKING issues with my controller, which is a microsoft X-box controller for PC–THE development controller.

(2/5) Helltaker. All right art, meh gameplay. But eh, it’s free!

(3/5) Hot Lava. Decent gameplay. Somehow felt like the place that made this had sucked the souls out of all the devs first–no one cared about the story or characters. It’s a game where the floor is made out of lava, with a saturday morning cartoon open, so that was a really an issue. Admirable lack of bugs, though. I’m a completionist so I played the first world a lot to get all the medals, and didn’t try the later ones.

(3/5) House Flipper – Weird, but I had fun. I wish the gameplay was a little more unified–it felt like a bunch of glued-together minigames.

(2/5) Hydroneer. Utterly uninspiring. I couldn’t care about making progress at all, looked like a terrible grind to no benefit.

(1/5) io. Tiny game, I got it on Steam, also available on phone. Basically a free web flash game, but for money. Not good enough to pay the $1 I paid. Just a bit of a time-killer.

(3/5) Islanders – All you do is place buildings and get points. Not particularly challenging, but relaxing. Overall I liked it.

(3/5) Jackbox – I played this online with a streamer. Jackbox has always felt a little bit soulless money grab to me, but it’s still all right. I like that I can play without having a copy–we need more games using this purchase model.

(3/5) Life is Feudal – Soul-crushingly depressing and grindy, which I knew going in. I thought it was… okay, but I really want an offline play mode (Yes, I know there’s an unsupported single-player game, but it’s buggier and costs money). UI was pretty buggy, and I think hunting might literally be impossible.

(2/5) Minecraft – Antimatter Chemistry. Not particularly fun.

(3/5) Minecraft – ComputerCraft. I played a pack with just ComputerCraft and really nothing else. Was a little slow, would have been more fun with more of an audience. I love the ComputerCraft mod, I just didn’t have a great experience playing my pack I made.

(3/5) Minecraft – Foolcraft 3. Fun, a bit buggy. Honestly I can’t remember it too well.

(1/5) Minecraft – Manufactio. Looked potentially fun, but huge bugs and performance issues, couldn’t play.

(4/5) Minecraft – Tekkit. Tekkit remains one of my favorite Minecraft modpacks.

(3/5) Minecraft – Valhelsia 2. I remember this being fun, but I can’t remember details as much as I’d like. I think it was mostly based around being the latest version of minecraft?

(4/5) Minecraft – Volcano Block. Interesting, designed around some weird mods I hadn’t used. I could have used more storage management or bulk dirt/blocks early in the game–felt quite cramped. Probably got a third of the way through the pack. I got novelty value out of it, but I wouldn’t have enjoyed it if I had ever used the plant mod before–it’s a very fixed, linear progression.

(5/5) Minit. This is a weird, small game. I actually had a lot of fun with it. Then I 100% completed it, which was less fun but I still had a good time overall.

(3/5) Monster Box. By Dan-box. One of two Dan-box games I played a lot of. Just visually appealing, the gameplay isn’t amazing. Also, Dan-box does some great programming–this is a game written in 1990 or so, and it can render hundreds of arrows in the air smoothly in a background tab.

(3/5) Monster Train. A relatively fun deckbuilding card game. It can’t run well on my computer, which is UNACCEPTABLE–this is a card game with 2D graphics. My MICROWAVE should run this shit in 2020. Ignoring that, the gameplay style (summon monsters, MTG style) just isn’t my cup of tea.

(2/5) Moonlighter. Felt like it was missing some inspiration, just didn’t have a sense of “fun”. The art was nice. The credits list is surprisingly long.

(2/5) Muse Dash. All right, a basic rhythm game. Not enough variety to the game play, and everything was based around perfect or near-perfect gameplay, which makes things less fun for me.

(3/5) NES games – various. Dr Mario, Ice Climbers. Basically, I got some Chinese handheld “gameboy” that has all the NES games preloaded on it. Overall it was a great purchase.

(2/5) Noita. “The Powder Game” by Dan-Box, as a procedurally generated platformer with guns. Lets you design your own battle spells. Despite the description, you really still can’t screw around as much as I’d like. I also had major performance issues

(3/5) Observation. I haven’t played this one as much as I’d like, I feel like it may get better. Storytelling, 3D game from the point of view of the AI computer on a space station. I think I might have read a book it’s based on, unfortunately.

(2/5) One Step From Eden. This is a deck-building combat tactics game. I thought it was turn-based, but it’s actually realtime. I think if it was turn-based I would have liked it. The characters were a bit uninspired.

(1/5) Orbt XL. Very dull. I paid $0.50 for it, it was worth that.

(4/5) Opus Magnum. Another great game from Zachtronics, along with Exapunks they’re really ramping up. This is the third execution of the same basic concept. I’d like to see Zachtronics treading new ground more as far as gameplay–that said, it is much improved compared to the first two iterations. The art, writing, and story were stellar on the other hand.

(3/5) Out of Space. Fun idea, you clean a spaceship. It’s never that challenging, and it has mechanics such that it gets easier the more you clean, rather than harder. Good but not enough replay value. Fun with friends the first few times. The controls are a little wonky.

(1/5) Outpost (tower defense game). I hate all tower defense.

(3/5) Overcooked. Overcooked is a ton of fun.

(4/5) Powder Game – Dan-box. I played this in reaction to not liking Noita. It’s fairly old at this point. Just a fun little toy.

(1/5) Prime Mover – Very cool art, the gameplay put me to sleep immediately. A “circuit builder” game but somehow missing any challenge or consistency.

(2/5) Quest for Glory I. Older, from 1989. Didn’t really play this much, I couldn’t get into the writing, and the pseudo-photography art was a little jarring.

(4/5) Raft. I played this in beta for free on itch.io, and had a lot of fun. Not enough changed that it was really worth a replay, but it has improved, and I got to play with a second player. Not a hard game, which I think was a good thing. The late game they’ve expanded, but it doesn’t really add much. The original was fun and so was this.

(3/5) Satisfactory. I honestly don’t know how I like this one–I didn’t get too far into it.

(4/5) Scrap Mechanic. I got this on a recommendation from a player who played in creative. I only tried the survival mode–that mode is not well designed, and their focuses for survival are totally wrong. I like the core game, you can actually build stuff. If I play again, I’ll try the creative mode, I think.

(3.5/5) Shapez.io. A weird, abstracted simplification of Factorio. If I hadn’t played factorio and half a dozen copies, I imagine this would have been fun, but it’s just more of the same. Too much waiting–blueprints are too far into the game, too.

(2.5/5) Simmiland. Okay, but short. Used cards for no reason. For a paid game, I wanted more gameplay out of it?

(0.5/5) Snakeybus. The most disappointing game I remember this year. Someone made “Snake” in 3D. There are a million game modes and worlds to play in. I didn’t find anything I tried much fun.

(1/5) Soda Dungeon. A “mobile” (read: not fun) style idle game. Patterned after money-grab games, although I don’t remember if paid progress was actually an option. I think so.

(4/5) Spelunky. The only procedurally generated platformer I’ve ever seen work. Genuinely very fun.

(4/5) Spelunky 2. Fun, more of an upgrade of new content than a new game. Better multiplayer. My computer can’t run later levels at full speed.

(1/5) Stick Ranger 2. Dan-box. Not much fun.

(3/5) Superliminal. Fun game. A bit short for the pricetag.

(3/5) Tabletop Simulator – Aether’s End: Legacy. Interesting, a “campaign” (series of challenge bosses and pre-written encounters) deckbuilding RPG. I like the whole “campaign RPG boardgame” idea. This would have worked better with paper, there were some rough edges in both the game instructions and the port to Tabletop Simulator.

(4/5) Tabletop Simulator – The Captain is Dead. Very fun. I’d love to play with more than 2 people. Tabletop simulator was so-so for this one.

(2/5) Tabletop Simulator – Tiny Epic Mechs. You give your mech a list of instructions, and it does them in order. Arena fight. Fun, but I think I could whip up something at least as good.

(3/5) The Council. One of the only 3D games I finished. It’s a story game, where you investigate what’s going on and make various choices. It’s set in revolutionary france, at the Secret World Council that determines the fate of the world. It had a weak ending, with less choice elements than the rest of the game so far, which was a weird decision. Also, it has an EXCRUTIATINGLY bad opening scene, which was also weird. The middle 95% of the game I enjoyed, although the ending went on a little long. The level of background knowledge expected of the player swung wildly–they seemed to expect me to know who revolutionary French generals were with no explanation, but not Daedalus and the Minotaur. The acting was generally enjoyable–there’s a lot of lying going on in the game and it’s conveyed well. The pricetag is too high to recommend.

(0/5) The Grandma’s Recipe (Unus Annus). This game is unplayably bad–it’s just a random pixel hunt. Maybe it would be fun if you had watched the video it’s based on.

(3/5) The Room. Pretty fun! I think this is really designed for a touchscreen, but I managed to play it on my PC. Played it stoned, which I think helps with popular puzzle games–it has nice visuals but it’s a little too easy.

(3/5) This Call May Be Recorded. Goofy experimental game.

(4/5) TIS-100. Zachtronics. A programming game. I finally got done with the first set of puzzles and into the second this year. I had fun, definitely not for everyone.

(3/5) Trine. I played this 2-player. I think the difficulty was much better 2-player, but it doesn’t manage 2 players getting separated well. Sadly we skipped the story, which seemed like simple nice low-fantasy. Could have used goofier puzzles, it took itself a little too seriously and the levels were a bit same-y.

(2/5) Unrailed. Co-op railroad building game. It was okay but there wasn’t base-building. Overall not my thing. I’d say I would prefer something like Overcooked if it’s going to be timed? Graphics reminded me of autonauts.

(2/5) Vampire Night Shift. Art game. Gameplay could have used a bit of polish. Short but interesting.

(4/5) Wayward. To date, the best survival crafting system I’ve seen. You can use any pointy object and stick-like object, together with glue or twine, to make an arrow. The UI is not great, and there’s a very counter-intuitive difficulty system. You need to do a little too much tutorial reading, and it could use more goals. Overall very fun. Under constant development, so how it plays a given week is a crapshoot. The steam version finally works for me (last time I played it was worse than the free online alpha, now it’s the same or better). I recomend playing the free online version unless you want to support the author.

(1/5) We Need to Go Deeper. Multiplayer exploration game in a sub, with sidescrolling battle. Somehow incredibly unfun, together with high pricetag. Aesthetics reminded me of Don’t Starve somehow.

(2/5) We Were Here. Okay 2-player puzzle game. Crashed frequently, and there were some “huh” puzzles and UI. Free.

(3/5) Yes, your grace. Gorgeous pixel art graphics. The story is supposed to be very player-dependent, but I started getting the feeling that it wasn’t. I didn’t quite finish the game but I think I was well past halfway. Hard to resume after a save, you forget things. I got the feeling I wouldn’t replay it, which is a shame because it’s fun to see how things go differently in a second play with something like this.

These are not all new to me, and very few came out in 2020. I removed any games I don’t remember and couldn’t google (a fair number, I play a lot of game jam games) as well as any with pornographic content.

2020 Videogames was originally published on Optimal Prime

#games #review #reviews #videogames #yearly review #cross-posted-from-blog

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thesteadydietofeverything · 5 years ago

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Top 10 Games of 2019

This was an extremely good year for games. I don’t know if I played as many that will stick with me as I did last year, but the ones on the bottom half of this list in particular constitute some of my favorite games of the decade, and probably all-time. If I’ve got a gaming-related resolution for next year, it’s to put my playtime into supporting even smaller indie devs. My absolute favorite experiences in games this year came from seemingly out of nowhere games from teams I’ve previously never heard of before. That said, there are some big games coming up in spring I doubt I’ll be able to keep myself away from. Some quick notes/shoutouts before I get started:

-The game I put maybe the most time into this year was Final Fantasy XIV: A Realm Reborn. I finally made the plunge into neverending FF MMO content, and I’m as happy as I am overwhelmed. This was a big year for the game, between the release of the Shadowbringers expansion and the Nier: Automata raid, and it very well may have made it onto my list if I had managed to actually get to any of it. At the time of this writing, though, I’ve only just finished 2015’s Heavensward, so I’ve got...a long way to go.

-One quick shoutout to the Phoenix Wright: Ace Attorney Trilogy that came out on Switch this year, a remaster of some DS classics I never played. An absolutely delightful visual novel series that I fell in love with throughout this year.

-I originally included a couple games currently in early access that I’ve enjoyed immensely. I removed them not because of arbitrary rules about what technically “came out” this year, but just to make room for some other games I liked, out of the assumption that I’ll still love these games in their 1.0 formats when they’re released next year to include them on my 2020 list. So shoutout to Hades, probably the best rogue-like/lite/whatever I’ve ever played, and Spin Rhythm XD, which reignited my love for rhythm games.

-Disco Elysium isn’t on this list, because I’ve played about an hour of it and haven’t yet been hooked by it. But I’ve heard enough about it to be convinced that it is 1000% a game for me and something I need to get to immediately. They shouted out Marx and Engels at the Game Awards! They look so cool! I want to be their friend! And hopefully, a few weeks from now, I’ll desperately want to redact this list to squeeze this game somewhere in here.

Alright, he’s the actual list:

10. Amid Evil

The 90’s FPS renaissance continues! As opposed to last year’s Dusk, a game I adored, this one takes its cues less from Quake and more from Heretic/Hexen, placing a greater emphasis on melee combat and magic-fuelled projectiles than more traditional weapons. Also, rather than that game’s intentionally ugly aesthetic, this one opts for graphics that at times feel lush, detailed, and pretty, while still probably mostly fitting the description of lo-fi. In fact, they just added RTX to the game, something I’m extremely curious to check out. This game continued to fuel my excitement about the possibilities of embracing out-of-style gameplay mechanics to discover new and fresh possibilities from a genre I’ve never been able to stop yearning for more of.

9. Ape Out

If this were a “coolest games” list, Ape Out would win it, easily. It’s a simple game whose mechanics don’t particularly evolve throughout the course of its handful of hours, but it leaves a hell of an impression with its minimalist cut-out graphics, stylish title cards, and percussive soundtrack. Smashing guards into each other and walls and causing them to shoot each other in a mad-dash for the exit is a fun as hell take on Hotline Miami-esque top down hyper violence, even if it’s a thin enough concept that it starts to feel a bit old before the end of the game.

8. Fire Emblem: Three Houses

I had a lot of problems with this game, probably most stemming from just how damn long it is - I still haven’t finished my first, and likely only, playthrough. This length seems to have motivated the developers to make battles more simple and easy, and to be fair, I would get frustrated if I were getting stuck on individual battles if I couldn’t stop thinking about how much longer I have to go, but as it is, I’ve just found them to be mostly boring. This is particularly problematic for a game that seems to require you to play through it at least...three times to really get the full picture? I couldn’t help but admire everything this game got right, though, and that mostly comes down to building a massive cast of extremely well realized and likable characters whose complex relationships with each other and with the structures they pledge loyalty to fuels harrowing drama once the plot really sets into motion. There’s a reason no other game inspired such a deluge of memes and fan fiction and art into my Twitter feed this year. It’s an impressive feat to convince every player they’ve unquestionably picked the right house and defend their problem children till the bitter end. After the success of this game, I’d love to see what this team can do next with a narrower focus and a bigger budget.

7. Resident Evil 2

It’s been a long time since I played the original Resident Evil 2, but I still consider it to be one of my favorite games of all time. I was highly skeptical of this remake at first, holding my stubborn ground that changing the fixed camera to a RE4-style behind the back perspective would turn this game more into an action game and less of a survival horror game where feeling a lack of control is part of the experience. I was pleasantly surprised to find how much they were able to modernize this game while maintaining its original feel and atmosphere. The fumbly, drifting aim-down sights effectively sell the feeling of being a rookie scared out of your wits. Being chased by Mr. X is wildly anxiety-inducing. But even more surprisingly, perhaps the greatest upgrade this game received was its map, which does you the generous service of actually marking down automatically where puzzles and items are, which rooms you’ve yet to enter, which ones you’ve searched entirely, and which ones still have more to discover. Arguably, this disrupts the feeling of being lost in a labyrinthine space that the original inspired, but in practice, it’s a remarkably satisfying and addicting video game system to engage with.

6. Judgment

No big surprise here - Ryu ga Gotoku put out another Yakuza-style game set in Kamurocho, and once again, it’s sitting somewhere on my top 10. This time, they finally put Kazuma Kiryu’s story to bed and focused on a new protagonist, down on his luck lawyer-turned-detective Takayuki Yagami. The new direction doesn’t always pay off - the added mechanics of following and chasing suspects gets a bit tedious. The game makes up for it, though, by absolutely nailing a fun, engrossing J-Drama of a plot entirely divorced from the Yakuza lore. The narrative takes several head-spinning turns through its several dozen hours, and they all feel earned, with a fresh sense of focus. The side stories in this one do even more to make you feel connected to the community of Kamurocho by befriending people from across the neighborhood. I’d love to see this team take even bigger swings in the future - and from what I’ve seen from Yakuza 7, that seems exactly like what they’re doing - but even if this game shares maybe a bit too much DNA with its predecessors, it’s hard to complain when the writing and acting are this enjoyable.

5. Control

Control feels like the kind of game that almost never gets made anymore. It’s a AAA game that isn’t connected to any larger franchises and doesn’t demand your attention for longer than a dozen hours. It doesn’t shoehorn needless RPG or MMO mechanics into its third-person action game formula to hold your attention. It introduces a wildly clever idea, tells a concise story with it, and then its over. And there’s something so refreshing about all of that. The setting of The Oldest House has a lot to do with it. I think it stands toe-to-toe with Rapture or Black Mesa as an instantly iconic game world. Its aesthetic blend of paranormal horror and banal government bureaucracy gripped my inner X-Files fan instantly, and kept him satisfied not only with its central characters and mystery but with a generous bounty of redacted documents full of worldbuilding both spine-tingling and hilarious. More will undoubtedly come from this game, in the form of DLC and possibly even more, with the way it ties itself into other Remedy universes, and as much as I expect I will love it, the refreshing experience this base game offered me likely can’t be beat.

4. Anodyne 2

I awaited Sean Han Tani and Marina Kittaka’s new game more anxiously than almost any game that came out this year, despite never having played the first one, exclusively on my love for last year’s singular All Our Asias and the promise that this game would greatly expand on that one’s Saturn/PS1-esque early 3D graphics and personal, heartfelt storytelling. Not only was I not disappointed, I was regularly pleasantly surprised by the depth of narrative and themes the game navigates. This game takes the ‘legendary hero’ tropes of a Zelda game and flips them to tell a story about the importance of community and taking care of loved ones over duty to governments or organizations. The dungeons that similarly reflect a Link to the Past-era Zelda game reduce the maps to bite-sized, funny, clever designs that ask you to internalize unique mechanics that result in affecting conclusions. Plus, it’s gorgeously idiosyncratic in its blend of 3D and 2D environments and its pretty but off-kilter score. It’s hard to believe something this full and well realized came from two people.

3. Eliza

Eliza is a work of dystopian fiction so closely resembling the state of the world in 2019 it’s hard to even want to call it sci-fi. As a proxy for the Eliza app, you speak the words of an AI therapist that offers meager, generic suggestions as a catch-all for desperate people facing any number of the nightmares of our time. The first session you get is a man reckoning with the state the world is in - we’ve only got a few more years left to save ourselves from impending climate crisis, destructive development is rendering cities unlivable for anyone but the super-rich, and the people who hold all the power are just making it all worse. The only thing you offer to him is to use a meditation app and take some medication. It doesn’t take long for you to realize that this whole structure is much less about helping struggling people and more about mining personal data.

There’s much more to this story than the grim state of mental health under late capitalism, though. It’s revealed that Evelyn, the character you play as, has a much closer history with Eliza than initially evident. Throughout the game, she’ll reacquaint herself with old coworkers, including her two former bosses who have recently split and run different companies over their differing frightening visions for the future. The game offers a biting critique of the kind of tech company optimism that brings rich, eccentric men to believe they can solve the world’s problems within the hyper-capitalist structure they’ve thrived under, and how quickly this mindset gives way to techno-fascism. There’s also Evelyn’s former team member, Nora, who has quit the tech world in favor of being a DJ “activist,” and her current lead Rae, a compassionate person who genuinely believes in the power of Eliza to better people’s lives. The writing does an excellent job of justifying everyone’s points of view and highlighting the limits of their ideology without simplifying their sense of morality.

Why this game works so well isn’t just its willingness to stare in the face of uncomfortably relevant subject matter, but its ultimately empathetic message. It offers no simple solutions to the world’s problems, but also avoids falling into utter despair. Instead, it places measured but inspiring faith in the power of making small, meaningful impacts on the people around you, and simply trying to put some good into your world. It’s a game both terrifying and comforting in its frank conclusions.

2. Death Stranding

For a game as willfully dumb as this one often is - that, for example, insists on giving all of its characters with self-explanatory names long monologues about how they got that name - Death Stranding was one of the most thought provoking games I’ve played in a while. Outside of its indulgent, awkwardly paced narrative, the game offers plenty of reflection on the impact the internet has had on our lives. As Sam Porter Bridges, you’re hiking across a post-apocalyptic America, reconnecting isolated cities by delivering supplies, building infrastructure, and, probably most importantly, connecting them to the Chiral Network, an internet of sorts constructed of supernatural material of nebulous origin. Through this structure, the game offers surprisingly insightful commentary about the necessity for communication, cooperation, and genuine love and care within a community.

The lonely world you’re tasked to explore, and the way you’re given blips of encouragement within the solitude through the structures and “likes” you give and receive through the game’s asynchronous multiplayer system, offers some striking parallels for those of us particularly “online” people who feel simultaneous desperation for human contact and aversion to social pressures. I’ve heard the themes of this game described as “incoherent” due to the way it seems to view the internet both as a powerful tool to connect people and a means by which people become isolated and alienated, but are both of these statements not completely true to reality? The game simplifies some of its conclusions - Kojima seems particularly ignorant of America’s deep structural inequities and abuses that lead to a culture of isolation and alienation. And yet, the questions it asks are provocative enough that they compelled me to keep thinking about them far longer than the answers it offers.

Beyond the surprisingly rich thematic content, this game is mostly just a joy to play. Death Stranding builds kinetic drama out of the typically rote parts of games. Moving from point A to point B has become an increasingly tedious chore in the majority of AAA open world games, but this is a game built almost entirely out of moving from point A to point B, and it makes it thrilling. The simple act of walking down a hill while trying to balance a heavy load on your back and avoiding rocks and other obstacles fulfills the promise of the term ‘walking simulator’ in a far more interesting way than most games given that descriptor. The game consistently doles out new ways to navigate terrain, which peaked for me about two thirds of the way through the game when, after spending hours setting up a network of zip lines, a delivery offered me the opportunity to utilize the entire thing in a wildly satisfying journey from one end of the map to another. It was the gaming moment of the year.

1. Outer Wilds

The first time the sun exploded in my Outer Wilds playthrough, I was probably about to die anyway. I had fallen through a black hole, and had yet to figure out how to recover from that, so I was drifting listlessly through space with diminishing oxygen as the synths started to pick up and I watched the sun fall in on itself and then expand throughout the solar system as my vision went went. The moment gave me chills, not because I wasn’t already doomed anyway, but because I couldn’t help but think about my neighbors that I had left behind to explore space. I hadn’t known that mere minutes after I left the atmosphere the solar system would be obliterated, but I was at least able to watch as it happened. They probably had no idea what happened. Suddenly their lives and their planet and everything they had known were just...gone. And then I woke up, with the campfire burning in front of me, and everyone looking just as I had left it. And I became obsessed with figuring out how to stop that from happening again.

What surprised me is that every time the sun exploded, it never failed to produce those chills I felt the first time. This game is masterful in its art, sound, and music design that manages to produce feelings so intense from an aesthetic so quaint. Tracking down fellow explorers by following the sound of their harmonica or acoustic guitar. Exploring space in a rickety vessel held together by wood and tape. Translating logs of conversations of an ancient alien race and finding the subject matter of discussion to be about small interpersonal drama as often as it is revelatory secrets of the universe. All of the potentially twee aspects of the game are balanced out by an innate sense of danger and terror that comes from exploring space and strange worlds alone. At times, the game dips into pure horror, making other aspects of the presentation all the more charming by comparison. And then there’s the clockwork machinations of the 22-minute loop you explore within, rewarding exploration and experimentation with reveals that make you feel like a genius for figuring out the puzzle at the same time that you’re stunned by the divulgence of a new piece of information.

The last few hours of the game contained a couple puzzles so obfuscated that I had to consult a guide, which admittedly lessened the impact of those reveals, but it all led to one of the most equally devastating and satisfying endings I’ve experienced in a video game recently. I really can’t say enough good things about this game. It’s not only my favorite game this year, but easily one of my favorite games of the decade, and really, of all-time, when it comes down to it.

#outer wilds #death stranding #eliza #anodyne 2 #control #judgment #resident evil 2 #fire emblem: three houses #Ape Out #Amid Evil #games #video games #GOTY

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blastoisemonster · 4 years ago

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Meitantei Conan: Karakuri Jiin Satsujin Jiken

My review will focus on the "Murder at the Temple of Karakuri" episode (featured in the cartridge shown above), since it's the one I played thoroughly, but it needs to be said that all five games look very similar and apart from, obviously, the different plots -or the lack of colour in case of the two gray cartridge games- they all feature the same mechanics and controls, along with the same quality in audio and graphics department. Later games might also show a few cosmetic upgrades but nothing experience changing.

After choosing our save slots out of the possible three, we're immediately launched into the opening cutscene, giving us context for the upcoming investigation. Right off the bat, the Meitantei Conan videogame shows offs some rather impressive backgrounds and spriteworks, with nice panorama views of the places we're visiting as the protagonist and portraits of the speaking characters, which also change expression depending on their speech lines. The soundtrack isn't immense, but definitely has solid tunes, too: the title screen even plays the main theme straight from the anime! This elaborate sound and video combination makes it feel like we're watching an actual toon episode. As soon as the initial scenes are done, we're off of "cutscene mode" and into "investigation mode", which controls and feels exactly like a classic top-view RPG for Game Boy, with the prerogative that Conan can run and move diagonally. Suck it, mainline Pokèmon games!

In this particular chapter, Conan's gang is initially tasked with finding Satomi Togawa, one of Ran’s friends who has recently gone missing. The search leads them to an ancient temple in the mountains, once home to a ninja clan and therefore still filled with traps, but that now hosts several people. Conan plans to look around discreetly, but all changes when one of the other characters living in the temple, Yuuji, is found dead in his room. Police arrives to the place, and the kidnapping investigations are moved aside in favour of the murder ones. During the game, Conan can obviously look around interacting with various objects and characters to round up clues and/or solve a few puzzles, but he has also other tricks up his sleeve- er I mean, main menu: by pressing Start we gain access to the Map (useful in order to memorize the most complex exploring areas), Character Profiles that display name, picture and basic info of everyone we've encoutered in our adventure (a feature strikingly similar to Phoenix Wright's Court Records), and last but not least all the Key Words of the case: this section pretty much gathers up all clues, thoughts and discoveries we find during the game and by "Considering" them (simply clicking on them, that is) Conan comes up with associations and ideas. If pressed in the right order until a coherent line of thoughts gets formed, the story will progress and new "scenes" are unlocked until the culprit is caught and their motives and modus operandi are explained. We can also stick close to the crime scene and examine the body and murder weapon, which are represented with perfectly gruesome close ups, and thoroughly described where the Game Boy's pixel screen reaches its true limit; we get a description of wounds, state of the body, and approximate time of death, all useful information in order to unveil the mystery. This chapter in particular also had an interesting murder puzzle with seemingly more than one killer at the same time, which made the experience even more pleasant to discover. Among some secondary game mechanics, the player may come across a few multiple choice answers of which only one is correct and guarantees progress; however, if the other two are chosen, there's seemingly no other malus than making Conan act like an idiot, though without changing the order or nature of future events. Conan can also "swap" roles with other playing characters if he talks to them (for example, while in the Karakuri temple we also have the choice of fooling around as Ran or Kogoro). This is not necessary in order to complete the case, but I understand it could be a welcomed touch for fans of the series that would like to experience a certain scene from different point of views; quite infact, it's interesting and funny to see how different characters react to clues or interactions, and NPCs also respond differently depending on who they're talking to. For example, suspects have a hard time responding to Conan while the police is investigating because they feel like it's not a kid's business; also, we learn that Kogoro is a record breaking asshole, as considering Key Words with him leads to absolutely nothing.

After all requirements are met and we're ready to point the finger at whodunit, one final puzzle is triggered in form of a questionnaire: similar to Gyakuten Kenji's logic thinking, Conan tries to summarize the case and put all events and intrigues in order with a series of questions that the player must reply correctly. However unfortunately it seems that just like the other multiple choices we get through the main game, these ones too end up feeling kinda useless for the unfolding of the events. Unmasking the culprit feels kinda a letdown, sadly, as it is presented not as an interactive section but rather as a long cutscene that, as said before, is not even influenced by how many answers the player got right during the "recapping" inner monologue. We don't even get to shoot Kogoro with sleeping needles; the game does it all by itself. That was very unnerving and unexpected, especially for an investigation game, and frankly the most negative point about it. We also get an epilogue where we save Satomi (remember her?) and some minor plot points that link this chapter's plot to the next one, tempting players to get the upcoming new cartridge. And after this, our very last gaming screen: a rating. Turns out that fooling around giving wrong answers only contributes to a less than stellar final score and nothing else in the game, which is honestly a shame, considering that it could have been potentially used instead to present different scenes, ways of investigating, and even possible bad endings. One could argue that this particular choice was made due to capacity limitations for data, but in that case why leave us the illusion that our choices matter? The character swap count is also shown on the score screen: I'm not sure if this counts towards a negative score or not, but I do hope developers didn't mean to penalize players for wanting to explore the game with different point of views (which, honestly, is what a good detective would do instead!).

In Short What's positive about Meitantei Conan? It's a little jewel in term of graphical and audio quality, and an impressive technical experiment that brings a complicated genre such as the murder mystery on a simple console such as the Game Boy, with a positive result. Easy to maneuver, it offers an intriguing story that can be enjoyed just fine either as alone or as a chapter from a saga, since the main plot links every single cartridge together. And it's also so bloody! Once you see this you'll definitely want to see fanmade Phoenix Wright cases on Game Boy. Let's start some projects!

And, what's negative about it? Well, it could have definitely been much more interactive. Except for the main examination part, the player mostly gets to follow the case through cutscenes, and the fact that they can't control any character during the final showdown is definitely disappointing. The multiple choices and logic thinking recap are useless to the story when they could instead add a lot of depth and replayability, so it does feel like developers missed a big chance. Also the fact that we only play through one investigation makes the game feel very short... I would have at least preferred to have two "episodes" per cartridge, but I imagine this was due to capacity limitations.

And that's the game! Very interesting and inspiring, but unfortunately not perfect. Nonetheless, an interesting piece for every kind of collection!

#Photography

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