It lists several subsidiary offices, including Russian, Armenian, Swedish, British, Belorussian, and Portuguese branches. It’s still headquartered in the United States.
I suppose I’d prefer if short games weren’t overly expensive, but I never liked the hours per dollar thing. I don’t like replaying games. I’d rather buy six two-hour indie games for ten dollars each and have each one be at least somewhat unique and engaging, than spend 60 on a sprawling hundred hour AAA game filled mostly with repetition and busywork. Life’s too short for that, you know?
The article actually addresses this, but I feel “indie games bubble” is simply too broad a term. Is there a medium-high budget indie game bubble? Maybe. But can indie games in general even have a bubble? Fuckloads of indie games are passion projects, or made from crowdfunding money, or otherwise not based around the idea that they have to be the “product” of a sustainable business, making the whole idea of a “bubble” pointless. If the bubble pops, will itch indies stop making games? Will passionate solo devs languishing at double digit Steam review numbers stop releasing games? I don’t think they will.
I feel like I’ve heard this “it’s different this time guys, we swear” spiel about every Ubisoft game in the past five years. Hard to believe or care at this point.
I love when games use as few invisible walls as possible, and don’t stop you from exploring weird places or even out of bounds. There doesn’t even have to be a reward, just the feeling of getting somewhere where you’re not supposed to be is enough. Ultrakill and Anodyne 2 both do this really well.
I also love rich, responsive, low-restriction movement mechanics, which kinda ties in with the first point. I love when games let me chain all sorts of moves together for wild bullshit midair acrobatics, zipping and bouncing and flinging myself all over the place constantly. Good examples are Ultrakill, Pseudoregalia, Sally Can’t Sleep, and Cruelty Squad. On the flipside, Demon Turf is a game I hated and dropped quickly because of how artificially and pointlessly limited the movement felt.
Hot take, but I actually love well implemented radial menus on PC. When games bother to reset your cursor to the centre of the circle you can just quickly flick the mouse in a certain direction to make your selection, which is faster than most other mouse menus and a lot more comfortable than trying to reach for the 9 key.
This might sound weird, but are you actually engaged with what you’re playing? Maybe you need to find some higher intensity games to keep your attention.
I don’t really get the obsession with backlogs. Are you actually enjoying the games at that point? Are you playing this game because you want to play it, or because it’s on your backlog and you want to be able to check it off the list and move on to the next thing - presumably, since your backlog is so big it warrants a guide - as quickly as possible? Just pick out a game you want to play and play it. Why spoil your own fun?
I agree that video game narratives are, on average, way worse than in other media, but… This post is like a script for a CinemaSins video on an entire medium. There’s a conversation to be had about the quality and originality of storytelling in video games and why gamers are so quick to praise mediocre narratives, but I dunno if glib one-paragraph summaries of “types” of video game stories (with no examples!) do much to advance that conversation.