Jeffrey Combs was also in DOTA: Dragon’s Blood, and that series’s cast was a fun synthesis of video game voice actor luminaries plus Star Trek alumni (Michael Dorn, John de Lancie, Anson Mount, Andrew Robinson and more).

But yeah, really that whole late 90’s/early 2000’s gaming era had some genuinely great performances from actors of different media. I still think about David Warner in Baldur’s Gate 2 from time to time.

Irdeto’s been on a PR push lately. If they actually had robust studies backing their product, we would have seen them. Considering how they’ve got their hooks into the major Japanese PC port publishers (Sega, Capcom, and Square Enix), part of a segment of the industry that has long had specific stereotypes and prejudice surrounding PC gaming, I highly doubt the sales pitch for Denuvo amounts to much more than FUD and snake oil.

And this is why I use the LTSC version and disable updates. Yes, my system isn’t as secure, but considering the usual attack vectors have moved more towards social engineering lately, being free of Microsoft’s nonsense outweighs the outdated security in my view.

I have a lot of these, but The Right Way Around, by Daughter, for Life is Strange: Before the Storm grabbed me the second I launched the game.

A more traditional main menu theme that I love is Ecce valde generous ale from Panzer Dragoon Saga. It’s a brilliant introduction to the game, drawing the player into a mysterious world in a post-apocalyptic setting.

I mean, if y’all really insist, I can specify “not AAA games.” That’s the point I was making; this year’s game of the year nominee lists are going to look quite different than usual.

I’ve got 1,000 hours in this one over the years and the PC port is the main reason I’m getting it (eventually). Hoping it’s not too locked-down for mods, FFT’s mod community has been a vibrant one.

In a world where game budgets balloon to over $300m, Hades 2 fits comfortably into the “smaller game” category. As do Blue Prince, Expedition 33, Silksong, and Trails in the Sky 1st Chapter, among other top-rated games this year.

Some of these scores haven’t been updated from early access yet, so this number’s probably going to go higher. Might be the top-rated game of the year. I’m sure it’s well-deserved, too. I played the crap out of the EA version when it first dropped.

What a year for smaller game projects.

Again, Sky 3rd is the third game in a continuous series. This is not Ys, which is an entirely different narrative format following a hero in stories specifically designed to be standalone. Ys isn’t even told in chronological order. Ys can absolutely be played in any order without losing anything (other than the second game, which is a direct sequel of the first).

You didn’t make it to the Cold Steel games, so you don’t know what I’m talking about here. Most of Sky 3rd’s throughlines continued in Cold Steel, not the Crossbell games (they even continue into the Daybreak arc). Falcom pivoted during Sky’s development; they initially weren’t going to do games in Crossbell.

Trails is Mass Effect writ large. It’s Game of Thrones. It’s Harry Potter. Yes, one can jump into those properties at any point, but they will be lost at some point–if not immediately–or otherwise missing context critical to their enjoyment of the property. That’s basic fictional media literacy. It’s just highly unusual in video games, so people assume it’s like other series. It’s not. It’s closer to long-running manga, television or novels.

There might be some fringe impacts Trails has had on the industry here and there, but the only big influence it has had is on Honkai: Star Rail’s combat system. And at this point, HSR is so much larger than the Trails series as a whole that it’s going to look like Meucci’s contribution to telephone technology when all is said and done. Expedition 33 already took some of its UI design from HSR.

Even the impact of Trails’s hybrid action/turn-based system is debatable because Trails through Daybreak was in development at the same time as Metaphor: ReFantazio, which uses the same system. Ultimately, the series serves a very specific, small niche within a niche, and it’s never going to be a major trailblazer for the same reason much of Baldur’s Gate 3’s story design won’t be: that kind of narrative structure is not an efficient way to make money. You have to be an auteur or a major risk taker to do software engineering that way.

Meanwhile, Final Fantasy VII’s impacts on the entire industry, let alone the genre, are too numerous to list. The two series are not remotely comparable. OP’s neck-deep in atomistic fallacy here.

Sky 3rd is simply the third game in this continuous series. It’s not a “die-hard fan” thing. It’s the third work, just as much the third season of a TV series or a third novel in a novel series is. Whether or not it’s a good work is a matter of taste. But whether it’s a necessary part of it is not up for debate.

It wraps up the first arc of a major throughline in the series and starts many more.

I’m beyond excited, this was the best early access experience I’ve ever had by a mile. It’s gotta be a GotY contender.

Hell of a year for indies/small publishers.

High enough regard to be very profitable, which makes the job cuts even more ridiculous.

Alicesoft is one of the major dev studios in this exact space, but their games range from having some non-con to outright featuring it. Not for everyone.

Stardew Valley’s success had more to do with smart marketing than anything. The game has the exact same formula as Story of Seasons and Rune Factory, which are very corporate-run series, just not at AAA scale. The difference was Eric Barone cultivating word-of-mouth marketing via influencers and online communities to reintroduce the genre to the Western market (along with lucking into capitalizing on what was then a more nascent pixel art indie gaming trend).

Undertale’s a good example, though (I’ll still note this particular example is a huge spoiler). I did the thing and it was a very fresh idea, and one of the best hooks I’ve seen in a video game. Thing is though, I doubt even 10% took that route to see it. That’s something the game has in common with Baldur’s Gate 3, which is full of those low-percentage moments. AAA devs don’t like investing a lot of resources into things most people aren’t going to see.

I started Crying Suns and have been very impressed with the art and the story, both the greater narrative and the script. Not sure about the combat just yet, maybe my tactics are just bad.

Overall though, I don’t know how how the hell this one passed me by. Commanding a spaceship and roguelite gameplay, it’s exactly the sort of thing I love.

Honkai: Star Rail. I love turn-based RPGs, and it continues to have the best turn-based combat I’ve ever played. The main story also has my favorite fiction trope (a shake-up of a pantheon) and it’s got amazing music, so it just hits a lot of really good spots for me.

Having played a chunk of the demo with Japanese audio, this hasn’t been a literal translation situation. It’s a standard JRPG localization, closer to NISA’s work with the series than XSEED’s that was on the loose side.

Yeah, was a solid move to echo the series opening with the in-game engine.

A roguelite structure seems like a natural fit for the premise, too.

Or buying a lot of MTX in few games.

I know gaming enthusiasts don’t want to hear it, but a huge chunk of the market is people attached to one or two live service games.

Best gaming news I’ve heard in a while. This was a fantastic new IP and really shows a lot of promise for future games. Really excited to see where they take this world.

I still see the fifth generation as a lost one for pixel art. The games that do it really well in that era are few and far between (Castlevania: Symphony of the Night, Suikoden, Breath of Fire IV) and even those still had 3D elements in them that have aged like milk.

I too grew up more on pixel art, but the problem I always had with 3D in the 90’s was that–on an objective, technical level–it was already being done so much better elsewhere than it was on PlayStation and the others. Both PC and arcades were consistently driving much higher framerates, and by the late 90’s, far better picture quality. It wasn’t even four years after the PSX that the Dreamcast launched and completely outclassed it in graphics potential. I feel the move to 3D in the console market was just too early. I guess I can sort of see why some would be nostalgic for it, but to me this trend is the equivalent of being nostalgic for 19th century movies.

What I don’t get is why this trend is happening now. The tech’s been there for indies and the like to do this for a while. The demo for people old enough to grow up with these games has also long been in disposable income territory. Maybe we’re just oversaturated with pixel art at this point?

Even though I liked ME2 and 3 a bit more, the series overall still has my favorite Bioware cast by a mile and one of my favorite casts in gaming.

The ironic thing is I actually find the setting kinda hokey, but the moment-to-moment action is fantastic. The exposition dump towards the end of ME1 that sets the stage for the larger conflict was so satisfying. A classic example of solid script writing and characterization elevating overall plot and setting.

Impossible to rank, so I’ll pull from at random from a top 25 I did not long ago:

• Trails to Azure - This one had a massive impact on me, from musings on depression and self-worth to love for a city, a community, and the hard choices that come from that love. Incredible story and character writing. All boosted by a well-developed world with a lot of moving parts and a crazy good soundtrack.
• WarioWare, Inc.: Mega Microgames - Endlessly replayable. Holds up even to this day. Every time I think about it, I’m amazed at how they got lightning in a bottle with this new idea.
• The Witcher 3: Wild Hunt - Just one of those games where every single facet clicked for me. Visuals, writing, setting, soundtrack, gameplay, meta-gameplay, decision points. All of it.

Unfortunately it’s a thing when going back to older games after being living in the map marker era for so long. This is a big part of why games back then came with annotated maps so you’d at least have a reference for all the locations.

I’d say at the minimum, don’t be afraid to pull up maps and take notes.

Setting aside how unusual it is for overall spend to decrease in this age cohort (I encourage people to read the WSJ report linked in this article), this is the only comment here that hits on the most newsworthy part of this. Video games have been recession-resistant for decades, but now we’re seeing it as a leading category for cutbacks. Even though gaming is a low-cost hobby, zoomers have found alternatives, and that surely includes F2P games.

While trends haven’t been great for a while now, this is the most alarming data I’ve seen yet for the traditional gaming market. I feel like I’m gonna blink and there’s going to be a generational divide like there is with baseball.

Fire Emblem Engage. Only the third FE I’ve tried, I go back and forth on whether this series is for me. At this point, this one might be my favorite out of the ones I’ve played. The cast is really weird overall but I still quite like a few of them. I also like the character advancement and Engage systems. It’s fun to tinker with my party. The battles also seem to have less of the nonsense and more of the kind of strategy I like than in the others.

Classic. Gorgeous soundtrack, too. I remember as a kid (pre-Internet) actually calling up the store because I couldn’t figure out how to save the game 😂

I was really surprised by how much I enjoyed the main story in Starfield. I normally don’t care at all about it in Beth games. Unfortunately, I was too disappointed by all the missed potential to keep up with it after that (which is just weird to type out, I think I went 200 hours in Skyrim before I decided to actually go through the story). The awful framerates I was getting really didn’t help, either.

Oh, and Starfield’s Neon is gonna look real bad side-by-side with Cyberpunk 2077. Oof.

Improved ray tracing is key. We’re at a point where hardware improvements aren’t for selling games to end users, they’re for cutting costs for developers. Project managers don’t want to spend time and resources handcrafting lighting anymore.

We saw it before where making SSDs baseline didn’t necessarily always lead to a change in world design but certainly led to cuts in asset streaming optimization. Same with framerates.

The domestic market can be, and even that depends on your perspective. For example, China doesn’t have the insane Disney copyright regime the West has that artificially suppresses competition.

Competing in the domestic Chinese market is another conversation entirely, as right now, for video games, China has to come to us. The remnants of insular, planned economy only get you so far when you’re trying to build soft power and expand into foreign markets.

Mario & Luigi games are still JRPGs, which is a genre that’s more of a vibe than something easily defined. Here it’s a little easier because the series traces back to a major JRPG developer in the 1990s.

Even Expedition 33, another one with timed gameplay, is frequently getting lumped into the category (though that might change in coming years). That’s why I prefer the term Japanese-style role-playing games, as the genre is increasingly seeing game dev outside of Japan.

depends how much chinese influence you want in the gaming market.

There’s no stopping that train now, Tencent or no.

Traditional devs need to be ready to compete, and breaking up monopolies makes for a market more prepared to do so.

Worth it just to get your socks blown off by the opening theme, if nothing else.

It’s not the best Civ has ever been, but RomanHoliday’s AI rework seemed to mostly resolve the biggest problem I had with it, which was the AI falling apart by the Renaissance.

Everyone seems to be more interested in the latest techbro feud so I wanted to highlight what he said about Unknown Worlds staff not being given specifics on what their compensation will be. The statement was quite nebulous on that.

Gods, I hate this culture. Make concrete, public promises to your staff to follow through on your acquisition deal? Nah, can’t have that. Open yourself up to liability by throwing the former execs under the bus, in detail? No problem!

It’s really interesting that one of the reasons Diablo 3 was a step down was the increase in handcrafted story elements that kept interrupting the procgen flow. Some games just do really well with it.

Fire Emblem Engage, having more fun with it than I thought I would. After Three Houses, I’d kinda written off Fire Emblem as not for me but only a couple hours in I’m already having fun messing around with character builds.

That’s the thing, for the big publishers, the end user (consumer) is only part of the puzzle. Investors and business partners (such as licensees) are more important, and have been for years. They bring in the wealth.

End users are neither organized nor informed enough to have a seat at the table. The masses will gravitate towards their big properties and marketing will be shaped to that effect. Acquire said big properties if you don’t have them, and make sure all the potential investors know you did.

David Wise’s twitter would have been wild 😂

Damn, you must have a beefy rig. Even setting aside the weird texture issues, FPS was all over the place for me. Knew it was a hard pass pretty quick.