Yeah, I never once felt that any scenes in Near A Tomato actually connected to one another. In a good mystery game, you make a discovery rife with questions, and then slowly answer more questions that lead to other questions. Nier is just about constant random shit involving attacks from the machine life forms - which are all promptly forgotten.
I don’t know how we’re supposed to care and worry so much about 2B and 9S dying when it literally happens once in the prologue, and the very first lines of the game are about how annoying it is to keep dying and being reborn.
Never did like the expectation of constant updates to a game. I always saw the new stuff that came from live service updates as a bonus to a game, not a requirement.
The Legend of Heroes: Trails in the Sky (Part 1 + 2) are really the first ones that come to mind for me. They reignited some of the feeling of excitement I have for JRPGs, where you become deeply invested in the struggles of the characters and enjoy every last “Big damn heroes” moment and sudden twist they pull out. The villains in those games are pathetically irredeemable, a far cry from some of the better written ones, but their amazing quality is in forcing out the most dramatic possible circumstances from the characters. Combat keeps its pace and was generally enjoyable for me, plus it had an XP catchup/slowdown system that stopped the game from ever feeling too grindy.
Funny thing is, I personally bear no recommendations for any games in that series beyond those two. They are, to my mind, a testament to good singular stories that leave the opportunity for future ones - even if those follow-ons didn’t click with me.
For Metroidvania style, Aquaria is one I don’t see mentioned much. I got it in one of the classic Humble Bundles, and it had a LOT more content than I was expecting for an indie game. Many different abilities to gather, a soundtrack and appearance that all blended together so well, and even optional bosses hidden in the waters.
And then, it comes up every so often to divisive opinions, but there’s plenty of shooter players that still need to try Spec Ops: The Line. It’s not terribly well-done in terms of gameplay, but tells a very compelling story about heroism and violence - even if it is NOT the one you hope to see. Much of the controversy over the game’s ranking has to do with how much it offers freedom of choice - but I’ve always felt that freedom of choice starts in the type of adventures you choose to play. You see the assault rifles on the cover. You’re planning for this.
I can’t say I agree with the approach. Someone like Sony can perhaps get away with this knowing that even with routine mechanics, they can reliably sell a good story.
But Square is sort of discovering their niche for modern Japanese RPGs; if their singular high budget games are going to be like Final Fantasy 16, there’s definitely some risk of overinvestment in stories people are “meh” about. Meanwhile, if people were asked to name their favorite JRPG stories, I imagine a lot of them were not ridiculously high budget.
I just looked up one of Netflix’s star movies, Nimona, and yes, I can still buy blu-rays of it.
All mediums have had exceptions where the license holder is a fickle, or ineffective, ass at selling; rare books, games with soundtrack licensing complications, unloved movies. They’re generally exceptions by individual work, not from having signed on to the Great Netflix Prison.
Generally, where there’s demand, they still let you become its permanent owner. (In the topic of anime, they even overcharge for it because it’s such an uncommon choice made by super-fans as a prestige item)
PS+ set forward a theme of letting people have game trials - you can download and play for a few hours before needing to buy. I think they want that tied to some kind of invested subscription setup just so that people wouldn’t abuse the system.
It’s easier to avoid abuse if every game has demos coded to end after level 1, but as many old analyses have shown, that takes a huge amount of developer resources.
The issue of downloading 100 GB is something that some publishers have tried to solve with cloud gaming. If you’re only mildly interested in a Game Pass game, you can play it on cloud, and then if you enjoyed your first session, download it locally for the next one.
Feels kind of weird to have a remaster coming long after a total remake. Granted, I don’t think they remade 2-3, just the first one - and it was for the sake of their small trilogy referencing events from the first game. (I think it went, Legend, then Anniversary (Remake), then Underworld, right?)
I can see how Game Pass popularity could be bad for a number of studios, as he says in the article. But, I’ve never understood how Game Pass’s existence was anti-consumer.
We always get these baffling quotes like “Microsoft insists on renting you your games, and you will like it.” or “I’m not going to be forced to pay $17 a month just to play my games”. GP never gained popularity off Microsoft forcing people into it, people voluntarily signed up, even when MS continues to make their games available for direct purchase.
The previous quote from Ubisoft even seemed more like an investor excuse than a threat to gamers.
“We need ideas to find a way to monetize our active playerbase!”
“We already are. They pay us money each month. In turn, we continue to make sure the game is fun and has stuff that keeps them interested.”
“Aha! Carry on.”
I’m not sure how you drew this conclusion, since most people I know consider paying full price to obtain a digital copy to be extremely close to ownership.
I liked Telltale’s Law and Order series. They can’t sell it anymore, but I can still download my digital copy because I bought it full price.
The whole argument in the article is about monthly subscription rentals.
I have a story plan I’m tossing around, and trying to decide something around this. It’s nothing so complex - basically, there’s a nation that has historically been extremely homophobic, and as a result, a mid-sized cabal of defectors that the book follows are gay. One of those situations where an observer (in or out of universe) could tiredly claim it doesn’t matter to them, except that it apparently does matter to this fictional nation.
There’s a similar bit in Trails in the Sky I ended up unexpectedly enjoying.
Joshua: “Good luck, Estelle.”
Estelle: “…What do you mean, good luck? You’re coming too, right?”
Joshua: “…Pardon? The plan is using a maid’s disguise. There’s no butlers in that part of the castle.”
Estelle: “So what? You fit GREAT in a dress!”
Joshua: “…Just drop it, Estelle. They only have the one outfit.”
Head Maid: “Well…so actually…”
Joshua: “…no. No, we are NOT doing this!”
Y’all say that, but anytime someone makes even a decent approximation of an Ace Attorney game, I’m out here chasing the high of pointing out contradictions that pin a killer.