is good, but it is also the epitome of this increasingly predominant logic that Nintendo has with its present and its past, a toymaker one, and not a craftsman who cares with affection for his games and ideas put into his creations, rather like that of a luxury company that offers disposable and immediate products with a careful presentation.
Here is the new one of the toy known as "SUPER MARIO 3D WORLD WOHHOHHUHOOO", with improvements that will make you not want to go back to the original Wii U, in fact, they do not want you to, nor will they want you to go back to this version of switch when remaster it again on their next generation of hardware.
This logic extends to the entire game itself because its approach to action, while satisfying on the spot, also reveals how little real thought went into the designers working on such a solid and simple foundation as Super Mario. 3d Land- That game was in good health, but it was addictive like pringles-.
Why is there a multitasking button [Run], [Use Powerup],[Pick Up Player]
[Throw Things/Player] on a controller with so many buttons?
Probably no one thought of it, but in 3DLand it worked, so here too, right?
Yeah, no, the truth is that it doesn't work that well. With so many different power ups that alter the way the game space is operated, objects to throw, enemies that need to be dealt with in different ways, and, most importantly, a multiplayer in which all this is multiplied and also adds the possibility picking and throwing other players to win levels in the (seemingly) funniest and most creative way... One can't rely on a multitasking button, it's just impossible. Because obviously it's not just about the actions you can perform with your character, but how those actions relate to and impact the environment, or in this case -action platforms- what the environment demands of you as a player.
And precisely that, the environment, the levels, the world, Why is this game called 3D WORLD?
Not even the world map, probably the freest interplay of all the level-structured Super Marios, offers a sense of the world. It's a minor detail, and I don't have much problem with this, I think that the sensation of the digital world is achieved through more resources than simple physical literalness, but I also think it illustrates another point that was dealt with on autopilot.
The levels capture very well the texture of super mario in my opinion: color, fluffiness, sound... Joy as a whole.
But also full of ideas that, while creative and enjoyable, are also disposable almost the moment they are presented, more articulated around the mobility/attack variations provided by the Powerups than the jump itself, and that's a problem, because if you don't get the necessary powerup in advance the level design turns out to be a little soft, and that coupled with the problems of the multitasking button leaves some absurdly frustrating moments for a game that, if it had a better interactive layout, would be even easier than 3D LAND. Apart from the moments where the game tries to create a directed action sequence in which we have to fight a boss or stay on a platform on rails while the camera beats us - you go out of frame, you're dead - they make me sick, There is no redemption there, neither here nor in almost any platform game, it is an absurd way of killing pacing.
In the end, I liked the game, and I give it 4/5 because of Bowsers Fury and also because from time to time I actively look for a Toylogic game, that is just plain fun. I will probably come back to this game with friends.
I haven't been a Nintendo believer for a decade, but this way of supercharging its sequels with mechanics that born and die in the moment which a level takes place is a super evil company move
"duh, Nintendo is a company"
Yes, but even so I would dare to say that Nintendo has not had its own ideas or approaches since the 80s. Rather, it has offered quite innovative pieces of hardware (Nintendo DS?) to share -or even take advantage of- the ideas of others producing works of studies external or minor that would enrich their own corporate image as well as their catalogs
"well, sure, but Nintendo was always like that deep down"

Goldeneye 007 was a bridge to a new philosophy of design and direction. but I had always understood that game more as a proto hitman(?)
-Seeing the state of the later fps that based their structures designed on the scripts to lock the player in a "moment to moment" of constant cinematographic linear stimulation, or in a constant return to emulate or restore the boomer shooter again .. I find this game very admirable.
seems to be more dedicated to its gelatinous and exploitative -almost parody- internal logic about how a spy should proceed in a video game, taking into account the most bombastic pop aesthetics and packaging it in a shooter.
-For me it works because it seems to reject to a certain extent the idea of ​​levels as simple arenas or mazes where you can get lost to kill and score points and decides to focus on making the environments seem like places of certain spatial and functional logic within limited possibilities. Environments where gadgets play a tremendous role btw
but at the same time, as I said, the game knows that it wants to be a shooter and
It puts a lot of emphasis so that corners, stairs and doors are always hot spots for firefights in close quarters.
And I think that's the point, the diegetic excuse of the spies takes you away from hellscapes and battlefields to get into laboratories and rooms that replace the labyrinths and arenas of the most past shooters.
-Here I enjoy every shootout that more often than not seems like an archaic Gun-Fu confrontation in which I am vastly superior to my opponents - especially in the xbox360 version-
There's something very well built about Perfect Dark's gunplay that stands out in corner play. Taking cover for yourself, pulling the trigger a couple of times to shoot in a controlled manner at enemies that Joanna Dark targets almost automatically within the frame, reloading with that animation... It all adds up to articulating a fantasy of tactical action that if Holds a moment to moment with room to breathe

Because in the end the world is a space to solve.
Sometimes with logic, sometimes with perspective, sometimes with force, sometimes by listening.
there is nature, but naturalistic logic is a lie. at least in modern life.
Curiously, puzzling the orientation and twisting the land we walk on -in the shape of a Donut, the industrial shape- the perspective reveals that there were no forests on earth, we made the forests, we imagined the height of that mountain. They suggested us, we accepted.
There are shades between "natural" progression and satisfying progression. we often confuse them.
This is very pessimistic, but I think that what defines us as people is usually the lies and truths that we accept.

-With the nerves to the limit, but with a smooth movement, justified by the style of animation. I don't know, I see it as a bit contradictory to the crazy and animated world that the game poses
-I haven't played any Wario Land, but here the approach of the double level design (hit and run) in communion with the two possible forms of mobility, until the two collide with each other, is super interesting.
but, there is the problem, that they collide in what I intuit is an impossibility to get rid of their formative references in terms of a "genre", called "the platformers".
The idea of ​​scoring through collecting and other chores at levels that force you to fluctuate between jumping, speed and momentum does not seem very appropriate to me if at the least I fail I have to repeat a sequence of three heights and four platforms, for very funny and schizophrenic that are the crash and fall animations.
Between the seams of the game, a speerun logic almost appears?
I don't see the great Peppino spaghetti being an avatar of total control in chaos, rather I see him suffering from chaos, heck, that's how the protagonist seems to be presented, as someone on the verge of sanity, breaking with everything he knows. crosses.
-So vacuously it has been possible to attribute to Signalis that its structure is a mixture without substance (partially correct, but I don't see it badly for a game whose one of its main reasons is "memory" as a concept) beyond the visual, I think this could perfectly apply to Pizza Tower: the weight, the speed and the alleys and unthinkable traps of Sonic with the framework of Wario Land? (I intuit, I reiterate that I have not played)
But I find another similarity with Sonic: the divergence between character concept and game concept.
you already know
Speed ​​vs Caution in Sonic
Chaos and humor vs Control and some precision in Pizza Tower
Am I the only one who feels this?
-The mixture is quite satisfactory, but why would that be enough?
-usually the internal coherences matter very little to me, and I hate applying the operational sense of the real world, I prefer the expression and the personality, at any cost. but here I find the expression in the same way as some contemporary games that rely entirely on the animations of their characters. And that's not bad at all, it's completely fine but I didn't find a situation where the comedy came from the game design instead of the characters and their animations. It's a bit picky, but I feel the same way I do when I watch one of the new Pixar-like CGI animated movies, with little interest in cinematography and space-time relationships.
I love the energy of this game, but at the same time it leaves me super cold

In the first hour of the game, there is a script where the ground collapses and the game expects you to fall into a hole. its so sad.
I didn't fall, but the game had a dialogue programmed with groans. The game assumed that you had fallen into the scripted trap.
It is incredible how the AAA pop have appropriated the narrative resources more typical of the indies of the beginning of the last decade. Those that allowed you to explore the space in a more reduced and detailed way, interacting with small objects on a stage, only to end up mixing it with Walkie Talkie sections and Voilà, you already have your cinematographic level.
Actually, an older version of space exploration reduced but exhaustive through the details already existed in the blockbusters since the late 90s (Shenmue? , MGS 2-4 maybe?) but they were never so frequent.
because the exploration can be slightly guided, since the digital worlds are a powerful and wonderful ultra-designed lie... But dictated? no plz
This game drowns you with absolutely all the trends it can afford, leaving no room for thought. grabs you by the neck without conviction, with such a corporate plan. its scary.
I'm on board for narrative-driven pop games (gosh, I love MGS4) but I need A LITTLE bit of authoring.

This game mixes the textual and metatextual sense of spectacle in an admirable way.
Combat aside, it is very little spontaneous, despite being an action game. Everything has its tempo, and that leads to a routine.
Jump here when the obstacle allows it, shoot at this grid target, destroy the wall when the circles say so. Not my ideal adventure.
Overthrowing a megacorp requires a plan, and in the capitalist world there is very little room for freedom, for expression, to explode with music and colors... Does it have any aesthetic sense?
Poetry is made through its structure: the idea of ​​visuals that seem to be ripped from a Jetix mid 2000 show in an explosive and colorful action game, driving a happy and carefree protagonist who literally has music in his heart and perceives The world through it, fight against machines and managers through offices and automated production floors brandishing a guitar made of scrap, which, strangely enough, takes on a pristine and ideal appearance the more we fight.
Although of course, it is better if we stick to the tempo that the world marks us (literally).
A very current dichotomy for those of us who grew up in the 2000s with the new wave of 3d action games -the misnamed """"hack n slash character action game stylisssh""" - with the new music distribution formats through Internet, the anime fansub booms and, above all, with the promises of a better future, social, labor and technological.
It doesn't matter if we look back in the days or to the future, now it sounds like utopia.
- Remake in the form of a mashup is something that attracts me. I see it as more honest reinterpretation than trying to be "the new standard" by holding on to past ideas.
It allows authors/programmers to be recognized as people and establishes links of understanding with them and with a medium without a real canon.
For me, Hi fi Rush is closer to Bravely Default, Tunic, Assault Spy or Spark The Electric Jester 3 than Hollow Knight, Drainus or anything from Team Ladybug because it rips off a piece of time and to articulate a fantasy that goes back to a happy and fleeting time (the truth is that at the governmental and economic level the 2000s were pretty fucked up in their last stretch) not to entrench themselves in them, but to introspect how memory is intermingled with the present. and it only takes a couple of hours of gameplay to understand this.
I guess I see it similar to all those people who say "wow its like ps2 game!"
I haven't had a chance to play Astral Chain but I think it's beautiful that Taura ripped a piece of Japanese pop culture from Tokusatsu and Sci-fi anime (misunderstood as "cyberpunk") and made a game where the simple activity of watching and walking the streets is on the same level as the action.
Build their universes based on formative references or young fetishes. Because nowadays, how many adults have time to discover and be as passionate as when they were children? It's not vulgar nostalgia, it's the sad life cycle that some people find themselves in.
-Although I think that the planning of the game and its fiction point to the precarious and inhuman reality in which we live, articulated as a capitalist critique for children (this is good), everything is too scripted. Not condescending, patterned.
Navigating the stages is a tedious low-key and unsophisticated score, while the combat is a good jam session where finding your own rhythm and fitting it in with the world becomes a wonderful thing.
Although to be honest, this part of combat is not something new
At least if, like me, you grew up with Bloody Palace and God Hand while your mother listened to bootleg CDs of Sleater Kinney and Linkin Park at high volume?
I don't know, I don't see this being the game I return to repeatedly with my mixtapes... in a few years maybe
But I like this game, it's not the passion project they're trying to sell us, but it certainly has passion on it.
and bonus points for using Whirring as a killer track.

Turns out that im not smarter than your average slasher teen main, however, i would be a perfect scream queen

Some thoughts that I had stuck in my head:
Explore the world looking for a solution, a connection. Together. Maybe not physically, not by the same routes, maybe not delivering the same
It is difficult for Death Stranding to reach you playing it alone. Its nature emerges more easily online, and it's a great gesture and a statement of intent that you don't need a subscription to ps plus.
Kojima presents a digital world that is difficult to interpret and unite in words, a fiction that shoots directly into our reality.
Cursed, heartfelt, but also emotional. embrace the connections between things, but question them. a celebration of human duality
More prophetic than MGS2 and with better observation, generalizing and at the same time specifying the difficulties of our day to day, articulating them in the total art of videogames.
From the most abstract to the most literal, collective fears, traumas and very recognizable memories materialized. Visible, audible, and even palpable in an alien America full of dualities, of people who only intuit and show themselves through holograms and numbers.
But we are here. Maybe not next door, but in the same world. And the proof is the ladder that I have used to create an improvised bridge, I have left it here, for you, for me, for everyone. And that rope on the cliff, that capsule, that package on the ground. We are here.
Where the rejection of what forces us to leave this world is manifested in a kind of allergy for those who are more akin to these fears or have experienced them to the limit.
Where people are baptized for their present, for their office and condemned for their past. Where the heroes deliver packages and letters. They come to our futuristic shacks and install an esoteric Internet.
Everything is Sam Porter Bridges, whose name makes it STRONGLY EVIDENT what Death Stranding is about, and at the same time no, you cannot perfectly encompass anything as complex as earthly and afterlife connections, the natural and the mechanical, the Software and the Hardware, the "Ka" and "ha". reality and dreams. Much of Death Stranding's recontextualized iconography seems to suggest that.
It is a work that calls for thinking in an unprecedented way about it, because it offers an unprecedented reinterpretation of the transition and relationship with our environment, especially for gaming standards, obsessed with the mechanical-narrative relationship or the challenge, the suggestion and the satisfaction as a criterion to generate interpretations that are autopsies or descriptions. That in the best case.
At worst you have Far Cry 3.
Every species has the game in different facets and areas as a form of intellectual and emotional connection.
Children play and learn/relate, animals play to understand each other. We play to replace war.
Even before having sex we played.
Homo ludens. And Kojima welcomes a lot of this.
We need to be playful without losing focus.
There is no need for subtlety, just answer honestly to human questions. Use the forms of play as a response to the bitter obstacles of reality.
The example is the "Social Strand System", a mechanical reinterpretation of social networks where the game of deliveries and recovery of packages, manufactures and constructions has an impact on likes and statistics, but also on turning the environment into something more livable and peaceful, at the same time, shows that a more altruistic and ethical form of social interaction is possible.
It sounds naive to say that the reconstruction of the collective environment in an online video game is a lesson in altruism and community, even more so when there are likes involved, but the exercise of life begins somewhere, and now that we are waking up from this techno delirium -competitive utopian in which social networks had us flooded, now that we know how important they are to connect with each other more than to raise our ego, this "Social Strand System" shines more than in 2019.
Through the textures of slow gaming, an experiment of self-knowledge and updating is proposed, there is the unprecedented, in how the game confronts us with situations without necessarily connecting their thoughts or ideas and still achieving a certain cohesion. As in life, no one knows "what it is about" and yet we walk through it with what we own and what others leave for us.
And for a game that wants to embrace these themes without giving up the nature of its medium, its foundation, it's something really admirable.
Not a single day goes by that I don't think about Death Stranding. Perhaps because of what has been happening in the world since 2020.
On arrival at Port Knot City.
How the corpses of people who have left explode, leaving an emotional and physical void in the form of a crater. Cities with people locked up, invisible. In the networks. In their inverted rainbows. How work becomes playing with its dozens of tools to transport, how enemies are my reflection, silence, likes, photos, stories... In life, how life can be everywhere.
And I can't even put into words practically anything that this game is for me. I plan to return to it in 2023 now that a sequel has been announced that begs the question: Should we have Connected?

I like Sonic, as a corporate, business and cultural icon, what it represents, and the base designs of its characters seem adorable (it depends on the artist) and how urban and natural can be presented at the same time.
Now, for me, Sonic is a metaphor, and it is from the moment that it combines nature and technology, speed and restriction, capitalism and humanity, passion and obligation.
-a rugged metaphor of progress (any kind) of our own reality:
The contradiction of seeking harmony with our environment but filling everything with unnecessary technological devices (propellants perhaps?) that offer easy and condescending solutions instead of trying to re-educate ourselves with new ways of approaching our relationships with that environment.
//If Shadow and Sonic's speed levels were planned in a totally new way, favoring speed streaks and momentum in a greener way (architecturally speaking) with width and fewer obstacles, thrusters would not be necessary nor most of the paraphernalia that plague the game. I understand that in purely diegetic reasons, everything makes a certain sense, but the design of these phases drags archaic values ​​from the 90s into the new century with the excuse "Sonic was always like this". Consequence of our reality: tradition and hierarchical conventionalism weighs down
It's a metaphor for preadolescence. The need to act on your own, free. To get everywhere quickly and for everything to come fast (uhh) and with style... but then the world itself stops you dead (with spikes) hindering your progress and development, giving you some candy, some loop, so that you feel that there is a certain freedom, that something better will come. But no, it's a lie, the freedom to move in the world is a lie, and sooner or later you'll realize it.
Sonic may not be Cervantes' Tableau of Wonders, but just like that tale, shoots into our modern reality by accident.
Through some natural layer scenarios that we navigate with a speed that is inappropriate for the appropriate rhythms (that Rogue speed?) Plagued by technological devices that facilitate or dictate the path, but that trample on the harmony of the places, a diegetic picture is created. full of contradictions that are used as an excuse. Nature vs machines, but Sonic uses devices to move and fight.
It's a hedgehog, but anthropomorphic. Wear sneakers, gloves and drink cocktails on a lounger.
Is it a contradiction, or a consequence?
We live in a society that is constantly striving for progress, but we are still reluctant to change. We advance on a natural land full of devices that steal a certain meaning and coherence from our world, with speed and pleasure, also with suffering. even the protagonists seem to be crossed by some contradictions with a Sonic who is confident and sure of identity and his freedoms as usual, until he meets Shadow, someone who rivals those skills in a cruder way, more anti heroic and less romantic.
It would be easy to say that Sonic Adventure 2 doesn't work as it should, at least in a purely mechanical sense, and that's no lie. I've spent more than 25 hours divided into 3 versions (played on original hardware) and in all of them I've had absurd collision problems - Cannon's Core is one of the worst in the game, with that Eggman sequence, it's incredible that the cube itself that it's supposed to lifting you up can permanently cut off your booster, dropping you into the void with no chance of recovery, something that is otherwise common in a number of ways throughout the game.
and enemy positioning - I am against positioning obstacles in a clear and absolutely understandable way, but there is a fine line between randomness and disdain for the player to the poorest construction, and here a poor construction of the playing space is offered through of the enemies-
Question: Are the rings a form of real recovery, or a condescending way to relieve the frustration of the inevitable impacts?
Because I can accept losing 67 rings in a single impact -something that on the other hand is a design decision resulting from bad planning carried over from the first Sonic, you know, from when Sonic was going to be a rabbit that grabbed things, another conflict of conception- but I do not accept that there is not a precise calibration in the chains of enemies.
-Adventure comes out in the same year as Super Monkey Ball, which for me takes the concept of physical exploitation of inertia and collision to a level that Sonic never reached. A year later, from the hand of Oshima, Blinx arrives, which takes the concept of disintegrated and impossible platform spaces to another level, offering the possibility of controlling its elements through time management, and also in that same year Sly Cooper appears , which would later offer drama and furry adventurous action with constant shifts in its core playable in an elegant way, and with real combat tools.
It is not about an empty comparison, it is the "Sonic effect", something invisible that opened up possibilities on several fronts in a few decades where corporate mascots and furries saw themselves with different eyes, and who had, more or less clearly, what they wanted. they wanted to be, in concept and operability. Sonic seems clear on concept, but has a hard time finding an operational aesthetic that evolves or is even cohesive.
In any case, Adventure 2 has opened my eyes to many issues and, as I said before, it shoots reality in a very strange way for what it is, I admire that, even if it's coincidence.
Lets dive in Sonic Robo Blast 2.

Cosmo D: is simply a master of video game scenery. It reconfigures the aesthetic sense of visual collage through the architecture itself, leaving the seams that hold any video game level exposed, from textures and models to the Skybox, all mixed, with experimentation and without shame or desire to be impressive, pure architecture. digital surreal.
Nothing of coherent proportions or conventional spatial sense, something that, on the other hand, is quite common in the medium, much as contemporary AAA video games and their cinematographic and photorealistic ambitions want to deny. An observation room with a window to another room, with windows that show a landscape built like an old photograph. Representation of psyche and desire, also of memories.
- The pizza at the level of art, and the human activity of creating it at the level of any articulation and artistic practice, the result? At the delivery of each pizza, a semi-criticism between one or several characters of the piece created, with their counterpoints and their infulas written through small dialogues that float in the air of places sunk in music, full of sculptures, records, books and instruments that generate the sensation of being "bricks" to complete spaces rather than artifacts with an aesthetic and communicative function. A space so consumed by capitalism that there is no real aesthetic scale on practically anything.
100% new millennium Volatile and changing like our cultural and social dynamics.

NeverAwake speaks to children in distress through the playful without demanding complicity with the underground cultures of the internet, since of course, what was once niche is now pop, but no one should ever need cultural knowledge or normative fit to find help or understanding. .
I am completely unaware of Neotro's personal life, but NeverAwake and Vritra could form the x-ray of the darkest psyche -as well as innocent- that can develop in childhood through a traumatic event.
And why a Shmup twin stick? Well, most people have come into contact with it at some point in their lives (maybe Space Invaders?) It's one of the purest video game formats; tremendously playful, immediate, satisfying. You smash your enemies and dodge their attacks, the perfect escapism for acting out a power fantasy. And fantasy of power is what Rem, the protagonist, has in her subconscious. No spoilers: NeverAwake articulates through the Shmup ecosystem a story of self-control and reconciliation far more evocative than countless RPGs and VNs aimed at teens.
The end of this game and its way of understanding the often intrusive ludic resources of video games reminds me greatly of Taro's most remembered works. Helping and being rescued is something more powerful than any conventional final boss.
Communicating effectively does not require elegance, subtlety or measure, only passion and creativity.

Briana Lei and her first Butterfly Soup are part of the wave of "video games that do not love our time, but the people who live in it"
It is a very difficult pill for me to swallow because this year I was expecting a lot of games that have not gone beyond remarkable, but I find it hard to believe that the one I like the least is a surprise game by Briana Lei, but of course, in hindsight, it was already clear that it would be like this. The first BP articulated a teenage fantasy where the only normative thing was its VN format and semi-anime Tumblr visuals. It was an incisive political story that almost openly framed the new generations raised in the 2000s-both in the good and in the bad-and how they lived a full adolescence in our modern turbo-capitalist world, whose foundations have been built with such eagerness that it seems There will be no room for drastic sociopolitical change that maintains and ensures equity for people. Demonstrations against homosexual marriage, situations where multiculturalism, disappointment and paternalism towards a generation trapped in an unequal system... And in the center a group of girls of varied ethnicity trying to live. everything else needs a solution, but it's in the background, because in the chaos, these girls have the right to live, we all do.
It's perfect, no need for a sequel. The important thing was the girls, yes, but their situation in the world, not so much the laughing breezy dialogues.
BS2 has a lot of heart, but it succumbs to the "improve and expand" preconceptions and thereby becomes something worse than a compliant sequel: A deal.
Expand, continuing a story, and improve by emphasizing personalities to moments of exaggeration.
You play, I tuck you in. You know this, take more of it.
It tries to pay REAL attention, and point out the social causes that didn't have as much depth in the first game as
The exploration of gender and sexuality, racism, the complexity of family relationships... But the truth is that all this was already in the first game, it was not underlined, but its presence crossed the entire work like a lightning bolt. It was not heard clearly, but it had an impact after the fact.
The pandemic has changed the world for the worse if possible for some, we go two steps forward and one step back. It's still a step forward, but still.
We can't let social and moral causes become fictional genres, not even Briana Lei, because this is what has happened in BS2.
I wanted to write more things, but it's getting difficult for me.
Bye bye, Butterlfy

Better remake than several of the contemporaries, basically because it is a remix that assimilates the false -or more widespread- history of "survival Horror" (the genre names are a bit silly) that the magazines sold us here in the West batter than the last "new" games of the last few years. Think of essential pillar works of the horror aesthetic in gaming And you probably don't think of Laplace No Ma or Twilight Syndrome, god, names like Sweet Home, Clock Tower and contemporaries are probably starting to sound, but surely most say Alone in the Dark and already jumps into the golden era of Resident Evil, Silent Hill, White Day, Project Zero and all that.
It is natural, understandable due to the lack of a consistent canon in gaming, incapable of being properly created even in the puberty of a medium that is forced to a maturity that it could already reach (in fact it has already touched it).
Advertising and the Ludic factor have screwed up video games in many ways, but the worst is that accidental and unavoidable ignorance due to the lack I mentioned of a properly documented historical canon leads to constant redundancy in design planning and game direction. many "new" games. And it's not that I care too much about this lack of originality, this redundancy, nah, there are pre-rendered games with landscape Screen Orientation where the only thing you do is walk that take my breath away more than any "mechanical revolution" a-la Mario64. I don't think that quality is measured by originality, besides, bro, literally less than 50% of the mechanics that exist or were today are used expressively, almost everything is immediate gratification, fast food style.
We need more Historians in gaming, ASAP.
The adorable and beautiful thing about experiencing first works and recognizing influences on new authors is lost when they approach aesthetics with structures as closed as "classic survival horror", which always seems to result in the same sagas, with the same redundancy as I write these thoughts.
Well this brings us to Signalis. I recently came across a video on Youtube titled: SIGNALIS THE NEW FACE OF MODERN SURVIVAL HORROR
or something like that.
Modern? What ? in what sense? It is a remix of the supposed pillars of survival horror; RE structure, evocative images a la Silent Hill, hand holding sections in the first person, like horror graphic adventures or something from the golden era like White day. A Sci fi setting.
Martian Gothic.
Bro. Perhaps the only modern thing is the second round that works as a continuation and begins to suggest ideas about cycles and emotional attachment. But even in that I recognize other works.
It's not a bad thing as such. Remake and give your take, your version. I prefer it a thousand times to any remake of Vicarious Visions or BluePoint (May Arceus punish the shareholder meetings as they deserve) but Regardless of the intrinsic quality of SIGNALIS, you can see where it comes from and how little it can actually offer beyond entertaining hours: the product.

A thought that has entered my head.
I don't know the state of "wholesome" in video games, but from what little I got into it, for me most opinologists failed at the point that they pointed to gamified mundane activities (of which I am a moderate fan) as a response to violence, being in reality many of these activities, such as fishing or cutting down trees, could be interpreted as a form of ecological violence without
"Enemies". This is how they usually present the digital entities that we face. But we are not "enemies" in games that do not contextualize terraforming or indiscriminate exploitation of resources? Bending the Minecraft and Animal Crossing regions is fine, but the Hatred neighborhood is wrong?
Video games separate people, individuals.
I am more inclined towards the creation or presentation of physical conflict through sports, preferably fictitious, but hey.
Video game creators shouldn't fear violence. Its exploration in fictional contexts is important, in all its facets and perspectives, and few media are better than the video game to do so. It doesn't matter if they are explorations of violence and recreation of conflict in a loop like in the Taroverse, or action works that explore identity and personal emptiness through stylization and hunting as a way of life, like Itsuno's Devil May Cry .
Hatred and the original Postal do their thing in a not so different way because they are a kind of horror games that do not deal with the subject of violence in a standard way, they do not offer the stereotypical heroic fantasy or resemble the examples of before, no evocative, but they are honest, they present violence as a grotesque activity in a neighborhood with a Dollhouse aesthetic (also Nier Repliant did) and they expose something that, although it needs an appropriate and convincing contextualization, is very real: violence is something easy to exercise , in almost all its forms, and in video games it's something we just do because it's satisfying. Already, there are a few pop video games that reflect on this (Taroverse, SpO: The line, Max Payne 3, bioshock...) but they usually need context or even a bait to bite so that we enter their conversation without feeling offended, for what? Why is MWII acceptable ("acceptable") until it puts us in terrorist control very explicitly? There was some controversy there, but not so much that in every TD game anyone can be a terrorist? Is it okay to play practically the same as Hatred in The Last of us part II just because that game has a -poor- excuse to contextualize scenes of extreme photorealistic ultragraphic violence? And come on, TLoU2 has no real intention of making us uncomfortable.
At least not much more than the intention of offering a satisfying time through fairly well-constructed action. But, again, Far Cry 3? 60% of the games? I don't know, a study on it would be interesting. As long as it doesn't have something like Under the skin as a scale for when you try to put the player in the skin of the antagonist or monster, but, hey.
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It's weird, this violence thing reminds me a bit of what was said about "this game makes you feel like batman/spiderman/superhero" and I was like: "Bro, almost all games make you feel like a superhero without a cape"
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Arduween 1x09

I guess since activision blizzard can no longer harass, fuck and hassle the women who used to work there now it's time to fuck and hassle the players directly in their homes.
well done bobby