I understanding removing the ability for publishing reasons. It is the apparently mandatory apology which I find a bit humorous and pointless. “We’re sorry because of unforeseen player actions which were obviously not an intended part of design.”

Perhaps I’m just so deadened to the hollow “We will do better.” apologies belted out by companies and public personalities, where the apology reads the same regardless of the amount of actual fault.

Sims type games have always had that kind of appeal to be able to go full sociopath in a harmless way. Drowning Sims in pools is a classic of gaming. The devs can do what they want with their game, but (unless this was something they had to do for publishing reasons) it strikes me as strange that they apologized for players being able to hit kids with cars in game, or abusing interactions to kidnap NPCs.

That would be the game designers’ and game director’s job. The listing in the article is for a VFX artist, who is working on the visual side at the direction of the game director.

Just screaming “make the game more fun!” at VFX artists is misplaced. These people are necessary on games, but unless it’s a small/single person team, they don’t have any hand in the game design mechanics aside from implementing what is coming from the director.

Nothing in the job listing seems like it is looking for a revolutionary destruction system. That seems like flourish added by article. It looks like a much more mundanely written job listing for destruction VFX, which is a role that shouldn’t be surprising in any way in a military shooter.

My goodness, this is some insane mountain out of a molehill reporting. The article is extrapolating a lot based on some vague and not particularly noteworthy qualifications bulletpoints that should be expected for military shooter VFX work.

Oh yeah, I’m totally aware of that. I was more thought spinning a from the ground up redesigned remake taking advantage of knowing how far the tech and design knowledge has come. Change up the levels, mechanics, and weapons design with a profession game developer level of resources while still using a fairly retro engine and keeping the original spirit.

It’s a good thing to have the game faithfully remastered, though part of me does wonder what a more ambitious remake might have looked like.

Issues like the imprecise aiming seem like artifacts of having to work around the original game’s limitations. I don’t know how different the Jedi engine is to the Build engine, as they seem superficially similar. Seeing games like Ion Fury being made on the Build engine makes me curious how a from the ground up remake of Dark Forces on an improved Jedi or Build engine, with some unshackling in terms of redesigning game mechanics with lessons learned while still keeping the original atmosphere might have gone.

But I understand that’s a lot of money and dev time that’s way beyond the scope of these kinds of remasters.

Fallout 1, which I’ve probably replayed about ten times more than the second game. It’s concise, with this depressing and dark world that gives a feeling never fully replicated in sequels.

Lords Of The Realm 2, a great little strategy game with an effortlessly charming aesthetic.

Civil War Generals 2, when I feel like really grinding out a strategy game. It has the bright colors and charming graphics which create a clear and readable battlefield that can be brutally difficult as units get ground down into ragged bands.

Really it just means the sorts of bugs you find with minimal QA testing combined with stilted voice acting, potentially untranslated audio or text, cultural beats that don’t quite cross over, and some game design choices that are different than how a game developed alongside western games might do things.

If you can stand this lack of polish, these sorts of games can at least give amusement for their price point.

I’m commenting late, but there is The Precursors which does require Slavjank tolerance, but if you have it, it provides an interesting flavor on a space opera adventure.

I also haven’t tried The Tomorrow War which seemingly requires even higher Slavjank tolerance, and probably isn’t a top of all time game, but seems interesting if you like peering into strange forgotten games. Warlockracy did a video of this one.

TLDR Bloated staff sizes and poor workflow management means salary costs skyrocket while a lot of people on staff are left waiting for things to do. The article keeps saying the costs aren’t just about better graphical fidelity, but I think this issue is somewhat related because a big chunk of staff are going to be artists of some variety, and the reason there are so many is to pump up the fidelity.

Not that it much matters to me personally. I’ve said before that games have long ago hit diminishing returns when it comes to technical presentation and fidelity. I’d rather have a solid game with a vision, and preferably a good visual style rather than overproduced megastudio visuals. Those kinds of games are still coming out from solo developers and small studios, so it doesn’t affect me one bit if big studios want to pour half a billion into every new assemblyline FPS they make.

In the stealth section there are static guards and patrolling guards. At the bottom of every turn the players pull from a deck of cards which says which of the patrolling guards will move and also a special event- this can be the meter towards the alarm ticking down, some of the guards reversing direction of their patrol, or reinforcements prestaging just off board.

During stealth if a dead guard or a player character is spotted by a specific guard, it will shout alerting other guards inside a certain radius and act according to the combat logic. At this point the stealth section will likely shortly end because of all the negative stealth modifiers.

In the combat section, enemies will move towards and fire at whatever spotted player character is nearest. The combat is very simple, which is balanced by it being very difficult for the players to survive, which means you want to delay combat as long as possible.

Mechanically I don’t think anything changes with the number of players, since you always have 4 player characters no matter how many players.

I personally don’t think it would be as fun solo. You would have more control and precision which might appeal to certain people, but for me the chaos of having other people doing things and having to negotiate a plan where everyone is constantly inputting was part of the fun.

The box comes with 9 different missions, and there are expansions with more missions and player characters. I’ve only played just this once so far though.

The tiles are double sided and I don’t believe we even used all the provided ones for this scenario.

Took me about 7 hours but I was poking around and going back for screenshots. It should probably take about 6 normally.

Why did that scientist say it like that? What was his problem?

I’ve been working my way through Half-Life Opposing Force. It is harder than the base game, but I do enjoy it. It has a lot of ideas like the squad mechanics that would be great to see reworked.

This is a good example. The cartoony graphics work well for Nintendo because it fits their hardware better as well.

For my personal example I can still play Starfox64 easily, but Goldeneye (one of my favorite childhood games) literally gives me a headache to look at. Goldeneye was going for a more realistic look on the engine of the time and aged terribly. Starfox is all big bright cartoon designs.

I can think of many older games in dire need of facelifts, but the thing is they don’t need a facelift into photo-realistic territory. Just enough to bring the vision out from developers reaching just a little further than their old tech could support. I’m thinking of a lot of early 3D games. Many of the older sprite based games still hold up great.

The AAA gaming industry has gone off the rails trying to wow us with graphics and the novelty has long worn off.

A lot of comments in this thread are really talking about visual design rather than graphics, strictly speaking, although the two are related.

Visual design is what gives a game a visual identity. The level of graphical fidelity and realism that’s achievable plays into what the design may be, although it’s not a direct correlation.

I do think there is a trend for higher and high visual fidelity to result in games with more bland visual design. That’s probably because realism comes with artistic restrictions, and development time is going to be sucked away from doing creative art to supporting realism.

My subjective opinion is that for first person games, we long ago hit the point of diminishing returns with something like the Source engine. Sure there was plenty to improve on from there (even games on Source like HL2 have gotten updates so they don’t look like they did back in the day), but the engine was realistic enough. Faces moved like faces and communicated emotion. Objects looked like objects.

Things should have and have improved since then, but really graphical improvements should have been the sideshow to gameplay and good visual design.

I don’t need a game where I can see the individual follicles on a character’s face. I don’t need subsurface light diffusion on skin. I won’t notice any of that in the heat of gameplay, but only in cutscenes. With such high fidelity game developers are more and more forcing me to watch cutscenes or “play” sections that may as well be cutscenes.

I don’t want all that. I want good visual design. I want creatively made worlds in games. I want interesting looking characters. I want gameplay where I can read at a glance what is happening. None of that requires high fidelity.

Visuals are very important in games, but Nintendo pursues clear and readable designs. Their games are easy to look at, and they age more gracefully than games pursuing realism.

As someone who prefers HL1 it was nice to be vindicated somewhat by a YouTube person agreeing.

Not as much as you’d think. I keep my soldiers faceless and unattached until they are fairly leveled up. By the the time they get customized, they tend not to get meatgrindered. Usually.

I bet the creator of this lazy asset flip is thrilled about this publicity.

Edit: for some reason replies think I’m being sarcastic.

I did a written review of it a while ago, and my conclusion was that a lot of the gameplay was serviceable but not particularly standout, which made it feel a bit bland. There were a number of small things that piled up, with one example being that any time you told a companion to special attack you had to sit through a short cutscene. It had great writing and characters, which makes it the first game I’d reccomend in spite of the so so gameplay, because I thought the character and world stuff was so strong.

While I didn’t have expectations, I think the marketing also greatly mislead other people. The game is structured like a classic BioWare RPG, rather than a modern Fallout game. I also found the marketing connection with Fallout New Vegas to be misleading because there was no connection of actual lead development staff with those games, but instead it was with Fallout 1 and 2. If you know that, and are familiar with the writing and design habits you can feel that difference. Some people may have felt it and been confused or disappointed that it didn’t have the New Vegas vibe.

Live the dream.

https://www.moddb.com/mods/dnf2001-restoration-project

Nothing will ever top the Modern Warfare 2 Infamy trailer.

Imagine it is 2009 and you have no idea what the future of COD looks like, no clue what is going to happen in MW2, and you see this trailer.

I’m incredibly curious if the pulled A-Life 2.0 code is still in the game somewhere. If modders implement it and get it populating in a sufficiently large radius it will really cement this game as a mainstay for a long time.

You probably won’t understand entirely what is happening in the setting, but it’s not like you fully understood what was happening for most of Shadow Of Chernobyl.

You play as a brand new character with no relation to the past games in STALKER 2.

If you can pick up on implications and make informed guesses you can understand the world well enough. STALKER games have always succeeded with atmosphere and vibes rather than tight plot.

to get Stalker 2 into a decent place performance wise across PC and Xbox Series X and S

Consoles, and bugs stemming from optimizing for consoles.

They replaced map specific factions with one type of each team (SAS vs Phoenix terrorists) globally in CS2. Which is pretty lame but probably makes it easier to theme buyable skins.

Skins, especially CT skins have long represented real organizations. The game isn’t coordinated with them.

CS:GO they’ve been the CT team for the Dust maps.

This game has an all time peak of 20 players. I don’t think it is exactly reaching a major audience. Pretty obvious it’s a quick low quality game capitalizing on shock value and politics over anything else.

I wonder if it is the best use of a counter terrorism taskforce to seek out a game at all, and such a small fry game at that. This smells of doing something just to justify somebody’s job rather than actually doing any public good.

Counter-Strike.

Removing the bugs from STALKER? Very inauthentic.

Repostin’. Trying out Arcanum for myself for the first time.

“Guns guns guns” Brrrrrrr

Anime waifu weirdos turn out to be weirdos. More at 11.