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I always get so happy when I see a Team 17 game.  They're just around the corner from me and I was even sad enough to go take a photo of the front entrance once.   They came to my uni to recruit students for work placement but I never applied cos I thought I wouldn't be good enough to cut it as a programmer for them.

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Deliver us the moon. Am I playing the same game as everyone else? It’s video game tropes the game. Let me start at the beginning. Firstly the story even from the intro doesn’t make a whole lot of sense (earth loses all power sources somehow, but the moon has a power source that is used for life on earth until it breaks one day and everyone kinda just goes ‘oh well it was nice whilst it lasted’) and for the most part feels really poorly thought out. There’s twist and turns but they don’t feel earned or even all that interesting.

 

This game features every bad game design decision ever made. A room filled with water? Of course it’s electrified. Steam vents that kill you in outer space that are perfectly aligned with platforms, check. QTE event, check. Annoying stealth section, check. Time limits for no good reason that stop you exploring and enjoying the world? Check. Puzzles that are just there to waste time and make the resident evil mansion look easy to get around? Check.

 

The game is quite buggy with the pad rumbling constantly, sloppy controls make moving around a huge chore and it really isn’t much fun to play. 


It’s not a bad game, it’s just deeply deeply average and with some time and thought could have been a lot of fun. I really enjoyed Tacoma and this reminds me a lot of that but just isn’t as interesting to play and then decides to do all the worst things possible. If I knew it wasn’t a 4 hour game I’d have given up on it rather than completing it. I’m really not sure what all the praise is coming from for this one sadly. I will say it has nice environments but even they are in darkness most of the time.
 

 

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I dunno. It’s clearly flawed, and I’m not really disagreeing with your analysis, but I find it quite a lot more engaging than I did Tacoma - perhaps because of the generic gamey bits.

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It is at the very least trying to be a bit different to games like Tacoma (which I did enjoy). It could have been another walking sim set in space but instead it is very much a combination of survival/puzzler with a dash of walking sim.

 

I will agree that the premise is a bit bonkers though, why hasn't anyone else gone to investigate in 5 years (and why are you being sent alone?). Anyhoo, I'm enjoying it so far.

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On 28/04/2020 at 12:45, neoELITE said:

 

It looks like the kind of game that ends with people screaming at each other and storming out of the room (if you lived in my house).

It's really stressful in two player!! Fun in small doses, but like the Overcooked games, it's too much like a chore for me to be enjoyable. 

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2 minutes ago, SnoopZakaDaVe said:

is it possible to share PC game pass games? with the person I gameshare with?

I don't think so. Game sharing works on Xbox, PS4, and Switch because of a loophole in setting your home console (the one you share with sets his console as your home console and vice versa). No way to do something like that in Windows.

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27 minutes ago, moosegrinder said:

Levelhead has been added. I didn't know it was coming to GamePass.

 

I added it to the Xbox One release list last month.

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I gave Sunset Overdrive a go for an hour or two tonight and it was almost entirely insufferable. I can tell there's an enjoyable game in there if the tone pushes your buttons or you're able to overlook it. Otherwise, it's like your rundown, achy-jointed 35-year-old self is trapped at a college rooftop party in L.A. with a crowd of buzzing 2020s fratboys all wearing the same shortsleeve-shirt-and-chino combo, swigging bottled beer, talking to each other exclusively in Breaking Bad quotes and inexplicably listening to '90s Green Day albums. 'Pranksters have TP'd the city' is an early line from the script. Is TP'd (toilet-papered) a verb anywhere outside of America?

 

That's what I'm finding the toughest barrier of entry to these first-party Microsoft franchises - they are so relentlessly American. Everything feels like it's coming out of the Silicon Valley. The presentation is constantly styled as though for a cinema audience at the screening of a big budget superhero movie.

 

I still have Crackdown 3, Dead Rising 4, Gears 5 and Sea of Thieves to try, and I'm pinning most of my hopes on Sea of Thieves to give me an experience that doesn't require me to be some kind of wannabe badass.

 

I'm still loving Game Pass, just not for any of the first-party exclusives.

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I had the same experience with Sunset Overdrive. It's an enjoyable if somewhat repetitive game beyond the wannabe "down with da kidz" tone, but it's relentlessly annoying in that latter regard - I stopped halfway through as it became more and more annoying the further in I got. This and Gears are the most "American teen kidz" in tone from Microsoft's first party, but Sunset is by far the most actively annoying, the most "in ya face". Gears is just stupid and silly. I agree that a lot of their first party output seems to be aimed at stereotypical American dudebro teens, but Sunset is really the most extreme example of that.

 

With the new studios Microsoft has acquired (among them the likes of Obsidian, Ninja Theory, and Double Fine) we should hopefully see more variety in the tone of their output in the upcoming generation. 

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I really enjoyed Sunset Overdrive. Mainly because it was the kind of stupid shit I liked. Not sure I'd feel the same if I'd played it for the first time now, like.

 

I started Nier Automata last night and am really looking forward to getting stuck in, despite having most of it spoiled by watching my other half play through it. Fun fact: the played time counter tops out at 99h59m59s

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I thought Sunset Overdrive was more a homage/pastiche/whatever of various late-80s/early-90s media, with the mutants, toxic sludge, skate punk and day-glo colours and all. Felt more like it was an attempt to appeal to people in their 30s who grew up with that stuff.

 

Can't imagine them putting King Buzzo from Melvins in there to appeal to the kids. It's for the ageing alt-rock dads.

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6 minutes ago, Nequests said:

I thought Sunset Overdrive was more a homage/pastiche/whatever of various late-80s/early-90s media, with the mutants, toxic sludge, skate punk and day-glo colours and all. Felt more like it was an attempt to appeal to people in their 30s who grew up with that stuff.

 

Can't imagine them putting King Buzzo from Melvins in there to appeal to the kids. It's for the ageing alt-rock dads.

Fair enough, but I just couldn't stand the tone they were going for. I have no idea who King Buzzo or Melvin is so either way I'm not the target audience! :lol:

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All the discussions on here about what the kids like just seem to assume everything after they stopped following pop culture is "the kids", which yeah, seems to mean a huge number of gaming gammons here railing against stuff that people in their 30s grew up with rather than actual young people. It's infuriating.

 

Sunset Overdrive just felt dated, a bunch of early-00s skater stuff that landed in 2014, saying that being ten years past it's prime actually means it's for young people is proper Galaxy brain stuff.

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18 minutes ago, RubberJohnny said:

All the discussions on here about what the kids like just seem to assume everything after they stopped following pop culture is "the kids", which yeah, seems to mean a huge number of gaming gammons here railing against stuff that people in their 30s grew up with rather than actual young people. It's infuriating.

 

Sunset Overdrive just felt dated, a bunch of early-00s skater stuff that landed in 2014, saying that being ten years past it's prime actually means it's for young people is proper Galaxy brain stuff.

Well forget what I said and just remember that I personally found the kind of humour they were going for annoying, regardless of the audience they were aiming at, of which I will make no statements or assume nothing, outside of carefully describing my personal opinion.

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20 minutes ago, RubberJohnny said:

All the discussions on here about what the kids like just seem to assume everything after they stopped following pop culture is "the kids", which yeah, seems to mean a huge number of gaming gammons here railing against stuff that people in their 30s grew up with rather than actual young people. It's infuriating.

 

Sunset Overdrive just felt dated, a bunch of early-00s skater stuff that landed in 2014, saying that being ten years past it's prime actually means it's for young people is proper Galaxy brain stuff.

Oh yeah and fuck you for calling me a gammon you dumbfuck.

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16 minutes ago, RubberJohnny said:

All the discussions on here about what the kids like just seem to assume everything after they stopped following pop culture is "the kids", which yeah, seems to mean a huge number of gaming gammons here railing against stuff that people in their 30s grew up with rather than actual young people. It's infuriating.

 

Hold on, if the target demographic is nostalgic Western men in their 30s then rllmuk is pretty much the intended audience. Other than the terrible music, I didn't recognise in it anything I remember from my early 2000s youth. But then it didn't even occur to me it was going for a skater vibe. The superhero/comicbook aesthetic seems to me a throwback that started much more recently than a couple of decades ago as well.

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I liked the ten minutes I played of Sunset Overdrive! Not sure if that's damning with faint praise or whatever.

 

Bought it in a sale years ago, it's actually quite annoying to see stuff you've bought and never had time to play crop up on Gamepass, but on the other hand since activating it for three years I don't think I've bought any game since (on Xbox, anyway), even having been generating enough MS rewards points to make it so I was getting anything for free anyway. Not sure if this is good or bad. Good for my pocket I guess.

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Long term it's probably a very bad thing for the industry but we're not going to affect that either way.  It'll take a few years for its full effect to be seen on game design but none of it is going to be good if the model takes over.

 

But it'll win so we might as well accept it as we did the effectively death of physical media through constant patches and the utter bullshit of stuff like Borderlands on Switch and as we did with mobile gaming becoming a pay to win shitfest.

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I wonder how big a service like Game Pass will be allowed to get before it kick-starts a debate about natively produced content. Based on Wikipedia, obviously the most reliable of all sources, then Microsoft operate studios in four countries. If they signed up millions of subscribers in Germany for instance would the government be happy be with that or would they step in at some point and pass laws stating that a service like Gamepass has to spend x% of revenue on content created in Germany. Services like Netflix are being forced to produce more content in the EU, surely the same would happen with games? 

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5 hours ago, bear said:

I wonder how big a service like Game Pass will be allowed to get before it kick-starts a debate about natively produced content. Based on Wikipedia, obviously the most reliable of all sources, then Microsoft operate studios in four countries. If they signed up millions of subscribers in Germany for instance would the government be happy be with that or would they step in at some point and pass laws stating that a service like Gamepass has to spend x% of revenue on content created in Germany. Services like Netflix are being forced to produce more content in the EU, surely the same would happen with games? 

 

Maybe although the problem with %s is it can also be achieved by deleting as well as creating.

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@bear is the Netflix EU rule country dependant? There have always been local film quotas in many countries, and in countries like France where the quota is quite high,  a French movie can easily make its money back. In the U.K. it unfortunately led to quota-fillers done on the cheap to meet targets such as Confessions of a Window Cleaner and worse, before being scrapped.

 

Could work EU wide, but then that would just mean much of the quota being met by countries with already established publishers. Of course it could result in more investment available to allow wider members to grow their developments and publishing. None of which helps the U.K. anymore of course.

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