#what made the unique gameplay features hit so hard

[hartmannyoukaigirl]

some games are really way too confident with their multiple endings and close the game and restart/play from the beginning to get the true ending etc etc like lol no. bye. ur on ur own. maybe if you wrote better characters !

#undetale is literally the ONLY game to do this perfectly and its just. you cant replicate that #the thing is with ut there is a bazillion new things in every single pixel of the game in any run so it doesnt feel.... Boring. and tiresom #like games who's entire plot relies on this gimmick #ut was different bc it had characters plot and story Aside from its 4th wall breaking stuff and people forgot that and how its story was #what made the unique gameplay features hit so hard #so they try to make those same gameplay features but it falls flat. #when you create something for a gimmick it sucks it always does it will never work because ppl forget that good writing is actually Pretty #important #in story focused games #like wow who couldve thought

[yours-the-author]

Hey, so...

Does anyone remember this post I made recently?

.

.

.

I made some art for it...

If you wanna see it...

Here it is:

I'M SO MAD AT MYSELF IT WAS SUPPOSED TO BE SURVIVING THE MANSION BUT I DIDN'T REALIZE UNTIL AFTER I FINISHED IT AAAGGH

...Aside from that little oopsie, though, I'm actually really proud of how the logo came out? I based the font off a style called "Micro 5 Charted". Thank goodness I was using graph paper!

I'm not sure if that Kanji is correct; Google Translate doesn't seem to like the word "oni" or "stick", especially together, so I spelled out the Romanji in the English box and then tried to copy the characters Google offered me as closely as possible. I think I'd be more surprised if I got the Kanji correct, honestly.

Henry Stickmin title screens usually have two different fonts for the verb and the noun, and I thought about trying to make "Mansion" look like an actual house, but that made my brain hurt to much to conceptualize, so I stuck with different colored fonts. Hmm, that clock sure is there. I wonder what it means gets hit by a bus

-----

Anyway, here's some theoretical scenarios of what the main gameplay would look like! This one stars General Hubert Galeforce and some other guy:

Option 1: Shoot

Result: The monster hears you move as soon as you pull your gun from its holster. No time to defend yourself.

FAILURE (DiE!)

Option 2: Backup

Result: Your radio refuses to work, even though it was just fine before you entered the mansion. The monster waits until you've realized this, then goes for your throat.

FAILURE (No one will hear your screams...)

Option 3: Time Out

Result: The monster does not hear you and goes into a separate room, out of sight and out of mind. Galeforce survives... for now. But what was that thing...?

-----

I don't know how feasible it would be, but I imagine this would be a cross between typical RPG Maker-styled games (pixels, speech boxes with pictures of the characters, moving around a set floor plan, puzzle solving, etc) and typical Henry Stickmin-styled game play (cutscenes, choices, possible interactivity [grabbing items/bios], the occasional quick time event, etc) (voice acting would be a stretch). Most of the gameplay, like exploring the mansion, puzzle solving, and running/fighting the monster, would be RPG style, and then occasionally switch into a cutscene that requires you to make a choice; usually with just one correct answer but possibly others that could result in diverging dialogue/interaction/paths/endings? Something to think about.

Anyway, Galeforce! Poor man has no idea what he almost walked into, haha. I experimented with perspective and limb placement here, which was exhausting but also a lot of fun! Dynamics are hard with stick figures, but considering that they're they only character medium I've ever been decent at, I made it work.

And the Oni... I tried to give it some sort of anatomy, but quickly realized that I do not have the skills to pay those bills. I opted for a more of a shadowy figure looking thing with a big smile instead (you can see some of the lines where I tried to make it have arms, I think). I opted for Ao Oni's purple-y blue color scheme verses HetaOni's gray alien look. Back in the day of fan made Ao Oni games, people would usually try to put their own unique spin on the Oni sprite, with HetaOni's being the most unique I ever saw (keep in mind, it was one of the few designs I ever saw, so there might be cooler ones out there, who knows). In theory, a game called Sutikku Oni would use a stick figure shaped monster, but with my current art skills, that would just look like a normal stick person with a big head (look! Geoffrey Plumb's cousin!). I think the less we see, the better; all good horror games know when to leave things to the imagination!

-----

I also made a second one, featuring my boy Dave Panpa!

...Dave, I'm so sorry... *MAKES HIM PEEP THE HORROR*

Option 1: Call for Help

Result: You call for help...

FAILURE (...but nobody came.)

Option 2: Run

Result: You tense your muscles in preparation to run. The monster is faster.

FAILURE (YoU... wOn'T... eScApE...!)

Option 3: Pretend to be a Piano

Result: Frozen with fear in front of the piano, it's all you can do to hope the monster thinks you're also a piano (a sopping wet piano, but still). It's deadly quiet. You can hardly breathe, and you're afraid to. The monster stares at you for an uncomfortably long time, before walking away, out of sight and out of mind. You stay still a little longer before collapsing to the ground. Dave Panpa survives... for now. How on Earth did that work? Or... did that thing let you live out of pity...?

-----

UGH the piano! Pianos are so hard to draw! Luckily, I had an almost head on reference that I was able to use for the first picture. For the above view shot, I had to do some wild guessing. The red stuff near Dave's head in the second picture is the red stuff he was referring to. Is it blood? Paint? Something else? Who knows! But as we all know, any self respecting Ao Oni fan game needs a piano puzzle!

I imagine Dave was dragged along for the ride when the Toppats decided to find the treasure of the mansion (or something to that degree), fully intending to leave him there to die if there was, in fact, a monster inside. Poor Dave... Maybe there could be an ending where amends are made? Or maybe not...

I mostly put the smile on the monster's shadow as a means of showing that, indeed, it is the monster, but now I'm wondering if the monster's mouth glows or something? Hot fires of Hell, delivered right to you! Can you beat the heat?

-----

Thank you all for coming to my fixation ramble that absolutely no one else except me finds interesting! Any thoughts before you go?

(A cricket chirps, then leaves because it's in the wrong conference room)

...Yeah, I figured.

#thsc #the henry stickmin collection #my art #ao oni #hetaoni #hubert galeforce #dave panpa #dave panpa my beloved #rambling #if anyone actually is entertained by my weird thing I made let me know! #this is hardly even a pipe dream #but it'd be cool if people were like “yeah that's cool I guess” #and then I could go YAY! #the blue clock in the logo and the quick time event are a reference to my hetaoni fic #just for fun #the actual clock/time travel device would probably be something unique #something Henry Stickmin would steal/get his hands on during the first mansion “playthrough” #triple threat #technically #they're referenced

[spinningbuster98]

Castlevania (NES) Part 2: Old school sclerosis

Is Classic Castlevania gameplay outdated?

I think that many newcomers might immediately say yes. How can it not be outdated? It controls super stiff and it’s bullshit hard!

Not to play the part of an old school elitist telling others to git gud, but those stiff controls? They’re not the product of their time, they’re intentionally made that way, they are largely the point of this gameplay

First off: this game was made in 1986, the first Super Mario Bros came out a year earlier and allowed you to control your jumps in mid air. Mega Man would come out just a year after and it also has mid air jump controls, so this can’t be a case of “old NES era limitations”. Even if it were then how would you explain the games keeping these controls well after Super Castlevania 4?

The reason the Belmonts can’t change the direction of their jumps mid air and can’t whip in more than a single direction is the same reason why Mega Man can’t aim in multiple directions or why Sonic can’t stop on a dime in the Genesis games: these are intentional limitations that work in-tandem with the level design and enemy placement in order to provide the player with a specific challenge. You can’t aim in multiple directions in Mega Man so you have to aim very carefully and make use of your other weapons. You can’t stop on a dime in Sonic because the focus is learning how to make the physics-based gameplay work to your advantage.

The reason why the jump is so stiff in these games is because the games want the players to be really precise and meticulous with their jumps, while also being very precise in regards to how you deal with enemies: you’ll notice that your whip attacks aren’t instantaneous, there’s a brief wind up before it hits which not only makes each hit have more punch imo but it also serves to test the player’s timing in a subtle way: if you just spam the attack button you’ll get inconsistent hit rates, you have to time your button presses precisely in order to execute attacks at a fast rate, following a sort of rythm. Keep in mind: this idea of purposefully delaying the player’s attack in order to force them to find a rythm of sorts is still used in games today, like Dark Souls

The Classic Castlevania gameplay is not outdated, it’s about tough as nails platforming and combat that requires precision, quick reflexes and for the player to find ways to circumvent the limited movement. Make no mistake: everything can be avoided and defeated with this control scheme. That’s not to say that if you don’t like it you’re a disgrace to the series’ name or “not a real gamer” or anything like that, I’m just saying that not every design decision of old retro games was due to an “outdated mentality”

... that said however the original Castlevania is indeed pretty janky at times by virtue of still being a mid 80s game

Sometimes the enemy placement is just straight up unfair, especially whenever stairs are involved: these are another intentional design element, with the fact that you can’t jump or off of them thus having to carefully maneouver on them while dealing with enemies...but when you’re dealing with enemies that have pretty much random patterns like those bone throwing skeletons and with the fact that sub weapons will often refuse to activate while you’re climbing some stairs since the command to activate your sub weapon requires you to hold up on the D Pad and that’s also what you do to climb them

Then there’s the bosses

I must give credit where it’s due: these guys have lots of personality for the time. NES bosses back then were usually not very special: Mario just had you throw Bowser in lava about 8 times. Zelda just had you fight random monsters before you finally reach Ganon. Castlevania actually features completely unique and memorable bosses for each stage a whole year before Mega Man and the fact that they’re all iconic horror monsters definitely helps out

But the actual quality of the fights leaves a lot to be desired: the giant Bat is a joke but ok it’s the first boss. Medusa won’t even know what hit her since she’s the only boss vulnerable to the Stop Watch

The Mummies of Stage 3 are where shit starts hitting the fan: these guys have no real pattern that I know of, they just lumber back and forth randomly and throw bandages at you making the process of dodging them almost impossible. Frankenstein’s monster is even worse: the Creature itself will just go back and forth like a moron but its little helper will start hopping all over the place at complete random and its invincible! This is where the tried and true Classicvania strategy starts shining through: when in doubt douse it with Holy Water

Holy Water, in these games especially, can be disgustingly OP, thus making it the best weapon against the bosses. However using it against them will often require you to do a no-death run of the stage since you usually only find it at the start of the stage (and for the love of God don’t accidentaly pick up another weapon in the process, ESPECIALLY the knife), which can...certainly be an experience though to be fair here: the stages of Castlevania 1 are pretty short and there’s only 6 of them in total

Also Wicked Child is my favorite track in the game, more than even Vampire Killer, come at me!

#youtube #akumajou dracula #my gameplay

[night-city-valentines]

Hi-Fi Rush Review

I knew nothing about this game prior to its release, other than two things - people said it was similar to Jet Set Radio Future, and it was coming to Game Pass.

I've never played JSRF (but I've always wanted to) and I have Game Pass, so I downloaded and booted it up.

I was hooked from the start.

Hi-Fi Rush is an action-rythym game, with platforming, puzzle, and collect-a-thon elements set on the futuristic island owned by the Vandalay Corporation - a robotics company, currently giving out replacement limbs as part of their 'Project Armstrong'. Our protagonist, Chai, signs up for a replacement arm, but a mishap with his legally-distinct-from-an-iPod MP3 player ending up where his heart should be makes him perceive the world to the beat of his rock music. It also makes him Vandalay's Number One Target, as they label him a defect to be destroyed.

This all happens in the opening cutscene.

The game is gorgeous, going for an animation style similar to Spider-Verse, with the visuals being incredibly comic-like. The anime inspiration is also clear, with all the panicked and OTT movements of Chai as he scraps his way out of trouble. Along the way, you run into a host of other characters, such as a robot cat named 808, a badass hacker called Peppermint, a gentle giant called Macaron, and a therapist robot named CNMN (Cinnamon). And they aren't just supporting characters in the narrative sense, they also help you out in gameplay too (well, not CNMN, but what can ya do). Peppermint can crack through energy barriers with her laser pistols, Macaron can bust through walls and knock heavy objects into place, and 808 serves as an understated beat-counter, their lights pulsing along to the beat of the song that's playing.

808 isn't the only musical gameplay indicator, though. The entire world moves with the soundtrack, not just to the beat, but adding flair to the current track, like platforms rapidly shifting, and certain puzzles following their own beat. Even the combat has rythym to it; security lasers with unique timings, having to attack, dodge, and jump on-beat to do more damage and build your score multiplier, and parriable mini-boss moves that let you get a 1-hit KO. Chai's weapon of choice is a guitar made from scrap, and every hit, combo, and parry comes with a musical element.

The story is a fairly standard fare - Chai wants to GTFO, but he can't until he helps Peppermint take down Vandalay. Full disclosure, I haven't finished the game yet (I'm about halfway done), but what I have played I have adored. The game is packed to the brim with charm too. Chai is a quippy slacker, way in over his head, but loving every minute of his adventure. Peppermint is hot-headed, but bounces off of Chai well, and puts him in his place. The 6 bosses of Vandalay are all wonderful too, from the aggressive Southern wrestler-type Rekka, to the obviously JJBA-inspired Zanzo. Like many games nowadays, Hi-Fi's characters like to make meta-jokes, and while I am tired of that as a concept, in Hi-Fi it's sparing enough that I don't hate it (unlike a certain OTHER Game Pass game that also starts with an 'H').

And the soundtrack, oh MAN the soundtrack. It goes hard. There isn't much more I can say! It features both original and licensed music, but the originals are so freakin good I can barely tell the difference. Obviously if you aren't that into rock music, you won't like it, but that's a matter of preference.

With regards to what I DON'T like, I found the part that teaches you about parrying to be way too obstructive. Like, the otherwise fast-paced game screeches to a halt to teach you about this new mechanic, rather than all the other tutorial segments, which are over really quickly. I also find it hard to stay on-beat, even with the optional big on-screen indicator. This may be a problem with my controller, but more often than not I would hit the buttons in time with the beat, but only like 2 out of a 4 hit combo would be on time, which massively brings down your score, which sucks. Also, some of the combos just...don't work? Like I don't know if I really am doing them wrong, but I do the input, and no special move happens. That sucks too. Also I would have preferred to be given the choice to play as Peppermint over Chai but that's just me being nit-picky, let's be honest.

Overall, I have thoroughly enjoyed this game so far. I would definitely recommend trying it out if you have Game Pass, and I'd say it's worth the £30 price tag IF you like the music used. Even then, the gameplay is fun enough that you could mute the music and play to the beat on-screen if you just want a fun hack-and-slash adventure. The game is available on Steam, Windows, and Xbox Series X|S.

Hi-Fi Rush - 9/10

Pros:

- Great soundtrack

- Fun and addictive gameplay

- Wonderful characters and humour

Cons:

- Timings can be a bit wack

- The parry tutorial suuuuuucks

#hi fi rush #review #v reviews #game review #lgbt content #trans content #gaming #xbox #steam #rythym #action #hack and slash #hi fi #rush #:)

[satoshi-mochida]

Dragon Ball: Sparking! ZERO ‘Power vs. Speed’ trailer and gameplay showcase; new systems and 11 new characters announced

From Gematsu

Publisher Bandai Namco and developer Spike Chunsoft have released a new trailer and 13-minute gameplay showcase video for Dragon Ball: Sparking! ZERO, introducing new and returning gameplay elements and 11 new playable characters. The newly confirmed characters include:

Burter

Dyspo

Hit

Jeice

Kakunsa

Master Roshi, Max Power

Nappa

Super Saiyan Broly (Full Power)

Super Saiyan Kale (Berserk)

Super Trunks

Toppo

Elements that the Budokai Tenkaichi series is known for are back and enhanced in Dragon Ball: Sparking! ZERO, and evolved features such as “Skill Count,” “Revenge Counter,” and “Vanishing Assaults” have been added. Here are the details, via producer Jun Furutani:

“Because this game is a genuine sequel and evolution of the series, one of our goals was to preserve the essence of what made the Budokai Tenkaichi series so popular: an enjoyable, dynamic 3D-action battle experience that deeply captures the elements of Dragon Ball. “To do so, in addition to close-range attacks with rush attacks and combos, we kept battle systems such as the Dragon Dash, which enables high-speed movement, the iconic counter system that fans know and love, as well as the ‘Impact Action,’ which allows intense fisticuffs or the exchange of energy blasts. “We have also paid attention to the graphic aspects so that you can enjoy not only the challenge of the battles themselves, but also the fun of just watching battles. “Ultimate Blast is one of the references in terms of stunning effects that can only be achieved on the current generation of consoles. I hope you will feel as stunned as I am by the dynamism and intensity of the Dragon Ball-like battles we have created in this game. “So far I’ve been talking about the elements that we value in the series, but I’d like to take this opportunity to go a bit more into detail on the new features as well. “As I said before, the game keeps the core mechanics of the series, but after some considerations we’ve tweaked some and added new ones to better express the high-speed and authentic battles unique to the Dragon Ball action. Let’s break down four of them in detail using the battle video shown earlier. “One of the biggest changes was to boost the normal movement, making it as fast as the dash in the previous title, and to allow a short dash that lets you move at lightning speed with a button that used to be for dashing. This change opens up more possibilities for movement, attacks on the go, and even more complex actions. In fact, you can perform various actions to suit your style, such as dodging an opponent’s attack with a short dash, unleashing a charged attack, or even a Ki Blast while moving, or linking to a Dragon Dash to pull off a huge move in one go. “Besides the basic actions, this new entry also introduces actions using ‘Skill Count’ that builds up over time during battle. ‘Revenge Counter,’ which lets you strike back while absorbing an opponent’s attack, is an action that enables high-speed attack and defense that are unique to Dragon Ball, as seen in the original story, where characters launch an attack even while being hit. “‘Super Perception,’ a counter command that lets you counterattack in anticipation of various attacks—even Ki Wave types of blasts. Both can only be triggered when you have enough ‘Skill Count,’ and this new element expands the choices you have in the fight and makes the game more fun, while enjoying the distinctive elements from Dragon Ball. “Last but not least, we’ve added a new action using Ki called ‘Vanishing Assaults’ that lets you approach an opponent instantly and swoop in. I’m sure you’ll love this new option at mid-range, where it’s hard to choose whether to attack from afar or get up close and personal. “We believe these new features will make the battles more Dragon Ball-like and more strategic.”

Dragon Ball: Sparking! ZERO is in development for PlayStation 5, Xbox Series, and PC (Steam). A release date has yet to be announced.

Watch the new trailer and gameplay showcase below. View a new set of screenshots at the gallery.

Power Vs. Speed Trailer

English

Gameplay Showcase

English

Japanese

#Dragon Ball: Sparking! ZERO #Dragon Ball: Sparking ZERO #Dragon Ball: Sparking #Dragon Ball Z: Budokai Tenkaichi #Dragon Ball Z #Dragon Ball #DBZ #Bandai Namco #Spike Chunsoft #Gematsu #Youtube

[ladyirisreviews]

Everhood - Review

Everhood is quite an experience and I am very glad I played it, even if I fundamentally disagree with some of its core choices in the plot, but I am getting ahead of myself, this rhythm RPG is quite unique and I recommend playing it without looking up any spoilers.

The plot is a very complicated thing to talk about, and I don't really want to spoil a lot about it, so I will only give you a bare-bones description of it.

You control a wooden puppet everyone calls Red, after a thief steals your arm, you follow them and before long you encounter a frog with a banjo who tests you before you can go on, after you pass his test your objective becomes pretty simple, you need to find the thief and regain your arm, but it's not so simple, also there's stuff beyond that I really don't want to reveal, you will have to experience it for yourself.

Now let's get to the gameplay, it's pretty much "What if you controlled a character dodging the notes of a guitar hero track", of course, it goes beyond that but it was my first thought, you can only move left and right and you also have a jump, and there's pretty much 4 types of notes, normal waves you can jump over, tall ones you need to dodge and black waves, these act the same as normal waves but they are special, which will become apparent why later in the game.

You have an HP bar that regenerates with time, the number of hits you can get in a row and the speed of regeneration varies depending on the difficulty.

This all might sound very simple, but what really makes it special is the visuals of the gameplay, the game warns you at the start about flashing lights, and they really mean it, the visuals can get extremely abstract and psychedelic, the screen can also move back and forth and rotate and various other effects, "crazy" would not cut it to describe how nuts the visuals can get, but also I couldn't begin to describe how genuinely pretty it can look.

This, however, CAN get in the way of the gameplay, on harder difficulties especially, there are visual effects that make it harder to avoid damage, and while I am well aware that was an intentional feature, I just personally don't like when games use visual obstruction as a form of difficulty.

And speaking of difficulty, I would personally recommend playing the game first on the story mode difficulty or changing it when the difficulty spikes up if you decide to play on a harder difficulty, because the spikes are very real and they will make you lose a ton, which could harm the flow for you, I was playing on hard mode and it was fine but there was one fight I just couldn't get past and I decided to change to story mode to not sour the rest of the experience.

But I do have to give props to the game for letting you change difficulties any time you want.

The last thing I want to mention is the music, because dear lord is it good, every single fight in the game has a unique song, and they are all bangers, battles never ever get tiring, and while I might not enjoy all of the songs as much, there definitely are some songs that I especially liked, to the point they became some of my favorite songs in a videogame soundtrack.

So yeah, I'd say this game is pretty much worth playing, and as I said, I really don't want to spoil anything about it, the game is definitely an experience and I want people to go in as blind as possible.

I might disagree with the plot and what it tries to make you feel at some parts of the game, but you might not find those parts frustrating, even after that I a very glad I played it, I was thinking about the ending for several days after I finished the game, so it certainly left an impact on me.

If you play it, please tell me what it made you feel.

#rpg #everhood #rhythm game #review #game review #trans creator #long post #video games #gaming #trans

[legion1227]

Spider-Man 2: Game Review. (Spoilers Below)

Wow….where to begin?

Immediately, right off the bat, this game has made the previous two harder to return to from a gameplay standpoint. Everything from the combat to traversing throughout New York is improved upon overall in this game from both Spider-Man (2018) and Spider-Man: Miles Morales. There's weight to every hit as you're fighting various goons and thugs, and the combos and special moves are impressive. The new ways to incapacitate enemies with gadgets, tech, venom powers, and the symbiote…crime fighting in New York is at a peak here.

The added feature of being able to control and switch back and forth between Peter Parker and Miles Morales, who both feel stellar to play with their unique set of skills, is insane and purely sublime. It's wild how the switch from playing Peter to Miles and vice versa is nearly instantaneous. The scope of the game is ambitious and pays off immensely. Visuals and combat are an absolute triumph for Insomniac, and they should be proud.

Story-wise, we have something engaging. The main story focuses on the Spider-men Peter and Miles. Peter is overwhelmed as he faces some of his most challenging villains in the game, including Kraven, Venom, Sandman, Lizard, and others. Meanwhile, his personal life is hectic in its own way as he tries to grapple with Aunt May's death in the first game, struggling to hold down another substantial job that's not being Spider-Man and being there for those he cares for, like his girlfriend Mary Jane and best friend, Harry Osborn. As for the other Spider-Man, Miles, he faces a similar issue to Peter as he tries to perform his Spider-Man duties after the loss of his father, Jefferson Davis, and basically tries his hardest at multiple points in the game not to straight up get revenge and kill the man responsible for his murder, Martin Li, A.K.A, Negative Man. On top of that, he has his own girl he's crushing on hard, a deaf graffiti artist named Hailey, and he tries hard on multiple occasions, though neglects a lot to work on an essay to help get him into an esteemed college.

Both Spider-Men have plenty on their plates in the main story, but even more so when you take into account the side missions, which are greatly improved upon from the previous two games. The story of the cult and Peter working with Yuri that ends with a tease of another classic Spider-Man villain for the next game towards the end of the story is exciting, the Mysterio challenges with Miles are a fun test of skill, and other missions are different enough to provide a variety of entertainment.

The game has nailed it in so many different apartments. The boss battles are solid, two side missions, one involving an old man reflecting on his long-departed wife, and the second, involving Howard, the homeless man who owns many pigeons, who appeared in the last two games, evoke the strongest emotions and are some of the best-written portions of the game, and swinging through New York has never been more fun. The animations and speed for swinging, the tricks you can perform mid-air, the ability to run along buildings, and the ability to fucking GLIDE have provided one of the best games ever in terms of traversing an open world. It's telling when you put a fast travel system into the game, and you don't ever use it because it's too fun to travel manually.

Do I have gripes with the game? Some. A couple things here that prevent the game from being a complete 5-star game. I mentioned earlier that both Spider-Men have plenty on their plate but truthfully, it feels more emphasized with Peter than with Miles. Peter's relationship with Mary Jane and Harry, and his arc with the Symbiote is more engaging than most of what Miles has going. Miles' most intriguing story, I believe, is his struggle not to snuff the life out of Negative Man, who robbed him of more time with his father. (Though I love Martin's arc from start to finish in this game, and I'm happy he survives to see the end and possibly better himself in the future). It feels the writers and developers gave a bit more of the good story bits to Peter than Miles.

I also don't like how a good chunk of iconic Spider-Man villains established and seen in previous games was murdered by Kraven. I understand adapting Kraven's last hunt needed to establish Kraven as a threat by terminating people that the Spider-Men have struggled with before, but it's a shame we won't see the return of fun, faithful portrayals of Electro, Shocker, Vulture, or Scorpion. However, by the end of the game, it seems to set up a return of Doc Ock and teases of Green Goblin, Carnage, and Chameleon for the third one, which should be a solid roster of villains. But I would've liked to see the return of the aforementioned ones even in minor roles for side missions.

Also, the Miles Morales original suit is ass.

Besides that, it's still an excellent game. Possibly GOTY material. In regards to games that came out in 2023, it's definitely my favorite. (And also the only game I played that came out this year but that's beside the point lmao). I look forward to future DLC, the next game in the series, and hopefully patches of little things in the future like changing the time of day. Overall, 4.5/5.

#review #game review #video games #spiderman #spiderman 2 ps5 #peter parker #miles morales #spider man 2 spoilers #spiderman 2

[ultimablades]

Okay, finally going to jot down my FFXVI thoughts, things I liked and things I wish had been different. No story spoilers so this is more about gameplay/game design choices, but I'm going to put under a readmore to be safe.

Pros:

Loved the main cast of characters. For me, the characters are the most important part of a Final Fantasy game, if i don't like the main party I'm going to have a hard time staying interested in the story. I ended up loving Clive so much more than I was expecting and he's quickly become one of my favorite FF protagonists. He is full of love and his journey was important to me!! Outside of Clive, I fell in love with a lot of the other characters. The Dominants were all so different and had their own unique stories and it was fun getting to learn all about each one of them. And there were so many secondary characters I grew fond of, I was excited to see them again. Also, last note, the main villain design was good. That's all i'm going to say about that.

Along with the characters, I thought the main story was really good. I don't want to say too much about it because I don't want to talk about story spoilers in this post but there were so many epic highs that had me going "Now this is a final fantasy game," nothing hits quiet like SE money does when it comes to jaw-dropping story moments and cutscenes.

I liked the side quests, yes most of them were fetch quests/go kill this monster quest, but that's just how side quests in most games are tbqh. They gave really good lore about both the characters and the lore so I didn't mind doing them. Some of them i think should've been part of msq.

I enjoyed the gameplay, Eikonic abilities are so varied and different, it's fun to mix and match and play around with them. The stagger bar was a good edition, I know FFXIII had something similiar but this reminded me of FFXIV's burst windows in a way, cause I found myself holding my LB4's and eikonic abilites for when I knew a stagger was about to happen. Dodging and parrying were fun once I got the timing for them figured out. I also like that you can't just eat potions and face tank your way through fights.

In that same vein, I liked the look of our ascension grid. Like, just aesthetically, I enjoy the design of it.

The size of the zones was really good I thought. This was another thing that reminded me a lot of FF14, but you basically have a set number of zones that are more "open world," that you can run around in, do side quests, find hunts, kill mobs, etc. None of those zones were too big or too small and I think they struck a good balance between FFXV's massive overworld that could take a long time to traverse and the more linear, straight hallways of previous FF games. Between your chocobo and the obelisks (which are just FF14 aetherytes lol), it doesn't take long to get where you need to go.

Boss design in general was really good. It's hard not to keep making comparisons between FF14 because some bosses literally look like HD versions of their FF14 counterpart and do the same attacks, I'm not mad about it but as an FF14 player I kept going "Hey it's blah blah blah." But boss fights were fun! Especially some of the endgame ones really made me think about my eikon setup and what abilities I needed to use.

Eikonic battles in general I think were a lot of fun and the biggest spectacles in the game. They don't happen frequently enough that I got tired of it, the controls for the eikon are simplified so I think it would have been annoying to do them too much. But they always happened at a story high point, so you're like "OOOOHHHHHHH" when you're doing them. The high point of the game for me was an eikon battle.

Active Time Lore in general. I love it. I'm kissing it. I want it in every game moving forward.

I didn't personally use these but I love the accessibility features they added that do things like making dodging easier, auto-linking your combos together, etc etc. More accessibility features is never a bad thing! This story is good and I want everyone who wants to experience it be able to. And now they've made it so you can turn off the motion blur, which didn't bother me but I know it bothers a lot of people, so I'm glad they included it. Should've been there on launch but hey, better late than never.

Cons:

The pacing in this game can be.....rough at times, in a way that is very FF14. The highs of this game are soooooo high, they are so good, but then the lows are like trying to walk through mud. You will do the coolest boss fight of all time and then the next quest will be "go do this boring task." I don't mind downtime in a story – it's good to have an ebb and flow, you need the slower bits to enhance the epic moments. I just wish they had used their downtime better. Again, it feels very FF14 msq in that regard, if you have played FF14 than you will know what I mean. I mentioned liking the side quests and I wish they would've used some of that downtime to integrate those stories into the main one instead of having them be optional. There is some good bits about our main cast members that you can miss if you don't do the side quests, and I think that could've improved the pacing a bit – slows things down without making it feel slow cause we're still learning about our party members.

The crafting system in this game is a joke. It doesn't matter, it feels like a tacked on afterthought. You don't have to think about it at all. You will never want for crafting material and sometimes you will upgrade your gear only for a stronger item to become available at the shop after the next cutscene.

RPG elements in this game in general are pretty weak. There are no elemental weaknesses or anything of that nature, there aren't a lot of stats, so you don't really ever focus on that, you're just going to use whatever gear is strongest. The ascension tree for your eikonic abilities is cool but beyond that, you don't really have much control over Clive's numbers, you feel me.

In that same RPG element vein, you have no control over your party member's gears or stats as well. This makes sense because who is in your party changes depending on where you're at in the story. I wish I would've had more input in my party's actions though, outside of Torgal who is very easy to forget about, you can't give commands or plan attacks or anything like that. The party is just always AI controlled and will go off and do their own thing. Mainly, I wish there had been more party synergy. This is something that FFXV does incredibly well, and since I just replayed that game before this one, I think it makes it even more stark to me. in FFXV, you can issue commands to your party members called "techniques" and you can do thinks like link strikes that are unique to each party member that really makes it feel like you're fighting together as a team, even if the other characters are AI controlled. I would've loved something like that in this game, party members doing specific team attack when they're near Clive or piggy backing off specific eikon abilities as his. It's very easy to forget they're even there sometimes. I literally just realized as I was typing this, you party members don't even have their own health bars!!! They literally can't die!!! I also wish there was more banter between party members, though that may just be a personal want, cause I loved that in FFXV. Idk I love a good party dynamic in an RPG and there just. Isn't one at all in this game really lol.

This story is really dark at times and I wish there had been more moments of levity and lightheartedness to balance it out. Maybe they just felt like it wouldn't fit tonally but I find having those lighter bits in a dark story can make us care about our characters even more! The story isn't all doom and gloom but there are no classic FF moments of silliness, you know.

Purely a personal gripe – there is no fishing mini game, gotta ding it for that.

Overall though, the game is legit like an 8.5/10 for me personally, I love it. I had a good time playing it. I'm still playing it when I'm not raiding. I'm going to beat it on Final Fantasy mode. I recommend it to anyone who loves Final Fantasy because this is without a doubt a final fantasy story.

I think the things that I listed as cons will be forgotten by most people in six months to a year and what will stick with people is the spectacle that was the boss fights and a story about the deep bonds of love that make us who we are.

TLDR: Game good

#FFXVI Thoughts #No Story Spoilers #Me about every Final Fantasy: It's a game about love #Sorry it's so long #I had many thoughts

[bloggingbrin]

Repost note: When I originally published this article it had some nice gifs. I'm sorry but they are lost to time and space. Hopefully you can just imagine them in your head. Love, Brin.

0) What is Magnetizer

It’s a small game that I made for a 3 hour jam. I really liked the core concept and wanted to expand upon it. It was a platformer, but you are a magnet.

I decided to go with a minimalist approach to the gameplay. Essentially there we no other mechanics added to the game.

This meant that what I wanted to do during the next few wees of development was: – Make the game as juicy as possible – Create levels that use the core mechanic in a lot of unique ways – Create a good pacing for the game – Work on “supplemental” features (saving, high-scores, achievements…)

1) What went right

I really wanna pat myself on the back here, but I think **visual juice*** was something that I did a good job with. What was just a block spinning later becoming a loving rectangle that wiggeled and waggled based on the player’s input, squished when it hit a wall and splatted the floor with color when it hit an obstacle.

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Towards the end of the development I really hit the home run. Thanks to a friends encouragement I added eyes and a mouth to the magnet. While this is recommended even in the classic “juice it or lose it” I didn’t want o do it at first. I didn’t want to “commercialize” the game. I felt like doing that would ruin the minimalist aesthetic of simple

Besides this being juicy visually, I think the core mechanic of the game was really strong and I am happy that I did not succumb to feature creep. Good job me, stay lazy on feature implementation 🙂

*I believe that I could have done a much better job at audio juice as well, however, for my next project I have an audio god on my side so that’s gonna be covered.

2) What went bad

Online stuff is hard.

When I uploaded the game to itch.io I had a high-score system that used google forms as a “back-end”. It would send data to a google form when a speedrun was completed that would submit it to a spreadsheet.

This spreadsheet was supposed to act as a sort of back-end system for the high-score that the game would pull data from.

This was a solid plan and maybe someone with more programming knowledge would be able to execute on it easily. However, I was f*ing lost. I lost about a week of development time trying to get this work, to no avail.

In the end the itch version linked to the spreadsheet instead of having an in-game high-score. This broke half way through and I don’t know how to fix it. The newgrounds version ended up using their built in highscore system, which worked quite well. Occasionally it reports an impossible time like 10 seconds, no clue how but hey I can manually remove those times so that’s nice.

Level design

Level design is also hard. I felt like one of the goals I was not able to achieve was teaching the player how to correctly play the game. From anecdotal evidence, players usually have the most trouble at level 4.

They are required to spin and then, spin again while still using the momentum from the first push, to travel further vertically. This is a core concept of the game that is used in other levels to allow the player to finish the level faster or to reach some of the hearts. 

In my anecdotal user testing players completed this level without understanding what they did or they failed to complete the level.

I tried to amend this by introducing level tittles, this one being “Two spins = high jumps”. However, this was really dirty and the level itself didn’t really teach that to the player.

Reflectively, I should have put more of the obstacles that require the same trick to get the player to “get it”.

3) What I’ll do next time

A few bullet points for myself:

I will do even more playtesting

I will spend more time creating levels

I won’t waste time on high-score systems

Make sure that my code base won’t be super messy

Throw away the 3 hour prototype, build it from scratch next time!

  Got to the end? Thanks for reading!

Now go play my damn game.

#brindoes #blogging #postmortem #gamedev

[pangtasias-atelier]

F/E/6 Thoughts

FE6 is nowhere near as hard a game as it's made out to be, just a few rough patches and outside of those, it's basically playing fe7 with less features but with more interesting maps. It definitely isn’t the first game to play out of the gba ones, and not just from it being exclusive to emulators. But it is still a very enjoyable game to replay.

When it comes to story, 6 has probably the blandest storyline because all it really is is a rehash of the first game but it actually manages to work fine despite that. It at least gets straight to the point and does what it clearly wants to and even manages to throw in a twist at the end. I will say that even if the game does what it wants to, the story is rather lacking. Especially when it comes to Zephiel and Giunevere’s character which is a bit disappointing. And a huge portion of that is from getting to see them in fe7 and minor portions to see what causes fe6 to occur. And when it comes to Roy, he’s in the same boat of lacking much characterization beyond typical fe lord. Also, the story has huge pacing issues where the Western Isles/Etruria arc of the game feels like it lasts forever since it also bleeds into the Illia or Sacae route split whereas Bern lasts one single map before you take on Zephiel and do some last golden route exclusive maps. The game could definitely be helped from having a few extra chapters to spread out and add some story bits and also help spread out recruitments which feels tedious as a result of having a huge cast crammed into a slightly shorter game.

But in terms of gameplay, fe6 definitely feels much more different when it comes to gameplay since because of pretty crappy hit rates and slightly stronger enemies, enemy phasing a bunch of units isn’t as viable in fe6 compared to 7 & 8. At least until a certain point because juggerauting changes everything. I will say that replaying fe6 felt the most different since I actually got out of the usual “bad” habits of like beginner players such as feeling that it’s mandatory to get units to level 20 before promotion and also unwilling to use more rare items. Promoting at level 15 and being stingy with exp basically meant that most of my main team was promoted by chapter 8x lol.

FE6 reminded me that unique promotion item is simultaneously a fun mechanic that has you weigh (hehe) each unit compared to a select others to see who should be promoted first. Unfortunately, fe6 hands out a few promotion items in certain classes which does suck quite a bit. Magic classes definitely suffer the most from this since you don’t get the second guiding ring until the end of chapter 14 and by that point, you already have 7 magic units fighting for said item. Same with the hero crest. It would be nice to have an option to change having a unique grouping of promotion items or everyone uses the same item but like, it’s not the biggest deal.

Playing on hard mode definitely is a bigger struggle when it comes to difficulty but it doesn’t change the game all that much since the biggest difference is reinforcement changes besides buffed stats. However, it also changes the game rather heavily since recruitable enemy units have a glitch where they get buffed stats. But only recruitable enemies that are reinforcements, so there are like 3 recruitable enemies that don’t get said bonuses. And because of these hard mode bonuses, it basically skyrockets certain units into being ridiculously broken. Which is fun and is a nice bonus to play hard mode to get a much better Rutger, Miledy, and Percival. The access to broken units definitely does trivialize a large amount of maps, but each one still manages to feel different at times. And said ideas are repeated back in fe7 as a throwback which is nice.

Replaying fe6 definitely made me appreciate it a lot more despite its flaws in story since the core of the gameplay is pretty fun since there’s a bunch of options available to the player and two small route splits to help vary it. Also, once again I feel contrarian since I prefer Elfin’s route cause he cute and I also prefer Sacae even if it’s much harder than Illia.

Also like basically most other game, flyers are best units lmao

#random

[themattress]

My Top 30 Favorite Video Games

Inspired by @ultraericthered’s Top 30 Favorite Anime post. 

Although I’m doing mine in countdown form, ‘cause it’s more fun that way!

30. Super Mario Bros. - Arguably the first “blockbuster” game to be released, not only does Super Mario Bros. still hold up over 35 years later but it’s a gift that keeps on giving with how many different incarnations, remixes, fan games using its assets, etc. that we have now.

29. Phoenix Wright: Ace Attorney - OBJECTION! While I cherish the entire original Phoenix Wright trilogy of the Ace Attorney franchise, I’ll always be the most partial to the original outing. The sheer audacity and hilarity of the concept, which is grounded by endearing characters and compelling mysteries, shines brilliantly in this little, easily accessible game. 

28. Trigger Happy Havoc: Danganronpa - While similar in many ways to Ace Attorney, Danganronpa boasts a variety of more actual gameplay than mere point-and-click text scrolling. But what really makes this stand out, beyond gameplay or even the strength of its concept, story and characters, is the atmosphere it creates. For good and for ill, traversing the pristine, neon-lit hallways of the abandoned Hopes Peak Academy looking for clues as I’m forced to play by Monokuma’s twisted rules is an experience that will stay with me forever.

27. Star Fox 64 - Beyond all the entertainment this game provides through memes, it’s really just a fun, reasonably simple but just moderately complicated enough game that’s accessible to any player even if they usually don’t go for aerial shooters. It’s also one of the earliest console games that I ever played, so of course it’s going to hold a special place in my heart.

26. Batman: Arkham City - It’s an impressive feat when an open world game can still feel so claustrophobic in all the right ways, and that’s what Arkham City accomplishes. This game is essentially The Dark Knight to Arkham Asylum’s Batman Begins, escalating the action, suspense and sheer Batman-ness, providing unlimited opportunities to enjoy yourself playing as Gotham’s defender and facing down the greatest Rogues Gallery in comic book history.

25. Red Dead Redemption - Look, I know that Red Dead Redemption 2 is technically the superior game. But its complicated story, sprawling cast of characters, and vast canvas of a world can be pretty daunting, whereas I feel like the original Red Dead Redemption struck a much better balance. Allowing open world freedom within the confines of the straight-forward story of John Marston’s redemption really makes you feel like you’re in an old Western film, and the way that choices you make as a player impact the way that film ultimately turns out is one of the strongest arguments for video games being worthy of consideration as true art.

24. The Elder Scrolls V: Skyrim - So, ten years ago an open world adventure video game series releases its fifth entry...and to this day, we’ve had no sixth, in favor of expansions and updated re-releases of said fifth entry. But that’s not a sign of laziness; it’s a sign the developers know they hit such a peak in quality that they have no need to rush anything further out the gate, as Skyrim is a gift that keeps on giving. Addictive in how unlimited in possibilities it is, with each playthrough never being the same as the one before, Skyrim is a gaming masterpiece that I don’t think I’m going to get bored with playing anytime soon.

23. Super Paper Mario - This may be an unpopular opinion, but I vastly prefer this game’s action-platform-RPG hybrid gameplay style to the prior installments’ traditional turn-based RPG style, which feels more at home in stuff like Super Mario RPG and the Mario & Luigi series. But gameplay aside, I think this has the strongest story of any Mario game, trading in the usual “save the kingdom/princess” fare for saving all of reality, with legitimate emotion and drama and even character development. It’s one of the Wii’s shining gems, to be sure.

22. Epic Mickey - This game’s graphics are by and large unremarkable, its gameplay is fraught with issues (that camera is unforgivable), and it’s nowhere close to the best on its system or genre. But Epic Mickey is a case study in where the effort put into crafting the game’s world and story, not to mention the obvious love and respect for the material being worked with, pays off. Any Disney fan will love this game for its story, which puts Mickey front and center as an actual character rather than a mascot and dives deep into his history as he meets his “half-brother” Oswald the Lucky Rabbit, and its mystical, unique atmosphere - what the graphics can’t deliver, the fucking music more than makes up for. All of the game’s flaws mean nothing compared to the sheer heart on display, and I treasure it greatly as a result.

21. Batman: Arkham Asylum - I already mentioned that Arkham City is the superior game, but as was the case with Red Dead Redemption and its sequel, personal preference strikes again. The simpler story and narrower confines of Arkham Asylum just appeal to me slightly more, and I feel like the borderline horror atmosphere this game has could never fully be replicated by all of its sequels and spin-offs. Also, you can play as the Joker in this. WIN.

20. Metal Gear Solid - And on the subject of Arkham Asylum, it owes much to this game, which created the template of a lone badass hero having to use stealth and weaponry to liberate a government-owned island from the lunatic terrorists that have taken over. Hideo Kojima famously never wanted this game to have any sequels, and I can definitely see his point, as it’s a complete and wholly satisfying experience in of itself and I don’t feel like it’s ever been topped. At the very least, it’s certainly the most enjoyable of the series to me.

19. The Legend of Zelda: Majora's Mask - Also, speaking of “borderline horror atmosphere”, we have the freakiest game that the Legend of Zelda series ever put out. What was supposed to just be a gaiden to Ocarina of Time mutated into this beautiful monstrosity that’s become just as iconic. Nobody who plays this game is ever going to forget that fucking moon and all the constant jumping back and forth in time across three days as you try to prevent the apocalypse of Termina. It’s the kind of gaming trauma that’s well worth experiencing.

18. Kingdom Hearts: Chain of Memories - Like Majora’s Mask, this game is a case study where you can take a bunch of recycled assets and gameplay, and then make something unique from it if you have a well-crafted story with a dark and disturbing atmosphere. It’s hard to experience or appreciate the transition between Kingdom Hearts and Kingdom Hearts II without playing this midquel, which takes the narrative and characters to deeper levels without being pretentious about it and sets the stage for the proper console sequel perfectly. And if you can’t get into it being on Gameboy Advance, then just play the PS2 remake (which is arguably the superior version anyway) and you’re good! Just...don’t mind the cards, OK?

17. Sonic CD - And now we have another game about jumping back and forth through time to prevent an apocalypse! See the common threads at play here by this point? Sonic the Hedgehog is at his best in 2D gameplay, and I personally enjoy this the best out of all the 2D games in the series. As obscure as the Sega CD was as a system, it was powerful enough to take the blue blur’s speed to its maximum level, set alongside beautiful graphics and a kick-ass soundtrack (well, two different kick-ass soundtracks; and I actually prefer the US one). 

16. Pokemon Black & White - While there were advancements made to story and graphics and gameplay features in the third and fourth generations of the Pokemon series, nothing felt as truly ground-breaking as the second generation games until the fifth gen with its Black & White games. This was arguably the game series’ peak in quality on all fronts, but its specifically the story that lands it on this list, as its well-written and paced, subverts many formulaic elements from the previous games, is set in one of the most unique regions in the Pokemon world, and has a timeless message that has only grown more relevant with age. 

15. Super Smash Bros. Ultimate - The whole series could really go here, but fortunately the most recent entry is the perfect embodiment of said series, with every playable character there’s ever been and then some. The sheer variety is unmatched by any other fighting game out there, and its story mode, “World of Light”, is quite possibly the greatest video game crossover in history given how many characters are featured as both fighters and spirits.

14. Super Mario 64 - I’m pretty sure this game used to be higher in my favor, but replaying it on the Nintendo Switch recently has made me aware of how, as the first game on the Nintendo 64 and the first 3D platformer, it’s poorly aged in several areas. However, I must stress that it is still a very good game. The fun of going to the various worlds within paintings in Peach’s Castle hasn’t changed, nor has how smoothly and seamlessly Mario managed to make the jump from 2D to 3D. Just like Super Mario Bros., the number of games that owe something to this one is too great to count, and that’s an achievement that remains timeless.

13. Dark Chronicle - Also known as Dark Cloud 2. I hadn’t heard a damn thing about this game before renting it on a whim many years ago, and I was caught off guard by just how good it was. It’s got a simple but effective story and likable characters, a timeless atmosphere, beautifully cel-shaded graphics, dungeon-crawling gameplay, action-RPG combat gameplay, literal world-building gameplay, and even a fishing minigame! This game can actually stand besides the Zelda series without shame; it’s truly an underrated gem.

12. The Legend of Zelda: Twilight Princess - Oh, speaking of Zelda, this game goes full Lord of the Rings-style epic fantasy with it and it is glorious. Between the near perfect gameplay, beautiful 3D graphics, and one of the best stories in the series (with one of the best characters: Midna), Twilight Princess’ most prevalent complaint from critics all the way up to its own developers is that it wasn’t even MORE expansive and awesome given how long it was hyped, and if that’s the biggest issue with the game then I’d say it’s in pretty good shape.

11. Super Mario Galaxy - Super Mario 64 may be held back a little by how its aged, but no such thing is holding back Super Mario Galaxy. Super Mario Odyssey might be as good or possibly even better, but I just don’t hold the same feelings of amazement and respect toward it that I do for this game. From the blitzkrieg-style attack on the Mushroom Kingdom by Bowser to the discovery of Rosalina’s space station, this game had me hooked from the first few minutes, especially with it blaring that awesome orchestral score the whole way through. To this day, I maintain that this is Mario’s greatest 3D adventure. It’s simply magnificent.

10. Final Fantasy X - Ha! See what I did there? This game has caught flak for some of the awkwardness that comes from being the first fully 3D entry in the series, but I think that’s tantamount to nitpicking when compared to all it does right. To me, this was the last really good installment of the main Final Fantasy series, with a story and world so brilliantly developed that the game earned the immediate breakthrough success and acclaim that it found in its native Japan. 20 years later and, as the HD remaster has shown, it still holds up as one of the most engaging JRPG experiences I’ve ever had the pleasure of having.

9. Banjo-Kazooie - At the time, this was basically Rare’s copycat version of Super Mario 64, although considered about as good. Now, however, there’s a difference: the aging issues I mentioned for Super Mario 64 don’t apply for Banjo-Kazooie. Whether replaying it on the Nintendo 64 or on whichever Xbox you’ve got, this game is still just as fun, imaginative and hilarious now as it was back then. It’s quite possibly the greatest 3D platformer ever made.

8. Pokemon Crystal - The definitive edition of the Gold & Silver games of Pokemon’s second generation, taking what was already a phenomenal advancement and improvement to the first generation and making it even better with additional features such as the ability to play as a girl for the first time and a more clearly defined storyline centered around the legendary Pokemon featured on the game’s box art. Pokemon had been written off as just a passing fad up until this point. This was when its staying power as a video game juggernaut was proven.

7. The Legend of Zelda: Breath of the Wild - Talk about a win right out of the gate for the Nintendo Switch! This game returns the Legend of Zelda series to its roots while also applying all that has been made possible in video games since the original game’s release, and the result is an enthralling, addictive, open world masterpiece that has set a new standard of quality for both the Zelda series and for many modern video games in general.

6. Kingdom Hearts II - The Final Mix edition to be precise, although in this day and age that’s basically the only edition people are playing anyway. This game is the apotheosis of Kingdom Hearts as both a video game series and as a concept; filled to the brim with Disney magic and Square Enix RPG expertise and paired with some of the most refined action-based gameplay there is. And when it comes to bringing the original Kingdom Hearts trilogy’s story to a close, does this game ever stick the landing. The series could have ended right here and I would have been completely satisfied (and its reputation would be a lot better off, too!)

5. Pokemon Yellow - While I maintain that this game, the definitive edition of the original first generation Pokemon games, still holds up as fun to play even now, I’ll admit that it’s pure bias that it ranks so high. It was the first proper video game I ever played, there was no way I was leaving it off the top 5! Its blissful nostalgic atmosphere is always such a delight to return to.

4. Banjo-Tooie - Remember when I said Banjo-Kazooie was “quite possibly the greatest 3D platformer ever made”? The “quite possibly” is because its in stiff competition with its own sequel! And personally, I’m in Banjo-Tooie’s corner; something about how inter-connected its worlds are and the addition of so many things to do all while maintaining your full moveset from the original game is just beautiful to me. Both it and its predecessor are like obstacle courses that I never tire of running through, which is the hallmark of brilliant game design.

3. Kingdom Hearts - Another case where the sequel may be the superior game, but my own personal preference leans toward the original. And in this case, it’s a highly personal preference: this game and my memories of playing it for the first time are so very dear to me. The characters and worlds of Disney put into an epic crossover RPG was like a dream come true for me and no matter how far the series it spawned has deteriorated, nothing can detract from the magic of this game. It’s got a certain, indescribable feel and atmosphere that’s never truly been replicated, and that feel and atmosphere still holds up whenever I revisit it. The gameplay may not be the best, particularly when compared to Kingdom Hearts II’s, but the charm of the story and the characters and the world and the very concept more than makes up for that. As far as I’m concerned, it’s one of Disney and Square’s greatest masterpieces.

2. Final Fantasy VII - I was aware of the hype this game got and was totally ready to call it overrated, but damn it, it got me! I don’t know what it is about this game with its blocky early 3D graphics, poor sound quality to its excellent soundtrack, and frequently mistranslated script that proved to be so gripping and enjoyable to play through, but man did it ever Limit Break its way into my heart. This is considered a JRPG classic for a damn good reason.

1. The Legend of Zelda: Ocarina of Time - Do I really need to explain this one? It’s famous for being frequently cited as one of the greatest video games ever made, and like Final Fantasy VII, its hype is well-deserved and totally justified. Whether you’re playing it on the Nintendo 64, the Gamecube, the Wii, the 3DS, and hopefully the Nintendo Switch in the future, there is a magic quality to this game that permeates through every step you take in its fully 3D world. It’s a triumph that has stood the test of time, cementing the Zelda series as truly legendary.

#Video Games #Opinion #Analysis

[britesparc]

Weekend Top Ten #497

Top Ten PC Games No One Talks About Anymore

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#top ten #games #pc games #fps #shooter #strategy #1990s #2000s

[prorevenge]

Ridiculed, accused of lying and incompetence, I shoved burning facts down their throats and made a successful business in the process.

"The best revenge is massive success." -Frank Sinatra

TL;DR; Told I was lying and didn't know anything about game design. Made a spite video game that became a huge hit. Jackass is also forever immortalized within the game credits.

PREFACE

This is a very unusual story compared to the typical posts you've read here. There's a lot to unpack but I'll try to summarize everything as best I can.

I hope you'll find it as entertaining as I did. And, what's great about this story is that it happened very recently, it happened here, evidence is searchable, and it's still kinda on-going. It's a tale of trolls, video game addiction, self-righteous arrogance, harassment, winning an impossible bet, a viral hit in Russia, and massive success with even some little revenge sprinkles for added measure.

Quick background about me: I've worked with game developers for decades and I'm an avid researcher and supporter of unorthodox and ethical video games used for educational and clinical purposes.

HOW IT STARTED

Two months ago, there was a new reddit post about "using video game to ease depression" that caught my attention.

The reason it caught my attention was because it was a game & study that I had in-depth knowledge of (from over a year prior.) Unlike everyone else in the thread, I was the only one who had actually seen the game, played it, knew the developers, and even had the original technical game design documents.

The article discussed a variety of topics but never addressed exactly HOW the video game was able to ease depression. So, I provided a quickly summary of what the game actually did.

[SKIP THIS SECTION IF NEUROSCIENCE & GAME DESIGN DON'T INTEREST YOU]

A quick side note about this article, for those that like extra details: One of the cool properties of ketamine is that, not only can it provide rapid and temporary relief for depression, it also actively heals damaged brain circuits. Then there's dopamine. A chemical that we internally produce, that has similar but less potent effects. There is no cure for depression, but these are promising treatments for some. The article focused on what's called "flow". Using certain game design methods you can induce a "flow state" by causing a sustained dopamine release. When used ethically, it can be highly beneficial in stimulating/training the brain to perform certain activities, improve or learn memorization, adapt to challenges, learn new concepts, exercise motor skills, and meanwhile rebuild pathways/synapses. While all of this is happening, the user is receiving pleasurable rewards without realizing it. This process can create new pathways, repair old circuits, and increasing their neuroplasticity. Increased neuroplasticity means improved cognitive functioning, reducing impairment of the reward process, and improving the effectiveness of antidepressant medications. Video games can be a unique non-drug option to accomplish this while easing symptoms. Research has already shown that many popular games can already accomplish this (unintended effects by the game developers). By comparison, the game design they used in this theoretical study was highly limited in scope, so permanent benefits were negligible compared to the temporary respite brought about by basic dopamine release. Science is still barely scratching the surface of neurotransmitters and flow state. There are still many unknowns, but dopamine isn't just a pleasure chemical that the media would like you to be believe. It can do quite a number of things. Research has shown that "flow state" can modify synaptic plasticity, improve connectors between cells/synapses, ultimately helping cells in the brain communicate better as a network and improve neural system intrinsic properties.

My summary posting was fine for a while, until predictable trolls arrived led by an "armchair game developer". Dr. Armchair definitely did not appreciate my post. It was an affront and insult to his profession. Within a few minutes, it dropped 30 karma. I don't care about imaginary internet points but I don't like being accused of lying. Dr. Armchair and his pals started with the usual "do you even lift?" Then it was quickly asserted, from their armchairs, that I knew nothing about flow, psychology, dopamine or game design at all. From their high horses, they contributed nothing useful; only taunts, defamation, attacking my character and physical appearance, and accusing me of being a liar and incompetence.

Apparently it was a very sensitive topic. Who knew?

It quickly devolved into Dr. Armchair gleefully, and repeatedly claiming, that he won, he was right, and I was wrong. He demanded that I essentially write a 300 page peer-reviewed study to prove him wrong, and when it couldn't be provided within 5 minutes, there were more gleeful cheers of "HAHA! I WAS RIGHT! I WAS RIGHT! I'M NOT LISTENING TO YOU LALALALALA.."

Obviously, it was going to be impossible to reason with Dr. Armchair and his buddies. But actions speak louder than words.

So, I claimed that I would provide undeniable proof in the form of a video game "a few months from now" that he could actually play for himself. Once again, claiming that I was lying and it was impossible. And more of the usual "It's been 5 minutes, where is it? Oh, you can't do it can you. HA! I was right! I BEAT YOU! I BEAT YOU!"

It was weird.

Eventually the mods had enough. Dr. Armchair and his cronies harassment, ad hominem attacks, accusations and inflammatory attacks resulted in multiple posts being removed. But my promise still stood and I fully intended on keeping it.

THE BOLD CLAIM

The plan was simple:

Create a proof of concept that demonstrates just the critical neuroscience principles that induce flow. To prove it beyond a doubt, I intended to also prove that MOST COMMON INGREDIENTS of a game are completely UNNECESSARY to accomplish this.

So, I made the very confident claim that the game would still be fun, addictive, and demonstrate flow state, even after ripping everything out:

No extras or frills. Built within a short period of time.

No music. No sound effects. No animations. No story.

No expensive art. In fact, hardly any at all: I would use ONE SINGLE ART ASSET for the gameplay (plus some lines.)

No feature creep. No sign-in system. No gacha mechanics.

No level design. No achievements. No RPG gamifications.

I could get at least a couple hundred people to play it.

I should have also mentioned that it would be built with ZERO BUDGET and NO MARKETING.

If this sounds like a strange way to make a game, it is. For a typical game developer, this would raise many eyebrows, and they'd consider it highly risky or improbable to achieve any success with both arms figurately tied behind your back while blindfolded.

HOW IT ENDED

While I was preparing to stress test the game online, it was discovered by .ru bots that were scouring the web for new games. Even before the game was ready, they published the game link on several Russian gaming sites.

The game exploded.

It has graphical similarities to Tetris, so it was a nice coincidence that the game essentially launched and did so well in Russia at first. After that, other game sites started discovering the game on their own too, even before I had a chance to submit the game myself. Most importantly, the proof of concept and everything I claimed worked (high ratings and retention). It proved so effective that the game is currently being played by hundreds of thousands of users worldwide. And it's a clear demonstration about the importance of combining psychology and game design.

I suppose you could say that there are many layers of revenge happening here, maybe even karmic justice or backfiring on their part, it's really hard to classify. The best kind of revenge is always massive success, and shoving it in their faces, however. But, on top of that, I also fully kept to my promises while proving these ignorant individuals so wrong they look like fools.

I also added some extra salt to the wound. I figured that success of the game was partly due to Dr. Armchair's ignorance. It was only fair that I included his name within the Game Credits. So, I officially gave this very wonderful human being a very "special thanks" for their support in making this success possible.

(source) story by (/u/postfu)

#prorevenge #by /u/postfu #pro revenge #revenge stories #pro revenge stories #pro #revenge #last10

[tf2workbench]

Random critical hits

You probably have an opinion on them, no matter what kind of games you like. I sure do. 

With this post, I intend to do more than just say what I think; I want to dive in and figure out how critical hits work with players’ emotions and enjoyment.

To start off, I want to emphasize that critical hits go back to the earliest tabletop RPGs, especially Empire of the Petal Throne. Muhammad Abd-al-Rahman Barker (also known as “the forgotten Tolkien” for his extensive worldbuilding and academic credentials) incorporated critical hits as a way to “simulate the ‘lucky hit’ on a vital organ.” In short, it’s a realism thing. 

Mechanics that originated in tabletop games often, as computers became more advanced, spread to the digital world. Critical hits came with them. (Unfortunately, although my training is in history, I’m not an expert on the evolution of video games. I can’t confidently locate the first digital game to have critical hits, but I know it was present as far back as the early ‘90s.)

Are they good? The purest form of crit is simply random. In TF2, most weapons have a chance to crit. The chance increases with damage dealt - up to 12% for ranged weapons, provided you’ve dealt 800+ damage in the last 20 seconds.

This is discussed in the in-game developer commentary, specifically Kelly Thornton’s node on Gravel Pit:

“Critical hits are one of the features that resulted from our focus on pacing. The critical hits system attempts to slightly influence the highs and lows of the game by increasing the chance of a critical hit based upon the player's recent performance. In summary, the better you're doing the more likely you'll continue to do well. This helps create those rare high moments where a single player goes on a rampage and gets three or four kills in rapid succession.”

Here we can see that critical hits are one of the ways that gameplay can temporarily get more exciting, creating what Thornton calls a “high moment.” Let’s break that down in emotional terms.

When a player gets a random critical hit, they experience an unexpected surge in power. For most people, this is quite a rush, almost like adrenaline. Since crits can often turn the tide of a difficult engagement, they may go on to have other successful battles rather than dying in the previous one, creating a series of good feelings for the player. Crits aren’t reliable enough to keep you alive forever, especially against skilled enemies, but they can help.

(Admittedly, I always feel a little guilty when I get a random crit. But only a little.)

On the flip side, when a player gets hit by a random critical, they usually experience a negative feeling. A lot of people have a need for stability and at least a degree of control - although this is mostly important for our physical lives, it also comes into virtual environments. Crits disrupt that sense of (relative) predictability that comes from having stable, roughly-universal game mechanics. Oftentimes, there’s nothing you can do to defend against a random crit, which gives a feeling of helplessness. Because of this, they can cause dismay, fear, and anger to the players on the receiving end. This negative feeling is often proportional to the experience you missed out on by dying - if it interrupted a massive killstreak, for example, it tends to hurt more.

It’s these dueling feelings that come into play when randomness is factored in. Is it better to give one player a powerful high at the cost of another’s low, or is it better to give everyone an experience with no randomness?

That is a very broad philosophical question that I have no idea how to properly evaluate. But I can say what I think about TF2′s unique system.

Weighting crits by previous damage dealt tends to reward certain classes over others. More importantly than that, it tends to reward players who are better at dealing damage. This means it tends to favor those who can aim better, giving them an edge over newbies. I can’t say I like this; it’s better to give less-skilled players a chance to upset the game, since being on the receiving end of a curb-stomp is even less fun than dying to a random crit. The good news is that anyone can crit, providing that opportunity for an upset, but it’s more common for higher-damage (ergo, usually more skilled) players.

But remember that this is based on damage dealt (or healing, in the case of the Medic). This means that players are rewarded for playing aggressively rather than hanging back. It’s small motivation compared to, say, a ticking map timer, but it’s a factor that helps make gameplay much faster and more interesting. So there’s facets to random crits that prevent me from immediately saying yes/no.

Crits done right I can say when critical hits (as a whole, not just random ones) are done well. TF2 actually provides a great illustration of this even while having more debatable random crits.

Critical hits are a great design choice when they’re predictable (on both sides) and in response to a specific condition. This gives that “high” of massively boosted damage, but puts you in control of it. Similarly, the opponents have more control over their experience - they and their team have ways to stop or avoid critical hits. As an example, when you see an Engineer brandishing a glowing red shotgun, you can run. Or you could have worked to destroy that sentry before it got kills. Dying to it hurts, but it doesn’t feel particularly unfair; this means that the “low” is much higher less low.

Similarly, I can also compliment how crits work on melee weapons. The chance is much higher - starting at 15% and scaling up to 60% with damage dealt - which makes melee crits something you can almost plan for. A 12% chance of a crit rocket is hard to properly gamble on; you can’t exactly avoid every Soldier for fear of being splattered. But a 60% chance of an uppercut punch to your face? That you can predict and more easily avoid.

Melee weapons are also a lot easier for the opponent to control. Most classes have good ranged options, meaning that those who choose to walk in with a melee weapon are quite literally bringing a knife (or bat, fist, bonesaw, whatever) to a gunfight. This means you can usually see the attacker coming before they wallop you; it’s never “out of nowhere” unless you made a mistake.

Melee random crits aren’t perfectly done - they’re still an element of randomness in an otherwise pretty uniform-rules game - but they’re much better than ranged random crits. They, alongside guaranteed crits on certain weapons, are a great way to give players powerful positive feedback while not hurting the opponents’ feelings (at least too much).

In short: are random crits good? I can’t say, but I can present my analysis of what they do. Are melee crits good? I’d cautiously say yes, but draw your own conclusions. Are guaranteed crits good? I’d say yes, but you know... draw your own conclusions. Maybe there’s something I didn’t consider!

Finally, I want to give a major thanks to @operaland for suggesting I talk about this - I love getting feedback, and I’m happy to chat with y’all!

#tf2workbench #tf2 #team fortress 2 #critical hits #random crits

[self-loving-vampire]

Ultima IV: Quest of the Avatar (1985)

Ultima 4 is a very historically-significant game, as well as being where the Ultima series cemented itself as something truly unique. Where the previous games in the series (as well as the RPG genre in general) often dealt with defeating some kind of evil overlord, Ultima 4 has no antagonist and instead calls on you to perfect yourself and embody a set of eight moral virtues.

Summary

You start the game by answering several moral dilemmas to determine your class and starting location. You are then transported to the fantasy land of Britannia to embark on a spiritual quest to become the Avatar of virtue and read the Codex of Ultimate Wisdom in the Abyss.

To do this, you must master eight virtues and understand the three principles involved in them.

The game has been widely ported but I will be reviewing the free version available from GOG.

Freedom

Ultima 4 is an extremely open game in many ways. There are eight possible classes and each is rather different, with a unique starting location. Most importantly, all of the many tasks the game asks you to complete prior to the final descent into the Abyss can be done in any order you desire.

You can maximize your virtues in any order, explore dungeons in any order, travel the world as you wish, find the runes in any order, and etc.

So all in all, this game is very non-linear when it comes to exploration and objective order.

Note, however, that due to the way this game is designed it is not actually very replayable. Even if the initial experience is different for each class and you can complete the game’s many objectives in any order, those objectives are still the same and they all do need to be completed by the end. There are no alternate ways to complete any objectives.

By the end of the game, you will be playing largely the same way regardless of what your initial class was or what order you did things in.

This is made worse by the fact that ranged weapons completely dominate the game. There is little reason to use melee if you have the option to use ranged weapons.

Character Creation/Customization

Besides your name, gender, and choice of class, you cannot really decide anything about your character. Once in-game, you also don’t have that many options for upgrading your party besides obtaining better equipment and finding magical orbs in dungeons.

That said, the game does get some points for the variety of classes and for how radically some of them can affect your experience, particularly in the early game. 

The most striking example is the Shepherd class, which you get for having humility as your favored virtue during the character creation questions. Shepherds are terrible at everything. They can’t use magic at all (most other classes can to varying degrees) and are awful at combat, having a very limited selection of weapons and armor available. They also start in a ruined island populated by monsters. It is basically the game’s “hard mode.”

You can answer these same questions and find your class here (the link says Ultima VI but it’s really the same ones as far as I can tell, or at least close).

Story/Setting

The game world is reasonably large and memorable, but to be honest the setting of the Ultima games has always been on the more generic side, even if some of the games in the series are pretty immersive. The virtues introduced in this game are really the primary spice on the game world.

It is a medieval fantasy setting with all the staples: Fireballs, orcs, dragons, liches, skeletons, and so on. It does have a few less common creatures as well (like balrons and zorns).

A generic fantasy setting is not necessarily bad, but it is not particularly good either. It is just the baseline as far as I am concerned, and can be boring on its own if you are not drawn in by anything else a game offers.

In this case, the setting is not really the game’s selling point so much as its unique objective. It is also still a massive improvement over some of the earlier games in the series, which feature things like space travel and time travel.

Another point in favor is that the towns scattered throughout the land are not just generic fantasy towns, they are dedicated to specific virtues. Those virtues seem to be particularly alive in the minds of their inhabitants in this game as well. The virtues are so embedded in the setting for the rest of the series that it does give it more of an identity.

The story itself is, as previously mentioned, unique among all RPGs I know of. While there is a lot of combat and dungeons to explore, there is no big antagonist for you to defeat.

Your behavior is tracked from beginning to end. You will need to do things like donating money to the needy, donating blood at the healer, and letting non-evil creatures (generally animals) flee in order to become the avatar. I also do not recommend “grinding” out these virtues unless you really need to, as I found that as long as you know how to raise them you can easily achieve avatarhood in several of them just by playing the game normally, talking to everyone and visiting Hawkwind every time you’re in the castle.

In addition to maximizing your virtues and then meditating at the proper shrines, your quest will see you travel throughout the entire world to collect the artifacts you will need for your descent into the abyss. 

You will need the eight stones of virtue (most of which are within dungeons), the Key of Three Parts, the three artifacts of the principles, the word of power, and more. You will also need to recruit seven party members to aid you in your quest, each representing one of the virtues (you are the representative of the eighth).

Immersion

I know it’s probably not that bad by the standards of its time, but I can’t say the game’s immersion is all that good. It does gain some points in some areas such as the way the manuals work and how you need to actually do things like keep track of the phases of the world’s two moons (clearly not something you’d see in our world!) to make proper use of moongates, but overall it is definitely not on the same level as other RPGs I have played. As was sadly the case for the technically-limited time period the game was made in, the world does not really react very much to your actions even though your virtues are tracked.

I do like the initial character creation questions, however. Trying to answer them honestly based on your own moral principles can be a good way to get started. It is also good that the whole virtue angle requires you to actually roleplay the quest of the avatar in order to win.

Gameplay

Playing the game is extremely simple as long as you reference your keys as needed and read the manuals (perhaps it is even too simple, with only one type of non-spell attack action and relatively few and uninteresting equipment options). Talking to every NPC you meet is also recommended, as they not only have a lot of advice but also several vital clues that you will need if you plan to complete the game without a walkthrough, as the whole thing is rather obscure about certain aspects of your quest.

The magic system is a mixed bag. You have to gather and mix reagents to cast spells. The reagents must be mixed ahead of time and are consumed. You must also know which reagents to mix. The spell manual that comes with the game explains most of the combinations, but there are some that you must discover on your own within the game, and they are for some of the most potent spells too (such as Resurrect).

On one hand, I like how the game invites you to actually learn its magic system in order to make use of it, with many reagents having consistent qualities that can let you guess what kinds of spells they may be used for. On the other, it can be a bit time-consuming to manually mix these reagents every single time you want to prepare a spell.

However, the thing that really kills the second half of the game is the combat.

The combat is initially a bit simple but functional. You can press one of the arrow keys to move in one of four directions, you can press A followed by a direction to attack in that direction, or you can press C to cast one of your prepared spells.

With such simplicity, combat in the early game doesn’t take very long, especially since as far as I can tell there are less/weaker enemies early on (though there’s enough encounters to make it a bit of a pain still). However, as you gather more companions (and you must have a party of 8 before venturing into the final dungeon and completing the game) combat starts to drag on as you have to manually command each of your eight party members.

It’s especially bad in that one party member in particular (Katrina the Shepherd) is, to put it bluntly, a complete burden on the party as you might expect from a shepherd. She will be missing every single attack against the stronger enemies that populate the late game, and not hitting very hard when she does hit due to the awful weapon selection shepherds get. I wish you did not need to recruit everyone.

This would have been a bit of a pain on its own, but not that bad. No, the real problem is one single spell: Sleep.

A handful of late game enemies (such as gazers, but especially reapers, and balrons) will spam this one spell without mercy, even if your entire party is already sleeping.

This is a spell that can incapacitate multiple characters, potentially half your party or more, for several turns. The Awaken spell is pointless as a counter to it, as it affects a single target and the enemy can spam Sleep every round while you will quickly run out of Awaken even if your spellcasters somehow manage to avoid the sleep themselves.

Your characters do not wake up if they take damage, and there seems to be no limit to how often the enemy can use Sleep.

This is still manageable when fighting only one or two of these enemies in reasonably open ground, but in tight spaces where sleeping characters can block the way for the rest of the party or in dungeons where you face half a dozen or more of these enemies in a single room it can make for an experience that is just painful.

It is not even that this makes the game difficult either, the enemies do very little damage even when they are not spending all their turns casting Sleep over and over again, but it does make some dungeon rooms feel like they exist merely to waste your time.

The single worst offender was this room at the bottom of the Abyss.

10 Balrons that you can’t even reach due to a wall of force (central blue square) in the way. They can Sleep half your party despite this, regardless of where anyone is in the room. I timed it and it literally took me about 20 minutes just to walk everyone east at this one turn. There are other rooms that have this same issue as well.

While there’s annoying things like that, the game is actually extremely easy in terms of combat, at least once you get over the initial hump.

Aesthetics

As noted in the setting section, the game is on the more generic side aesthetically. That said, the simple graphics are at least readable for the most part (magical fields and the like aside) and the unique main quest gives the game a very distinct feel.

Accessibility

Surprisingly high due to its simplicity. Combat is about as mindless as you could ask for in an RPG other than making it completely automatic like Ultima 7 did, and there are not actually that many keys to remember.

However, there are still a couple of things that modern players will have to adapt to. Chief among them are consulting the manuals throughout the game and taking notes.

The game has no quest log to record all the clues the game’s many, many NPCs provide you with. You have to actually write those things down together with things like the mantras for meditating at the shrines, the visions you get as you achieve partial avatarhoods, and etc.

Your knowledge of the virtues will be tested at the very end.

Conclusion

I would not blame anyone for jumping ship once the late game begins, as things become slow and repetitive at that point. However, I believe that this game is worth trying regardless (especially now that it is given out for free).

This is an RPG unlike any other I have seen, demanding its players to not only live up to heroic (and largely secular) moral principles but also encouraging them bring them out of the game and applying them to their lives and become better people.

While its combat can become a bit of a pain later on, the game’s ideas remain interesting at the very least. It is also possible to import one’s Ultima 4 save into Ultima 5, and then from that game to Ultima 6. Both of those games also have rather interesting premises that I will talk about in time.

In the end, I think you should at least try it if you are interested in the history of RPGs. This is the point where Ultima really “gets good” and ditches the nonsense that plagued the early games, though Ultima 7 is still likely a much better starting point for modern players.

The game ends with a call to action. The Quest of the Avatar is a lifelong journey that does not end with the game. You are told to return to your own world and put the virtues you have learned into practice and live as an example to your people, to truly be the avatar.

In the future, other games in the series will challenge and twist these ideals in various ways, but I like the heroic idealism on display here.

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15 Best SNES Platformers Ever

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Platformers have long been an entry point for new gamers. Video games may have greatly expanded in scope over the years and now offer so many different genres and experiences that it’s nearly impossible to keep track of them, but that’s actually a big part of the reason why it’s still so much fun to look back at these timeless games where the main objective was often to simply jump from one place to the next.

There is no console that celebrated the brilliance of the platformer better than the Super Nintendo Entertainment System. The SNES may be best known for expanding the adventure and RPG genres, as well as raising a generation’s expectations for video game graphics, but few consoles have come close to rivaling the Super Nintendo’s library of classic platforming titles.

It’s hard to narrow this list down to just 15 games, but from action-based platformers to pure platforming classics, these are the best examples of this timeless genre that the SNES gifted the gaming world. 

15. Jelly Boy 

Putting you in control of a jelly baby (a candy that is popular in the U.K. and surrounding areas), Jelly Boy was only released in Europe when it debuted in 1994. The game has a colorful aesthetic and some unique platforming elements built around the main character’s ability to transform into a myriad of vehicles, tools, and other objects. Those metamorphoses will be familiar to anyone who has played a Wario Land title or Kirby’s Epic Yarn. 

Admittedly, Jelly Boy‘s mechanics can be a little clunky and the controls are deficient compared to some of the later games on this list. Still, you will be hard-pressed to find a more original platformer on the console that isn’t made by Nintendo themselves. You can even play it now via the Nintendo Switch Online service.

14. Demon’s Crest

Released by Capcom in 1994 as the third game featuring the character Firebrand (who debuted in the Ghosts ‘n Goblins series), Demon’s Crest is a forgotten gem in the SNES catalog. It adds some variety to the traditional action-platformer by giving the playable protagonist the ability to fly and shoot fireballs as well as access other upgradeable attacks and maneuvers as their quest rolls along. That feature adds a little Zelda-like adventuring to the mix, and you’ll certainly need those late-game power-ups because this platformer means business.

There are many difficult platformers on this list, but few boast the plethora of boss battles seen in this one. It’s actually similar to Mega Man in terms of its fighting style and jumping requirements, so if you are looking for an alternative to the Blue Bomber that keeps the basics of the genre intact, you’ll have a hard time doing better than Demon’s Crest.  

13. Joe & Mac

Joe & Mac is honestly a fairly basic platformer for its era. What gets it onto this list of the best games in that genre, though, is the creativity and execution of its setting.

The game sees you control two different cavemen who rely on basic prehistoric items such as fire, bats, bones, etc. The bosses are pretty cool (dinosaurs are fun for all ages) and the controls hold up well enough that you won’t ever feel like you have to force the avatar into doing something that the interface simply won’t allow for. The game spawned a sequel that was also released on SNES, but the original is unique enough to get the nod here. 

12. Super Ghouls ‘n Ghosts

Despite what the title may suggest, Super Ghouls ‘n Ghosts is actually the third game in the Ghosts ‘n Goblins series. Like the previous games, this classic sees you battle various monsters and bosses that fit the setting nicely. Although the game is maybe a little too action-heavy to get the nod over the SNES’ best platformers, it uses its platforming elements to elevate the entire experience. 

The difficulty is insanely high and the sheer amount of sprites on screen at once can lead to some lag that only adds to the frustrations of this arduous journey, but the game has a way of keeping things light and humorous when the frustration sets in. How many other games see the protagonist stripped of their armor, quite literally, when he takes too many hits?

11. Donkey Kong Country 3: Dixie Kong’s Double Trouble!

The third installment in the beloved Donkey Kong Country trilogy certainly isn’t hated by many, but it is usually viewed as a step down from the first two games. Whether that has to do with a change in composer for the soundtrack, the inability to play as Donkey or Diddy, or the fact it was released after the Nintendo 64 was on the market, the title’s sometimes mixed reputation often prevents it from being appreciated as a divine platforming experience. 

The environments and storytelling in this game are well-executed. If you’re observant, you may even notice that the developers were trying to say something about the sad state of ape habitats and pollution in the wild. Even if you didn’t dive too deep into that surprising bit of social commentary, you’ll likely find that the platforming in this one remains top-notch and that the overall experience remains severely underrated. 

10. DoReMi Fantasy: Milon’s DokiDoki Adventure 

As the only game on this list that wasn’t initially released outside of Japan, many gamers may not know that DoReMi Fantasy is a whimsical experience that features some of the key elements of Mario and Kirby’s best adventures in terms of gameplay and graphics. Starring a young child whose objective is to reclaim music for the forest, DoReMi utilizes some clever puzzles that may not be unusual for the platformer genre but certainly add to the fun.

The game got a Virtual Console release in North America in 2008, but that’s sadly the best chance many gamers have had in recent years to take a chance on this title. It’s a great example of how people should be more open to experiencing games that weren’t localized the first time around.

9. Donkey Kong Country

Perhaps the most famous game starring Nintendo’s lovable ape, the original Donkey Kong Country was Rare’s first big title for the SNES and practically started their decade-plus long relationship as a second-party developer with the Big N. Tasked with showing off off the console’s pre-rendered graphics system, the crew from Britain proved to be up to the task. Honestly, this game still looks halfway decent in 2021. 

While the actual platforming is not as good as the Super Mario games on the SNES, it offered a different flavor of jumping that is still very much appreciated. The “weight” of Donkey Kong and Diddy means that the platforming is less flighty than in Super Mario games, and the rideable animal buddies you encounter along the way add a little flair to the experience. 

8. ActRaiser

As a game that serves as both an action-platformer and a God simulator, this underrated and forgotten gem from Enix and developer Quintet showed off the visual and audio capabilities of the SNES in the early days of the console. You play as the “Master” who is tasked with building towns around the world and fending off the evils that threaten them. It’s hard to juggle two completely different genres like that, but ActRaiser finds a great balance. 

The game was re-released for the Wii Virtual Console in 2007 but has otherwise been paid little attention in the years since its release. That’s unfortunate because there aren’t many games from 30 years ago that provide this much depth and versatility. Both parts of the experience are extremely solid in their own right, and together add up to become something truly special. 

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7. Kirby Super Star

Even the most ardent Kirby fans would probably agree that the franchise can get a little stale at times. There are only so many ways Kirby can suck an enemy up, transform his powers to match theirs, and ultimately defeat King Dedede. That’s why Kirby Super Star is still arguably the best game that the pink cutie pie has ever starred in.

Featuring eight different games within the game, the genre-mixing in this one is really off the charts. There are racing elements, adventure tones, and shooting sequences amongst the different sections of the playthrough. The experience was so beloved that it was eventually remade for the Nintendo DS as Kirby Super Star Deluxe. There is something for everyone in this package, and it shows the best parts of Kirby’s history.

6. Mega Man X

The original run of NES Mega Man titles are arguably still more famous than all of the others, but Mega Man X just has more of what makes those games great. It retains the eight bosses and weapon upgrades that can be completed/acquired in whatever order the player chooses, and it even has that same incredible soundtrack that the Blue Bomber’s adventures are always famous for.

Mega Man X‘s graphical upgrades admittedly take some of that eight-bit nostalgia out of the experience, but the game ultimately makes up for it by offering new gameplay experiences. Jumping on walls and acquiring upgrades to defensive maneuvers gives Mega Man an even more badass skillset, and the game generally does an excellent job of emphasizing the “platforming” parts of its action-platformer mix.

5. Super Castlevania 4

Super Castlevania 4 is actually a kind of soft remake of the original game, and the developers at Konami did a great job of making that game more digestible for newcomers while keeping all of the iconic elements from the classic NES title.

The Castlevania basics are all here (you still control Simon Belmont, equipped with his famous whip and ax, and battle through the game’s 11 stages before reaching Dracula), but an ideal mix of combat and platforming makes this one of the most irreplaceable platformers in the SNES catalog. It’s still an airtight action-platformer experience in 2021. 

4. Donkey Kong Country 2: Diddy’s Kong Quest

The second game in the DKC trilogy took all of the best parts of the first title and refined them to create a truly unique platforming game that was a lot more than fancy graphics (a reputation the original game has had a hard time shaking). Diddy’s Kong Quest expanded upon the game design that fans loved while keeping the jungle hijinx, masterful soundtrack, and weighted platforming intact. 

That last part is what truly separates the middle installment of this franchise from the other two. Many people have said that these games were sometimes more style than substance, but after playing through the myriad of environments on display in DKC 2, it becomes clear that this title has endured over the years because its tight mechanics are executed at a high level.  

3. Super Metroid

If this list were just a ranking of 2D games or if it encapsulated the entire SNES library regardless of genre, Super Metroid would most likely take the top spot. Alas, this icon of game design settles in the third spot because it isn’t the best example of a “pure platformer.” It’s more of an action/adventure affair, though the game’s platforming elements are still as satisfying now as they were in the 1990s.

What separates this game from so many that have tried to emulate it in the nearly three decades since release is that every ability upgrade and every part of the map fits together with nearly flawless foresight and execution. It’s never a hassle to re-explore a section that you’ve already seen. The game has a masterful flow that is incredibly modern and perhaps even more popular today because of the prominence of this design style on the indie game scene. 

2. Super Mario World

With its flawless controls, colorful sprites, cheerful soundtrack, and ageless platforming, Super Mario World is the title that all other 2D games in the genre are still compared to. The extra graphical power of the SNES gave Nintendo the opportunity to expand upon Super Mario Bros. 3‘s best ideas while exploring new concepts that simply weren’t possible before.

That is why this game remains so playable. Super Mario World combines the most enjoyable elements of the NES Super Mario classics and then elevates them to fully realize the world that Miyamoto imagined when this basic concept was created. It still doesn’t make sense to have a plumber jumping on top of turtles and occasionally getting lost inside of a house full of ghosts (those damn Boo mansions still haunt me), but when you combine this much creativity into one package, you have no choice but to admit how special it all is.

1. Super Mario World 2: Yoshi’s Island

Shigeru Miyamoto and his team knew that it was futile to try and surpass Super Mario World simply by emulating it. So when developing the sequel, they made the decision to craft an entirely different type of platformer in which Mario isn’t even the main protagonist. The concept was bold, but the execution needed to be flawless if the game was ever going to be more than another disappointing follow-up. 

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It’s safe to say Yoshi’s Island exceeded all expectations. Putting Yoshi at the forefront of a platformer that included mini-games, evasion, puzzle-solving, item collection, and the most timeless color palette in gaming history was brilliance personified. Yoshi’s Island is not as famous as its older sibling, but its daring creativity and irreplaceable charm have inspired many to argue that it is the better game in retrospect. Whatever your opinion is, the fun and escapism of the green dinosaur’s finest hour (as well as the horrors of Baby Mario’s screams) will be remembered until the end of gaming.

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