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.
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.
2000
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
-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
This thing 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"
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"