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BadgerFarmer

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Everything posted by BadgerFarmer

  1. It's similar in the way that you're working through a video archive, but this time you don't input words, you zoom in on an element in shot and it finds a close match in another clip and jump cuts to that.
  2. The light platform-puzzle game that takes 5-6 hours to finish and costs about £25 is almost a sub-genre of its own these days. Think Rime or The Gunk or Concrete Genie, for instance. For me Stray is the best of the bunch. Like all those games, there are definitely mechanics that could have been developed more with extra challenge or depth, but that's not really the point. And it is quite clever in the way it repurposes familiar activities in this type of game through the cat and robots - a cat is an ideal fit for this sort of thing, from its movement to its perspective, and the way the robots ape human behaviour out of its social context ways makes them perfect NPCs.
  3. Runaway Bride of Dracula Trapped in the count's castle and earmarked for unholy matrimony, you manage to break out of your cell and must avoid Drac and his minions while seeking a way to escape the nightmare. Movie: The Game of the Film It's probably about being a Hollywood producer or something, I dunno.
  4. Seems the mobile versions are available through Netflix. Lovely.
  5. I reviewed it for PC Gamer. I liked it a lot: https://www.pcgamer.com/stray-review/
  6. It's one of his specials that you can use from level 3 onwards. Hammer the fire button to trigger it, I think. Either that or hold down parry for a second.
  7. That's really interesting. I've only played through Bayo 2 once, but definitely noticed some of these things even then. It was fun, but I didn't feel a need to continue with it. In contrast I played the original for 100 hours or so. My feeling is that Bayo 3 will continue down the same path as 2, perhaps in part because it's being made for Nintendo, and the release date trailer doesn't exactly allay those concerns.
  8. It's Monday. Not sure what time.
  9. This really is heavily reliant on jump scares. It works OK when you're in the dark trying to see where you're going using the camera flash, with the potential that there might be something horrible lurking there. But much less well the rest of the time when you're wandering around the house and some figure just appears in front of your face suddenly and screams at you. Very cheap.
  10. Haha. Yes, I reviewed this and felt I had to point it out: Overall, it's quite decent, though.
  11. I try to stick with blue power ups - the wider spread really helps.
  12. Yeah, it's a lot to get through without taking much damage. And the run up to the boss can easily drain a life. It definitely goes down a gear once you get the additional powers.
  13. I didn't manage to get through level 2 on a single credit when I played it though. If there's a reliable way of picking up extra lives, I haven't found it.
  14. The main tip for this, if you've not played it before, is use parry on projectiles rather than trying to dodge. Hammer the button and deflect everything back the way it came.
  15. I think that is an issue with From games. They're fantastic at creating an atmosphere through their worlds and challenges, but I've never been able to get much out of them as stories. It says something that I often need to research the story outside the game. I only really clicked with Bloodborne for example after finishing it once, watching a load of story/lore vids then playing it again. Obviously that means some people are piecing it all together, but it's far too obscure for me.
  16. Yeah, this. I'm surprised to see The Last Guardian mentioned in the OP for its environmental storytelling and no mention of its interactive storytelling. The bulk of story in that game is the relationship between boy and beast, and it's almost entirely developed through your interaction with it. Another example would be Celeste, which works by getting you to experience the emotional journey of the protagonist through its level design. Or it could be the control system in Brothers: A Tale of Two Sons, or the open world in No More Heroes, or the lack of it in Persona 5. All the other elements can be important too. Good dialogue, well directed cutscenes, etc. But the key ingredient more often than not I think is how well the interactive elements work alongside them.
  17. My AAA dream would be something like the original Tomb Raider but open world, and with no combat at all, totally focused on exploration and environmental navigation. The challenge would be in climbing (which would involve skill and judgement), tunneling or otherwise finding ways into key locations that would house large puzzle-type 'dungeons' leading to plot-related stuff. There would also be key equipment upgrades to find that would add a Metroidy element, opening up new areas or making others easier to complete. But these wouldn't be simple lock and key type solutions - so, for example, a grappling hook wouldn't simply be a case of pressing a button to latch onto highlighted points, you'd have to look for branches etc. that might be strong enough to hold your weight and find a good position from which to make the throw. Also, most locations should have more than one way in and more than one way of reaching the end. There would also be some kind of story and maybe in certain areas you get to talk to someone via radio or something, but mostly you'd be on your own just observing the lie of the land and figuring shit out. I figure if as a developer you're ditching combat and AI systems, you could concentrate resources on much more intricate and complex on the environmental stuff. I also don't think the open world would need to be especially large. But it won't happen because of course it would fail miserably.
  18. It's multi-format, coming to PS5 as well. The original was always quite indebted to TLOU in terms of its mechanics, and this looks to be building on the same foundations, so it's likely to still have a resemblance.
  19. It's important to consider what different studios can afford to do as well. There's no real excuse for AAA games looking for a huge audience not to include plenty of customisation along with accessibility options from closed caption subtitles, to dyslexia fonts and colour blindness adaptation. Smaller games will struggle to do as much. I've already posted this feature I wrote for Wireframe in the other discussion we had on this, which focuses on ways of dealing with difficulty (not accessibility). I spoke to the makers of Celeste, Chicory, Darkest Dungeon and Bonfire Peaks for it, to show how they're thinking about the subject in new ways beyond easy/normal/hard, but also that it ultimately comes down to what they're trying to communicate with the game. The assistance options in Celeste and Chicory, for example, make sense in terms of the game style or narrative, in a way that they wouldn't in Darkest Dungeon. And I don't think anyone really wants an easy Darkest Dungeon, because it's clear that would undermine the whole point of it (although undoubtedly it helps that it's not a skill-based game, shutting people out for lack of physical ability). Another thing that comes across is how much easier it can be to implement difficulty options if it's planned from the start of development, rather than introduced late on. So the more this becomes part of the thinking process early on, I guess, the better. In general, then, I think there should be as much customisation available to players as possible, including as many accessibility options as the developer can afford to put into place. But at the same time, there's no single answer that works well for everything.
  20. I think I spent about 9 hours on it, a good chunk of which involved playing games of Fort Condor, which is surprisingly great. So you can certainly get that much out of it if you do everything.
  21. Astro Boy would be my first choice for any kind of remake/re-release. I just don't think it will be that.
  22. Some kind of follow up to Guardian Heroes would be my bet. Gunstar and RSG also seem plausible.
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