Benson explained that because “the various projects that I am affiliated with in my career are family-based, children-based,” voice acting director Kris Zimmerman suggested that she go with a pseudonym.
That’s gotta be the stupidest thing I ever heard. Just about every voice actor does adult Video Games and kids movies. Nobody cares.
Also she’s been on the IMDb credits for the metal Gear games as EVA for like years
I never played BioShock 2 or Infinite, but I watched full playthroughs of each, and I thought infinite was great! Different to be sure in most ways, but it was a neat expansion of the world and themes hinted at in the first two games.
I seem to remember a lot of sideline criticism when it came out that boiled down to “NPC sidekick not love interest but hot so I don’t like game”. I thought, and think that is ridiculous, and fortunately I think that criticism has faded with time because Elizabeth is such a positive part of the game, from my view.
I really liked BioShock Infinite. I enjoyed the story, I enjoyed that it was a deviation from the previous two, I liked the characters and the dimension travel. I especially liked the “fake facade” of it all, versus the overt, grimy dystopia of Rapture (which was fine). It gets extra points for being playable with ReShade on solely a Ryzen 5600G.
I honestly felt it was weaker than both Bioshock and System Shock 2. It was stronger than Bioshock 2, but I mean… that doesn’t take a lot.
Both System Shock 2 and Bioshock built the game systems first and foremost to be fun and engaging, and then wrote an engaging story around those mechanics. Bioshock was literally taking dumbed down systems from System Shock 2 and rewriting a more engaging and thoughtful story around the familiar systems. Bioshock Infinite seemed much more like they had a story idea first and then tried to adapt Bioshock-esque gameplay hamfistedly stapled onto said story. The others feel like the gameplay came first, and the story evolved naturally to align with the gameplay.
Games like Neir Automata really show where a synthesis of game systems design and game story design are really important and become even more impactful to the story, and in this Bioshock Infinite failed in comparison to earlier installments in the series (and its spiritual predecessor, System Shock 2).
I feel like it’s hard to talk about Bioshock as a series at all without discussing System Shock 2, because that’s where Levine first pioneered his story with the engaging antagonist who speaks to you through a radio, and Bioshock is where he refined it into what comes close to literature. Bioshock Infinite marks a regression, more worried about the story that Levine wanted to tell than the gameplay to support it. Due to that the story falls flat, feels stilted, and Levine’s generic take of “everyone can be a bad guy” feels hollow, because it’s not backed up by compelling gameplay that supports it.
As McLuhan put it, “the medium is the message” and video games inherently work better through a synthesis of gameplay and story, without one dominating over the other. Games that lean too far in one direction or the other (Metal Gear Solid’s interminably long cut-scenes for instance) take you too far out of the gaming medium and too far into other, more detached mediums.
As McLuhan put it, “the medium is the message” and video games inherently work better through a synthesis of gameplay and story, without one dominating over the other. Games that lean too far in one direction or the other (Metal Gear Solid’s interminably long cut-scenes for instance) take you too far out of the gaming medium and too far into other, more detached mediums.
Absolutely banger take, I agree completely. Games have a difficult needle to thread, unlike a book or movie that can be strictly narrative-based, a video game has to somehow give the player enough agency while taking it away to allow the story to progress. And now I have DND on the mind again.
I’m reminded of a comment my older brother made about Final Fantasy X, all those years ago. He described it as basically playing a movie. Go figure, I liked the cutscenes!
I came back because I read a bunch about Levine’s new game, Judas… and it sounds like his approach to Judas is exactly what I’m asking for.
He talks about “narrative legos” a lot while developing this game, and I think that’s the kind of thing he really needed to implement to be able to tell the story he actually wanted to tell.
I found one interview (already forgot which one) where he described Bioshock Infinite’s linear story as holding him back, and that’s part of why it’s a weaker installment, because it can’t change the story in response to your actions. That’s clearly what Levine was trying to do with stuff like the choice of harvesting of the Little Sisters or not, or in Infinite, choosing to be a racist piece of shit or not. He was held back technologically, and I think the “narrative legos” idea is why Judas languished so long in development hell.
Here’s hoping Levine learned his lessons this time around.
The art style was “what if we target the uncanny valley specifically?” It was the strangest thing that seemed to target realism but without the technology that actually makes it look reasonable. I didn’t really care about what it looked like though. Just having some game competing with Maxis would have been nice. Cities: Skylines brought the city builder out of the pit it had been festering in with no competition. I was hoping this would do the same. Hopefully the other projects can do that still.
Wizardry inspired a lot of games, but the three games listed have greater influences elsewhere. (FF and DQ in particular are more like Ultima.) Sadly the games that were most inspired by Wizardry, sometimes called “blobbers,” have mostly died out: The classic Bard’s Tale games, Might & Magic, Dungeon Master and Eye of the Beholder. Etrian Odyssey and the Japanese Wizardry games hold the torch but are pretty niche these days.
The demise of the original Wizardry series is one of the greatest injustices in the history of computer gaming, up there with the closing of the original Atari.
You’re forgetting the other advantage of the switch is how cheap it is. If Microsoft can manage to make something that’s inbetween the price of a steam deck and a switch it could be pretty enticing.
What does Xbox even have that I couldn’t already play on my PC? Halo’s dead; there’s no reason to humor Xbox as a console anymore. Microsoft’s still-surviving exclusives are all mid; so really, why would I get one of these when I could just play on my PC, or pick up a Steam Deck to have access to my PC’s library?
Valve only makes the deck available in a handful of countries while Xbox hardware is available pretty much everywhere, so I’d say it’s natural to assume a hypothetical dexbox would too
Because Xbox deck wouldn’t be made by a tiny gambling company. It would be made by a massive corporation with footholds for tech already established in practically every country.
Nintendo: “Let’s force retro gamers to buy the Switch if they want to play our titles, by pressuring Steam to remove all Nintendo emulators, and by suing Switch emulators into oblivion.”
Also Nintendo: “Why don’t retro gamers want to buy our products anymore?”
What happened 10 weeks ago? Did they run some projections and realized their Fortnite revenue aren’t going to cover the operating expense for the whole company anymore?
Her videos about women in video games were mind-blowing. And I never forgot her Lego City vs. Lego Friends comparison. Smurfette-syndrome and damsel distress are words I didn‘t know before watching this channel.
polygon.com
Ważne