Exclusives suck for everyone. Especially when Epic started out, they only had payment processors in certain countries. This meant that some people literally had no legal way to play the Epic exclusives. I'm not sure where they stand today, but that annoyed me enough, along with other shenanigans by Epic and Sweeny, that I avoid the whole ecosystem.
Majora’s Mask: a 3-day timeloop where everything resets when you go back
As far as time loop mechanics go, there are some other strong contenders for playing with the concept:
The Sexy Brutale - you are stuck in a short time loop in which people die, and you need to save them. Successfully saving someone grants you a special power that can be used to try to save others. You have to untangle who and how to save each one and exactly what’s going on. You keep the powers between loops, and also start each loop from the last clock you checked in at.
Deathloop - Arkane stealth shooter stuck in a one day loop. Several locations, different events in each location each day, goal is to arrange the right day so you can kill all your targets in one loop.
Death Come True - interactive film game. You wake up in a hotel room, and have to figure out what’s going on. Loop continues until you die, at which point you wake up in the hotel room again.
12 Minutes - You come back to your apartment, and unless you change the course of events (or on the first loop, do not touch the controls at all) you will die in less than 12 minutes. Then loop until you understand what’s going on.
Oh man, I just want to give a shout out to the Splatoon ink mechanic.
The game is a competitive arena shooter. That would be pretty uninteresting, but instead of competing for kills or holding objectives, the teams are competing to cover the largest surface area with ink or paint. That’s pretty neat. But there’s more.
Every player has a special “squid mode” they can use when standing on ink of their colour. When in squid mode players travel much faster, can travel up walls, and are extremely hard to spot, but can not attack or lay new ink.
This makes the laying ink in specific areas valuable, as it makes it faster to get from the spawn point to the front faster and easier. It also rewards holding contiguous trails of ink, or conversely, cutting off your opponent’s ink trails.
Mmm yess. Recently did a play through, and luckily I played most of it with a fellow pilgrim. IMO Journey will always be gorgeous. The graphics are perfectly balanced between realism, performance and art. To me, it’s a timeless classic.
Hate: disproportionately excessive penalties for falls (usually found in platformers).
If you get shot in the face by an enemy, you lose your shield, lose a life, whatever. In a bad platformer, if you don’t time a difficult jump exactly right, you lose a life, lose everything in your inventory, get sent back to the very beginning of the level, get audited, and have to mow the developers lawn for an entire summer.
Platformers are “guilty until proven innocent” - I won’t play one until I know it won’t destroy my will to live.
I honestly can’t even remember the one that first set me off. It’s been a while. I just remember realizing that gravity was more punishing than any of the enemies, and thinking “oh, to hell with this.”
For platformers, maybe. But for certain genres – like battle royale – the risk of losing it all after one mistake is part of the thrill. It all depends on the game.
I strongly disagree on their roguelite “bug” being something they need to drop.
Bastion didn’t land for me, so I didn’t play it, but Transistor would have shined as a roguelite. Its combat system is far too complex, and has potential for so much more, than what can be explored in one or two playthroughs.
The same goes for Cloudbank as a narrative setting.
Transistor, but with Hades’ gameplay loop and storytelling style would be insane. It already felt like a roguelite, but without a gameplay or narrative reason to go in for multiple runs.
Supergiant hasn’t cought a roguelite bug… They’ve found the perfect narrative and game format to match the gameplay systems and worlds they like to create.
It was really groundbreaking to have the narrator react to what you were doing, in a “Half-Life feels like a real world that you inhabit” way. The way the music was woven into the game was also amazing, and the art! There’s a reason it put them on the map.
I didn’t like the gameplay all that much though and the world building didn’t make too much sense to me. These parts have aged the most poorly. But it was way better than just marketing.
It counts as a masterpiece because of how well it blends game design, gameplay and story. I have played very few games as thoughtful, or that weaved the gameplay together into the story it was telling in such a meaningful way. I never thought once in my life that I would think philosophically about bullet hell but somehow Nier Automata has something profound to say and even manages to say it using bullet hell as a gameplay mechanic.
On top of all this, it also has a lot to say about classical philosophers, their works, and honestly deeply subverts things they had to say. It asks tough questions about their thoughts and ideas, once again, through gameplay. Numerous characters are named for classical philosophers: Pascal, Jean-Paul, Simone, Engels, Immanuel… (Yoko Taro obviously has feelings about how Jean-Paul Sartre treated Simone de Beauvoir.)
Further, Yoko Taro is doing something that a lot of game developers fail to manage to do: He is embracing gaming as a storytelling medium and eschewing the traditional three-act arc from film. Because gaming is not film. As Marshall McLuhan posited, “the medium is the message” and unlike other developers Taro’s writing is aimed at the medium he is working in instead of leaning on the ropes and tropes of other mediums. (Referring back to above, tying the gameplay into the story, focusing on the medium)
It’s basically impossible to not break down into tears at the ending.
Don’t write it off because of the scantily clad anime women. Stay for the depth of the human condition. It is truly a masterwork in multiple respects.
For a moment I thought you were talking about the Newsmax host and I was very offended and confused, but it looks like there is another, lesser known Chris Plante in gaming journalism.
spoilerThe wild part is that he’s so good at subverting anime tropes, too. The “killing god” trope is mentioned in the first lines of the game… and then going on to battling the end credits themselves?? Literally killing the gods who created the world this all exists in? Taking it to the absurd yet logical extreme, so brilliant.
Man, I wish I understood a single bit of this evaluation of the game after finishing every chapter (sorry - “Ending”). The whole thing felt mostly like a waste of time.
That said, I’m a fan of Spec Ops: The Line, a game that has much the same level of division among its players. Interesting how philosophical games get that reaction.
I play Fantasy Critic with some friends. We allow remakes in our league but not remasters. This one counts as a remake for purposes of this site, with a flag on it to note that it was contentious. This game definitely blurs some lines on some definitions.
I don’t know. As far as I can tell, it’s only searchable for the current calendar year, and we can view games we had on our roster in the same league in previous years. No one had any of those games on their roster. The site differentiates between remasters, remakes, and reimaginings, with a reimagining being something like Resident Evil 2 or Final Fantasy VII Remake. We used to not allow remakes, but we changed the rules for our league starting last year (personally, I voted against it, but I was outvoted). The league commissioner can always override a decision that the site makes when categorizing a game.
I managed to find aoe3 and aom on the site by using a site-filtered Google search. Couldn’t find 1 or 2, but with both of those that I found being “remake”, I suspect the two I didn’t find would be the same.
It’s interesting, and perhaps highlights how vague the line is between remake and remaster. AoM I can see being called a remake (at a bit of a stretch), but 2 & 3 are pretty solidly remasters in my mind, due to being entirely in the original engine with just a bit of new QoL features and improved graphics added.
Yes, it is fantasy sports but with video games. You draft games, and your points are determined by their score on Open Critic. Over 70 gains points, under 70 loses points. Every point over 90 is worth double. The way my friends and I structure our league, we have one counter pick during the draft, and the counter picker gets the inverse of the points of that game; so if I have a friend who drafts Kirby Air Riders, and I counter pick it, and it scores 67, my friend loses 3 points and I gain 3 points. If I counter pick a game that scores positive points, I lose those points instead.
The only game on my roster that has released so far is Knights in Tight Spaces, which only got me 6 points (I aim for about 13 points per game), because it scored a 76 on Open Critic, and I was perhaps a bit too risky when I drafted Pony Island 2: Panda Circus, because I got counter picked on it, and it doesn’t have a release date, so I might be stuck with a game that scores 0 points due to not releasing this year.
But you don’t always know about every release a year in advance (I mean for games that weren’t announced yet at the time of your draft)… Are there “seasons”?
Lol sorry, I’ve just never heard of this and I’m intrigued.
Correct, you don’t know that. You can speculate on releases, like I did with Pony Island 2, and get counter picked as a punishment for the risk. As long as it’s in the site’s database, it’s fair game. I drafted “Unannounced 3D Mario Game” this year, but then I picked up “Unannounced 3D Donkey Kong Game” after the draft for 1 in-game dollar (no one else put in a bid for it), as a hedge, since the rumor was that either a Mario or a Donkey Kong game would be made by the Mario Odyssey team for the Switch 2 launch. No one counter-picked Mario, so I’m allowed to drop it, and the Donkey Kong entry automatically updated to Bananza. The “season” is a calendar year. We do our draft early in January, and typically the first release of the year will be like halfway through the month, and the score that each game earns is whatever score it has at the stroke of midnight on January 1st.
Because we don’t know every release a year in advance, A) this game got a lot harder starting back in 2022, because that’s when game marketing cycles got way shorter, and B) some of the best reviewing games of 2025 probably won’t even be announced until this coming June.
They have their own database. If there’s a release or a rumor they don’t know about, you can suggest one, but they ask you to cite your sources. If it’s got a Steam page and you provide that link, they’ll basically add it right away, which is what happened when I got Total Chaos added. Fantasy Critic also gives league commissioners a lot of power to house rule just about anything.
I remember in the original 1990’s NASCAR Racing game, I discovered a glitch where if I managed hit an AI car into the outer wall a certain way while driving backwards, it would launch said AI car backwards at some incredible rate of speed which could make for some spectacular wrecks.
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