Sad to see it go. I was a subscriber to print for a time around the mid-to-late aughts and more recently have had them in my RSS feed.

I have started to notice that a lot, if not the majority, of games that make the biggest social splashes in the past couple years are smaller games - with exceptions for titles like Baldur’s Gate 3 and Alan Wake 2 which are their own labors of love on a AAA scale. Animal Well, Balatro, Dredge, Vampire Survivors, Talos Principle 2, Hi-Fi Rush…these are the games I tend to hear about the most.

The attention that a lot of AAA games get seems shallow and short-lived lately.

One of the things that’s excited me most recently is seeing new and inventive ways to use graphics and fidelity besides photorealism. Games like Gris and The Artful Escape are probably the most stunningly beautiful games I’ve ever played.

For how little cultural impact The Darkness had in the long term, I remember it being very hotly anticipated before release. I think I made myself believe I liked it more than I actually did, but it was a really ambitious and interesting title all the same.

Ha, that’s funny, that’s the exact opposite of me. But games are my downtime, and socializing is work (for me), so I am almost exclusively single-player.

Shame about Pacific Drive, but I get it. There is a ton of repetition.

For me, the fun comes, like in some other crafting games (e.g., Subnautica) and roguelikes, from chasing the next upgrades, enjoying the sense of empowerment they bring, and getting to explore new areas.

For that reason, I love the idea of survival crafting games, but I hate the sandbox, perpetual loop format most of them come in (like No Man’s Sky). Subnautica is the gold standard (with Dysmantle being a surprise second place) of having a finite, focused progression path. Pacific Drive scratches that itch.

Although, I will admit that it’s more stressful than I would have liked too. I knew about the procedural generation and run-based loop early on, but I still kind of expected something overall tranquil. But with storms coming on a timer in every junction, anomalies frequently overwhelming every space you need to explore, and the high stakes of potentially losing a lot of critical material, I found myself playing much more anxiously than I would have preferred, which is what I alluded to about the endgame.

I’m happy to say that I was one of them. Beat the game this past weekend, and have really been enjoying trophy hunting in the endgame. Without the pressure of the main story I’ve actually started to feel a little more freedom to take chances and be less concerned about damage and loss of resources.

All in all, Pacific Drive has been an absolute highlight this year.

That was actually my first thought as well lol. Maybe story mode is secondary to some people who just like the survival grind, but it’s the only part I’m interested in, and my attention in The Long Dark has come and gone waiting for it to complete.

Slowly coming to the end of Pacific Drive, which has been mostly great. I think I’ll wrap it up at the perfect time, because I’m not quite tired of it but can feel my interest beginning to wane.

I have also been playing Sea of Stars. I had one foot fully over the edge to give it up during its painfully slow opening, but I just barely made it long enough to get through the first dungeon and found myself beginning to admit that it was becoming fun. I can’t remember the last time my feelings for a game pivoted so hard, because once it opens up it is a ton of fun. I’m glad I was able to stick with it.

I played the hell out of the first DMC back in the day. Just over and over again, even on Dante Must Die and I almost never do hard modes. Apparently I really liked the relatively toned-down gameplay and setting, and the RE-inspired tone, because I never really enjoyed 2-4 the same way (2 goes without saying).

I largely ignored the series but spontaneously got the interest to play 5 a year or two ago. I did beat it, but it did not do anything for me. I was very glad to be done with it.

With all the news coming out the past couple days about The Veilguard, I’m starting to piece together a suspicion that Bioware is picking things back up where they last had decent ideas: early to mid 2010s.

I think Veilguard will feel like a stuck-in-time successor to Inquisition, stale by that period’s standards and grossly outdated by today’s, especially in the wake of Larian’s enormous success reinvigorating the kind of game Bioware has forgotten how to make.

I can’t disagree. But as one facet among others, I also think “concern” is reasonably warranted in conducting a comparative assessment.

Edit: also worth highlighting: “there’s nothing wrong with being against gay marriage because it’s a political opinion” is certifiably homophobic. How much responsibility Kagi’s moderators bear for not removing that comment or otherwise explicitly advising that homophobia won’t be tolerated is debatable, but it’s not great.

Seems fair, in reference to Kagi:

Unrelatedly: I’m concerned about the company’s biases, as it seems happy to use Brave’s commercial API (allowing blatant homophobia in the comments) and allow its results to recommend suicide methods without intervention. I reject the idea that avoiding an option that may seem politically biased is the same as being unbiased if such a decision has real political implications.

Shame. Shortly after it’s release Best Buy was selling it for like $10, which is such a potent indicator for the state of its reputation on release. Anyway, I couldn’t pass it up. I encountered tons of bugs, but they were all superficial and didn’t impact the gameplay or my progress.

I loved it. World building and atmosphere were grade A, and I even liked Johnny Silverhand and his relationship with V. Like I said in the post, I’ve been waiting for new game plus to replay, but I guess now I’ll just dive back in without.

Interesting. I heard the main character is insufferable. Would you disagree or is the story good in spite of him?

Watcher Knights I think are near the top of my list. I just rewatched my recording of beating them and I was fumbling so badly lol. It’s obvious I’m running with the “pure desperation” tactic rather a more skillful approach, but it finally managed to work out.

I was addicted to exploring that world but I am satisfied with the one playthrough I think.

I was persuaded to pick Elden Ring back up despite not really feeling a pull for it, but lo and behold once I was back in I fell in deep. I never actually finished the game with my first dex/bleed-based character, so I continued making my way through Crumbling Farum Azula. I’ve given Malekith a couple of attempts but I’m pretty burned out on bosses at the moment. I started up a new sorcery-based character and that’s been the real joy. Magic really does make the game significantly easier, and part of me wishes I’d done my first playthrough this way. But I’d beaten Demon’s Souls remake not too long before starting Elden Ring originally and wanted something different.

To fall back on when I get too frustrated, I’ve been playing 10tons’s Undead Horde. Their game Dysmantle wound up being a major highlight the year that I played it (I really, really liked it), so I finally bought Undead Horde 1 and 2. It’s not nearly as good as Dysmantle, but it’s a really great, lightweight dungeon crawler. I like their vibe very much and am really looking forward to Dysplaced.

I also gave the Saints Row reboot a try since it was free a while back on PS+ and it’s really, really (really) dumb. It’s also kind of fun, a little at a time. Not sure it’ll hold my interest all the way through but it’s nice having an open world game that’s just…easy to play and asks very little of the player.

I’m further behind in Ori but I’m enjoying it greatly. I’m not a big metroidvania aficionado, but I played and loved Hollow Knight despite it’s difficulty (some of the bosses really tested my tolerance for punishment). I appreciate that Ori is (so far) a more accessible game.

They claim that entertainment companies exist “to provide that entertainment.” Sure I think creative leads and the devs (especially in the games industry) are there to provide entertainment that they are passionate about. But idk if I can ever see a period where the publisher was in it for the art, despite what they may say.

I agree with you, except that up until the early-to-mid aughts, before Fortnight, and skinner box mobile games, and the promise of persistent revenue capitalizing on addictive tendencies and FOMO, publishers believed that the best path to profit was good games. Konami, to pick the (previously) worst example, published one of the weirdest, most cinematic, ambitious, influential games of all time with Metal Gear Solid. And then, eventually, they saw a straighter, shorter path to profit.

I am…way more personally upset about the Arkane closure than I usually get about these things. I have so much respect for what that studio created. This article is great though and gives the holistic perspective I’ve been looking for the past few days:

The point here, ultimately, is that this cycle has been repeating, and repeating, and repeating, and it does not show any sign of coming to an end. Xbox buys talent, mismanages it in search of impossible scale, and cuts it loose - be that the 20-year experts of Fable, or the battle-scarred makers of Dishonored, or the invigorating new generation behind Hi-Fi Rush. Xbox’s leadership clearly knows it’s a problem…they have to step behind this first, surface-level layer of justification for closing studios, and get to the real cause - not the decisions themselves, but the principles that inform them. The principles that say expertise, creativity and talent are less valuable than the cost to let them flourish.

There’s a PlayStation community I was subscribed to whose main mod posted a gamergatey rant over the weekend with a number of factual inaccuracies. I wanted desperately to assume they were just benignly uninformed, but it didn’t turn out that way.

I’m not interested in subscribing to a community at risk of being affected by that kind of toxicity, so I had to leave. Which is a bummer because I liked having PS-specific news in my feed.

When we were trying to book a hotel, my partner clicked on the top link of a Google search, which was of course a sponsored link and took her to some completely off-brand intermediary whose website was designed to mimic the appearance of the hotel’s. She completed the booking there before ever realizing it wasn’t the hotel itself, and when I quoted the same stay directly with the hotel it wound up being some $100-$200 cheaper.

I had to have a lengthy phone call with their customer support and exchange a few emails before they finally agreed to refund us. I suppose we’re lucky they even had a reachable customer service, but I was and remain infuriated by the conditions that created the situation in the first place.

Thanks! I looked at Graveyard Keeper a while back, might give it a go.

I finally tried out Hardspace Shipbreaker. I’ve played a few hours and just finished the reactor tutorial. So far it’s that diamond in the rough I’m always looking for: an engaging but chill gameplay loop and enticing progression. Something I can turn on to relax and zone out with noncommitally, but that isn’t just an objective-less sandbox ala No Man’s Sky.

If anyone has recommendations for other games that fit the bill please let me know!

Now, with Republicans withholding critical lethal assistance, largely at the behest of former President Donald Trump, Ukrainian troops are feeling the pressure.

The amount of damage being done globally at the behest of Donald Trump’s personal ego is unconscionable.

Topic of tonight’s nightmare: “sex party with Matt Gaetz.”

Exact same reaction. First person feels so inappropriate for this property that I immediately assumed comparisons to Uncharted and Tomb Raider must have been a, if not the, major contributing factor to going first person.

First person perspective blurs the line between player and character for a specific type of immersion (when done well). An Indiana Jones game should be all about playing as motherfucking Indiana Jones, no blurred lines necessary. His stature and costume is integral to the formula that makes him iconic, and without them, the gameplay segments of this trailer make it look like Far Cry: The 80s Adventure Serial.

Seems nothing has changed in the past 2 years: Take Two Is Being a Dick

I’ve said before that being a PS Plus subscriber has changed the types of games I play by making indie games more accessible to try, with low stakes. Prior, I usually reserved my funds for what I assumed was the biggest bang with AAA titles.

There’s value there with having a library of games to just try out. That being said, the trajectory of subscription services generally and “digital ownership” (see Playstation’s recent Discovery kerfuffle) is really concerning.

I think Ubisoft’s mindset here is on the wrong track (surprise…). Luckily, as others have said, there’s not a lot of temptation here for Ubisoft’s modern library (Prince of Persia being an admitted exception).

Alan Wake 2. I’ll spare any commentary on all the things it does well and that make it a one of the most ambitiously distinctive (AAA) games…ever? because that’s been well covered.

On the other hand, I am kinda surprised that the combat is as… deficient as it is. I never liked the combat experience in the first game. I don’t like how the enemies were programmed to run off screen to the sides of view, because Alan isn’t nimble enough to pivot direction sufficiently to track multiple enemies, and it just felt cheap and frustrating. Dodging is clunky too.

Control was the next Remedy game I played, and I thought the combat in that game was fantastic. The gunplay felt right, and the paranormal powers were weighty and responsive. Even the levitate power looks and feels fantastic; the animation is super cool and I love watching it.

So I had high hopes for Alan Wake 2, but the combat again feels too imprecise and unbalanced. Dodging is still clunky, projectiles clip through objects, etc.

Oh well. It’s a bummer, but in a game like this it’s well overshadowed by the strengths.

You’ve seen everything Hellblade has to offer in the combat department. I enjoyed it personally; it’s really slick in its simplicity, but you are right that it’s not the main draw. Hellblade shines in its performances, journey, and presentation, like you said. Some of the set pieces are just striking in the best (and worst) ways.

It’s a really effective and unique experience overall.

Ghost archive link

You think it’ll make money?

Mainly because of the hype/marketing, but I may be overestimating it. It’s a good point that Avengers bombed, but I do think Rocksteady is a more competent developer than CD (I’m not personally a big fan of their Tomb Raider games).

I also just tend to think anything is possible until it isn’t. It wouldn’t be the first game to buck expectations if it somehow managed to be a hit.

Either way, the fact that this is the only game Rocksteady releases in nearly 10 years will be a deep source of bitterness.

I’m really interested for this game to release. I expect it to be a critical failure and a commercial break-even, mostly due to Rocksteady’s (as yet untarnished) pedigree and marketing.

But I also haven’t ruled out that it will be a surprise hit. I didn’t even realize this wasn’t being fully marketed as a live-service game, and who knows, maybe all the hogwash in this article about the “trinity” of gameplay elements and sharing experiences with friends will actually work somehow.

But if it is all the worst things about the live service trend, I do hope it fails for the greater good, all due respect to the individuals who’ve done their best with it.

Just started Alan Wake 2 myself yesterday. In the past couple months I played the original’s remaster and then replayed Control (including the DLC).

This game’s an absolute trip. I’ve said before that I wasn’t terribly hooked by Alan Wake the first time I played it way back, but I fucking loved Control. The world building was fascinating, and there was some new, mind bending idea around every damn corner in the oldest house. But one of the best things it did was expand the world of Alan Wake in a way that benefited them both.

I’m only a few hours in but Remedy is so far promising to deliver on the best of both worlds with renewed vigor. I am hooked this time.

Yeah, that’s fair, I did not have that context originally. I should have quoted the article I linked, because the salient parts point out that it was strange the graffiti evoked the Israeli flag, which I had noticed originally:

Also the message in the medium was confusing. Conceivably a blue Israeli flag, or what immediately evokes it, could be seen as a pro-Jewish sign. Surely any genuine antisemite would have found a clearer way of expressing their hate.

I’m inclined to agree with the BBC’s conclusion:

As for the purpose of Operation Star of David, like all dezinformatsiya it seems to have been to sow confusion and anxiety. The fact that the symbol could be either pro- or anti-Israeli made it all the more interesting: that way both sides would be suspicious.

I notice the Times of Israel doesn’t consider this months-old information when continuing to reference it as evidence of anti-semitism.

Marking buildings with Stars of David is how the Nazis marked Jewish homes and properties.

But that’s unlikely to be what happened here: BBC

All your sources rely on the same primary source: the interior ministry. And I don’t see a breakdown of the acts. In a number of articles, graffiti of stars of David across buildings in France was categorized as anti-Semitic, which seems really weird to me because they weren’t defaced or altered in any way, just stars of David. On its face I would think that was…pro-semitic.

Either way, I’m not denying there has been an uptick in anti-Semitism and that any and all anti-semitism is indefensible. But there also seems to be a deliberate effort to embellish the narrative by treating anti-Israeli or pro-Paletinian acts as anti-Semitic. Then people react to that narrative with fear, and their fear is used to further credit the narrative.

The insidious part is that these stories treat the narrative as support for Israel’s ongoing aggression.

I feel for anyone who feels unsafe in their homes and communities. I can’t imagine the weight of the decision to uproot yourself and your family to emigrate to another country for reasons beyond your control, especially discrimination.

It’s worth noting, though, that this article seemingly goes out of its way to obfuscate what qualifies as anti-semitic acts.

"This kind of expression is no longer coming only from the extreme right, but also by the far left — and while it’s doubtful that it’s always antisemitic, anyone sensitive can feel that it’s never far away in certain discourse,” warns Wieviorka.

Palestinian solidarity is not anti-semitism, and there are abundant indicators (from this article and its links) they’re being conflated in France.

No argument here. There’s a global paradigm shift needed to break out of that mindset should it even be possible, but it still boggles my mind in the meantime the resources invested in sustaining this ecosystem.

That came as a surprise to me too. 2.5% is just so little.

“Tracking protection” sounds more like “alternative tracking.”

Google’s Privacy Sandbox initiative, just like its name implies, was designed to be an alternative to cookies that will allow advertisers to serve users ads while also protecting their privacy. It assigns users to groups according to their interests, based on their recent browsing activities, and advertisers can use that information to match them with relevant ads.

Lot of time, money, and effort toward a moderate improvement rather than just not perceiving users as products. But…improvement is improvement.

What’s the downside?