but i always felt those two game designs were kissing cousin
I see them as the same genre. You have this “pushing the map’s frontier” mechanic, along with some power or item progression to enable that. The rest is find-and-seek to connect all those dots. IMO, the only major difference is a side vs top-down perspective.
This is what kills me. There’s so much squandered potential in AC with this kind of thinking. Instead, Ubisoft just wants to be EA by re-selling the same game every year, but doesn’t have the sports licenses to pull it off.
After the initial couple of hours I started to feel like everything is a chore.
Exactly. I don’t know what I expected, but that was my experience as well. The game more or less told me this:
“Hey, did you enjoy the first chapter? Well guess what? We’re going to throw that at you x20 with the occasional plot beat thrown in for variety. Have fun!”
For the obvious boatload of cash poured into Odyssey’s development, I feel like half as much game done twice as well would have been a better experience. Instead, we get something that is seemingly padded for play-time, in the same way a 4th grader adds extra blank lines to hit the required page count on a book report.
There’s a section where, if you continue to avoid the narrator’s prompts to take a specific door, it just brings you to an unfinished room - dev textures and all - while the narrator gives you grief for screwing up the game.
GLaDOS’ constant mockery of your person, your ability to navigate tests, and general spite pretty much make both games. It all even manages to provide a lot of world-building without lore-dumping. 10/10, would get roasted again.
I’m actually starting to think it’s on purpose. Just like with spam email with misspellings and the kind of ear-marks that warns off smart people, the only ones left to click on “win a free iphone” are easily duped. Going after people that are drawn in by iconography and optics, but fail to understand nuance and the substance behind them, may be entirely the point.
Just like with Starship Troopers, satire like this goes flying over people’s heads so low and fast, it breaks the sound barrier and loosens dentalwork.
That’s impressive. I know a lot of games struggle to find a good balance between gameplay and simulation. But to heap historical accuracy and storytelling on top of that, and have it be a worthwhile experience, is a feat.
Whoa. A Jumpman reference in the wild. Thank you for reminding me. But I have no idea what that string of characters means. :(
The sound of the player taking a tumble off the stage, followed by a death march, has been forever seared into my brain. Watching my uncle play this, helped little_warp_core understand the limitless potential of (home) video games, above and beyond the likes of crappy Asteroids and Pac-Man ports.
The game itself is brilliant. The story and message within is heartfelt, heartbreaking, and un-apologetically autobiographical. Up until that point, I knew gaming was a good storytelling medium, but not for something this moving.
On the home-gamer gameplay side, this is a solid list. On the technology side, I think there’s even more that makes sense for a curated museum tour. There were big leaps made in arcade tech through the 80’s and 90’s that were pushing all manner of graphics and sound, head-and-shoulders above the previous generation.
Sega’s “super scaler” boards come to mind, allowing for games like Hang-on, Outrun, and After Burner. Digitized sound samples started with Sinistar and Tempest. Dragon’s Lair amazed everyone with an interactive LaserDisc experience. There were also notable forays into AR with Time Traveler, and VR with Virutality. Lastly, we have the fully-enclosed and immersive cockpit of early Battletech simulators.