I have a very similar experience to @Zarxrax. When I was younger, I’d play just about anything I could get my hands on. But now, it’s like you, where 99% of what’s out there doesn’t interest me.
I think this happened for a few reasons for me:
Games are a pretty big time commitment compared to other media, and my time has only become more valuable as I get older. I’m just not willing to invest it in a game that isn’t really scratching an itch effectively
There are more games out now than ever before in history. Combined with the previous point, there’s never been a better time to be picky.
AAA games are stagnating pretty badly due to profit incentive. While there a still some that break the mold and show artistic value, most of them are so commodified and painfully derivative, it’s difficult for an older gamer who has already played things like it to get excited
I’ve become more attuned to my preferences in genre, and know what I will and will not enjoy, which is something I didn’t have as much when I was younger, since everything was still relatively new and therefore, interesting enough to play.
But this last one is the biggest reason for me: games are not reaching the potential they have locked within them.
I say that as someone who is a massive fan of storytelling, good writing, and immersion in games. Compared to books and movies, writers are still given extremely low priority in the gaming industry, which results in a tremendous amount of cognitive dissonance, simplistic writing, and a lack of innovative gameplay inspired by said writing.
Indies have been the most willing to experiment, but that’s mostly with pure mechanics or themes, and writing is still often neglected.
There have been a few titles that I think reach that potential, but most of them are quite old now. With so few to truly tickle me in that way, I’ll instead opt for arcade type games that manage to create a tight gameplay loop, as it let’s me not lament the lack of a good story so much.
It’s mainly about how Kojima’s themes and stories in the Metal Gear series are deeply influenced by his own childhood trauma of losing his Father at a young age, and how he resented his father for leaving a void in him after his death. The series evolution tends to reflect his own evolving feelings about his dad, revenge, and forgiveness.
Sorry to hear things are rough for you. I hope whatever is causing it improves!
Mine is an odd choice, or maybe not, but its the first thing that came to mind: Night in The Woods
It’s about a girl that comes home from college to her old dying town. I know that doesn’t sound terribly uplifting, and there’s some downer stories mixed in there, but overall I found it a very heartfelt and uplifting game, because the main character’s friends are the most wonderful bunch of people, and you hang out with them and go on little adventures throughout. It’s got a cool creepy mystery story going on, but the game is mostly about deep friendship, family, and overcoming struggles with their help, and I found that very uplifting and worthwhile.
Perhaps RPG’s with a party, like Mass Effect, Baldurs Gate 3, Fallout New Vegas (many companions with their own stories to find and tag along), Star Wars: knights of the old republic, dragon age.
Some shooters like the later Band of Brothers games, valkyria chronicles or the Mafia series you may enjoy as well.
In Indiana Jones and The Fate of Atlantis, there are multiple paths to choose to complete the game, and one option is to choose a fun companion come with you to help you throughout.
The gameplay of VNs doesn’t particularly appeal to me, though it’s not offensive either, so I can be won over by a particularly good story. So far, the best VN I’ve played is Snatcher for the Sega CD.
Snatcher (nice use of negative space on that cover) is one of Hideo Kojima’s earlier titles, and his insatiable desire for long cutscenes/story lends itself to VNs. As with many of Kojima’s works, it’s heavily inspired by whatever western movies he would’ve seen at the time. In this case, Snatcher is heavily inspired by Blade Runner.
You play as Gillian Seed, an ex-scientist with amnesia that’s now working as a Junker (the equivalent of a blade runner) in Neo-Kobe, a cyberpunk metropolis that’s not quite as dark and dreary as Bladerunner’s, feeling more like something out of Akira.
The game features a lot of voice acting, some of it actually surprisingly good for a game of that time (early 90’s), and it has a particularly fantastic FM soundtrack courtesy of the Genesis’ soundchip, and even some redbook audio for the intro. I’d recommend listening to the soundtrack even if you have no intention of playing the game.
The story for the game can get surprisingly dark and gruesome at times, though overall has a more 90’s anime up-beat vibe, and is one of Kojima’s more linear and coherent tales. The characters are pretty fun to talk to, and the writing was compelling enough to make me push through some of the more dated design decisions (you sometimes will have to click the same action/dialog 3 times or more, with no additional feedback, before something unlocks to progress the story).
The gameplay is a bit more involved than a standard VN, sharing some attributes with an Adventure game. In addition to being able to move around the city and various buildings (skillfully drawn with some of the finest pixel art of the era), the player has access to an inventory and can investigate various parts of a scene. There’s a small combat mini-game that will sometimes spring up that was designed for use with a lightgun (The Konami Justifer) but thankfully works just fine with a standard controller), and is used sparingly enough that doesn’t overstays its welcome. In fact, I’d say the combat is surprisingly well integrated into the story, and helps add a bit of tension, since you never know when it’ll pop up (I imagine it would’ve been quite immersive back in the day with the lightgun, since you’d have to quickly drop your controller and physically ‘draw’ it to defend yourself).
Snatcher is a short game, usually averaging about 4 or 5 hours for most people, but that’s all it really needs to tell its tale, and by the end I was thoroughly satisfied.
The Sega CD version is the only one that was translated for the English market, and AFAIK is no longer legally available to purchase anywhere. With physical copies being rare and demanding a premium ($200 or more), I’d recommend emulation to experience it.
If any of that sounds appealing to you, I’d certainly recommend giving it a try! And if you do, good luck, Junker!
I agree that Bethesda’s RPG writing is amateur at best, and I can’t dispute that there can be some good points in Dishonored. But at least for me, a mark of bad writing is that I find myself unable to care about the outcome for any of the characters in a story, and in Dishonored, I personally didn’t care much about any of the character’s struggles or personalities, as they were all pretty one-note. I can’t recall a single character’s name from Dishonored except for Corvo, since I found it novel to hear Stephen Russell as a main character again (big Thief fan, which incidentally I would point to as a game with excellent writing).
There was one instance in the main base/hub of dishonored 1, where there’s a short excerpt of a story about a whaler in a book, I think in the room where Emily was supposed to chill out in. I thought the writing of that little short story was so compelling, I sat back in my chair after I finished it and thought “Why isn’t this game about that?”, because I felt it highlighted how boilerplate the actual game’s story was in comparison. So in that way you’re right, the micro-writing, the world building, the atmosphere, is all top notch. I just wish the characters and plot were able to match it, as then it would be a masterpiece.
I should mention that I’m pretty difficult to impress with writing in video games, as I don’t think most of them can compare to the quality of writing available in books except for a handful of examples such as Thief, Gemini Rue, Mafia, and the original Deus Ex.
I wouldn’t say the writing for dishonored is terribly strong. The first game has a pretty bog standard plot, and the set up for the second was quite contrived. The gameplay and world are their strengths.
If you’re not sure what StopKillingGames is about, the creator of the campaign, Ross Scott (of Freeman’s Mind fame) made this short video to give the rundown.