That video is completely out of date. I watched a sampling of the bugs they were showing, and none of them appear for me, even when playing with bots.
I remember it being shared on release, and its focus on things like physics within maps was a very specific thing - after Half-Life 2 many games gave up on physics especially in online, because it was more likely to lead to glitchy and unexpected behavior than emergent gameplay.
There’s so much in that video you’d have to pick out what matters to make your case, but to take melee reactions: B4B didn’t want the shove to be so powerful or delay the horde much, so it made sense zombies wouldn’t fall to the ground from one shove; the animation length would end up locking up the difficulty.
Death reactions is another gameplay choice. With automatic weapons, I wasted alot of ammo in L4D2 simply because it wasn’t instantly clear an enemy was dead - they were just playing out their lengthy Oscar death. Sometimes it’s a tradeoff between showcasing the enemy design, and showcasing the weapon’s effects when dozens of other enemies are bearing down.
I feel like a growing solution would be to simulcast to Twitch as well as other platforms, and hopefully slowly encourage users to view via the other platforms.
Kudos to the OP - I stopped watching Twitch when Bezos went full Nazi, but couldn’t get YouTube off my list.
Maybe it matches with my hate of L4D’s high-level-focused Versus mode, but I couldn’t make it past two games of Evolve, while I’ve played a lot more B4B.
That’s honestly exactly what’s kept me away from CRPGs. The premise often seems to be based around something like ruined worlds or corrupt empires (both, in Wasteland’s case), with little hope for massive change. The old poster child, Fallout, runs its whole train off of treating endless grim fighting as an absurd thing to not even care about, with its tagline “War never changes”. Fun sometimes, but never meaningful.
Something I realize I never touched on is the specific way emotional extremes tie in to specific characters.
Quite often, what I enjoy most about story-driven games is the way you either see characters change, or get to see different sides of them. The moment that the quirky and silly kid turns deathly serious and speaks directly. The moment that a calm, collected tactician falls into a panic attack and runs away. The moment that an emotionless assassin is pressed into laughter for the first time.
One specific game that gave this feeling in spades is JRPG “Trails in the Sky”. I think it sometimes forces its extremes a bit, but it’s very good at spending a long time building joy and normalcy before establishing how much trauma and violence exists in the history and near-future of the world.
But while JRPGs can bore people with their 50-80-hour runtimes, one game I think demonstrated that principle fantastically was “Elite Beat Agents” for the DS. Within the scope of a 5-minute pop song, a focal character may go to the lowest point of their life, and bounce all the way back to happiness. Pushing the idea along with a frenetic musical pace makes it more acceptable, but it shows the importance of taking someone to both extremes.
Doesn’t need a run button. And, something kind of useful is that while revving, the game changes from strafe controls to tank controls, making it easier to orient at an enemy around a corner since you can’t reach your camera thumbstick.
I’ve been playing Battlefield-like Wild Assault, and each time I die, the difficulty of reviving me helps me to realize how out of position I was. Other times when I was popping from cover and got hit by a rusher, a teammate quickly retaliates and then revives me.
The game also has some crazy moments with the healer’s ultimate, which revives people they’re standing on while the healer can keep shooting.
I had this exact issue with the first two Dark Souls games. I explored, but did not find the “intended path forward” that would give me a gradual difficulty curve.
This is why I think a better game formula is: Give players some kind of overt objective marker or in-world guidance for their primary destination, but also point out they’re going to start having a very hard time if they never explore for themselves.
The excitement of F1 racing is unattainable to most people, which is why it makes sense as a game, but bikes are pretty tame. However, one thing that makes bikes interesting is their smallness, ease and simplicity. The Yakuza series has started picking up on giving protagonists such small vehicles, including a skateboard and a segway, and they make much more sense within those worlds than full vehicles.
I feel like this could be envisioned as part of a larger open-world game, not as the vehicle itself as a means to fun. Something like: You have an open world game, and it has cars, and they are faster than your bike. But they are far more nimble, can go in tighter areas, and can be stored in larger vehicles used to get around. So, something like picking the Gravity Gun in Half-Life 2, they’re a tool that’s fantastic for making use of the environment for better results, but not a “first-order strategy for movement”. This is even sometimes how they work out in Grand Theft Auto: San Andreas.
The only real lesson here might be that both Western media as a whole, and the Eastern anime industry, have regressed a lot. Rambo in particular is marked by tragedy with the way sequels warped him into a false image of raw masculinity. Many anime authors have even said as much. But the Eastern gaming scene appears to still have some very dedicated auteurs.
It’s even sort of harmed the feminist movement for Western media to be so simple - often showing women as unemotional, infallible badasses to try to “equal the score”, ultimately just causing people to hate them and even misconstrue women as being the issue with those movies.
But I’m also glad to get more examples of poignant Western media; I felt upset that I could only think of Eastern examples, when I know there are some great ones made more locally.
It’s hard to tell which extreme is going to surprise people first with Valiant Hearts.
Like, it’s a WW1 game so of course you’re expecting it to be brutal. Then, it’s cute to have so many stories of soldiers not based around killing people - just adventure, puzzle-solving, making friends across country lines, as well as the heartfelt letters written.
Then it gets to Chemin des Dames, and holy shit, not even the most brutal shooters evoke the unfathomable amounts of death happening in those meat grinders. Neither element would’ve hit so hard without the other giving you that kind of whiplash.
I didn’t quite get that feeling with Breath of the Wild, but I’ve certainly had those moments where the theme of a ruined world absolutely ruined my emotional stakes, so I can understand it.
The opening lines of Nier Automata are nihilistic and signal 2B’s desire to just get death over with. Nothing in the whole game’s story brought this feeling back in the other direction, and as a result of an adventure spanning a gray and brown “Abandoned city and death” the optimistic ending absolutely didn’t hit with me. Hard to identify why my response was so different from everyone else’s.
The pointlessness of a fight amid a ruined world is also what makes me not care about a lot of uber-dark Soulslike games. I don’t see much of what I’m saving in most of those, and learning the lore behind all of Dark Souls’ endings reinforces that feeling.