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Joined 2 years ago
Cake day: June 9th, 2023
  • DdCno1@beehaw.orgtoGaming@beehaw.org•What are some games you like that most people hate and/or were panned by critics?
    0·
    6 hours ago

    Year and average review score across all available platforms in brackets. I played all of these on PC.

    • Trespasser (1998, 57): First person shooter based on Jurassic Park. Noteworthy for huge open areas, detailed dinosaurs with procedural animations and a physics engine that would only be surpassed by Half-Life 2 six years later. It is clunky, difficult to control and buggy, a challenge to get running both on contemporary and current PCs, but the atmosphere, the level design and the sheer awe at what they were able to pull off in the '90s is just unbelievable. I first played it many years after its release and it still blew me away.

    • Elex (2017, 62): Open World RPG from the creators of Gothic and Risen. It’s the definition of ‘Eurojank’, with controls that a bit of time getting used to, high difficulty and dated animations. I really enjoyed my time with it though, because it has a gorgeous, well-designed post-apocalyptic open world, clever quests that frequently allow for multiple approaches, factions that are truly different from one another, rewarding combat and interesting progression with tons of player choice. Just like previous games from this developer, it follows the formula of placing strong gatekeeper enemies at choke points, which serve to guide progression - but there’s nothing stopping a skilled and/or determined player from circumventing or outsmarting them. The inclusion of a jet pack makes this more fun than in any other game I’ve played. This device isn’t easy to use, but very early on, at the first location the first companion takes the player to, there’s a transmission tower with a reward at the top. Figure out how to climb it with the jet pack - which may take a few attempts - and you’ll have learned how to use this jet pack. This is a bit frustrating and can take 20 minutes to half an hour, but once you’ve done this, you’ll notice that the entire game was designed with this mode of transportation in mind. Watching other people play this game is incredibly frustrating to me, because they rarely if ever look up, rarely if ever use it to climb structures and natural obstacles to get to items or gain an advantage in combat. Maybe the developers should have created a more in-depth tutorial on this thing, but I think this is one of the main reasons why people aren’t getting this game.

    • Homefront: The Revolution (2016, 50): Semi-open world first person shooter. Set in a USA that was somehow defeated and is occupied by a hyper-advanced North Korea that is certainly not a clumsy stand-in for China, you’re playing a brave American resistance fighter against the occupation. Spec Ops: The Line, this ain’t - don’t expect any subtlety or finesse to the narration here, but it works as a scenario. The gameplay is where it’s truly interesting. It’s kind of like the opening hours of Far Cry 3, except that you’re not fighting against a few pirates, but a vastly technologically and numerically superior enemy that will hunt you down mercilessly in a half-destroyed American city. The feeling of powerlessness, yet determination, the thrill of pulling off a successful ambush and then scrambling away as the enemy throws everything they have at you is quite something. It’s not without its flaws, mind you. More linear story missions are hit and miss, even after many patches there are still bugs and glitches, it is slightly generic in terms of gameplay, but when everything comes together, it’s a really solid experience.

    • AquaNox 2: Revelation (2003, 59): Underwater first-person shooter masquerading as a submarine game. This is actually the third game in the series, after Archimedean Dynasty (also known under its original German title of Schleichfahrt) and AquaNox 1. The setting is a post-apocalyptic irradiated Earth where the remnants of humanity have fled to the bottom of the oceans to survive. Naturally, the fight for power and resources continue there. I’ve never actually played the predecessors, but this game is one of my favorites from the early 2000s. It looks stunning for the time (no wonder they created a benchmark, AquaMark, using engine and assets from the game) and gameplay is a really interesting 3dof that blends stealth and action in bleak, but varied enough underwater environments. Story and characters are charming, the universe is interesting and it’s just a blast from start to finish. It did receive really high review scores in Europe and especially Germany (lots of 85), so perhaps it’s just a case of international audiences/reviewers not getting it, similar to how Gothic and Risen were far more popular there.

    • Damnation (2009, 38): Probably the worst game on this list. Damnation is a third person shooter set in an alternate-history US Civil War with advanced steampunk technology. The story is extremely poorly presented, controls are clunky, enemy AI is braindead, there are glitches galore, but somehow, I still had fun with it. While the graphics are nothing to write home about and perhaps the epitome of the brownness of this era of gaming, there is a sense of scale that is rare in games like these, with huge levels and impressive vistas. It’s not truly open world, but the sense of scale, the feeling of traversing large environments (an aspect that Elex also nails, but with a true open worlds) is something to behold. As poor as the narration is, the setting is also interesting enough to deal with the below-average cover shooting gameplay. If screenshots and videos appeal to you, then it might be worth checking out.

    • Velvet Assassin (2009, 59): Dreamy third person stealth game set in WW2. It’s a Splinter Cell clone at heart, but far more challenging. This is an unusually bleak and dark take on WW2 that, unlike most other games with this setting, doesn’t shy away from topics like mass murder and trauma - but it’s also willing to experiment: Most of the game is essentially the protagonist suffering through a fever dream, recalling her exploits as a British commando in her hospital bed. This leads to the surreal gameplay elements: The protagonist is heavily wounded, but if she injects morphine on her hospital bed, she can prance around the levels in a white nightgown, murdering Nazis in slow motion.The difficult, slightly unpolished gameplay is the main reason for the relatively low review scores, but fans of stealth games who want to explore a more unusual WW2 setting might want to give it a go.

    • Legend Hand of God (2007, 57): A Diablo-clone with a constantly talking and rather snarky fairy as your mouse pointer. German voice acting is good, English localization not so much. There’s nothing exceptional about it, except for its presentation: Instead of disconnected animations, there are custom ones for each weapon and enemy type, a unique feature in this genre. It just looks so much more immersive. The dynamic lighting and, for the time, very detailed environments are also quite a visual treat. The world is relatively compact, making it a nice hack and slash snack.

  • DdCno1@beehaw.orgtoGaming@beehaw.org•Let's discuss: Like a Dragon / Yakuza
    0·
    1 day ago

    While I had first heard of the series decades ago, I wasn’t really interested enough to actually pick it up for the longest time, even though I actually like limited open world games that put more detail into smaller locations. A few months ago, I bought Yakuza 0 on sale and recently tried it out on the Steam Deck. I’ve played a couple of hours at this point, so these are more first impressions than an actual review.

    It’s a bit of a trip, both good and bad.

    Starting with the technical side of things, the best way to describe it would be that it’s highly inconsistent. It runs well on the Deck, even connected to a 1080p external display, but that’s to be expected of a PS3/PS4 cross-gen title. It still feels like a PS2 game with a thick coat of paint though, especially the clunky movement and combat animations. Characters look incredibly well-modeled and textured, equal parts stylized and realistic - but the moment they are starting to move, the illusion falls apart. At least early on, the open world is a series of corridors in a district of Tokyo, with some locations connected via taxi. There are many, but poorly animated pedestrians. It can look impressive at night, with its countless authentic neon signs, whereas the daytime segments are more dated. I was expecting it to feel more believable and less like a set filled with poorly directed background extras that bump into things and each other, but perhaps my expectations were too high.

    What’s truly bizarre and off-putting though is how this game switches between several different types of cutscenes, ranging from completely fleshed out and animated (those look great) over less well-animated (but serviceable), to nearly completely static (but still voiced)= cutscenes with barely any movement. There are also segments that aren’t voiced at all. In some cases, cutscenes appear to randomly switch between two or even all three of these levels of quality right in the middle of the scene. Maybe it’s some holdover from the series early days, but to me it feels jarring and unfinished, as if the developers ran out of money and/or time and had to push out the bare minimum product that almost like a cheaply made Japanese visual novel at the worst moments. Not what I was expecting of a Sega game.

    Voice acting, which is completely in Japanese, does sound excellent, the speakers clearly being masters of their art, but the script - if the English translation is accurate, which it seems to be - about a young, idealistic Yakuza that gets cast into a web of conspiracies, with it’s long and overdramatic conversations, the insane amount of pathos, even a cheesy black and white retrospective (I’m sure there will be many more of those) is a mess, taking away from the generally interesting intrigue of the overarching plot with meandering conversations that would have benefited from an editor cutting them to a small fraction of their original length (which would have also permitted those to be actually fully animated with the same budget). I have seen a few clips of this game and others that make it seems like the series is able to make fun of itself (the new pirate spin-off makes this more than obvious), but at least early on, there’s not much of that in Yakuza 0 and to me it feels like it takes itself way too seriously.

    The first time I played this game, I made a mistake and didn’t save the game manually at the telephone booths. Yes, I know they are marked with an ‘S’ icon on the minimap, but since I visited a booth during a cutscene, I thought the game had saved there automatically. When I discovered that about 1.5 hours of progress had been wiped, I was more than a bit furious. Having no auto-save is anachronistic for a 2015 game to say the least. I was considering giving up on this game entirely at this point, despite some desire to find out where the plot would be going, but I decided to try it again. It was then that it truly became apparent just how much of the game, at least during the introduction, is spent on narration and how little actual gameplay there is. Skipping all of the cutscenes and “cutscenes” the game allowed me to skip, which was annoying, and running through the world to the destinations, those 1.5 hours and change shrunk down to less than ten minutes of actual gameplay, which I haven’t even touched on yet. Even compared to a game by Quantic Dream, who are making perhaps the closest Western equivalents to this series (I’m expecting angry disagreements on this), this is quite a striking ratio. I like narrative games, I enjoy games that take their time exposing their world to the player - but the best way of doing this is through ludonarrative means, not by shoving an amount of cutscenes into the player’s face that clearly exceeds both the talent of the writers and the coffers of the publisher footing the bill.

    Anyhow, on to the gameplay. Since it makes up so little of the game, at least so far, and is clearly an afterthought, I won’t spend much time on it. Yakuza 0 is a basic arena beat-em-up with limited open world exploration and mid-fight quick-time events that can catch you completely off-guard (as well as other quick-time minigames, like karaoke). Solid, but unspectacular combo system that permits the player to get by with button mashing, hard to notice button prompts, slightly unfair mini-boss and boss fights, at least to the inexperienced player, terrible lock-on system, AWFUL camera (one more aspect that makes it feel 15 years older than it is), no AI to speak of and animations that are decades out of date, apart from the crunchy and satisfying finishers (unless you’re at at the receiving end). The developers tried to make up for this with a charge up system that adds particle effects to the presentation and expands the available move set, which is probably another series tradition, but feels completely out of place. This isn’t a modern fantasy game, at least not yet, so I don’t know what they were thinking. Not that I was expecting realism - one guy beating up a dozen in a single fight clearly isn’t - but this feels cheap. They could have just made the UI more readable instead of compressing important information against the edge of the screen and compensating for it with effects. I’m sure this becomes less of an issue the more experienced one has with these games, but still, it’s hardly ideal.

    Overall, it’s a weird package. I’m equal parts intrigued and annoyed by this game. Yakuza is clearly its very own thing. The formula is successful and well received, both in Japan and internationally, so maybe I’m the odd-one out for not fawning over it. It’s like a dish with two dozen ingredients, some of which taste great, others do not and the overall impression is mainly that of confusion. Despite frequent claims that Yakuza 0 was a great entry point into the series, it feels like watching a random episode of an obscure TV show 25 out of its 50 seasons in that some friend has been pushing me to watch for years, telling me how great it is. It’s like a (barely) playable Japanese telenovela, if that makes any sense, even though the story isn’t actually that hard to follow. The unremarkable gameplay, dated tech, unfinished presentation and meandering narrative kind of sour an intriguing setting that is bursting with character and detail. I want to explore late 1980s bubble-era Tokyo and I want to know how this story ends, but at least the early parts of this game feel like I’m being dragged along at a pace that seems both too fast and too slow at the same time.

    If you’ve read this far already (I’m truly sorry for making you suffer through this stream of consciousness - just like the writers of this game, I should probably hire an editor), are familiar with both this game and the rest of the series, would you say that it makes sense for me to continue or should I move on? Has anyone else felt similarly baffled by the whole experience?

  • DdCno1@beehaw.orgtoPC Gaming@lemmy.ca•Dino Crisis 1 and 2 released on GoGEnglish
    0·
    1 day ago

    I vaguely recall playing one of the two about 20 years ago (looking at the screenshots, I think it was the second game). It was a bonus game on a CD of some computer or gaming magazine. Even two decades ago and this shortly after release, it felt unbelievably dated and clunky already. The PC port was also complete garbage, with lots of bugs, awful visuals even by PS1 port standards and poor controls.

    If you’re nostalgic for these games, they might be worth revisiting (although you’re probably remembering them being more impressive than they actually were), but if you’re not, I doubt they are worth picking up, even with the improvements from gog.

    Just to compare these two to another dinosaur game from that era that received similarly poor reviews as the PC version of Dino Crisis, Trespasser was far more sophisticated and fun,in my opinion at least - and certainly a technical marvel by comparison. It’s not that it’s fully 3D, with huge open areas (not possible on PS1, of course), but also the way it pioneered physics interaction. My favorite unscripted moment was a large bipedal dinosaur at the edge of the draw distance stumbling - possible thanks to the procedural animations - and bumping into the roof of a half-destroyed building, resulting in its collapse. That’s outrageous for 1998! I’ve only ever seen this happen once at this spot in the game, so it’s certainly not scripted.