Videogame Hot takes

  • @el-shmiablo
    One of the things I've been trying to do for my TLOU video is actually all about the flashbacks (which I'm going to try and finish this weekend) especially since the flashbacks flow much better thematically and fit the narrative better when in chronological order, it also it would give a sort of countdown until the story really kicks off.

    Not to mention the gameplay elements of the flashbacks they boil down to being tutorials.

  • @scotty what do you mean? It's a perfectly fair thought ( ̄ω ̄)

  • Games should never be longer than 35 hours, and very few games should be longer than 30. If you are not a role playing game you shouldn't be longer than 22 hrs.

  • This isn't a spicy hot take but I feel like the expectations from both publishers and players alike make it very difficult for a video game to say or use the media itself to do anything truly meaningful.

    What I mean by expectations is how gamers want to trim the fat — tried and true satisfying gameplay with no bullshit. Whereas publishers pretty much want the same thing with a massive return on their already massive monetary investments.

    We live in a world where PlayStation's Jim Ryan is claiming new IPs are risky because they cost around $100M. Publishers aren't going to let a game director, even one with pedigree, putter around for a few years trying to envision a meaningful game about themes like loss or grief. Likewise, gamers don't want too much experimentation in their games either. If you're going to tell a story about grief, it isn't going to be like 2019's Midsommar, it's going to be a big violent shooter like The Last of Us Part II.

    And to the crux of my hot take; I think this is a issue. What are developers, directors, and publishers physically doing within the video games they create that helps add meaning to the game through gameplay systems or other avenues in-game? Normally challenging stories default to button mashing, shooting, or non-gameplay (so to speak).

    Recently, Nakey Jakey put out his TLOU Pt II review and he said something along the lines of "If TLOU2 really wanted to be challenging, it wouldn't have been a typical shooter game," (paraphrased) and that has been lingering around in my mind for a while. Something similarly hot on my mind is the film Ghost World from 2001. Essentially, it's an indie film where a teenager tries to figure out what she really wants in life. I really enjoyed the story but also some of the techniques used to emphasize the theme of isolation. Through some half assed internet research, I learned the director didn't have any extras in the frame to make the setting feel alienating and isolating to the characters. It's just a random example of how a film managed to use the media itself to evoke a feeling from me.

    So let's try to imagine a world where a game director on a small or large budget really digs in for a few years and uses the power of game theory to design a vision that truly embodies the theme of alienation or isolation. I have a hard time imagining it. At least not in an effective way. Ultimately, we always seem to land on killing zombies, fighting people, or some other tried and true gameplay system.

    What I really want to see but I don't think can happen easily is for somebody to just really go for it. How can a game have a meaningful commentary or theme without resorting to extremely familiar territory? Conversely, how will the gaming community react?

    Ironically enough, one major conflict in Ghost World is an art teacher character with a completely warped sense of art needing to be socially meaningful. I don't want my point to come off like I'm holding gaming to some higher standard when solid gameplay is and always has been more than enough to satisfy myself and the millions of gamers worldwide. That said, I never finish a game and say "wow — I really sympathized with these characters from both a gameplay and story standpoint".

    I'm also not trying to say video games have never committed to strong visions either. I think of Super Mario Brothers or Dark Souls as games with unfettered commitment to strong game design visions that are executed perfectly. Likewise, we recently got something like I'm describing in Death Stranding. A game about a disconnected society and the gameplay itself helps champion its' themes. It wasn't perfect but I think it's going somewhere with the idea that you don't need a lifeless empty world to portray a fragmented society and you also don't need to be shooting bad guys too.

    I hope you stuck through me with all of that, but I really want to walk away from a game feeling WOW'd through its execution of a point or purpose through in-game techniques that aren't necessarily moulded to genres or commercial viability.

  • @naltmank

    I think my first actual anger towards a bloated game was Shadow of Mordor in 2014. That game had like 2 things going for it — Batman combat and Nemesis system. Everything else was awful including the open environment (small ugly camps), dum dum AI, extremely poor writing, and ass boring missions. Yet, the developers insisted on extending this game out longer and longer. I think at around 25 hours they introduce the mechanic of riding trolls and they randomly even brought in a second more vibrant open world that is disconnected from the first open world but plays the exact same way.

    It just kept going and going for the sake of extending the length until it abruptly ends with no story payoffs. That was some of the most offensive stretching I've ever seen in a video game. That should've been wrapped up in 15 hours with open world exploration as an option beyond the main story.

    I really miss games like God of War or Uncharted that are single player masterpieces which can be finished in 8-12 hours. Lean and perfect.

  • @dipset People forget that Chrono Trigger is only like a 20 hour game despite the fact that it's a JRPG, and it's widely considered one of the greatest games of all time

  • Banned

    @dmcmaster Exactly. I just that if the flashbacks had been presented as the first part of the story it would give a much better emotional setup for certain controversial events in the game.

  • @bam541

    Just teasing you because of your soft beginning. 😁


    THANK YOU! I don't want to play a game more than 30 hours. It is enough!

  • @naltmank As someone who plays a lot of games but finishes almost none of them I have to agree. I think there's still a lot of gamers that only see value in games for their run times and not for the quality of the experience. If I could only get a couple games a year I could understand wanting games that last a long time but so often those experiences are just lacking, its hard to make a compelling 100+ hour game.

  • @paulmci27 I love my N64 and still enjoy a lot of the classics on it...but it's basically the Atari 2600 of 3D gaming. If you weren't there, it's hard to appreciate. And even if you were there, it's appearance has aged the worst by far of the systems from its generation.

  • @e_zed_eh_intern Didn't have an N64 during its gen but of course almost all my friends had one so I got to play it a good amount and I think it had some really good stuff on it. However, over all there wasn't a ton I'd be interested in playing today. The Saturn on the other hand always had a soft spot in my heart, through out the years always thought about picking one up but never pulled the trigger. I still think about getting one.

  • @e_zed_eh_intern I was being a bit harsh there. I think I just have a bias l because I loved my Saturn I collected import games as well it has so many great games that no one has ever heard of and probably never get to play.

  • @themarcv Saturn game prices are exorbitant. Hopefully. Sega does something with the back catalogue one day or emulation gets better.

  • @paulmci27 Not sure what you're talking about. Hyper Duel, Battle Garegga, Panzer Dragoon Saga and Cotton Boomerang can all be had for just a single monthly mortgage payment.

  • @paulmci27 No kidding, i just looked up X-men vs Street Fighter and its going for over $500. One of the draws for me of getting a Saturn was they were the only console to have the old Capcom Dungeon's and Dragons beat'em but luckily those did get rereleased on the PS3. There's just something about the Saturn that makes me want to play old sprite based fighters.

  • Adjusted for inflation, Nintendo will not only not match 2020 sales within the next decade, they will steadily decline. 2020 will be hard to match because of Switch + Animal Crossing + COVID but they are also flooding the market with plastic shit that people are eating up...for now. Even if the world didn't open back up, by the 60th lego set and/or 30th Mario Kart live racer (Goku) and/or 10th mini console and/or 1000th lack-lustre port, people will stop buying in and these things will stop selling out. Then what? Major releases are 1 per year at best, just like the Wii U.

    Now, it's Nintendo so they could certainly innovate overnight but they are so wet for themselves right now I can only see them going too far.

  • Banned

    @paulmci27 And here I am with my copy of Guardian Heroes still with original tallboi crystal case and instructions.

  • @el-shmiablo Nice, give it a couple of years you'll be able to pay your mortgage off.

  • @themarcv
    Hopefully the rumor of a Marvel Vs Capcom collection turn out to be true (X-Men COA -MvC2)

  • I'm genuinely surprised Square Enix hasn't done more with Dissida as a brand, there's been 2 fighting games (one 1v1, one 3v3, both Arena style) and a smartphone game (a damn good one from what I hear), but where's like the Dissida Warrior's game, the 2.5D fighter, or hell even the GASS type game (which for some reason I feel Avengers is a precursor to) It's a unified brand that pulls on one of the strongest IPs out there and it's only had 3 entries.

    Also after seeing the sales success of the new Hyrule Warriors, I think Nintendo will probably let Koei Tecmo do more Warriors games with thier IPs, or even just Smash Warriors.