I do think it’s interesting you find video games have an entry barrier that’s higher than, say, music, even though the vast majority of people don’t have a way to listen to vinyl, as per your own example.
Nowadays people need phones, so depending on the game they can indeed experience them is some form.
Me too, didn’t even know people thought it was a bad game until recently. Honestly I don’t get why, I wasn’t expecting anything different from what I got, there were definitely some dialogues that made me chuckle, and a lot of storylines were very tongue in cheek, and while gameplay was nothing to write home about neither is fallout and this was sold as “fallout in space”, and definitely delivered on that.
It still has a 9/10 on Steam despite all the flak it took. I think it’s a classic. To me it’s similar to the backlash to Fallout 4 from purists, which I also feel is a classic game
Agreed. I thought it was a competently made game, even if not groundbreaking or best in class for shooting. I think people’s expectations are often their biggest obstacle to enjoyment.
I enjoyed the hell out of that game. My only complaint was that the loot lacked variety, and it was a bit more on rails than what I think of as a proper open world RPG.
Final Fantasy XV. (I just played the Royal Edition with all DLCs, I don’t know how the Base Game was without the extra stuff) Man I love that game, I love the Characters, the Lore, the cinematics, the movie, the anime, the world, the gameplay. The Gameplay is soooo fucking fun, switching between Characters, switching between weapons with Noctis. The Animations are beautiful. I’m probably one of the only people on earth that is happy that we left the open World after a while and the game is more on rails. Because the Moment the Story is getting interesting, the pacing is way better.
I’ve probably talked more about XV than any other supposedly bad game, so maybe I’ve developed some sort of Stockholm Syndrome. But for an objectively pretty bad game I enjoyed parts of it and it did elicit emotions out of me at times.
The game has many problems, but maybe the biggest is the huge overambitious “multi-media experience” they attempted. The game itself suffers because its content is spread so thin as it’s stretched out over a movie and a comic and the DLCs and I don’t remember what else. An anime? Even the Royal Edition still suffers for not integrating the DLCs, and it’s kind of awkward to have to stop playing at the appropriate times to go so the DLCs for the maximum impact. And even then the planned Lunafreya DLC would have added so much to the story, but they never got around to that as the game flopped (in large parts because crucial story elements were scheduled for fucking DLCs instead of included in the game!)
I do agree that the combat is fun, and they did have a really good vibe going with the bros and the road trip. There are some really nice heartfelt moments where the game shines. And the fishing minigame is absolute top drawer, one of the best in gaming. But ultimately I look at it as a huge pile of wasted potential.
Absolutely gorgeous music though, some really powerful leitmotif work like Sunset Waltz/Valse di Fantastica and Ardyns themes.
Right there with you! I preordered it, played at launch, loved every bit of it, and love the expanded updates its gotten even more. Its like taking the world of Final Fantasy and turning it into an open, monster hunter life sim with the bros with a solid story on top of it all. People love to hate modern Final Fantasy imo rather than accept the newer directions just aren’t their cup of tea.
@chloyster Kohan II: Kings of War, an obscure real time strategy game that can be compared to the first Battle for Middle Earth, though I find Kohan to be more complex, it's just as enjoyable
i watched a video about the new Marathon game and how it lacked the political ideologies and warring nations of the original trilogy, and filled the hole with a very basic vague anti corporate aesthetic. this is essentially why I found the first outer worlds so dull, it went out of its way to say nothing about anything beyond corporate power dynamics
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