Katana314 @ Katana314 @lemmy.world

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1,817

Joined

2 yr. ago

My first PlayStation was a PS3, and thankfully, around then they were still releasing a number of ported “trilogies”.

Even though mine was not a backwards compatible model, I was also able to play digital versions of the Fatal Frame series, which is sadly now pretty much inaccessible.

I never played Jax, but I saw an analysis of its vector-based facial animation, where there were few enough vertices for animators to directly tweak; and it does feel like a nostalgic way to make cartoony, expressive faces.

Funny side topic:

Insurance doesn’t cover acts of terrorism. So, by the DOJ placing that label on recent Tesla vandalism, the insurance claims become invalid.

Peans: Not quite peas, not quite beans. But they’re somewhere inbetweens.

It was only recently I saw that Blue Prince did not make a PS4 release, which surprised me - quite a lot of games even in the past year have still put that out when there’s nothing in them that’s highly demanding. Usually, it just means it hovers around 25-30fps.

It did sound like the initial comments were taken from Discord, not an interview, which to me paints it in a different light.

I’m sure I’ve claimed to be the Queen of England on there once.

What most people get irked about is loss of ownership, which can be a separate topic with careful management. For instance, if you buy an ItchIO game, there’s no DRM and you can copy it anywhere - I imagine many would be fine with digital downloads if everywhere used that system, but on the corporate side they’d likely be grumbling about piracy.

That’s why my better version of male trip power fantasy is the tough-as-nails delta operative Captain Martin Walker, of Spec Ops: The Line.

Did this happen because of Google API pricing changes?

I was a mega-fan of both Ori 1 and 2. I've got a mug based on the first game, but when I first saw the trailer for this game, nothing about it interested me. Kind of like the Xbox 360 era of "brown and gray cover shooters" I've never understood the appeal for grim, depressing medieval worlds. I like having some vibrancy and inventiveness, as well as some motivation behind the violence used to achieve some end.

One of the only Soulslike games I've finished is Another Crab's Treasure. The story/setting in that game ends up being pretty depressing, but it at least maintains a lot of humor and colorful design.

What's more, I looked through the negative reviews, and a lot of them touch on incomplete or over-punishing systems, rather than seeming motivated by external factors.

I wouldn't see it SO negatively. If they were paying people for reviews, then yes, that's corruption; but every YouTuber uses phrases like "Drop a like" and it's considered normal. When you worked hard on something, I think it's common to ask for a positive review. People are sentient enough to choose whether to do so.

The most secure device ever made is a Rock.

You cannot have your bank account stolen from a Rock. People will never get your personal files or medical info from a Rock. People will never spy on you through the Rock.

But you also can’t do much with a Rock.

Maybe I'm bitter, but I'm still not ready to forgive them for their treatment of Mick Gordon. Plus, they're part of Microsoft Studios, who are now openly okay with genocide.

I mean, this level of Darwinism would be fine. What grates me is not recognizing the effect it has on others.

Still seeking an analogy where not eating food somehow puts a neighbor or classmate at risk of starvation.

Overwatch 2 situation. We just add numbers now to excite people.

Does this apply to all Hoyoverse games? Never got into Genshin, but I enjoy Zenless Zone Zero.

Seems like a tragedy of MMOs when they want to introduce what’s new to returners, but then deliver an avalanche of “new stuff” to people brand new to the game.

I suppose I've plugged it recently, but Another Crab's Treasure.

It opens pretty plainly as an ocean-based Soulslike parody with a simple story premise and some self-subverting humor in the dialog with other crabs. As you go on though, every 20th conversation becomes really pointed and real-world-connecting, going beyond just "pollution bad". It's not quite Spec Ops: The Line, but it at least has something to say about society.

The combat is frustrating but addictive, much like Souls games - and it's okay with handing off a number of allowances like accessibility modes and tip systems. It's even helpful that, if I die to a glitch or something bogus, I can actually just choose to re-obtain my microplastics (souls) through a menu.

The soundtrack to Tunic is so moody.

I used a few little hints to help with the "true final boss", but it was a fantastic reorienting of everything, and was glad by then it got away from traditional combat. I enjoyed the core combat too, although I usually don't even like Soulslikes.

I think there is a "graphical plateau" to gaming; a universal constant a bit like Moore's Law. And while it's not certain, it's very possible the Steam Deck has mostly moved beyond it.

I definitely don't think there's an infinite bound to the detail games can add, especially within the resolution displayed on the Deck. Plus, many formats of games have not been well-served by that sort of extra detail. When a fringe hit like Liar's Bar, REPO, or Lethal Company comes along, it never really needs the extra horsepower of top consoles. There's a few rare PS5 exclusives that may struggle on it, but given Cyberpunk 2077 runs on it, I don't even think we need be too worried.

It sounds like Nintendo games would really be the preference for librarians.

• They stay at high price so many patrons will want them
• They’re often kid friendly; and part of a library’s goal is giving kids a destination
• The console they’re designed for can be carried to the library
• The media is resilient to damage or being faked