I think you can get there in TF2 when considering subclasses via weapons loadouts. Demoknight for instance is a completely different play style than normal pipe/sticky demoman.
The water temple has the problem of being too self-similar, the main body of which being a three story tall donut shaped room with doors in the four cardinal directions, so it’s difficult to keep track of which series of unremarkable rooms are in which direction. The interface was kind of fucky because you had to change boots a lot in the menu, and can only use the hookshot for combat while walking underwater for some reason against those clam creatures that you have to be quite close to to get them to open, but farther away than that to hit.
There are a couple keys hidden in “why would there be a room there?” kind of places so it’s a pain without the compass.
The Dark Link miniboss setpiece is very cool, but the fight itself feels too bullshit. It doesn’t feel like meeting an equal in swordfighting skill and having to best him, it feels like “most normal attacks just straight up don’t work, cheese it with magic and/or the hammer.” Boss fight is kind of meh as well.
The core of the dungeon’s puzzle aka learn how to use the water to traverse this place started off as a cool idea but…Let’s face it Ocarina of Time is actually starting to age poorly and the Water Temple was the first blemish.
On a completely different subject which I think is related: My parents want a cabinet and hutch for their dining room. I’m designing and building it. Looking on the internet for ideas, I like how that cornice is done. Can’t do those legs the way I’m going to build the side rails" type thing, I notice a trend: There is basically no documentation on the internet that anyone actually uses dining room hutches to store things they frequently use. Those that aren’t just blank to market the cabinet itself are crammed with random knickknacks or worse the White Woman’s Instagram tableau. A scroll sawn cursive word, some brand new ceramic containers with words printed on them in that thin tall font, especially a teapot with TEA written on it in which tea will NEVER be made, a statue of a pig, an old sifter, a fake plant…
I hate the idea of such a large, complicated and expensive piece of furniture used as a trophy case or a diorama of basic bitchery. In the words of George Carlin, “spending money you don’t have on things you don’t need.”
So…I’ve lost count of how many Mission Impossible movies they made. At some point between 2014 and 2016 I think they made one, because for hundreds of youtube videos in a row I was shown an ad that had this irritating song that went “Ready or not, here I come” in a really nasally voice? Apparently advertising a Mission Impossible movie.
I have refused to watch any Mission Impossible movie, or any movie starring Tom Cruise made before or since, and to a degree the spy/action thriller/guy intensely running genre ever since. Because of how much they chose to irritate me about it.
If part of your strategy is to beat me into submission, I’m going to avoid your entire market segment forever.
Meanwhile a lot of my favorite games I never saw actual advertisements for, even if those ads existed. I learned about them from word of mouth, watching streamers/youtubers, or searching for “games like [game I enjoy]”
I categorically rule out a lot of big business practices because the era when “Hey you could make a fun game about flying an X-Wing” is over and the era of “Our business strategy leverages marketable properties in a variety of monetization verticals” is coming to a middle. So I tend to buy from smaller studios or solo developers.
Didn’t the NES produce non-square pixels? Like pure data wise the screen was square but at some point in making it NTSC it gets stretched horizontally to 4:3?
A Link to the Past. Basically gave the Legend of Zelda its identity, so many staple mechanics, so much lore, comes from this game. First appearance of the Master Sword, the idea of Ganondorf as a king of thieves/sorcerer before becoming a pig monster, Kakariko village. The creation myth with the three golden goddesses came from here. In fact, there’s a passage in the manual that basically reads like the design document for the next 30 years in the series, look it up. Gameplay is polished to a mirror shine, and it’s amazing how it has lasted with the randomizer community.
Ocarina of Time. A sequel which referred to previous entries and expanded on the lore without shitting on it. Imagine that! It’s amazing how right they got it as basically the first attempt of a game like this in 3D, even if controller technology had some evolving to do.
Breath of the Wild. While it does get a bit samey since there’s only so many enemies to encounter, and exploring the world will result in finding shrines or koroks, the openness with which it approaches puzzles aka “just get to the goal, we don’t care how.” I find very refreshing compared to the previous “you’re in a room with a lock and a key. Bet you can’t find the only existing solution to this puzzle” dynamic the games increasingly had.
My bottom three:
Skyward Sword. The artwork is charming, the soundtrack has a few gems in it but is mostly short repetitive and annoying loops, a lot of the gameplay elements are just blatantly recycled from Twilight Princess. The mysterious floating girl who flies back a distance when Link approaches to lead him somewhere would have been more effective if the Zora Queen’s shade hadn’t done it a few years earlier, and I fully expected Fi to explain the collect the light fruit games by saying “Yes Master, ‘this shit again’.” Combine that with the frankly terrible motion controls crammed in as much as possible and the “Master, I have detected a 97.3333% chance that the man you just talked to said that he lives here in town” nature of it all…fuck this game.
Adventure of Link. Nintendo Hard via outright unfairness, not much story, not much lore, and rather meh graphics.
Tears of the Kingdom. Never before has a game been this much mile wide and inch deep. The story barely exists, there is more content in the Hudson & Rhondson’s daughter storyline than in the main story quest. There are two different crafting mechanics added to the game, plus the one from Breath of the Wild, but none are really explored because there’s no room, there’s no time. In addition to the original map, there’s the entire sky and the entire underground, both full of basically nothing. They could have gotten two games out of the concepts found in this one and explored the individual mechanics a lot more, but no. This game is a mile wide and an inch deep.
I was starting to get nostalgic for an old game called Riddle of the Sphinx, found out there’s a remaster of it on Steam…that is apparently put out by one of those shady fucking churches, so nope.
I’ve been playing the hell out of Satisfactory lately, I’ve had the game beat for awhile but I’m buying all the trophies. I want to FULL CLEAR the game in early access before the 1.0 release and I’m building up coupons for the Golden Nut.
When I think back on my time with AntiChamber, I don’t really think about the ending. I really think of the beginning up through getting the green gun. It starts leaning farther into the direction of Talos Principle or Portal at that point.
To me the game was about the experience of coming to terms with this strange new world you’ve found yourself in, and the THIS IS AN ALLEGORY wall tiles. It’s impressive how long the developer managed to keep that schtick up.
So did I, which is why I listed it among good games that have no replay value. I enjoyed the thing that it is, I appreciated the visual style, it’s well performed…it’s one of the better walking simulators. The ending is controversial, which I take to mean it’s a work of art.
Please Don’t Touch Anything. What genre does it even belong in? It would have been a flash game if made 10 years earlier. You’re left at a console with a single large red button, and told to wait for a minute and don’t touch anything. Depending on how you interact with this console, there are many different things it can do/behaviors it can have, and your goal is to find all the different endings. It was entertaining, I don’t need to own it anymore.
Shenzhen I/O and TIS-100. Both Zachtronics assembly-em-up games, which…I don’t think there’s absolutely zero replayability, because you might redo the level you just did or go back to an earlier one with a solution you just learned from a later level, but I don’t know finishing these games feels less like beating Bowser at the end of Super Mario and more like graduating from high school. I’m done with that phase of my life and I can now move on.
Antichamber. The video game equivalent of a Piet Mondrian painting. It’s an abstract and brain knitting non-euclidean first person puzzle game that uses its surreal mechanics as a metaphor for the journey of life itself, and halfway though you get a gun that shoots cubes and it turns back into a video game. A lot of the actual impact of the game comes from how it comments on the epiphany you just had, and that effect is spoiled somewhat by “Oh I remember this part.” I will note there is a speedrunning community for this game.
Firewatch. There are some games where you’ll watch a Let’s Play, decide you want to have a go, so you’ll buy and play the game. Not Firewatch; a Let’s Play gives you 96.4% of the experience. It’s a walking simulator that probably should have just been a short film. I’m not even convinced it is a “video game” because…how do you play it well or poorly? Like do we need a new term like “narrative software” or something?
Microsoft is like Alphabet - why would you adopt anything they make? It’s going to be abandoned with no support long before the devices are worn out, to include desktop and laptop PCs.
It’s funny…I bounced right off Minecraft but I like games like Satisfactory and Factorio.
A lot of people play Minecraft as an outlet for creativity; it has an end game with a final boss and a victory condition, but most people don’t even try to “win” Minecraft, they want to build cool things. Well between my electronics bench, my wood shop, my 3D printer and my various creative, design and programming software suites, I already build a lot of cool stuff, so that itch is already scratched.
Those factory building games come with a clearly stated goal: “You’ve crash landed on an alien planet with a hammer and a pistol with 100 shots. Build a rocket.” I’ll spend months of my life building a gigantic complex of individual factories connected by an intricate rail network to accomplish that goal. I’ve heard this kind of thing described as “problem solving gameplay” rather than “puzzle solving gameplay.”
As you say I don’t hate Minecraft, I’m often awed and inspired at the things people have built in it, but it’s not for me.