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Joined 1 year ago
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Cake day: June 1st, 2023

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  • I have started to notice that a lot, if not the majority, of games that make the biggest social splashes in the past couple years are smaller games - with exceptions for titles like Baldur’s Gate 3 and Alan Wake 2 which are their own labors of love on a AAA scale. Animal Well, Balatro, Dredge, Vampire Survivors, Talos Principle 2, Hi-Fi Rush…these are the games I tend to hear about the most.

    The attention that a lot of AAA games get seems shallow and short-lived lately.

    One of the things that’s excited me most recently is seeing new and inventive ways to use graphics and fidelity besides photorealism. Games like Gris and The Artful Escape are probably the most stunningly beautiful games I’ve ever played.





  • For me, the fun comes, like in some other crafting games (e.g., Subnautica) and roguelikes, from chasing the next upgrades, enjoying the sense of empowerment they bring, and getting to explore new areas.

    For that reason, I love the idea of survival crafting games, but I hate the sandbox, perpetual loop format most of them come in (like No Man’s Sky). Subnautica is the gold standard (with Dysmantle being a surprise second place) of having a finite, focused progression path. Pacific Drive scratches that itch.

    Although, I will admit that it’s more stressful than I would have liked too. I knew about the procedural generation and run-based loop early on, but I still kind of expected something overall tranquil. But with storms coming on a timer in every junction, anomalies frequently overwhelming every space you need to explore, and the high stakes of potentially losing a lot of critical material, I found myself playing much more anxiously than I would have preferred, which is what I alluded to about the endgame.






  • Slowly coming to the end of Pacific Drive, which has been mostly great. I think I’ll wrap it up at the perfect time, because I’m not quite tired of it but can feel my interest beginning to wane.

    I have also been playing Sea of Stars. I had one foot fully over the edge to give it up during its painfully slow opening, but I just barely made it long enough to get through the first dungeon and found myself beginning to admit that it was becoming fun. I can’t remember the last time my feelings for a game pivoted so hard, because once it opens up it is a ton of fun. I’m glad I was able to stick with it.


  • I played the hell out of the first DMC back in the day. Just over and over again, even on Dante Must Die and I almost never do hard modes. Apparently I really liked the relatively toned-down gameplay and setting, and the RE-inspired tone, because I never really enjoyed 2-4 the same way (2 goes without saying).

    I largely ignored the series but spontaneously got the interest to play 5 a year or two ago. I did beat it, but it did not do anything for me. I was very glad to be done with it.



  • With all the news coming out the past couple days about The Veilguard, I’m starting to piece together a suspicion that Bioware is picking things back up where they last had decent ideas: early to mid 2010s.

    I think Veilguard will feel like a stuck-in-time successor to Inquisition, stale by that period’s standards and grossly outdated by today’s, especially in the wake of Larian’s enormous success reinvigorating the kind of game Bioware has forgotten how to make.




  • the devs given any reason to doubt them

    I agree that it’s super early for much speculation, but Dan Houser and a few other key players left Rockstar after RDR2. He and Michael Unsworth (who I think also left the studio with Dan) were two-thirds of the GTA 5 and RDR2 writing team. Without their involvement, I fear a scenario where the core single-player narrative has less gravitas, around which much of the detail and realism of the gameplay and game world has previously resolved, and the company leans more into the success of its GTA Online style gameplay.

    I’m sure they can still be wildly successful with that formula, but it will be a huge disappointment for me personally.


  • I can’t disagree. But as one facet among others, I also think “concern” is reasonably warranted in conducting a comparative assessment.

    Edit: also worth highlighting: “there’s nothing wrong with being against gay marriage because it’s a political opinion” is certifiably homophobic. How much responsibility Kagi’s moderators bear for not removing that comment or otherwise explicitly advising that homophobia won’t be tolerated is debatable, but it’s not great.







  • I was persuaded to pick Elden Ring back up despite not really feeling a pull for it, but lo and behold once I was back in I fell in deep. I never actually finished the game with my first dex/bleed-based character, so I continued making my way through Crumbling Farum Azula. I’ve given Malekith a couple of attempts but I’m pretty burned out on bosses at the moment. I started up a new sorcery-based character and that’s been the real joy. Magic really does make the game significantly easier, and part of me wishes I’d done my first playthrough this way. But I’d beaten Demon’s Souls remake not too long before starting Elden Ring originally and wanted something different.

    To fall back on when I get too frustrated, I’ve been playing 10tons’s Undead Horde. Their game Dysmantle wound up being a major highlight the year that I played it (I really, really liked it), so I finally bought Undead Horde 1 and 2. It’s not nearly as good as Dysmantle, but it’s a really great, lightweight dungeon crawler. I like their vibe very much and am really looking forward to Dysplaced.

    I also gave the Saints Row reboot a try since it was free a while back on PS+ and it’s really, really (really) dumb. It’s also kind of fun, a little at a time. Not sure it’ll hold my interest all the way through but it’s nice having an open world game that’s just…easy to play and asks very little of the player.



  • They claim that entertainment companies exist “to provide that entertainment.” Sure I think creative leads and the devs (especially in the games industry) are there to provide entertainment that they are passionate about. But idk if I can ever see a period where the publisher was in it for the art, despite what they may say.

    I agree with you, except that up until the early-to-mid aughts, before Fortnight, and skinner box mobile games, and the promise of persistent revenue capitalizing on addictive tendencies and FOMO, publishers believed that the best path to profit was good games. Konami, to pick the (previously) worst example, published one of the weirdest, most cinematic, ambitious, influential games of all time with Metal Gear Solid. And then, eventually, they saw a straighter, shorter path to profit.

    I am…way more personally upset about the Arkane closure than I usually get about these things. I have so much respect for what that studio created. This article is great though and gives the holistic perspective I’ve been looking for the past few days:

    The point here, ultimately, is that this cycle has been repeating, and repeating, and repeating, and it does not show any sign of coming to an end. Xbox buys talent, mismanages it in search of impossible scale, and cuts it loose - be that the 20-year experts of Fable, or the battle-scarred makers of Dishonored, or the invigorating new generation behind Hi-Fi Rush. Xbox’s leadership clearly knows it’s a problem…they have to step behind this first, surface-level layer of justification for closing studios, and get to the real cause - not the decisions themselves, but the principles that inform them. The principles that say expertise, creativity and talent are less valuable than the cost to let them flourish.