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Dalisclock

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So I replayed FAR: Lone Sails and then played FAR: Changing Tides, so I'm basically just gonna go over one and then the other because they're fairly similar in a lot of ways.

FAR: Lone Sails is basically a 2d Puzzle Platformer not unlike INSIDE or Little Nightmares but with less emphasis on horror(it's not really a happy setting but it's more melancholy then scary). Notably, you have a Locomotive Car type vehicle called an Okomotive and you are essentially tied to it for the great majority of the game as you need it to pass certain obstacles but you also have to get out every so often to clear the path for your vehicle to proceed. The overall structure is kind like Journey, though since it's 2d you don't really know where you're going and the game is a lot less colorful. Notably, you're cross a desolate frozen world, and there's a wonderful sense of sublimity to it, as you constantly see and interact with rementments of a civilization that seems to have vanished. You see lots of ruins, some of which are still in good condition but most of them have fallen into ruin. However, you don't see any other people and barely any other signs of life except for some birds and animals which are few and far between. It's like the world froze at some point and civilization went out with a whimper, not a bang and it's quite beautiful while also quite sad. There's no dialogue and all the storytelling and even gameplay instruction is visual and atmospheric storytelling, much like it's inspirations like INSIDE.

The primary gameplay loop is operating your okomotive by scavenging fuel(which you look closely are crates and suitcases) to burn in the steam engine your okomotive is built around, loading things to burn as fuel when the tank starts to get low, keeping the engine going without overheating it and occasionally making repairs when things break or putting out fires. Every so often you come across an obstacle you need to get out and open a gate or extend a bridge to proceed, or more interestingly, deal with a nasty storm you've blundered into. Every so often, at scripted points, the game has mercy on you, a strong wind kicks up in the direction you're going and you can raise the sails to get a couple minutes of free progress without having to tend the engine, allowing you to just chill and watch the scenery roll past for a bit.

Aside from a change in background and new obstacles to show progress, your okomotive gets upgraded with new abilities along the way(mandated by progressIon) to make the gameplay loop more interesting, such as the aforementioned mast and sail to allow you to turn off the engine for a while and save fuel. It's a 2.5 hour experience and can be quite meditative in a way, feeling like a cross between INSIDE and Journey but the okomotive makes it different and interesting in it's own way, especially since you do grow attached to your okomotive as it's your only companion along the way.

FAR: Changing Tides is much like it's predecessor, but instead of a land locomotive car crossing a wintery landscape, this game is built around a boat and your marine voyage. This one starts out with about 10 minutes of platforming across a flooded, abandoned city until you, a small boy, discover a boat in a workshop and properly abscond with it. Unlike the okomotive, this one starts with a mast and sail and first off your taught how to use it, which is notably more invovled then the mast and sail in the previous game, requiring you to watch the wind and a flag to catch the wind properly to get best speed. However, you can also damage the sail on background objects as well as overhead obstructions, so you have to be prepared to move the sail and even collapse the mast to avoid damaging them. A little while after getting the boat, you collect the first glowing blue "power core"(I guess that's what they're called) that connects to your boat and unlocks the steam engine you previously couldn't even access, giving you a chance to learn how to use the steam engine when there's no wind. THis version is a little more complicated to use, requiring the use of a throttle control and a bellows to keep the fire stoked, so now you have to be more on the ball. Though feeding fuel into the fire is now made a little easier to compensate.

Much of the game is the same, with additional power cores you pick up through game progress allowing your boat to become a submarine in addition to a steamship, so now you get to juggle sails, steam and depth controls, as well as scancanging for fuel along the sea floor(with help of a sonar that points out nearby fuel). So if you've played FAR: Lone Sails, you have the gist of FAR: CHanging Tides, though the sequel definitely has more complex puzzles and gameplay, not to mention is about twice as long with more atmospheric storytelling, with a civilization that apparently built an atlantis-like city, probably as a response to global flooding(The amount of underwater ruins and towns built on the top of hills to stay out of the water is very telling) and like in Lone Sails, they're many ruins and no signs of any living humans.

In fact, my only gripe with Changing Tides is that at one point is feels like you've hit the climax and are probably near the end of the game.....and then it keeps going for another hour or so. It actually does have a good ending and that extra hour doesn't feel wasted, but it's really wierd how it feels like there's nothing elser to do and suddenly you've got one final arc to go before you reach the end.

But it is a worthy sequel and I liked the reveal at the end of Changing Tides.
 
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Ezekiel

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Good for him, I don't care.
It doesn't really matter that you don't care. People playing that mode for hours, against progressively higher waves of enemies, shows that the game isn't just about cover or route memorization. The YouTuber doesn't know what he's talking about. He could have simply stood behind those walls and swapped shoulders as necessary, and probably would have been better off for it. Rolling and crouching can be helpful too. Running is the most helpful, because of how slow the bullets are and the enemies shooting where you were at.

Wrong. Sam actually does have a sense of weight, and movement is not dumb. It's pure grade, 100%, awesome you can't comprehend nor handle. You got to have mad skills goes to pull off the crazy shit in this game! Spoiled, never happy, and unsatisfied as always. Nothing surprising or new here. Be it with movies or games that you actually bother with.
The majority of my comments in the movie thread are more positive than negative. I wouldn't have started that thread on the old forum if I didn't enjoy most movies. But I seldom talk about them in detail, because there's usually no real interest. It's not worth the effort. I also don't often talk about the really good ones. Recently rewatched RoboCop and Touch of Evil, but they're so popular and there's nothing I can say that hasn't been said so much already. When I do comment on a movie, I usually post it on RPGCodex first, since there's more an interest in old movies there. My poking fun at Enemy of the State got some positive reactions there, at least one laugh, instead of everyone being so serious. Shit, even blu-ray.com didn't get so defensive over it.

But yeah, most games are pretty middling and criticizing them interests me.
 
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Casual Shinji

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Continuing the Hyper Light Drifter comparison to Team Ico... you know the Ico games have this fame for being super ambiguous and minimalistic but at least they set up the protagonist with a premise that's simple enough to follow and with enough urgency to draw you in. Escape the castle. Rescue the princess. The nature of the situation and the consequences of your actions will slowly insinuate themselves, and that's your lot.

With HLD you're not really given anything to stand on. There was (or will be?) a cataclism at some point, and your dude is either trying to stop it, cause it or undo it. There's no real surface level narrative beyond guessing what's going on with the protagonist. And whatever you're trying to do you do by pushing all the buttons and activating all the pillars - pretty thin characterization for your quest. For a more human element apparently every area has its own horrible genocide going on and I guess I'm fighting the oppressors but I don't understand the connection to the main plot, whatever the main plot is. Seems like a tangential thing.
That's because Team Ico games were simply just trying to be videogames. As much as they're pushed as 'videogames as art' by the gaming community, these games were made from the simple premise of 'let's make a videogame'. Whereas most artsy videogames today or games that try to replicate the Team Ico style REALLY want to push how "art" they are.
 

Chimpzy

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Metro Exodus

As a post-apocalyptic shooter with a bit of a Stalker lite vibe to it, it's a good time. As a Metro game tho, I feel it is the weakest of the three. What made Metro 2033 imo so memorable is it's atmosphere. How, despite being man-made, the claustrophobic tunnels were so alien and hostile, filled as they were with horrors both physical and seemingly supernatural? But even the populated areas were inundated with a crushing hopelessness, resigned to huddling in their holes, living out their meager existence while perpetuating the same old mistakes and petty political squabbles. You know, that heaping helping of good old Russian despair.

But in Exodus, that's pretty much all gone, and instead it feels more like I'm playing a less silly Fallout 3/4. For example, in the first area one of the antagonistic factions is an anti-technology cult that worships Jesus and/or a giant catfish, the other is bandits, which might as well be Fallout raiders. Then there's a stint in a bunker filled with cannibals led by a crazy doctor who looks kind of like the Medic from TF2. In the second open area, which I like to call the Mad Max zone, it's slavers led by a dude calling himself the Baron.

tho by now you might be under the impression I don't like the game. I do. I'm enjoying myself. Pretty much all the gameplay that made Metro fun is still intact. Except using pre-war bullets as either currency or very powerful ammo, that's gone. But I feel like without the tunnels, ghosts, dark ones, communists and nazis, it loses a lot of its identity to where it might as well be a different IP. Like if you placed a Stalker game in any other place but the Zone. Might still be a good game, but not really Stalker anymore.
 
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Kyrian007

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I'm continuing my way through Weird West, I'm on episode 4 of 5 and slowing down drastically. But I'll take the episodes in order.

Episode 1: Jane Bell, Bounty Hunter
This was a really good introductory episode. You learn the mechanics, can customize Jane for a number of differing playstyles, and the story fits comfortably like broken in shoes. Jane was a bounty hunter that retired when she got married and had a kid. Then bad guys killed one and abducted the other and she has to pick up her guns and get revenge... and her family back. It is a very familiar western plot and exactly the same story from Lucasarts Outlaws. A great place to start, a plot that doesn't interfere and distract. It is familiar and easy to follow at a time when you are learning and picking up on how to play (and the learning curve in this one is tougher than most.)

Episode 2: Cl'erns Qui'g, Pigman
And when you start with something as familiar as Jane's story, naturally you go extreme the other way with the next episode... a good choice, even if I didn't like the episode in general. A witch has turned you into a pigman, you lost your memory (we'll get back to this) and have to find out who you were and get revenge for being turned into a pigman. Also you have to assist a botanical suicide and free a bunch of souls restoring humanity to pigmen (just in nature, they still look and smell like pigs.) So... weird finally I guess. The problem here is I didn't really care for Cl'erns much as a character as I had correctly surmised what the 'twist' would be in this story (they foreshadowed it about as subtle as a sledgehammer to the gnads in the previous episode.) I won't spoil it here though, I do want people to play Weird West as I liked it so far.

Episode 3: Across Waters, Protector
This was amazing. I INHALED this episode, couldn't put it down. Native American (based on the Anishinaabe) Protector vs the Windiigo spirit of greed. Now this is Deadlands as hell, and I am all in for this. Good callbacks to the first episode here too, get some revenge for some unsavory stuff in Jane's episode. Weirdly enough some closure to Cl'ern's story as well for me, but this was in a random encounter so it might not work out as well for others. I was only disappointed after it was over because they followed it with...

Episode 4: Desidério Ríos, Werewolf
Yeah, this was done wrong. Maybe they make up for it (I just started this episode) but I'm just not on board. According to the games lore, Werewolves aren't inherently bad. Yet... until this episode every single one we've encountered were bad guys trying to kill us. Now we A: are one, and B: are trying to protect them from being slaughtered by a group of Witches. Witches whom we fought against in Cl'erns' episode, but there those witches were an "evil" group that split off from the "good" ones. And now we (as Desiderio) are taking out the rest? I don't know, maybe it turns out that they aren't so bad and I can diffuse the situation. Off to a bad start though as I am only 2 quests in and I've already had to kill 40 of them. Here's to hoping the next episode can get back to a better level of storytelling.

There's plenty of underlying story as well. A kind of metanarrative where the player is some kind of possessing spirit who takes over each of the characters during their episodes, hence why Cl'erns doesn't remember his past... it wasn't really him, it was the player (in game referred to as "The Passenger.") Why that doesn't come across in Jane or Across Waters episodes seems to be a bit of a strange dissonance, but whatever. There's also a group of immortals who are conducting an experiment by moving The Passenger from host to host, and some guy who wants to become one of the immortals by killing the weakest one. That may be setting up the "final boss." It has to be, I've killed all the other so far potential "final bosses" that have showed up along the way.

It overall is fun. The playstyle and combat did finally start to click for me, but since this is unique isometric/real time action game the learning curve is pretty steep. But if you can break through that barrier, there is a pretty good game here. Even a terrible ending won't keep the journey from being fun. Epidode 3 is nearly worth the cost of the game and the hassle of learning the gameplay by itself really.
 
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BrawlMan

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People playing that mode for hours, against progressively higher waves of enemies, shows that the game isn't just about cover or route memorization.
Fair enough on that.

The YouTuber doesn't know what he's talking about. He could have simply stood behind those walls and swapped shoulders as necessary, and probably would have been better off for it. Rolling and crouching can be helpful too. Running is the most helpful, because of how slow the bullets are and the enemies shooting where you were at.
He still exactly ain't wrong. I am not saying you're wrong either, but both of you have valid point. Now as far running, it helped most of the time, but rolling I did not find useful for me. Like I said; been a while.
The majority of my comments in the movie thread are more positive than negative. I wouldn't have started that thread on the old forum if I didn't enjoy most movies. But I seldom talk about them in detail, because there's usually no real interest. It's not worth the effort. I also don't often talk about the really good ones. Recently rewatched RoboCop and Touch of Evil, but they're so popular and there's nothing I can say that hasn't been said so much already. When I do comment on a movie, I usually post it on RPGCodex first, since there's more an interest in old movies there. My poking fun at Enemy of the State got some positive reactions there, at least one laugh, instead of everyone being so serious. Shit, even blu-ray.com didn't get so defensive over it.
Could have fooled me, but you have habit of going overboard or wangsty about it. I won't go any further, because that would be derailing the thread.

But yeah, most games are pretty middling and criticizing them interests me.
Depending on where you looking and what you're playing. Different strokes for different folks. I get it. With that said, I like a game or holds my interests, then I am more than likely to keep playing. Either I like something or I don't. If I am not having fun, I will immediately go for something else, instead trying to "stick to the end" kicking and screaming. I do this for TV shows that don't catch on for me, and certain movies too. There is only so much time in the world, and I don't have time for a lot of bullshit.
 

Old_Hunter_77

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The camera eye-blinking thing with Before Your Eyes didn't work and when I started Monkey Island I realized I have absolutely zero patience for that much "funny" dialogue any more. And while I do love the beauty and vibe of the endless AC: Valhalla and its DLC's I was getting bored by its easiness.

So I went ahead and bought and started Elden Ring much sooner than I planned with the intention that I'm going to play it very slowly while sampling other things.

My first impressions are extremely mixed but I'll probably share those in the dedicated thread.
 

Ezekiel

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The nightmare sections are SO played out. Every AAA dev does them now. Thanks, Far Cry 3. Always feels the same.
 

BrawlMan

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I did some casual fun runs of SOR4 in celebration of the movie announcement.

The nightmare sections are SO played out. Every AAA dev does them now. Thanks, Far Cry 3. Always feels the same.
Max Payne 1 and 2 says hello.

You can also thank:
  • A Nightmare on Elm Street (NES)
  • Silent Hill, The Suffering, FEAR, Condemned, and plenty of horror games.
  • Dead Rising 3
  • Evil Within 1 and 2
  • Kane and Lynch: Dead Men
  • Splatterhouse (2010)
  • Spec-Ops: The Line
  • Killer Is Dead
  • Hotline Miami 1 and 2
  • Lots of indie games.
 
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Ezekiel

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I did some casual fun runs of SOR4 in celebration of the movie announcement.


Max Payne 1 and 2 says hello.

You can also thank:
  • A Nightmare on Elm Street (NES)
  • Silent Hill, The Suffering, FEAR, Condemned, and plenty of horror games.
  • Dead Rising 3
  • Evil Within 1 and 2
  • Kane and Lynch: Dead Men
  • Splatterhouse (2010)
  • Spec-Ops: The Line
  • Killer Is Dead
  • Hotline Miami 1 and 2
  • Lots of indie games.
You forgot Arkham Asylum. The explosion didn't happen until years and years after Max Payne.
 

BrawlMan

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You forgot Arkham Asylum. The explosion didn't happen until years and years after Max Payne.
Just the logical conclusion. Nightmare sequences were already a thing. Plenty during the 6th and 7th generation before Far Cry 3. Far Cry 3 barely did anything in that regard. Thanks for reminding me on Arkham. Still counts either way with my older examples. Many of them from 6th and 7th generation, so it ain't FC3 fault. The fault lies in developers and publishers picking ideas for no reason other than "x game did it". Nothing more than another follow the leader. That would be like blaming Half Life for scripted sequences or Gears for forced walking sections.
 

NerfedFalcon

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To break me out of the rut I've been in, a friend on Steam sent me a copy of Vampire Survivors. I've done a couple of runs so far, and I've come to the conclusion that the whip is pretty good and treasure chests are the most fun thing in any game I've played in a while.
 
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Ezekiel

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God damn Half-Life. ;)

Wasn't completely serious, with that part about Far Cry 3. Just wanted to kind of trace the origins of that dime a dozen feature in my post. Yes, I knew some games had nightmare gameplay sections earlier.

Platforming over those narrow blood trails could have been better, but the Max Payne games were some of the few that weren't so dumb about it. Actually kind of did feel like a nightmare. That baby screaming, the echoes, the distorted look... In Spider-Man and so many games like it, everything is just really weird looking but feels almost as real as the rest of the game, including that boss.
 
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BrawlMan

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Platforming over those narrow blood trails could have been better, but the Max Payne games were some of the few that weren't so dumb about it. Actually kind of did feel like a nightmare. That baby screaming, the echoes, the distorted look...
Hated the nightmares sequences back then, and still hate them now. Love Max Payne, but when the remakes happen, they can either ax it entirely, or rework to cut-scene or not as annoying. Max Payne 2's nightmare set pieces I had little problems with.
 
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Specter Von Baren

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So I replayed FAR: Lone Sails and then played FAR: Changing Tides, so I'm basically just gonna go over one and then the other because they're fairly similar in a lot of ways.

FAR: Lone Sails is basically a 2d Puzzle Platformer not unlike INSIDE or Little Nightmares but with less emphasis on horror(it's not really a happy setting but it's more melancholy then scary). Notably, you have a Locomotive Car type vehicle called an Okomotive and you are essentially tied to it for the great majority of the game as you need it to pass certain obstacles but you also have to get out every so often to clear the path for your vehicle to proceed. The overall structure is kind like Journey, though since it's 2d you don't really know where you're going and the game is a lot less colorful. Notably, you're cross a desolate frozen world, and there's a wonderful sense of sublimity to it, as you constantly see and interact with rementments of a civilization that seems to have vanished. You see lots of ruins, some of which are still in good condition but most of them have fallen into ruin. However, you don't see any other people and barely any other signs of life except for some birds and animals which are few and far between. It's like the world froze at some point and civilization went out with a whimper, not a bang and it's quite beautiful while also quite sad. There's no dialogue and all the storytelling and even gameplay instruction is visual and atmospheric storytelling, much like it's inspirations like INSIDE.

The primary gameplay loop is operating your okomotive by scavenging fuel(which you look closely are crates and suitcases) to burn in the steam engine your okomotive is built around, loading things to burn as fuel when the tank starts to get low, keeping the engine going without overheating it and occasionally making repairs when things break or putting out fires. Every so often you come across an obstacle you need to get out and open a gate or extend a bridge to proceed, or more interestingly, deal with a nasty storm you've blundered into. Every so often, at scripted points, the game has mercy on you, a strong wind kicks up in the direction you're going and you can raise the sails to get a couple minutes of free progress without having to tend the engine, allowing you to just chill and watch the scenery roll past for a bit.

Aside from a change in background and new obstacles to show progress, your okomotive gets upgraded with new abilities along the way(mandated by progressIon) to make the gameplay loop more interesting, such as the aforementioned mast and sail to allow you to turn off the engine for a while and save fuel. It's a 2.5 hour experience and can be quite meditative in a way, feeling like a cross between INSIDE and Journey but the okomotive makes it different and interesting in it's own way, especially since you do grow attached to your okomotive as it's your only companion along the way.

FAR: Changing Tides is much like it's predecessor, but instead of a land locomotive car crossing a wintery landscape, this game is built around a boat and your marine voyage. This one starts out with about 10 minutes of platforming across a flooded, abandoned city until you, a small boy, discover a boat in a workshop and properly abscond with it. Unlike the okomotive, this one starts with a mast and sail and first off your taught how to use it, which is notably more invovled then the mast and sail in the previous game, requiring you to watch the wind and a flag to catch the wind properly to get best speed. However, you can also damage the sail on background objects as well as overhead obstructions, so you have to be prepared to move the sail and even collapse the mast to avoid damaging them. A little while after getting the boat, you collect the first glowing blue "power core"(I guess that's what they're called) that connects to your boat and unlocks the steam engine you previously couldn't even access, giving you a chance to learn how to use the steam engine when there's no wind. THis version is a little more complicated to use, requiring the use of a throttle control and a bellows to keep the fire stoked, so now you have to be more on the ball. Though feeding fuel into the fire is now made a little easier to compensate.

Much of the game is the same, with additional power cores you pick up through game progress allowing your boat to become a submarine in addition to a steamship, so now you get to juggle sails, steam and depth controls, as well as scancanging for fuel along the sea floor(with help of a sonar that points out nearby fuel). So if you've played FAR: Lone Sails, you have the gist of FAR: CHanging Tides, though the sequel definitely has more complex puzzles and gameplay, not to mention is about twice as long with more atmospheric storytelling, with a civilization that apparently built an atlantis-like city, probably as a response to global flooding(The amount of underwater ruins and towns built on the top of hills to stay out of the water is very telling) and like in Lone Sails, they're many ruins and no signs of any living humans.

In fact, my only gripe with Changing Tides is that at one point is feels like you've hit the climax and are probably near the end of the game.....and then it keeps going for another hour or so. It actually does have a good ending and that extra hour doesn't feel wasted, but it's really wierd how it feels like there's nothing elser to do and suddenly you've got one final arc to go before you reach the end.

But it is a worthy sequel and I liked the reveal at the end of Changing Tides.

Mhm. Love FAR. Despite the melancholic tone to it, it's a really comfy game to play and just focus on the process of getting yourself further and further right.
 
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Dalisclock

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Mhm. Love FAR. Despite the melancholic tone to it, it's a really comfy game to play and just focus on the process of getting yourself further and further right.
I was thinking of you when I wrote the review and figured you'd appreciate it. If you liked the first one, I don't see why you wouldn't like the 2nd. I don't think they really explain anything from the first game despite taking place on the same planet/world and directly tying the two games together at the end and honestly I think even more questions are raised, but it's still quite enjoyable and contemplative and I think the submarine mode adds a lot to the game.
 
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XsjadoBlayde

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Hot Wheels Unleashed
Jaysus, this game is climbing the walls. It's clucking like an ephemeral mad hen under the smothering moonlit mists of withdrawal. The game itself is ok, it's serviceable, not much of interest to say about that so far tbh. What is interesting though is the many many ways it totes does not have microtransactions. Which it doesn't. At. All. So stop looking at it like that. Look, can't a game just be a game without this relentless side-eyeing towards all the stuff that isn't technically "gameplay"? Ok, you're starting to look a little incredulous now, so let's get back on track (lol) to the many ways this innocent game does not have microtransactions;

  • Before you start the game, before even being offered access to the humble options menu, you absolutely must open these 3 lootboxes for your first cars. Free! No microtransactions! It's not a choice, no seriously, open your fucking lootboxes if you want to play this stupid game, child.
  • There's a store, did you know theres a store? Well there it is, you only need to visit every time you win a car...well, not a car, just a lootbox which you have to open to get your car. No mini-buys btw.
  • Unlockable paint jobs for you cars? Lmao, not quite, summer child. If you want a new paint job unlocked, you have to literally win the same car you want the new look for, from a lootbox again but that new look, which counts as a separate car in your collection anyway.
  • Oh yeah, there's a timer on the store which changes deals every few minutes to get that delicious FOMO flowing through your succulent bloodstream.
  • Did you buy the (multiple) season passes to make sure you got all the annoying extra content in one go? Sorry fella, that ain't everything. We made sure to keep some purchases locked out of the season pass content for absolutely no reason whatsoever. But you can buy them separately for small transfers of currency if you so desire. Quick reminder though, no microtransactions here!
  • Battle Pass? Hang on, don't go yet, there's a battle Pass now, everyone loves battle passes, right? You, um, just gotta pay £5 for the mere pleasure of another grind, a grind which it tells you exactly what you're missing out on after every match even if you try your best to ignore its existence anyway. (No microtransactions)
  • You'll notice every action you take on the menu comes with a tiny delay and a flashing earth symbol in the top right, because this is the future of gaming bayyyybay: you're part of the connected GAAS network, a pioneer upon the shores of web 3.0. Don't panic, just make yourself at home, pull up a comfy golden blockchain toilet and browse these illuminated catalogues of NFTs should we endeavour to grace our game with such prestigious opportunities in future.
  • Now, obviously, we can't just keep rewarding you with cars and paint jobs seperately all the time, that would only spoil you rotten, you filthy trash-riddled gubbins. So instead, for most race prizes you get a pointless barely-distinguishable new texture you can use to customise your "basement" rooms instead. This is what we refer to as "pride and accomplishment" which is what everyone wants really, so we're here to provide that. For you. No microtransactions!
  • You can buy these lootboxes, did we forgot to tell you? Oopsie! Almost forgot such a vital service, I mean, we made sure you have to see that option when you win another lootbox regardless, but it's worth mentioning you can buy these any time you want. With our in game stupidfuckcoins. Look, we know it looks a helluva lot like we can simply flick a switch to turn that store option to accept real monies, but that would be uncool, and no cutesy racing game developer has ever done that before to set a precedent, right? So just trust us, ok? Nooooo microtransactions! We are fine with this. Totally, completely, honestly fine! 😬😬😬
 
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Thaluikhain

Elite Member
Legacy
Jan 16, 2010
19,140
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Scarab, or more correctly S.C.A.R.A.B., which is about Egyptian themed robots (apparently giant ones, but there's nothing to give indications of scale) fighting each other from way back in 1997.

But all the information to play the game is presumably in the .hlp file, so I haven't been able to access it yet, so having trouble figuring out the controls.
 

Drathnoxis

I love the smell of card games in the morning
Legacy
Sep 23, 2010
5,757
2,105
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Just off-screen
Country
Canada
Gender
Male
Dark Souls still. Ornstein and Smough might be the worst boss in the entire game. The combat system strains under the weight of multiple enemies and it's impossible to keep them both on screen at the same time. This isn't the first time I've played the game, but these two are a chore every time I'm not a sorcerer. It's basically just luck if you get the opportunity to hit one without the other getting in a shot on you. And then they both just keep charging you over and over and over and you can't make distance or get an attack in or anything even though big fatty just shouldn't be able to move that fast. And the run back from the bonfire is just so long and annoying, needing to move that pillar twice.
 
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