One winner and five nominee’s. Let’s not downplay being in the top 6 nominations for “best game of the year” as “losing.” It’s an incredible achievement no matter how you look at it.
On the other hand… this feels like I would be calling it out as manipulative FOMO bullshit were it any other company.
While I hesitate to type this as it might be perceived as viewing a corporation as a friend, the intent matters, and GOG has a different history than the majority of FOMO abusing game companies. Did they identify that this is probably an opportunity to push some sales? Sure, probably. But I am chill permitting them that right when they’re visibly working to remove FOMO as a commercial strategy.
Undertale is such a bolt of lightning. It both depends on its player having experience with traditional JRPG and having no fucking clue what it is. But when the conditions line up, as it did for many people at release, it was such a master fully crafted experience. But even the slightest amount of “it’s good because…” really siphons part of the experience away.
We need a term for a Freudian slip caused by mobile autocorrect. Because “wallet garden” is extremely accurate, even if it’s not the intended word choice.
The game can collect data, if that’s what they’re after.
My theory is that it’s all about advertising. It’s another point of contact with the consumer, and another opportunity to make sure every new release is presented to every potential buyer.
I think I disagree about the severity and urgency of some of the things you’re talking about, but I do agree with your sentiment. I restate: the only thing I am criticizing here is the ambiguity of language. It’s the “side quests” that give life flavour, and to give them up to deal with the “real problems” would be choosing to stop living because you’re too worried about surviving.
I can’t help but read this headline as, “with climate change and the rise of fascism, the real world is ending, but how is this for a distraction: why can’t RPGs get the sense of urgency right?”
And like, this is genuinely an article and discussion I’m interested in, so this is not a criticism of anyone or anything other than the ambiguity of language.
I don’t see how that statement refutes the problem being something to do with kernal level access. It’s entirely possible that the 24H2 update changed something that is playing poorly with the DRM in these titles.
My experience with GOG is that it is a fringe option, at least in the combined North American (USA+Canada) culture. Plus, the unfortunate reality is that in many cases GOG’s principles preclude it from being a genuine competitor to Steam. Insisting on being DRM free means half of released games never go to the platform, so it will always be the secondary “better if” option.
I worry about Steam’s functional monopoly on PC game access. It hasn’t been an issue so far, because it has remembered that it is, first and foremost, a service, providing consumer protection through a generous refund policy and supporting devs with easy access to simple matchmaking and anti-cheat systems. But without a healthy competitor, it would be easy for Steam to start milking it’s users and developers alike.
While I don’t approve of Epic’s stabs at exclusivity, Steam needs a competitor to keep it in check, and one that is making some efforts to support the preservation of art is a welcome choice.
Calling Warcraft Rumble an RTS is like putting a hamburger patty on a plate and calling it a steak. You’re technically correct, but you’ve also completely missed the point in what people want.
No satire here; I genuinely think it’s a great example of a remake done well.
There are some major breaks from the original plot, which in itself would be neat, but they introduce an entire plot element that interacts with this derivation. The spirits I was talking about, “Whispers” (had to look up the official name, tbh), appear whenever the story attempts to break from the original story from the original release. In universe, this is explained as pre-determination, or destiny. Thanks to our meta knowledge, we know in reality that these spirits are attempting to maintain the timeline from the original release.
As an early example, after the events at the first Mako reactor, Cloud decides to collect his pay and go his own way, which is not the original intended path of the game. To correct this, a group of Whispers attack the party, and ultimately injure Jessie, preventing her from going on the mission. Needing another body, Barrett is forced to rehire Cloud for Avalanche’s mission to the next reactor. Without spoiling specific details, the whispers slowly become a form of antagonist as the characters try harder to get away from the original plot of FFVII.
This is interesting in a few ways. First, we’ve introduced a new major conflict in the form of the characters fighting against a physical embodiment of destiny. They do not want the outcome of their struggles to be predetermined, particularly as that predetermination involved the death and suffering of some specific characters. This is, in my opinion, an interesting new plot element beyond being “the same game again.”
Second, stepping back, and examining this with a wider lens, we can look at the Whispers for what they are to us, the players, rather than what they are to the characters. We know they are not maintaining “destiny,” but instead trying to reestablish the original story we loved. As a result, I see the Whispers as the collective voice of the “change nothing” remake ideology. When a community asks for new content of IPs they love, there will always be diehard essentialists who want their loved stories to remain untouched; the Whispers, then, are these people.
So if the Whispers are a physical representation of the “change nothing” remake ideology, then what is there to make of the fact that they’re largely an antagonist? This seems to me that the writers were critical of this culture, so much so that they ask you to fight it to earn the different take on the story. Of course, it’s far from the only derivation from the original game, but that’s exactly my point: FFVII remake was so far divorced from the conceptual, soulless “let’s pump out the same game again” remake that they literally wrote that culture into a new antagonist.
But isn’t it featured in the list of games being given a short film via Secret Level? I kind of assumed the goal was to promote it via that episode and re-release the game around the same time.