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Yeah, Denuvo registers every version of Proton as a different computer. So when you cycle through a bunch of different versions, Denuvo sees you booting it on a bunch of different computers back-to-back. IIRC Denuvo’s ToS allows for 5 different computers to boot a game within 24 hours. So it locks you out for 24h, as an anti-account-sharing measure. It has hit the spotlight a few times recently, because of the Steam Deck users needing to cycle through Proton versions.
What you aren’t arguing for anywhere in this comment is that every artist be required to do these things. Somehow game developers are exempt from this grace? Why are all games required to accommodate people, but other art isn’t? Why is that where your line is drawn?
Quite the opposite. I fully believe that if art can be accessible, it should be. That’s why I listed things like 3D scans for oils, descriptive services, or textiles and sculptures that people can feel.
And things like ASL interpreters are legally required by law, and we as the venue can be sued if we refuse to make reasonable efforts to accommodate them. We can’t even charge those patrons extra for tickets, despite the fact that the ASL interpreter is more expensive than the entire price of their ticket. If they request it within a reasonable timeframe, we are legally obligated to hire an interpreter for the show that the patron will be at, even though we know we will lose money on it. We can’t even ask for proof that the person is deaf, because that would put an undue burden on the person with the disability; We just have to take them at their word, and hire the ASL interpreter on blind faith that they’re not forcing us to spend money extraneously.
We also have hearing assist devices integrated into our sound system, for the HoH patrons who just need a private audio feed. We can provide either wireless headphones, or a magnetic loop which hearing aids can tune into. So they have the option of controlling the volume directly with headphones, or using the hearing aids they already have and like. That cost is taken on entirely by the venue, because it allows those HoH patrons to get a similar experience as the rest of the audience. Because (again) the law requires that we make reasonable accommodations to ensure every patron (including those with disabilities) gets an equivalent experience.
As someone who regularly has to do extra work to accommodate people with disabilities: People with disabilities shouldn’t be excluded from art simply because it is extra effort to accommodate them. Accessibility isn’t something that should be optional, because it helps everyone eventually. Would you argue against accessibility ramps for building entrances, because it would ruin the architect’s artistic vision for a grand staircase? Would you argue against subtitles for a movie, because it would take up screen space that the director had intentionally used for action? Would you argue against Velcro or bungie-lace shoes, because the fashion designers had flat laces in mind when they designed it? Would you argue against audiobooks for blind people, because the author is dead and couldn’t collaborate to choose a narrator that fit their artistic vision? No? So why is other art required to take reasonable steps to provide accommodations, but video games aren’t? Why is that where your line is drawn?
That’s a pretty ignorant take. I work in a music venue and art gallery as an event planner and curator, so it’s pretty funny that you listed those two things specifically. I personally know three blind artists who consistently blow me away with what they are able to produce.
One has tunnel vision, and can see an area about the size of a quarter held at arms’ length. He tends to work with textiles and wood carvings, which he can feel.
The second can see shades of brightness, but very little color; she primarily works in shades of grey or sepia. She has a bright light over her workbench, so she can see the contrast as she lays down darker material that soaks up the light.
The third went fully blind in his 20’s due to a degenerative condition. He grew up with full vision, then he had to adapt later in life as his vision degenerated. He uses paint thinner to thin out the various colors to different consistencies, so he can feel which colors are where. I have one of his prints hanging on my office wall right now, and it is absolutely breathtaking even before you learn he’s fucking blind.
Art galleries have taken steps to make things like paintings accessible to blind patrons. Unless it’s something like watercolor that soaks into the canvas and lays flat, paint has depth and texture. Especially thicker paints like oils. 3D scans of paintings allow people to feel the paint layers on printed busts. Artists like Van Gogh used paint texture as an inherent part of their piece, and galleries have attempted to turn that into a tactile experience. You haven’t truly seen Starry Night until you have seen it in person, (or at least seen a 3D scan of it). Flat prints simply don’t do it justice. And for other mediums, guided tours have descriptive service options for blind patrons.
And we get deaf/HoH patrons at concerts all the time. They enjoy the crowd experience, and they can feel the beat via vibration. Hell, I just organized a concert for next week, where we have an ASL interpreter. Deaf/HoH people regularly have music fucking blaring on kick ass sound systems. They may be able to hear certain parts of it if it’s loud enough, or maybe they just enjoy the beat. But regardless of the reason, they absolutely can enjoy music.
Video games are the only art medium where people find it acceptable to gate-keep the art from the unskilled or the disabled.
Imagine buying a movie ticket, then the theater goes “no you aren’t good enough at watching movies to watch this movie. You only get to see the first 10 minutes. It just isn’t for you.” Imagine paying to go to a museum, and they tell you “sorry, you are only allowed to look at the art in the foyer because you aren’t good enough to enter the rest of the museum.”
Difficulty settings are, first and foremost, accessibility settings. Don’t want the game to be too easy? Don’t fucking turn down the difficulty. Saying “I don’t want the game to be easier” is really just saying “I know I don’t have any self-control, and would inevitably turn down the difficulty when I hit a roadblock.”
Take it a step further, and require optional direction indicators. Not only do you get click on screen. You also have an option to get a little arrow pointing to which direction it came from. I have several friends with a bad ear. They can hear fine out of one ear, but not the other. That direction indicator allows them to track sound cues that would otherwise be useless to them.
The newer God of War games were pretty good about this, for instance. There were collectable ravens, which were usually found via sound cues; they would loudly caw for you to be able to track them down before you saw them. But if you only have one good ear, you can’t tell which direction the sound is coming from. The direction indicator bridges that gap, by adding a little arrow next to the raven cawing sound alert. For a more straightforward example, if an NPC says something, you get an arrow pointing to the NPC. Handy for when random NPCs have off-screen chatter.
Allow me to turn off the stupid pre-launch splash titles.
I can guarantee that those splash titles are included because of contractual obligations. The same way a movie lists the publishing companies in the intro. Including a “skip after first launch” option would violate their contract. If it were up to a game’s director, they would almost universally prefer to drop you straight at the title screen. But they legally aren’t allowed to do so.
Oh, you want us to publish your game? We can require the game designer to show our logo for {x} seconds when the game launches. Oh, you want your game to be G-Sync compatible? Nvidia can require that you show their logo for at least {x} seconds when the game launches. Oh, you want to use our game engine to build your game? Unreal can require that you show their logo for {x} seconds when the game launches. Et cetera…
Yeah, you should be able to pick a specific version number for single player games. I’m fine with it defaulting to “latest”, but at least give me the option to stick to a specific version.
Also, fuck the “Would you like to share all data with the publisher, or only limited data” bullshit. It’s a single player game with no multiplayer whatsoever. I shouldn’t need to share any data with the publisher. If I see this shit, the game immediately gets blacklisted in my firewall.
Cutscenes especially. The pause button should pause cutscenes, with an option to skip the cutscene on the pause menu. The pause button should never just outright skip the cutscene. It should always pause the cutscene.
So many times as a kid that my mom would walk in and start talking right as a cutscene started. And when I’d go to pause it, it would just skip the entire fucking cutscene instead.
Far Cry 5 was the fucking worst with this. Every single thing you did added to a sort of “story progress” bar. And when it filled, you were forcibly dragged away to do a story mission. They literally sleep-darted you from off screen, and had you wake up at the start of the story mission. Like you couldn’t make a more comically overdone “get forced to do story mission” scenario if you tried.
The devs said it was because they wanted to avoid that he Skyrim Syndrome, where players quickly forget about the main story in favor of all of the side content. But the implementation resulted in player agency taking a cudgel to the teeth every few hours.
Yeah, I particularly hate when crafting mechanics get shoehorned into a game, simply because market studies told the publisher that games with crafting sell better. Especially when the crafting system is clearly an afterthought, and the game is entirely unbalanced as a result of it.
For example, the game had crafting added after the inventory system was designed. And crafting doesn’t really become viable until near the end of the game, because it requires a wide variety of materials and you only have access to half of them for the first half of the game. So now you’re drowning in crafting materials that are taking up inventory space/weight for the entire first half of the game.
Another example, devs had an end game build in mind, but decided to lock it behind 35 hours of crafting material grinding. Crafting isn’t really used for anything else in the game, but the end game builds all require a ton of extra grind, with obscure materials hidden behind rare or secret enemy drops. The only purpose is to artificially inflate the playtime, so the publisher can claim the game has “over 100 hours of gameplay” in the ads.
Another example, devs were told to add crafting after the game’s equipment was balanced. In order to encourage players to actually use the crafting system, it is full of super overpowered gear that completely wipes the floor with anything else in the game. Or inversely, the devs didn’t want you to be able to grind materials for gear before you were “supposed” to have it, so all of the crafting gear is subpar at best.
That shit has ruined so many single player games that were otherwise fine.
Fair pricing means a reasonable profit on the base cost.
Under many circumstances, this is true. However, console makers have historically sold consoles either at or slightly below cost, expecting to make their real profits on game sales, online store sales, etc… In the business world, it’s called a loss leader. Meaning it’s something popular that the company takes a loss on, while expecting it to encourage more sales elsewhere.
The classic grocery store example is a rotisserie chicken. You can go get a whole rotisserie chicken from the grocery store deli for like $3. It’s so cheap because the store is selling it at a loss. It’s a loss leader. Very few people will simply buy the chicken by itself. Instead, they’ll buy a tub of potato salad, some roasted corn, a can of green beans, and a gallon jug of sweet tea to go along with it. By selling that chicken at a slight loss, they were able to get the customer to buy all of those other things at a profit.
That being said, Valve has already stated that they’re not planning on having the Machine be a loss leader. Which is why people expect it to cost as much as a prebuilt with similar specs.
+1 for the Castlevania Aria/Dawn of Sorrow games. The Soma Cruz games were where the series truly hit its peak.
Portrait of Ruin was alright. I enjoyed that they found a way to incorporate more varied environments into the series.
Order of Ecclesia took me a while to start enjoying. The weird hybrid 3D graphics threw me off at first. Once I got past that, I thoroughly enjoyed it.
They’ll sell games for 227, 375, and 510 UbiPointsTM. The UbiPointsTM are only redeemable on their online shop, and are only purchasable in units of:
- $10 for 50 UbiPointsTM
- $50 for 275 UbiPointsTM. That’s 10% more UbiPointsTM for free!)
- $150 for 938 UbiPointsTM. That’s 25% more UbiPointsTM for free! Our best deal ever!
Adding a pip to the center of the screen helps reduce motion sickness. I hadn’t experienced it until I installed a Skyrim mod that removed the reticle for most things. Suddenly I found myself getting mildly motion sick unless I was constantly un-hiding the reticle.
Worth noting that some monitors have an option to manually add a pip. It’s meant for shooters when you’re meant to zoom in instead of hip firing, but it also works to reduce motion sickness.
If you want a windows-like experience, Linux Mint is hard to beat. It will feel very familiar.
If you enjoy gaming (which I’m assuming you do, considering the article) then maybe Bazzite would be a good option. It comes with GPU drivers (which have historically been a giant pain in the ass for Linux) ready to go. It’s an immutable distro, which is… Contentious in the Linux community. It means you won’t be able to accidentally break your OS, but it also means it isn’t as customizable. The newer users appreciate the safety net, but the experienced power users see it as overly restrictive coddling.
Or just different loot. Destiny actually had a fairly decent approach to this. Some gear was PvE only from enemy drops, and other gear could only be found in the PvP shop (which required grinding currency in PvP to purchase). There was some gear that was categorically better for builds, but the devs tried to keep the exclusive stuff fairly balanced. So like the PvP stuff wouldn’t try to make you outright overpowered in PvE, for example. It meant you could take the same gear across the two different modes, without being able to simply get OP by focusing on one mode entirely.
The devs struggled with balancing the gear between the two modes, (looking at you, Gjallarhorn), but the idea wasn’t awful.
That is a tricky question to answer, because the PlayStation and the Switch serve fundamentally different use cases, and there’s only a small amount of crossover between the two game libraries. If you want to play Nintendo games, you’ll get a Switch. If you don’t care about Nintendo games, you’ll get a PlayStation. They’re only superficially competing, and many console gamers will end up owning both.
The McRib is actually an awful example for this, because McD’s primary deciding factor is the price of pork. When pork prices drop, McD revives the McRib. They want to manufacture them as cheaply as possible. Then when the prices start to climb again, they pull it from the menu.
That’s why they don’t do big “it’s coming back on this date, and leaving on this date” announcements ahead of time, because those announcements would affect the pork prices as pig farmers would anticipate the upcoming large McD orders, and subsequent dips when they stop selling. By the time the McRib is on the menu, McD has already been buying pork for a while. And by the time it gets pulled from the menu, McD has already stopped buying a while ago. So their profit margins won’t be affected by them adding/pulling it from their menu.
2 was where the series really peaked. The first did some new things, and brought some fresh life into the shooter genre.
2 expanded upon it, and had a much better story. It was also in the heyday of matchmaking game lobbies, so it was easy to boot up the match finder and jump into a game with someone. Probably half of my Steam friends list came from playing this game and just vibing with people on voice chat while we ran through the side quests.
The prequel was… Alright? I’d put it about on par with the first game. It didn’t bring anything new or exciting to the table, but it was good at what it did.
Then 3 was just bad. It felt really cringey, in a “how do you do, fellow kids” kind of way. Like it was trying too hard.
And now 4 sounds like more of 3. The game sounds rushed, and the CEO’s attempting to cover for that rush makes him sound woefully out of touch. There’s no good reason that cel-shaded graphics should require a 5090 to run smoothly.
I’m guessing it’s something like when you lose to a boss you have to travel a senselessly difficult and long way back to the boss to try again?
Exactly. Lots of bosses don’t have convenient save points nearby, so you’re forced to walk back from the save point every time. And many of the treks are either long or just outright annoying (cheesy enemies, obstacle courses, etc). It’s like the 5 Minute Long Unskippable Cutscene’s more annoying older brother, because this unskippable cutscene requires actual gameplay and focus.
Honestly? Pretty much anything from the N64 era or earlier. Anything from before the PS1 will run great at the lowest power settings, and will stretch your battery life out for like 8-10 hours. Maybe not a huge concern if you have access to an outlet to charge, but I’m assuming you’ll be on your own for the whole flight.
Arcade games are good for maybe an hour at a time, but quickly become too repetitive for me. Don’t sleep on the old RPGs and adventure games, as those will be fairly good at stretching gameplay into dozens of hours; Chrono Trigger is easily a ~25 hour game for the casual first-time player, and will be consistently entertaining for most of that time. Super Metroid will take at least a few hours to beat, especially if you’re not a repeat player who already knows where to go.
If you have access to a charger, then your potential library will expand massively as you can loosen your power restrictions. The PS1 was the golden era of JRPGs, for instance. FF7 is a classic for a reason. Legend of Dragoon is stellar and will easily last 40-60 hours of gameplay. Legend of Legaia had a small release and was completely overshadowed by the bigger players, but has a cult classic following these days.
Yes, but the bombs would have dropped regardless. So still the same end result.
Supposedly, the game was supposed to have a lot more atmospheric storytelling. Radios playing in the background, with news reports about rising tensions between the US and some nuclear state. Newspapers left laying around with headlines of nuclear war brewing. TVs playing with reporters talking about some country (Iran or North Korea, maybe?) developing nukes.
These were supposed to be scattered all over the place in ways that the player would obviously cross paths with them. The cult was less “doomsday prepping for no reason” and more “doomsday prepping because they think it’s soon”.
But Ubisoft being Ubisoft, they cut a lot of content because they wanted to launch the game sooner.
This is a pretty solid list, but I’d try to bridge the gaps between older games and more modern ones, to show how things progressed. Essentially, you want each section of the museum to tell a story about how some critical building block of gaming was taken from concept to implementation.
I would actually include both the original Castlevania and Metroid then follow it up with Symphony of the Night. Show the original Castlevania game to establish the series, then show Metroid which has the exploration and backtracking with new abilities. Then show SOTN, which shows the combination of the two (effectively cementing the entire Metroidvania genre). Then show a game like Hollow Knight or Ori and the Blind Forest, which goes on to embody the genre several decades after it has been established.
Zelda is a good one, and I’d follow it up with something like Okami, which follows the same dungeon formula in a radically different setting and art style. Again, showing the genre’s establishment, then showing how it can be adapted.
For Final Fantasy, I’d also include FFX, which follows a very similar turn-based playstyle. Maybe include a Dragon Quest game somewhere in there too, as that series tends to stick to the same basic gameplay formula. Then I’d take it in a different direction and show something like Bravely Default, which is still technically turn-based, but also has additional elements layered on top.
I’d chase Super Mario 64 with something like A Hat In Time. Again, showing the establishment of the 3D platformer, then showing the elements in use elsewhere.
You have Ultima on here, which I agree with. But I’d probably break the display for it into two different halves: For the RPG half, I would include some more tabletop-inspired games here too, as the early game devs were largely tabletop game fans who were simply adapting their favorite games into digital settings. Games like Fallout 1/2, or Baldurs Gate. Maybe even show a modern game like Baldur’s Gate 3, to show how tabletop RPG mechanics can gracefully transition to digital games. Morrowind would also fit nicely here, but Skyrim is a little too far removed from old TTRPGs to be relevant to this section. Still important to have on the list, but I’d probably have it in a section dedicated to player-made mods.
For Ultima’s one-point-perspective dungeon-crawling, following it up with something like Persona Q or SMT: Strange Journey could be impactful to show how it was adapted to more modern games.
Basically. He spoke out against the Stop Killing Games movement, saying it wouldn’t be feasible for companies to support games in perpetuity… Which wasn’t the point of SKG. But PirateSoftware has a massive following and has the classic reddit “if I sound well-informed and speak with confidence, it doesn’t matter if I’m correct” mentality. It was many people’s first time hearing about SKG, so the confident misinformation turned a lot of his followers away from the movement.
It’s slow
This feels a little bit like eating the peel off of a potato, and stating the entire potato is gross. Maybe you just don’t like the peel. If we judged games purely by their tutorials, Kingdom Hearts 2 was a giant bomb, Fallout 3 was an awful game. Skyrim was wildly unpopular, Metal Gear Solid V wasn’t worth playing at all, The Witcher 3 is a slog, etc…
Yes, the intro is slow. Nobody denies that. Even people who love the game will tell you “just trudge through the first hour until you get to Valentine. The game opens up after that.” You can even find those exact comments on the posts you said to google.
Not sure who decided the same button should be either “talk to NPC” or “shoot NPC right in the goddamned head” but that never should have passed play testing
The controls are actually pretty solid, once you realize exactly how many things they managed to map to a ~16 button controller. Sure, the controls can change depending on what you’re doing. For example, if you’re on a horse, you have different controls than if you’re on foot. But I’m not sure how you managed to shoot someone while trying to talk to them… Because those are, in fact, always two entirely separate buttons. The right trigger/LMB is basically only ever used for shooting. Out of every button you could have picked, you picked the one that is basically hard-mapped to a single action.
The only time the trigger/LMB is used for anything else is when you’re in a menu. But that’s certainly not unique to Red Dead; Games use triggers to change menu tabs all the time.
Hell, if philosophy is the driving factor for a good villain, then GladOS wouldn’t even be on your list. A villain doesn’t need to be morally grey to be a good villain. Plenty of good villains are evil just for the sake of being evil. Even GladOS would fall into that box.
The point was simply that players need an end goal to keep them focused, and having a consistently present villain acts as a moving end goal. The player is driven to chase that goal until the conclusion, because the villain is always just out of reach. If you see a goal waiting on the horizon, the march there feels like a slog. But if the goal is consistently at your fingertips as you chase it, you’ll chase it all the way to the horizon without even realizing.
Certain parts of the game haven’t aged well, but there’s no denying that Vaas was a wonderfully done villain. He’s a great test case for the “a good villain can’t be absent and mysterious” argument. Most of the memorable villains in gaming have been nearly omnipresent; Vaas, GladOS, Andrew Ryan, Handsome Jack, etc…
All of them are good villains because they are consistently present. They have enough screen time to actually develop into full fledged characters. They’re not just some dark and mysterious overlord, patiently waiting in the bottom of a dungeon for you to come fight them. They’re persistently in your face, interacting with you. Even if they’re not actively hindering your progress, the fact that they have a continued presence means their eventual downfall is that much more satisfying.
You’re just looking for genres. Your comment is a little like saying “when I want to listen to music, I don’t want acoustic guitar. That instrument shouldn’t be called music.”