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Now if only they could more clearly communicate when games are playable offline.

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Champions Tactics: Grimoria Chronicles

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"The current obsession with nostalgia and remake culture is easy to understand when you realize that it's a symptom of a culture that isn't allowed to imagine a future."

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cross-posted from: https://sh.itjust.works/post/27366526

I know that remakes and remasters are contentious, but let's pretend whatever game in question you're thinking of is handled with the utmost care by your favourite devs and they absolutely nail it.

Mine would be Shadow of Memories (called Shadow of Destiny in North America). It's legitimately one of my favourite games of all time but it kinda flew under the radar and I haven't met many people who know of it let alone played it. Seeing it get modern graphics, maybe some expanded mechanics, would be soooo cool.

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I had another game I planned to play last night, but then the first Red Dead Redemption finally released on Steam yesterday, including its Undead Nightmare story mode, and I found myself up all night enjoying the zombie western horror fest! Finally! It only took them 14 years to port it to the PC.

I'm going to be talking exclusively about Undead Nightmare today. I'll go over Red Dead Redemption another time, but this extra content is basically its own game, with a story that veers off from the main game's campaign. Treat it like an alternate universe to the main game.

Undead Nightmare takes place after the main campaign of Red Dead Redemption, but before the epilogue. Honestly, you could say it's an alternate ending to the game that replaces the epilogue with a dark twist.

John Marston, the protagonist of the main game, sends his boy to bed and is settling in to bed with his wife when Uncle shows up, bloodied, deranged, and violent. John knocks him out, then goes to get his shotgun. But Uncle isn't down for long, and he chases John's wife out of the house, getting a solid bite on her throat before John returns and guns him down.

John's son comes running to his mother's aid, only to be bitten by her! They both rapidly turn into the undead, and John hog-ties them to keep them from hurting anyone else. He leaves them tied up in the bedroom, then promises to return once he's found a doctor.

John goes to the nearest town to find it overrun with the undead. He helps the few remaining citizens liberate the town, then asks random survivors what's going on.

One girl mentions that her mother came back long after being dead and buried, and ate her dad's face off! She recommends burning coffins at the local cemetery to keep the dead from rising again. And also suggests she had an evil uncle who was buried there.

Considering her contempt for him and the loving message scrawled on his tombstone, it hints at the dark kind of relationship they may have had. Also, she mentions all the horribly abusive things that her own father does, but dismisses them because "he's a good man!" So her uncle must've been a truly terrible person.

From here, you're going from town to town, helping people survive undead attacks, following rumors about what might be causing it, and trying to find an end to the nightmare so you can cure your wife and kid.

In the original campaign, there was an easter egg where you could go way up north into the mountains and find a family of Sasquatch hiding in the forest. In Undead Nightmare, you get a quest to hunt them down.

After killing several of them, you find one crying against a tree. He can speak! He begs you to end his life because "some maniac" has killed all of his friends and family and he's the last of his kind left. It's up to you whether or not to end his life.

There are several other mythical creatures to be found roaming the lands, like chupacabra, black horned goats with red eyes, unicorns, and even the Four Horses of the Apocalypse - War, Famine, Pestilence, and Death. The Four Horsemen of the Apocalypse are not to be found.

You can wrangle and tame the first three horses, then the horse Death will appear in the wilderness to be tamed. Death is automatically awarded to you when you complete the whole storyline too. My favorite is War, because it's the only one with a fiery mane. The other three just look like regular horses with creepy eyes.

My original horse was just a normal horse... until I encountered an undead bear, which knocked me over and killed my horse. The next time I called for my mount, this undead horse showed up! Turns out there are some tame undead; although the undead horses have a bad habit of ignoring commands and doing their own thing sometimes.

There are many theories as to what's causing the undead to walk again. Some have some merit and warrant investigation, but others are completely outrageous.

Still others are so wrapped up arguing over what to do in this new chaotic world that they don't pay attention to their surroundings...

The most interesting theory I heard was that this was just a thing that happens every couple hundred years. A sort of cleansing ritual or something.

I bought Red Dead Redemption ages ago, specifically for this Undead Nightmare content. But I didn't want to jump into a story-rich game without knowing all the characters and lore, so I rushed through the campaign as quick as I could.

I later regretted it, as I felt like the campaign was much better than this zombie storyline. Sure, you get a quick tour of all the characters from the campaign and see how they're handling the "zombie apocalypse." Hint: most aren't handling it well. But the undead story just feels like it was tacked on last-minute, with very few story missions and a lot of side quests to keep you running back and forth across the land.

Don't get me wrong, Undead Nightmare is a lot of fun to play if you want to run around and shoot zombies in a "spaghetti western" setting. But I much prefer Red Dead Redemption.

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Bad pun is still bad. =P

And Gunbird 2 seems to play a bit better than the first game.

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How come there are so few racing games coming out lately? Feels like it's just codemasters doing their thing, some struggling indie games and a truckload of shovelware. I'm not saying it's dead but wasn't racing games one of the primary genres?

Another thing that bugs me with the few games that come out is the lack of progression and immersion. NFS Unbound impressed me slightly with actually starting you out with a low spec car and having slow (by modern standards) progression. However halfway through when you have fast and "cool" cars you really felt the games mediocrity.

Dirt rally 1 and 2 has economy systems, but after a single championship you can basically buy whatever car you want. The rallies are immersive but everything between is just boring menues.

Why do you think the state of racing games is so poor? The industry being shit? Audiences not playing them anymore?

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Rather than actually include their soundtracks on popular platforms, Nintendo graciously offers their own mobile app locked behind the Switch online subscription....

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Have you ever had difficult nights? Nights where, no matter what, you can’t seem to sleep; nights where, once your lights are off, all you can do is stare at the endless void that is indefinitely spreading in front of you? Well then, join us in our Special News Feature, and we’ll talk about the only sleep and nightmare remedy you’ll ever need, LSD Dream Emulator, soon available for the masses on PlayStation!

Disponibile anche in 🇮🇹

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Today's game is Alan Wake. I had a ton of free time and managed to get pretty far. I'm playing on Steam Deck so my frame rates occasionally dip below 30 (You can tell my low video settings by Alan's face). I saw someone online though talking about a FSR-3 mod for it though and how it's super simple. Figured i'd install it. ended up spending 4 hours on it. First the tutorial was outdated and i had to install the mod directly into the game, then the controller wasn't being detected, then it wouldn't launch in game mode, then the mod vanished. At that point i said screw it and went back to the game. I might try again tomorrow because the benefits seem worth it.

This screenshot i took was in the Ocean View Hotel while making my way back into the main foyer area. I love how this game upped the thrill factor. I do prefer the first games controls i think, but this one i think has me constantly on edge. I love it. I also like the nods to the first game too. One example is There's a shoebox where i can store items, and i think it's an amazing reference to the lore of the first game.

I took a bonus screenshot while Alan was getting his face pummeled in by a Shadow. It looks like he's taking a selfie while pissed off:

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Neon Koi was developing a mobile action game. Firewalk Studios recently launched and quickly delisted Concord.

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submitted 2 days ago* (last edited 2 days ago) by simple@lemm.ee to c/games@lemmy.world
 
 

Game Information

Game Title: Dragon Age: The Veilguard

Platforms:

  • PC (Oct 31, 2024)
  • Xbox Series X/S (Oct 31, 2024)
  • PlayStation 5 (Oct 31, 2024)

Trailers:

Developer: BioWare

Publisher: Electronic Arts

Review Aggregator:

OpenCritic - 84 average - 83% recommended - 22 reviews

Critic Reviews

But Why Tho? - Eddie De Santiago - 10 / 10

Dragon Age The Veilguard is a massive new world full of thoughtful stories, epic battles, and beautiful visuals to accompany them. This round of companions is among the most interesting, thoughtful, and downright charismatic, and adventuring with them made for an unforgettable journey.


CGMagazine - Dayna Eileen - 10 / 10

From style to story and everything in between, Dragon Age: The Veilguard is everything I wanted from this entry in the Dragon Age universe.


COGconnected - Mark Steighner - 90 / 100

Polished and confident, Dragon Age: The Veilguard feels like a return to form for the developer. Dragon Age: The Veilguard gives us a beautiful world to experience, interesting allies to explore it with, and action that grows increasingly more nuanced throughout.


Checkpoint Gaming - Luke Mitchell - 10 / 10

Dragon Age: The Veilguard is a triumphant return to form for one of gaming's most loved developers. It's an epic and grandiose RPG adventure, interwoven with intimate, powerful stories about its cast of endearing and quirky companions. It has a truly stunning world to explore, with hidden secrets, alluring side quests and a literal treasure trove of lore to comb through. Its tight, in-depth combat systems and breadth of accessibility options deliver a highly personalised experience. But beyond the adventure itself, it's another shining testament to diversity and inclusivity, polished to near perfection in its presentation. Put simply, Dragon Age: The Veilguard is Dragon Age at its most captivating, a truly generational adventure that is as heartfelt as it is thrilling.


Cinelinx - Becky O'Brien - 5 / 5

After ten long years, the world of Dragon Age is back in the best way possible. Longtime fans of the Dragon Age series will find so much to love in Dragon Age: The Veilguard as this is the best visit to the land of Thedas yet. An easy contender for Game of The Year, highly recommended for playing as soon as possible.


Dexerto - Ethan Dean - 4 / 5

Dragon Age: The Veilguard is a stellar achievement that ends a decade-long dry spell. It tells one of the best stories in the series fuelled by some of its most memorable characters. It’s not a flawless journey but the minor imperfections don’t detract from one of 2024’s best RPGs.


Digital Trends - Tomas Franzese - 3.5 / 5

Dragon Age: The Veilguard is a return to form for this once-lauded RPG studio that should satiate Dragon Age fans quite well after a decade-long wait. But returning to form and perfecting form are not the same thing. BioWare has plenty of room to regrow as it gets back on track making the kinds of games RPG fans want them to create.


Digitec Magazine - Philipp Rüegg - German - 4 / 5

With “Dragon Age: The Veilguard”, Bioware delivers a gripping action role-playing game that is aimed at the masses but doesn't forget its roots.


DualShockers - Callum Marshall - 8.5 / 10

Dragon Age: The Veilguard is a compelling new entry in the series, taking the franchise in a new direction with more RPG-lite ideals. This decision will alienate Die Hard fans but will undoubtedly win favor with new fans willing to embrace the series.


GRYOnline.pl - Anna Garas - Polish - 7 / 10

Dragon Age: The Veilguard is the best game BioWare has made since Mass Effect 3. It is crafted much better in terms of story and gameplay than DA: Inquisition (I find this game mediorce at best), and is superior to Andromeda in every way. But the things that used to dazzle me right now are „only” good. There's more to accomplish in the genre than that.


Game Rant - Joshua Duckworth - 10 / 10

After 100 hours and 3 playthroughs of Dragon Age: The Veilguard, I feel justified in my ten-year wait and satisfied by the results.


Gamepressure - Krzysztof Lewandowski - 6 / 10

This isn’t the end of Dragon Age that I was expecting - in this respect, the game must be rated low. However, as an action RPG with flair and a beautiful fairy-tale world, it turns out to be decent, and sometimes even more than that.


Gamer Guides - Tom Hopkins - 92 / 100

Dragon Age: The Veilguard is a phenomenal return to form for BioWare. The story is well-paced and the cast of characters are the trademark BioWare staple of fully-realised, but it’s in the newly action-oriented combat where things truly shine.


GamingTrend - Ron Burke - 85 / 100

The writing can be overwrought, written by committee, and occasionally forced, but it's also a major step forward for a team that needs the win. Dragon Age: The Veilguard brings us compelling characters, excellent combat, and a world worth saving.


Guardian - Malindy Hetfeld - 3 / 5

There is lots to do in this huge and beautiful fantasy world, but inconsistent writing and muted combat dull its blade


IGN - Leana Hafer - 9 / 10

Dragon Age: The Veilguard refreshes and reinvigorates a storied series that stumbled through its middle years, and leaves no doubt that it deserves its place in the RPG pantheon. The next Mass Effect is going to have a very tough act to follow, which is not something I ever imagined I'd be saying before I got swept away on this adventure.


Push Square - Robert Ramsey - 8 / 10

Dragon Age: The Veilguard isn't quite BioWare back to its absolute best, but it is the most cohesive and emotionally engaging RPG that the studio has delivered since Mass Effect 3. Its shift to crunchy action combat is an improvement over Inquisition's middle-of-the-road approach, and although the game feels a little light on meaningful player choice, the storytelling pulls no punches when it actually matters. This is a gorgeous and gripping adventure, backed by a cast of endearing heroes and deliciously devious villains.


Quest Daily - Julian Price - 9.5 / 10

Dragon Age: The Veilguard is a fantasy epic that showcases the best voice acting and overall polish of any game I’ve played this year.


SECTOR.sk - Táňa Matúšová - Slovak - 7 / 10

The latest chapter in the Dragon Age saga successfully combines the best of semi-open-world gameplay with a balanced and engaging combat system. While Dragon Age: The Veilguard falls short of previous installments in areas like side quests, story choices, and dialogue depth, it excels in combat quality, world design, and audiovisual presentation, delivering some of the most epic battles in the series. This game is a roller-coaster experience; at its peak, it entertained and amazed me, yet at times, its lack of depth dampened my enthusiasm.


Stevivor - Hamish Lindsay - 8.5 / 10

Dragon Age The Veilguard is the epitome of 'better than the sum of its. It’s been so long since I experienced this level of joy in a long-form RPG; I have a compulsion to keep playing and finish one more quest.


TechRaptor - Erren Van Duine - 9.5 / 10

Dragon Age: The Veilguard delivers an incredible experience built on fluid combat, deep lore and characters, and player choice. All of this is wrapped up in a polished package that is a must play for Dragon Age fans and RPG fans alike.


TheGamer - Stacey Henley - 4 / 5

Dragon Age: The Veilguard is a Dragon Age game like no other, and that alone will put some people off. But it brings with it the traditions of excellent character writing, strong world building through narrative quests, and offers the most exciting combat the series has ever seen. There is a stronger version of The Veilguard in here, one with more Solas and companion quests that find a more natural ending, but the one we’ve got is still a worthy successor to Dragon Age: Inquisition, and is a much needed return to form for BioWare.


VGC - Jordan Middler - 3 / 5

Dragon Age: The Veilguard feels like BioWare playing it too safe. While it nails what it does best, like the excellent cast and interpersonal relationships, from a gameplay perspective it feels out of date.


XboxEra - Jesse Norris - 10 / 10

https://xboxera.com/wp-admin/post.php?post=98913&action=edit&calypsoify=1


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I went into Call of Cthulhu blind, not knowing anything except that it's somehow connected to the Cthulhu mythos. Not only was it another period piece supernatural detective story like yesterday's game, Kona, but it also stars a private investigator who was a former veteran. This time, though, it takes place in 1924 and our protagonist is a veteran of the first World War. You play Edward Pierce, a down-on-his-luck P.I. who is struggling with insomnia, alcoholism and PTSD from his service in the war.

The game opens with Pierce lying in an underground cavern, panicking as he realizes he's soaked in the blood and guts of mutilated marine animals. He escapes, only to witness faceless cult members attacking a faceless intruder on their ceremony. Then they come for him...

He awakens on the couch of his office. Just a nightmare. A client comes to his door, the father of a famous painter, Sarah Hawkins. He wants Pierce to investigate the mysterious death of his daughter and her husband and son. Supposedly, they all burned to death in a house fire, but the police blamed it on Sarah. They said she went mad and killed them all. Her father doesn't believe it and asks Pierce to uncover the truth.

Pierce travels to Sarah's former home, an island off the coast of Boston called Darkwater, which has been mostly forgotten by the mainland. It's home to a small town of fishermen, as well as the wealthy Sarah Hawkins and her family. While trying to investigate Sarah's old warehouse, Pierce runs into the local muscle, a woman named Cat. She doesn't take kindly to him snooping on her territory.

Did I mention this game has dialogue choices? Depending on how you handle situations (and in what direction you level your character's stats), you can change the course of action in the game.

In this instance, I got my ass kicked by Cat. But, as you may remember from my former posts, I like to play the altruist in my games. I got the option to sneak into the warehouse again, but I was also given a chance to talk with Cat directly instead, and I was polite and honest enough with her that she decided to help me out instead of kicking my ass again. She actually escorted me to the warehouse this time!

In the warehouse, you switch into detective mode, which allows you to scan for clues and piece together the crime scene. Kind of like the visions in Kona, except instead of glowing, moving silhouettes in a dark space, they're transparent, unmoving silhouettes in a frosty space.

The local police burst in and kick Pierce out, but through dialogue choices, I got them to not only give me more valuable information, but also give me a lift to the decrepit Hawkins mansion on the island. Which did NOT burn down. Hmm...

Exploring the mansion, Pierce eventually finds an underground passage and ends up falling into a cavern full of mutilated marine animals... the same one from the nightmare at the beginning of the game! Panicking, Pierce attempts to escape, only to experience the same cult scenario play out similar to his nightmare earlier. While running for his life, he's knocked unconscious by falling debris.

From this point, the line between fantasy and reality starts blending. Pierce wakes in an insane asylum, breaks out, and then has to confront the indescribable horrors that he's witnessed. Finding allies to his experiences is difficult though, as most end up insane or dead. Or some people he witnessed being murdered will instead show up healthy with no memory of being harmed. Edward Pierce finds his grip on reality slipping and he needs to solve the case quick, before he falls into complete madness...

There's a lot of lore throughout the story, and despite my lengthy explanation of the plot, there are tons of details that were omitted, to avoid spoilers. Plus, your choices can lead to slightly different outcomes. There are actually four different endings to this game, depending on interactions and how intact Pierce's sanity is by the end.

Like a lot of horror games right now, Call of Cthulhu is currently 80% off on Steam, so take advantage of the seasonal deals if you like this kind of thing. Apparently, this game is the latest original story in a (non-related) series of "Call of Cthulhu" video games, which are independently licensed works based on an old tabletop RPG of the same name, which itself is loosely based on the H.P. Lovecraft short, "The Call of Cthulhu." So my initial impression, that it's "somehow connected to the Cthulhu mythos," is a pretty good summary of this game.

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submitted 10 hours ago* (last edited 10 hours ago) by simple@lemm.ee to c/games@lemmy.world
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I'm a little late, but I finally got around to taking on the demos that caught my eye during Steam's Next Fest this past month. All positive experiences, with one big stand-out.

Uncle Chop's Rocket Shop is a repair sim with a wild story driven by roguelite progression. Think of it as Papers, Please or Hardspace: Shipbreaker but with the grimy, whimsical styling of Spongebob Squarepants or (dating myself here) Ren & Stimpy. At first, I felt like a fish out of water and couldn't tell my encoder from my pancake, surely by design. It wasn't long at all before everything clicked in a big way--gameplay, story, themes, visual design--and I was happily clearing alien waste out of toilets. Very much looking forward to this release.

Keep Driving is a nostalgic road trip sim. Hitchhikers make up your "party" as you take on harrowing encounters such as slow tractors on country roads and birds that won't move. Great soundtrack and UI design that's all evocative of a low-information time when roads meant possibilities and places to discover. I think I'd need to get my hands on the full game to be more sure about the gameplay loop and the meta-progression. I'm also not entirely sure about the drunk driving quest.

Keylocker describes itself as an "unforgiving Turn Based Rhythm JRPG." This is timed hits turned up to 11. The game's combat doesn't integrate music like I was expecting, at least not as far as I got in the game. Lack of music is a plot point for the game, and most spaces have some great ambient sound design to fill in the soundspace. The difficulty is certainly challenging, but the visual and audio cues for it are designed well. The sprite art is gorgeous stuff, with plenty of animation and distinct character design. It's still rough around the edges, and the writing is a bit much (even for me, as someone with built-up tolerance for this sort of thing), but I'm interested after it gets a little more polish.

Knights in Tight Spaces is a high-fantasy follow-up to the well-received Fights in Tight Spaces. I loved Nitro Kid, a similar melee card battler with 80's styling, and this is right up my alley. I'm much more into the detailed environments and characters here than Fights' minimalist silhouettes. If the animations/camera perspectives get polished up a bit, it'll be a treat. That said, I do want to know how much content I'll get out of this before I buy, so the price point is going to be important.

How about you? Any finds from Next Fest?

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Loving how each new stage is an extension of the previous one.

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Today's game is Max Payne. I've had this for a while and with how much Alan Wake II takes from Max Payne i thought it would be appropriate to at least visit it.

At first i tried playing with controller and struggled, but i found that once i switched to PC it became far more natural. The Bullet Time mechanic is satisfying to use, and the story scratches an itch which only L.A. Noire seemed to hit up until this point in time. On top of that i love the setting. I love big cities and especially during the winter. Not to mention i love the graphics retro graphics of it.

On top of that, I finally got 100% on Alan Wake 1 today! I went through and got all the collectibles and the misc achievements. It took going through almost the entire game again but by basically speedrunning it i did it.

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For game designers, encouraging aggression is often a good thing. Too many players of StarCraft or even regular combat games end up "turtling", dropping initiative wherever possible to make their games slow and boring while playing as safe as possible.

But in other games, often of multiplayer variety, hyper-aggression can sometimes ruin pacing in the other direction. Imagine spawning into a game with dozens of mechanics to learn, but finding that the prevailing strategy of enemy players is to arrive directly into your base and overwhelm you with a large set of abilities, using either their just-large-enough HP pool, or some mitigation ability, while you were still curiously investigating mechanics and working on defenses.

Some players find this approach fun, and this may even be the appropriate situation for games of a competitive variety, where the ability to react to unexpectedly aggressive plays is an exciting element for both players and spectators.

Plus, this is a very necessary setup for speedrunners, who often optimize to find the best way of trivializing singleplayer encounters.

But other games have something of a more casual focus, which can give a sour feeling when trying to bring people into the experience without having to reflexively react to players that are abandoning caution. Even when a game isn't casual, aggression metas can trivialize the "ebb and flow, attack and defense" mechanics that the game traditionally tries to teach. This can also lead to speedruns becoming less interesting because one mechanic allows a player to skip much of what makes a game enjoyable (which can sometimes be solved by "No XGlitch%" run categories)

So, the prompt branches into a few questions:

  • What are fun occasions you've seen where players got absolutely destroyed for relying on various "rush metas" in certain kinds of games, because witty players knew just how to react?
  • What are some interesting game mechanics you've seen that don't ruin the fun of the game, but force players to consider other mechanics they'd otherwise just forget about in order to have a "zero HP, max-damage" build?
  • What are some games you know of that are currently ruined by "Aggression metas", and what ideas do you have for either players or designers to correct for them?
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