Agreed. I’m not looking forward to it either. I’ll be at work, most people are probably going to call in, and there will be hours of traffic when get off.
Best chance I’ll ever have personally. Live in the path, work from home, good time. Plan is to just step outside for a bit, look at it (with protection) then back to work.
We’ve had code modding by using thunderstore since release only new thing is paradox mod store and map editor. I did get a roughly 10% performance increase on my largest city. It’s still not where I want it to be but I’m glad it’s slowly improving.
I’m glad I skipped release day. Definitely waiting to buy it on sale after it’s been fixed with updates and DLC. Sucks to see companies treat buyers like testers.
I pre-ordered, but when they started doing damage control over how performance was going to be bad before the game even launched I sighed and cancelled.
80 bucks well saved. Still waiting for it to be fixed to pick it up. Do we have mods via steam workshop yet? I’m still annoyed at them pushing their launcher.
No they are not ysing steam workshop only paradox mods. The community is using thunderstore mods but I’m pretty sure paradox brought off the modders to ensure they move over to paradox mods.
It went from the running animation looks terrible to being blown away by the moves being chained together to form an incredible sequence. Amazing fight choreography that makes me want to check out the series.
Honestly if you’re feeling that way, you might just want to watch fight compilations on YouTube. The fight animations and the rest of the show were worked on almost completely separately, and you’ll have to get through at least season 3 before people stop clipping through objects, or background characters just being shadows.
… No, sorry. The world building has such a great potential, but it’s clear that they had no direction after Monty’s death, and there are just so many random plot lines that they try to make stick, and then just never reference again. If it was just incidental stuff it might be possible to overlook, but it’s very foundational elements to the narrative that they just drop for no apparent reason.
Hbomberguy has a really good video about all of the problems that plagued production. It’s a pretty interesting watch that covers the way the story was put together, where the writers got their ideas from, and a bunch of behind the scenes stuff.
Absolutely. RWBY set the standard for quality when it came to nontraditionally produced shows online and really spawned a new era of independent media.
I bailed on Dishonoured for one very specific reason; the morality system.
Dishonoured is, in my opinion a spectacular example of game design, and an equally spectacular example of how to break your game design by not understanding the way players interact with the tools you give them.
Dishonoured is a stealth game. It’s also a game with a superb combat system, and a really fun and exciting set of powers for the player to enjoy using. These things can, sort of co-exist, if somewhat uneasily. But then you add the morality system.
The morality system, in effect, punishes you for playing the game in a non-stealthy way. Or, more specifically, for playing with the wrong kind of stealth. The morality system wants you to ghost the whole game, slipping past every opponent without the slightest evidence you were ever there. But doing that means not engaging with most of the powers and any of the combat.
Having the option to follow a ghost playstyle is great. But when the game sets up a bunch of really fun mechanics, then punishes you for engaging with those mechanics in exactly the way they were designed to be engaged with, that just sucks.
Can you explain why you think the game punishes the player for engaging in combat and killing enemies? I get that the events in the game may change but I’m not getting how that’s a punishment to the player.
You get a bad ending if you kill too many people, and the non-lethal option is just the chokehold for the most part. I bailed for the same reason the first few times I tried to play through the game. The morality system is really the games only critical flaw (or they need more non-lethal options)
Non-lethal also means avoidance rather than conflict. But ultimately, “bad ending” is subjective. You still save the princess, it’s just a more murdery vibe.
Also you get to kill the baddies yourself, it’s the good ending where most are killed for you right?
I guess it’s personal preference. I prefer for choices I make in the story to affect the outcome. If my gameplay has an affect, I feel like I’m being forced into a playstyle. I know it’s stupid, but I have trouble getting out of that thought process. For me it’s similar to why I can never get into bayonetta or devil may cry, the scoring system for each encounter stresses me out. I just want to have fun
There’s also a lot of stuff throughout the game about how the city gets more corrupted, more rats everywhere, that sort of thing. Some of this makes some stuff harder, some of it is just vibes. But all of it is the designers very noticeably wagging their finger under your nose for engaging with the mechanics they made and actively encouraged you to engage with.
To me it feels more about consistency. The world aligns with your expressed ideology.
If you’re using the sneaking and non-lethal tools the world becomes a place that believes in the value of life, if you murder indiscriminately the world becomes a place of punishment, where nobody is innocent and the only way forward is to let a plague descend on the land.
Plus, arguably, the parts that get harder when you go lethal are balanced by the inherently more difficult nature of the non-lethal approach.
Appreciate the response. I feel that I’m in the minority when it comes to caring much about good or bad endings. Usually if a game has several endings I’ll replay it to get the other endings. I’ve never really felt that a “bad ending” was a punishment though. Even if I get immersed in the character I’m playing, I never felt as though I experienced the negative outcomes. I was playing Baldur’s Gate 3 with a friend and he was getting mad at me because I wasn’t playing lawfully good lol. That game was designed to keep progressing no matter what choices you make. You can kill the most important characters but the game keeps going. Yet he felt as though we would have to reload a previous save if I did something too “wrong”. Anyway, I just find the difference of opinion on the topic interesting lol sorry for the wall of text.
IMO the combat mechanics shouldn’t have been there in the first place, but the developers were terrified of making a player-character that wasn’t a demigod that can slaughter an entire army.
I still think Dishonored 1 & 2 are both really good games, but its like they made Portal but just let you break the walls of the test chambers and walk right through if you felt like it.
I’d be happy with either option. If you’re going to punish the player for not doing perfect (eg, no kill) stealth, don’t tease them with a bunch of really exciting combat mechanics. If you’re going to include all the exciting combat mechanics, don’t punish people for using them.
Dishonored is a descendant of the looking glass studio, 0451 immersive sim games, such as Deus Ex. These are games have flexibility, they let you choose how you approach. You can fight, or you can sneak, or you can do both. The game succeeds on this goal, as you can have a very satisfying time with the combat or the stealth, and you can do both. You can fight your way out of failing to sneak.
The morality system gives the game reactions to your actions, gives your choices an effect outside of the level you’re currently on. It does encourage a specific play style but that is deliberate. The outsider is a malevolent force, who doesn’t care for this world. He gives you these powers that come with a cost. Getting the good ending requires to resist the temptation. That’s the point.
Do not cite the deep magics to me, I was there when they were written. I grew up on System Shock and Deus Ex, and that’s exactly why I found Dishonoured so hard to get into. Those other games gave the player a complete free choice in how to approach them, but Dishonoured doesn’t do that. It presents an apparently wide open field, but the moment you pick a particular path and set off down it, the game wags its finger and says “Oh no, not like that. That’s not how you’re supposed to play.”
Ugh games of this era are gonna age like milk with this forced upscaling and blurry TAA smear shite.
More compression and upscaling… How about just better graphics? How about you make a console that can do path tracing that you can get going with a fairly cheap PC setup.
All these years and these consoles still run 720p30fps like the PS3, but it’s ok with some people because it’s using AI to be dishonest and not just lying like back in the good old days with fish AI.
Forced upscaling and blurry TAA is compensating for the fact that they can’t push graphics much further on the hardware we have. The current hardware progression has stagnated, combined with the fact that we are seeing more diminishing returns in graphics as they improve, requiring more power to deliver less of a noticeable difference.
But it doesn’t mean these games won’t look great when you disable the fakeness and run it with brute force GPU power 10 years from now.
I honestly think the current graphics we can achive are fine and where the true improvements should come from are better animation and actually good art direction.
I’m no expert on the matter, but I know this yt channel argues that the technology is already available. The thing is, big players like unreal engine devs make sub-optimal decisions when implementing these new features, leaving a lot of games being blurry and/or mal-ajusted simply by not knowing any better. Of course, art direction will always be important for a games graphics, but when the vast majority of tools available make things look bad by default, it makes sense that people will assume a better result is just not available yet.
That’s the guy who’s asking for a million dollars to “fix” unreal engine 5 despite having 0 programming experience and sends out dcma strikes for any videos that call him out on it, lol
I think the primary reason for the GPU stagnation has been the AI / GPU compute bubble over the past 5 years.
So much on-die space has been diverted away from raw rasterisation power towards CUDA, that it has artificially held back GPU progress.
When we do see the current AI bubble burst (and it does feel like we’re fast approaching that point, due to all the recent incestuous business dealings), hopefully we can see some innovation return to the sector.
As the article states, I think the biggest factor is just the slowing of Moore's Law. Not only is new tech improving at a slower pace, old tech just isn't getting cheaper to manufacture.
Though I think one more factor the article fails to account for is that console generations themselves are lasting much longer, and even bleeding into each other as last-gen games continue to get released well into the new generation. The steepest price cuts on the graph came at the end of a system's lifespan, those are just fire sale prices to clear out old stock. Comparing those numbers feels a bit misleading, because five years into an old console meant it was ready to be phased out, while five years now means we're only halfway through the generation.
I know there's a lot wrong with the industry, a lot that's worth circlejerking about, but the fact that we're seeing price increases isn't just some greedy CEO trying to pocket a few bucks, it's a sign of some serious extenuating circumstances. Whole damn economy's fucked, it's a problem bigger than gaming.
They could just not have new consoles. We’re 5 years into this console generation and still don’t have a compelling reason to bother. They could admit that Moore’s Law is dead, and stop worrying about games being giant photorealistic open worlds full of fetch quests.
I am amused to report that this is a legally distinct definitely-not-Zachtronics company that just happens to have two guys (including Zach) from Zachtronics in.
Maybe my subjective take of sudden is different, but is it sudden? (aka I progressively succumb to madness over a title)
There’ve been many fantastic roguelike deckbuilders out since 2020, a little after Slay teh Spire’s official release date. It feels more like people have became aware of how fun the subgenre is after the hype Baltaro generated on streaming platforms. If anything is sudden, it’s the second-wind of attention we’re getting thanks to the above-mentioned game.
I know I’m continuing to split hairs over nothing down here, but 861 games is a little misleading once you get to the end: “Surprisingly, deckbuilders are still an underserved market”
You never know when you’ve reached the peak of a trend, but deckbuilders seem like they’re not quite there yet. Games-Stats tracks 527 roguelike deckbuilders, and Dev_Hell’s Westendorp suggests their higher-than-average revenues, wider revenue spread, and demand make them “relatively underserved as a market.”
So, there’s not 861 games, but 527 games?
If you investigate why there’s a large gap in reported game listings, it’s because Steam is including packs like [Slay the Spire x Backpack Hero] and DLC where Game-Stats is tracking the individual games (i.e, bloatless). This ties back to the title - ultimately we’re not trying to answer the literal question, “Why are there 861 roguelike deckbuilders on Steam”, because OP never answers that question. Instead, we are answering an alternative interpretation: “Why are there so many roguelike games appearing on Steam in a short amount of time?” The answer, may shock you:
spoilerMoney, popularity, ez(er) to dev
While I’ve taken those answers from the article, I find it further interesting that they conclude a different question all-together: “Why are roguelike deckbuilders taking off?”
Buh, I’ve lost it. Ultimately I really liked the core article and their enthusiasm, but I’ve driven myself to madness here.
Yeah, this same article can be written for Mini Golf games, or shmups, or visual novels, or any other genre that’s relatively easy to develop for. Once one gets popular, others will jump on because the barrier to entry is fairly low. Lots will be low effort clones, but some will really try to build something new.
I want to normalize having a sarcastic commentator making scathingly aggressive Youtube videos about people in the news who are doing unethical things.
arstechnica.com
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