I still wonder why the hell is this game classified as a roguelike? It’s poker mixed with MTG. Also, why are you crying dude? You made a literal slot machine.
That’s why he said roguelite. Semipermanency (being able to unlock upgrades for future runs) is what separates the roguelite from a roguelike. In a roguelike, every run you start from 0, in a roguelite you unlock things that make differences in future runs (in the case of balatro: different decks, new jokers, …)
Xenogears. 80-hour game, and that’s without grinding for everything. And, it probably would have been close to twice as long if they’d been funded enough to complete it. As it was released, the second disc began with a 2-hour cutscene with a save point in the middle, which essentially summed up most of the second half of the story. Amazing game. Like playing through an entire mecha manga.
I’ve been wanting to play that. Considering it already takes me something like 30-40 hours to launch a rocket in base game, I’m anticipating that getting through the DLC is going to keep me busy a while.
Just got Legend of Spyro: Dawn of The Dragon working on RPCS3 last night on steam deck. Absolutely love that trilogy, even if I did play the games in reverse order. Only problem is how I cannot properly save and need to save state any time I wanna save. Hope I can reload those save states easily from the steam game mode thing.
Other than that, played through a short Christmas themed side story VN for Brok the Investigator called “Natal Tail” last night. Short, simple, expanded a little bit of world lore, and was in general a fun enough experience. Didn’t have voice acting, but it was more than okay without it.
One of the first ones I thought of as well. Lots of indie games that are lots of fun that I’ve gotten for less than $10. I’ll add Stardew Valley and Slay the Spire, but they might be more than $10.
To go the 100% enjoyable route, I need to know more things which naturally put people in this state. I do such things by experiencing them myself, and once they get there I know this is something which would fit in such a work.
Regarding this point, I think one of the most safe and efficient tricks to do this is to keep introducing novelty. If you have a game that has a fairly limited number of distinctive unique things that are introduced quickly and afterwards are simply repeated in different combinations it will less likely have such effect. For example a sandbox that introduces everything in 10h and then 90h you just play around with it will probably not have this effect, it can even become a chore. But a story-driven game which constantly introduces novelty on plot level but also sometimes introduces some new mechanics and content, have big chances to have this effect. In reality it’s more complicated, and there are many dimensions to this like challenge/frustration for example. There are games that use frustration as a tool to some extent to make winning certain fights feel exceptionally rewarding (soulslikes is the most popular example). But if you make it too challenging/frustrating there is a risk that player gives up and leaves in state of frustration which makes it a big failure. This particular thing is high-risk/reward type stuff.
I like this detailed answer. Firstly frustration and risk/reward is the opposite of what I’m looking for, the nature is a bit different from what I’m looking to experience. The things I need are not achievement but completeness of concept. To that end even relatively tough action games with the quality of life features to reduce frustration might fit the requirement, as long as the gameplay concepts are “fully thought out”—not only is enough thought given to what you’ve put in, but the nature of each addition and how it relates to the persons playing them, what it makes them feel… along with the relation with other mechanics to make sure how they go together. Games which use frustration also use this to some extent—but frustration is the opposite of what I’m looking into. The stuff I work it makes the user feel as comfortable as possible—with thought put in to remove all frustration, while simultaneously delivering depth of concept. These two are not incompatible, but requires a lot of thought and effort to deliver. Eventually it goes into the psychological of what people like, why people like them, and what specific feeling causes you to like such a thing. Eventually you go into questions like is such a thing natural—is it something people will like without having a particular mindset, political stance, education… or will it only be enjoyable with any or some of these things and are looking for aligned art.
Then, after understanding these, it comes to making something that anyone can enjoy, as long as they’re not coming into it expecting affirmation for the things they believe in. That latter part is up to the user and it is not up to the maker to determine whether a person should like it or not—the emphasis of the maker is on not messing up the process itself, and then to let people react naturally to your work. Of course, the world has an element of malice for the sake of it, but dealing with it in an adequate manner and not be aggressive in general, especially against people who merely want to use your work and know more about it, is important. That is a place many modern makers are failing in. But that is not related to the process of making something itself.
The most important element in this process is making something which isn’t malicious—cause harm to anyone for any sort of gain, even to affirm your own thoughts—while, at the same time, pushing the levels of depth in your work till it reaches a natural state of full enjoyment. This is part of the learning process which must be completed before work is started on anything. This last part is what I’m finishing up on. At the moment, usually the deeper you go into art, the more you see things which are inclined with enjoying instances of cruelty—or so it seems many times, but it is not always the case. Understanding to the end the reasons of many things, the things I’m trying to experience, is key to delivering an even deeper work which is not embarrassed of anything, but does not take pleasure in cruelty. The reason for this is not to attract mainstream crowds—which is always going to be hit or miss—but to ensure anyone… mainstream, those who aren’t what is called ‘normal’ (I personally fit into the latter) enjoy the work completely while not feeling the slightest bit unpleasant. The showing of villainy can still be delivered while doing so, by placing importance on structure—whether you show the cruelty for most of the time, and show its resolution for a short amount… or whether you describe what the situation is and then allocate a lot of time to the detailed described resolution of a problem and how it affects the people around.
All these things are, again, to be learnt before starting anything. Understanding the things that people enjoy is most important when structuring your work well—even when you already have made a fully developed idea for a story. These are the things I’m focusing on. I cannot really explain it in detail other than saying pride and achievement are on the opposite side of these things and, as elements, do not really go into the work I want to do. I’m intimately aware of the natures of pride and achievement—mostly the negative aspect, which I’m not going to get into here because I do not consider it my problem to worry how people think, and these explanations are likely to cause debate, no matter how well intentioned either or both sides are. On the other hand, my understanding in the basic nature of enjoyment of a bit limited, and that is what I’m trying to implement when I start my work so I’m trying to change my limited understanding at the moment. Such a thing is possible by experiencing oneself—from any place, such as books, movies, games, people taking action… from anywhere.
Biggest surprise for length was Dragon Quest VII, the PSX version. Started playing it close to release, dropped it several times and finally finished it years later.
I’d played multiple games in the series before and I think the longest one topped out at 40 hours, so I really was not expecting a 100+ hour marathon like that was (although the very, very long prologue should probably have served as a warning).
In most JRPGs of the time, at the 30 hours mark you do your endgame sidequests, collect ultimate weapons and whatnot. In DQ7, you unlock the job system 🙃
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