No, I was more frustrated with some of the boss run backs. I kept having to down thrust bouncy things in order to avoid spikes. I was trying to find that guy to buy maps, but I didn’t know he went back to town, so I kept exploring more. I ended up losing like 200 rosary beads.
What drama queens. The store was down for an hour tops. After 7 years who cares about one hour longer. It’s nice to see how much demand there is for indie games, they are the last bastion of this art form.
The appeal is that it‘s a great game with beautiful art that runs on just about anything for an affordable price with no modern fuckery attached.
But if metroidvanias aren‘t your thing, it‘s just not your thing. I‘m also not super obsessed with them and played the first game a fair amount but not that much; I do, however, get why people just want to be hyped for something that doesn‘t spit in their face in return for once.
But it’s not hard to find examples of similar games that don’t reach server-crashing levels of popularity. Axiom Verge, for one. Beautiful art, runs on anything, affordable, no modern fuckery. It’s also a metroidvania. Not to imply it’s a better game, but I personally enjoyed it way more than Hollow Knight.
This feels like cherry picking (there is probably a better pun in there). The sentiment I saw when the servers went down was overwhelming support for the Dev and the happiness than an indie game is doing with AAA games can’t; bring down steam.
At that point it's just click bait then. the media loves to focus on a negative aspect of a generally positive thing to get people upset enough to give them attention. Thank you for the added perspective! I know this game has been super duper looked forward to by so many people and also wonderful that the devs made it at least somewhat affordable on launch. I would imagine they could have easily asked for 10 to 20$ more a copy and it still would have crashed the system.
I agree that there didn’t seem to be much negative sentiment and it was great to see. Just to point it out though: the reason Silksong crashed the store while even successful AAA-games don’t is that Silksong didn’t have preorders while AAA-games do, meaning there won’t be millions of people trying to purchase the game at the same time the second it releases.
I noticed, and did a lot of refreshing to eventually get it (over 2 hours after launch) but mostly it’s just funny and so so cool that a few Australian guys can make a game and it takes down every store. Straight badass.
Yeah I’ve been really annoyed with modern “news reporting” and this article is no different. The store went down for like, a few hours. It was no biggie. It’s frustrating to me how the news exaggerates headlines like “gamers angry as…”, “outrage as”, “fury as” etc. Like they’re telling people to be angry if they aren’t already; telling them they should be.
I’m not angry. It’s a massive achievement on Team Cherry’s part. A team of three launched a game so in demand that it bought a service ran by a major corporation to its knees. I think this happened in huge part thanks to them actually pricing the game reasonably. Massive props to them.
I’m replaying COD4 and taking notes at the moment for a review I’ve wanted to do for years, coincidentally.
Looking at just COD4 without being influenced by knowledge of the sequels, it’s got a decent story and if you look at the edges you can find contemplations of cycles of violence, and while not to the point of being anti-war it does emphasize the waste of it.
The characters are Tom Clancy levels of larger than life, which is significantly more restrained than what came later. Individually the story beats and scenarios have at least a texture of realism, often loosely based in something real and then strung together in a story that isn’t convoluted.
I could see it being a good movie with the right handling. It probably wouldn’t be.
The characters are Tom Clancy levels of larger than life, which is significantly more restrained than what came later.
Mind going into more detail on this one? I’ve been reading the Jack Ryan novels, and I’m 3/4 of the way through Rainbow Six (the book) right now, and I think part of the appeal is that the characters feel small, as those stories always involve ensemble casts.
I agree that 4 and especially MW2 both feel very Clancy. I might even be more partial to MW2 as it’s got this prominent theme of history being written by the winners that hits all of the notes that matter to me most in movies.
Some scenes in MW2 stick out so strongly to me still. ::: spoiler Spoilers for a very old game. The march through the neighborhood, the White House, the knife throw at the end … ::: It’s funny to me that the controversial moment won’t be a big deal at all in a movie, as there’s no player control.
/Edit: COD’s bread and butter really is big budget action movie moments.
While (classic, I’m not counting stuff ghostwritten under his brand) Clancy characters have hyper competence, it’s to be expected given that they are turbo ultra elite soldiers or spies. Their motivations and ability to act doesn’t reach the point of self parody.
For a COD4 example: Nikolai, the Russian that the player rescues early on in the game. He is a mole inside the Russian antagonist faction feeding information to the SAS. He got found out. He’s being kept at a house with a handful of regular soldiers watching him. When you rescue you him he is calm or at least puts up a calm front and thanks you. That’s a pretty believable guy who could have been a real person who is doing something realistic and dangerous.
In MW2 that character can materialize with apparently infinite types of military aviation hardware, and he is also a pilot able and willing to do insane maneuvers. And he is personal friends with Captain price rather than just being an SAS asset. And he is in touch with a friendly militia group in the middle of Europe.
There is a distinct jump from COD4 to MW2, where it goes from Tom Clancy to Michael Bay.
MW2 is still fun, but it exists in an entirely separate tonal reality than COD4.
I’d argue that those people with infinite resources, or personal friends with someone in high places, exist in a number of Jack Ryan stories, and perhaps it’s a matter of how frequently you encounter it that stretches one’s suspension of disbelief. I’ll also point out that the sequence of events that led to Jack Ryan being president are as crazy as anything in Modern Warfare 2.
I’m not saying Clancy stuff is always completely grounded, especially the longer it goes on, but I’m trying to use the Clancy comparison to capture the essence of an idea. COD4 while fictional, and with moments that aren’t wholly realistic if you really hold them up to the most intense scrutiny has the overall texture of realism. MW2&3 and Black Ops games all exist as throwing bigger and more insane setpieces out with no regard to any realism.
It’s a the last COD with a real gutpunch moment that says anything about anything. The nuke going off it a moment of realizing you aren’t a special main character and you die like everyone else, and that maybe war isn’t just a big fun adventure. All the shock moments have been trying to top it are so dramatic that they don’t have the same effect that the nuke did.
No ale nie ma tego złego. Przecież sektor prywatny nie oferuje dużo gorszych warunków.
Przecież co jakiś czas nie słychać o aferze, że kurierzy nie mają prawie żadnych praw. Albo o tym, że sikają do butelek bo nie mają ani czasu ani miejsca na załatwianie potrzeb. Tak samo nikt nie słyszał o tym, jak są źle traktowani i jak wypłata często zależy od rejonu na który trafią. Albo że dostają grosze za pracę ponad siły i ponad godziny, ale na szczęście nie chroni ich prawo pracy więc swiat ma to w dupie?
No cóż. Był czas na transformację, na dostosowanie się do warunków, mieli infrastrukturę, mieli ludzi. Ale poczty w wielu krajach po prostu zatrzymały się lata temu.
Wie ktoś dlaczego taki DHP czy inny Inpost potrafi zabrać przesyłkę od klienta, przewieźć na drugi koniec kraju i w 2-3 dni wszystko jest ogarnięte, a poczta miała ogromne problemy żeby zwykły list w tydzień przewieźć?
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