kazil posted:

Always making GBS threads on Detroit

(it was actually Denver)

Cleretic posted:

Nearing the end of Dark Souls II, and it's pulled off a genuinely very, very clever way to subtly direct the player.

Near the end of the game, you enter the memories of trees formed out of giant's corpses in the first proper zone in the game. There's three of them accessible, but no clear direction as to where they are... until you find one. They actually form a circuit, silently pointing you towards each other.

-One of them is behind a door opened by the King's Ring. It sends you to a memory set near where you fought the Pursuer, the area's second boss.
-Near the Pursuer's arena is another one. Its memory is set around the fortress where you first met Pate, the NPC that gives you the white soapstone.
-And just around there is where the third giant tree is. Its memory is of somewhere that got thoroughly wrecked in the battle and looks quite different now, but if you're keen-eyed you can still identify it as being around the walls where the King's Ring door now is.

JebanyPedal posted:

It's very much a game that says "gently caress you." to excessive attempts to immerse the player and rather just immerses them...the Nemesis system is so obscenely gamey that so many current artsy fartsy developers would decry it as being a step backwards as far as dynamic narrative devices go, but they'd be loving idiots, because the stories that have been told by players in Mordor are signifigantly more interesting than nearly any game.

Kanfy posted:

- In the game you also have access to a codec-like phone which you can use to call various people by typing in a phone number. One of the numbers you get is for "LoveLine", and calling there twice (IIRC) nets you this pretty great conversation.

SomeJazzyRat posted:

So digress a bit, I was once told that the commonly believed interpretation of 'Turn the other cheek' is actually incorrect. The phrase originates from the teachings of Jesus in relation of how one acts with their oppressors. 2000 years ago, the Romans would often use their left(?) hands to clean their feces, creating very strong connotations with left hands and uncleanliness. Thus, when they wanted to show disrespect, Roman soldiers would smack their left hands across the face of those who they subjugated. Jesus and his followers were common targets of the Roman soldiers, and would often be hit by soldier's poo hands. Jesus would often teach his followers to turn their cheek to force Romans to hit them with the other hand. Thus, the phrase 'Turn the Other Cheek' was not merely a plea of non-violence, but a call to demand to be seen as one's equal. Point being, if this story is indeed true, that the description presented is still taking the wrong message by describing you as the oppressor.

PJOmega posted:

Didn't realize Bigby was acting as an author mouthpiece there, makes it even more groan worthy. Thought it was actually denigrating Bigby by having him reflect Israel's unofficial Mad Dog policy with why no one will mess with Bigby. Couple that with Gepetto's complete dismissal and it seems to be Bigby huffing and puffing with no wind emergent.

I'd also forgotten about Snow's holier-than-thou response to abortions but again associated it with a singular character rather than author mouthpiece. Isn't it outright stated that Fable pregnancies are incredibly rare? Anyway, I'm trying to find the panels that refer to Frau Totenkinder (literally Mrs. Child Killer) weaponizing abortions.

moosecow333 posted:

I will never understand how someone can look at a game like this and go 'yeah, this needs more realistic food brands in it'

I guess it has something to do with my immmeeerrrssiiooonn

WeaponGradeSadness posted:

And I've heard a lot of people complain also about the mosaic-blur effect when shooting someone in the head either at close range or with a high-caliber weapon, but I liked that, too. Not only did it add to the grimy found-footage feel but blasting someone in the face with a shotgun and having them writhe around on the ground shrieking in agony while their head is behind a pixelated censor just seems so much more gruesome than anything they could have actually shown.

Babe Magnet posted:

If I recall that one has a little jokey rhyme too.

More PoE: this guy you meet in a whorehouse




and if you click the first option...

Who What Now posted:

I'm pretty sure "Yojimbo" is kinda a big Japanese mythological character on his own, old films notwithstanding. He's gotta be tied with Nobunaga appearing as the Japanese equivalent of Satan-Hitler, anyway.

McDragon posted:

In terms of a little thing I wish was in AK, there was a bit where Batman was very obviously going to get cornered in a little room so I put some explosive gel around the door but the game ignored that. At least he had the sense to go and hide, but I wanted to blow up some fools.

Lunchmeat Larry posted:

Would you rather "hit" and get audio/visual feedback but deal no damage? It's effectively the exact same thing, but it's harder to tell when you've dealt no damage and when you're just too weak to hurt the enemy much. It shouldn't even happen that much if you manage your stamina well and use a weapon you have some skill in.

I get that they could have put more effort into the presentation to avoid the weird feeling of flailing about in the air, but when you get down to it it's an RPG with to-hit rolls, it's a layer of abstraction it's not great, but it's just action-RPG combat that falls more towards the RPG side and doesn't do it particularly well. The sequels fall more towards the action side and don't do that well at all. Guess it comes down to which you can put up with more.

Exit Strategy posted:

"There are two Hideo Kojimas. One Kojima injects every Metal Gear Solid game with earnest if overbearing discussions of nuclear disarmament, the morality of genetic experimentation, the nature of warfare, and the difference between patriotism and terrorism. The other Kojima lets you call Rose in Metal Gear Solid 4 and shake your SIXAXIS to make her boobs jiggle."

McDragon posted:

Blazing Roach made me laugh, but my favourite is just Parrot. Oh, and anything with Eel or Slug doing something Eels or Slugs aren't known for, those are all great.

FreshFeesh posted:

Playing DOOM and I'm really enjoying how self-aware it is. I just beat the Cyberdemon and the achievement for doing so had me in stitches

Gorilla Salad posted:

Oh god, you've just reminded me about something that made me laugh like a lunatic the first time I noticed it - King Henselt's belt.

It's a little castle!

Strom Cuzewon posted:

Do you know what the text says? I read neither german nor handwriting.

Who What Now posted:

I need to know how this dude learned the ways of the ninja.

Away all Goats posted:

Trainmonk posted:

Didn't say represent, I said take stances for. More clearly, attempting to define or coopt marginalized people and their motivations primarily for white folk's easy consumption. Its almost voyeurism a lot of the time.

Representation is like when they put a gay person in the game.

Trainmonk posted:

No, I am speaking for myself as a minority. Why did you assume all of that?

DudeGoofyGuy posted:

It's bizarre how much Shigeru Miyamoto absolutely loathes the idea of lore in games, considering the best memories anyone seems to have with Zelda games is based on the sense of the world rather than any particular element of the gameplay. I hope that they ignore him with Breath of the Wild, because if they end up going with "gameplay like Skyrim with nothing beyond a bare-bones generic story," I'm going to be very disappointed. On the other hand, if they finally fully embrace the concept of lore by littering references to things throughout the game, it could fill this thread for months.

Regrettable posted:

MGSV rankings are based almost entirely on the amount of time it takes you to complete a mission so you can just go in guns blazing and get S ranks all over the place as long as you're quick about it.

shut up blegum posted:

Welp, sorry I started this derail.
But think about it, is the guy that nobody notices and might as well be a ghost really the protagonist here

BioEnchanted posted:

Epic Mickey

Guy Mann posted:

Also it's the one time I can think of where the main characters in a work of fiction about killer robots who can take the identities of human beings without being aware that they're robots had enough genre savvy and self-awareness to question whether or not they themselves could be robots...

Guy Mann posted:

I really liked the character of Code Talker in MGSV, when you meet him he looks like the biggest stereotype in the world as an old man in a cloak who smokum peace pipe with Snake but then you get to know him and he's actually an insanely gifted microbiologist who loves hamburgers and talks to you at length about the history and culture of the Diné. And he ties into the entire game's themes of language as a means of control with him being taken away from his people as a child and forced to speak English and adopt an American name, and how he gets roped into Skull Face's plan due to his fear of his native culture and language being wiped out by assimilation.

WirelessPillow posted:

You guys are arguing the same point.

Olive Garden tonight! posted:

Except that 'highly stylized English' reads 'answre'

The whole thing is a huge fuckin stretch

BioEnchanted posted:

I quite like the twist in American Wasteland - your constantly adding to Iggy's skatepark through out the game, mindlessly tricking on anything that could possibly become a cool setpiece. You tear the world apart, literally, to build the Skatepark equivalent of Xanadu, damaging countless businesses in the name of sticking it to the man, until eventually your park gets too big. Turns out your attracting a lot of attention that Iggy didn't want and it also turns out that he is squatting on owned land, not just a vacant lot. All of a sudden that land is incredibly desirable, expensive, and way above Iggy's pay grade. Congratulations player, in sticking it to the man, you have in turn allowed the man to stick it to Iggy. All of a sudden you aren't counterculture warriors trying to carve your niche, your now full on investors trying to claw enough capital together through a glorified kickstarter campaign trying to swim in a way-too-big pond that you didn't even notice you had been drowning in all this time. You have to become part of the ~system~ now, and buy the land back fair and square from people who have been doing real estate a lot longer than you. You were never apart from the system, you were always a part of it, it's even foreshadowed by the fact that you can't even advance the plot without selling out - you need money at varying points to buy an alien costume, a tattoo and a ferry ride. You were always a slave to the Man, you just didn't realise it, and now you have to play the metaphorical game (the aforementioned rat-race), to play the literal xbox game.

It all fits together wonderfully.

Cythereal posted:

He has a couple of teleports. One is pick a spot on the camp map, he'll appear somewhere in the vicinity of the target spot. The other lets him turn invisible and race ahead much faster than normal.

MiddleOne posted:

He has all kinds of murky genre-related superpowers.

BioEnchanted posted:

Just realised from a datalog that Horizon is a Metal Gear game. An early datalog implied that the machines were created by (speculation, just about to take the Ring of Metal with the Warchief)PMCs fighting amongst themselves for corporations for control of certain resources, as described in the Datalog that mentions Bolivia. Then something wiped everyone out; something that enough people saw coming to build the All Mother to save the civillian members of the species, and even 'celebrate' sardonically when it finally hit them; and the remaining machines went feral. If I read that wrong don't clarify, I want the plot to make itself clear organically, but that's what I'm taking from it so far.

FactsAreUseless posted:

I really want Square to bring back Amano concept art.