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What unknown games are you playing that you think are worth talking about? And I mean actually obscure not EYE Divine Cybermancy obscure.

I just finished through playing Kandria, which is a very small indie open world platformer. The gameplay is a lot like Celeste most of the time except much more difficult, and this is applied to a metroidvania like open world, except there isn't anything that unlocks new areas like that and you've got your entire arsenal at the beginnin of the game. The platforming is fun but as I said it is incredibly difficult in later areas, though in earlier areas they added a bunch of pointless underground office blocks to like make it an open world or something. Those areas are very tedious and pointless. It also has a combat system which sucks and I try to avoid it except when you can use it for platforming. The game is very open as to how you approach obstacles, there are often different ways of getting past a room or you can go a different way through the map. The most standout thing for me was the story, which I wasn't expecting to be sort of good even if the twist is predictable. It also has a good soundtrack. All in all its a heavily flawed and rough indie passion project that nevertheless managed to fulfill my need for open 2D platforming.
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What a charming game! The visuals are beautiful, like a great children's picture book.


It really is, not lying when I say it's one of the best build-your-own-car games to this day.


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Since I mentioned it in another thread, I'll write a few words about the Disaster Report series.

The genre is survival. Just survival, no horror. Your character (or characters) are trying to survive natural disasters, such as earthquakes and tsunamis. There is no combat whatsoever in these games, although sometimes you do need to avoid some dangerous people. In part 2 you can combine items to make bum style coats that protect you from rain, they degrade with time too. Watching your body temperature is important, it's pretty much your life bar, although it's very generous. In part 1 you have to drink water, but the taps are everywhere, they got rid of the idea in 2. The environments break apart in real time (it's scripted), which looks very impressive, especially for the time.

1 and 2 were released on PS2 in the west. 3 was a Japan only PSP game, there's a fan translation but I don't recommend playing it, too boring. 4 is on everything, even on Steam, and it's a great game, but they changed the formula, making it more akin to Yakuza side missions that take place during an earthquake. You run around and talk to people even more than usual in 4, there's more exploration as well.

Also, in part 2 there are 6 playable characters with their own campaigns, and a bunch of endings that depend on your choices during the game. 1 also has a few endings but only one playable character.

Lastly, for some reason they made most characters blonde in 2 for the Western release of the game. Just giving them Western names wasn't enough, apparently.


Wooden Ocean. Found it from a few people taking about it on twitter several months ago because of a patch note detailing how walls in combat affect humidity, temperature, and clutter. Then I went to its steam page (which barely tells you what the game's about) and saw it was an rpgmaker game which piqued my interest that an rpgmaker game has combat effects that detailed. I bought since it was on sale at the time without trying to look up more about it and was expecting it to be a 4-12 hour rpgmaker game with some weird gimmick in combat regarding the environment.

It turned out to be a big and open game with systems for stuff like town management where you hire people to do various jobs that influences what goes on in the towns themselves, enemy encounters and scaling are dependent on how many "resources" they have which can be reduced by just killing regular ones a lot, bosses, quests, etc, and if it goes up too much they can attack and destroy towns you run. Combat is more straightforward than I was expecting it to be (exploit status effects and enemy weaknesses while making sure the enemies can't do the same to you easily), but it still has stuff like equipment weight affecting your speed, spells altering the environment in minor or major ways, and party members/enemies becoming terrified depending on how the battle goes.

Can't say much for the story (because I spent most of my time I did play it trying to figure out where to go because I kept wandering into giant dungeons that seemed to lead into several different areas including other giant dungeons) but between the intro and the game starting it's a weird tonal shift. The intro's tone is what I was expecting going into it but the moment it's over it nearly 180s and goes from being dreamlike and horrifying to weird and comedic. Not sure if I'd call it a hidden gem until I've seen more of it but it's a really obscure and interesting game.


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Does World of Horror count as obscure? I don't think so, but it's not a smashing hit either. Something in the middle. In any case, it's a great game, you should play it.

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kriselle is based and you cant change my mind


a thread died for this


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I wanna rail Ralsei's sissy goat ass.


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Noelle wants to be in a poly lesbian relationship with their childhood friend and their teenage crush

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why do we call them video games?
Theyre not video, theyre realtime graphics. Video is something thats playing prerecorded.
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this thead


Other than Fear and Hunger, What vidya let's you get raped? aSking fur a fren


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Nah, video since electronic would include all the niche ones like picrel


FEAR 2: Project Origin


why do we call it video conferencing if it's real time


Seriously why was it so bad on release? Oh wait I figured out why it was both made on unreal instead of bethesdas creation engine and also only had 2 years of development which for a modern game is satirically low when you need typically 4 - 6 years of development time just to finish anything.
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They also made deathloop a rougelike castlevania type shooter that did its job of being fun pretty well and even got a perfect from ign in terms of game design and it was pretty fun for me. This game was supposed to be a lot larger but for arkanes development cycle 2 years isn’t gonna cut it

I don’t think you realize how hard it is to make AAA games. Outside of marketing budget shenanigans you literally make these games by throwing more people at these projects otherwise you get management issues out of them. Elden ring was developed in 4 years and was under supervision by a high class studio called Bandai Namco and still had issues with content and a boring world. Most modern cod titles including the black ops games take 4-5 years to make but have to be handled by different teams. Tlou2 is a marvel of gaming tech and animation but took nearly a decade to make for only 12 hours of content just do to the sheer manpower and time it took to polish out each and every level on top of working with havok and engine upgrades. I could keep going but you get the point. Games like red fall aren’t games like Celeste, they need time to be fleshed out, alot of time


Sorry the campaign is 20-30 hours for tlou2


why are western aaa covers so shitty


They mostly hastily put these together in the final days of a game's production cycle. In Redfall's case its even worse because the whole thing was hastily put together over the course of like 2 years on a seemingly abysmal budget.


Deathloop was already very bad and now this. Oh well, I liked Arx Fatalis, Dishonored and Prey, but the people that worked on them are probably long gone now.


Who is your favorite civ leader?




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civ 5, Japan
civ 6, Scythia
their buildings and units aren't the best but i don't give a shit


V: Wu Zetian
VI: idk Trajan I guess


Nuclear Ghandi, for he is the True Posadist of Civilization series.


I miss tie-in videogames
Sure, shallow porky merchandising

But man, there was always potential for fun
Has there ever been a rom com tie in videogame?
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I remember playing the hell out of the LoTR Two Towers game as a kid and finding it really epic. I thought Isildur's armor looked badass and was so excited when I found out you could unlock him as a playable character. One of my favorite things to do was camp by the pit monster in the forest (Fangorn?) level, kick orcs into it one by one and watch their blood splatter out.


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Plenty of anime have video games.


What are some good anime-based games you would recommend? Heard the Evangelion ones are pretty good, but haven't played them yet.


>50mb gif
are you out of your mind


You know how some games separate interior from exterior world spaces so games run better hence why there’s random loading screens when you enter a building or some new zone?

Yeah why not just load in all that information based on the players position and not off some trigger for the purpose of keeping the player immersed in the game world? I don’t think it’s hard to implement as it would prevent instances of players being stuck on loading screens, sudden crashes or lag spikes being attributed to suddenly unloading and reloading shitloads of assets all at once in one area, issues with dynamic entities like ai or physics being reloaded upon entering a scene then list of shit wrong with the standard loading system goes on for me


Depends on the engine. Sometimes it would just be too much work to implement that. There are also often cases where spaces are kept separate because they aren't actually consistent. A lot of the time buildings are bigger on the inside because if they weren't it would be too difficult to move around (often because your movement speed is inappropriate indoors, or because of collision issues) or the buildings would have very large exteriors that would make it more tedious to move around outside.

You could still get around this by having the spaces be separated and putting a portal on the doors (as Valve did a lot in Portal 2), but that is a lot more effort and introduces additional problems.

Probably the smart fix for this is better character movement. Simplest thing would be to change the character behavior depending on whether they are inside vs outside or whether combat is happening, etc. A really good solution might involve a simple AI that recognizes obstacles near the character and steers them away and maybe toward interactable features. Lots of games have adopted a "cinematic" interactivity with physical spaces that characters move through. They are usually "baked-in" in the sense that they have specific preset animations and a limited number of known locations that allow the devs to debug them. However, you could definitely implement a more dynamic version of this, so that for example you have a wide open exterior with features inside of that flagged for specific types of "terrain" and then have various objects flagged for different types of reaction. Furniture and doors could trigger specific interactive behavior using the movement/behavior engine. Hazards could trigger an avoidance behavior, from a basic animation to altering the character's path etc. NPCs could trigger more careful movement weaving between them.

Some AAA games have done these kinds of things to different degrees. Assassin's Creed, Red Dead Redemption, the recent Tomb Raider reboot series… just some examples. But the point here is that you could probably design the movement system so that the characters can move through consistently sized interior spaces. It does pose a problem for action-oriented games, though.

The other really big problem with this is the camera. It's difficult to have a controllable 3rd person camera in an interior space. This isn't limited by the current tech either, because you have to find something that works betweenPost too long. Click here to view the full text.


Depends on how the ingame world is designed. In Bethesda games interiors are separated from exterior spaces for the sake of performance while rockstar and naughty dog use camera tricks to hide assets loading between levels and environments


I misread the title, thought the game was a remaster or sequel of sim city 4. Realized what it was and frowned :|
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Yeah when they fix the infrastructure to population ratio first and make building space efficient cities more rewarding


you may seethe, but you know deep inside sim city is dead, and city skylines is the only future left


Yeah cuz ea fucking killed it by preventing the modding community from adding any replay ability to the games. Something that didn’t occur to skylines. Outside of that I still occasionally play 4 and love it more than skylines just because of how much more you can build in the base game without as many restraints seen in skylines that tries to hard to be realistic with its roadway system that I personally couldn’t deal with


yeah which sucks but what can ya do


Babe it's 50 000 population, time for your 3rd hospital and yet another highway entrance


What should I expect from veteran difficulty from both of mw and mw2?


Modern CODs on veteran are piss easy. You just inch forward 2cm, kill all the soldiers you see, then inch forward another 2cm, etc.
COD Veteran campaigns are more like hide and seek than an FPS. It requires no real strategy, just an awareness of where the enemy is coupled with abuse of cover.


Not really. One old respawning is infinite and where enemies are is influenced by your companions positions aswell which adds a layer of rng meaning unless your playing a level like mile high club it’s unlikely that youll do well in veteran without reliance on peeking and your marksmanship skills. Cod single player content doesn’t play like doom, you have to play a lot more carefully and prioritize your aim and your position relative to the bots a lot more than you would in a game like ultra kill where projectiles are slow enough to be dodgeable


Waw has the hardest campaing if u think you got what it takes, go for it


I was thinking about how these games approached violence and just came to the following conclusions on what these games had to say about it.

Violence is multifarious.
Violence is expensive.
The disposition of someone may not necessarily be directly tied to how violent they’re within a given period of time nor how much they’ve suffered.

>violence is multifarious

I think tlou2 and to a lesser extent hotline Miami 2 do a the best at expressing this idea. Throughout tlou2 you play as both Ellie and Abby and how each character kills is influenced by how much they view their targets. Generally these games take a realistic approach to how humans rationalize violence towards one another by using factionalism as a tool the protagonist’s use to justify their actions. You see it all the time, the WLF vs the fanatic seraphites(whom were not initially violent lore wise oddly enough without the WLFs influence), how the residents of Jackson justify the killing of WF soldiers under the guise that they’re harming their communities despite only one group, a group consisting mostly of fireflies actually causing real damage to Ellie and her friends. With the infected they’re always the prime targets no matter what, NPCs, the characters and sometimes even other infected recognize that they’re creatures with convulsive motion, easily and desperate to infect anything and anyone near them and likewise no one feels any remorse for killing them despite some also being aware of how much pain victims of the fungi go through and how you can observe them ingame showing sadness over their inability to control their actions. In hotline Miami factionalism again plays a role in the justification behind the mass deaths seen in game with the Russian mafias tenacity to maintain their control over the drug distribution in Florida up until jacket comes into play without knowledge of what he’s doing to the country he shows so much love for. These games through how violence is setup and how the reasons for it are explored show to the player that how people kill and why people killed shares a direct relationship to how much people are willing to distance themselves emotionally to their targets. It’s quite powerful for the tlou2 to show every npc including seraphites will beg for mercy for themselves or loved ones only when they became vulnerable to one another’s violence as a guaranteed outcome of every encounter


>violence is expensive
Very rarely does violence on a mass scale come with benevolent intentions within these titles and throughout far cry 2
<and I mean far cry 2 I wrote 3 as a typo
and hotline Miami you can see how many resources are used up just to get by and commit these Far cry 2s gameplay is as violent as it is exhausting, sprinting is a limited action, ammo on higher difficulties is scarce enough that you’ll frequently run out, guns break in the middle of combat or jam before you can kill anything, you’ll frequently die either from gunfire or from disease all just to take down one man. In between these sessions of killing the player has opportunities to save themselves by gaining medicine through protecting refugees, taking moments to be with their companions in safe houses and ceasefire zones away from conflict. thus the developers showcase how much commitment is involved in making violent decisions through the level of adversity the player endured through the core elements of gameplay and show how many opportunities for peace are formed through this level of commitment by refugee interactions, so much so that by taking the chance to free refugees instead of trying to continue fighting against either ingame faction for their behaviours the player character is granted a new opportunity to start over in life and has granted thousands a chance to see peace.

Hotline Miami does this in a similar fashion. The fast paced action and equally paced deaths can lead to intense gameplay that may leave players feeling more exhausted than satisfied once a level is complete. Watching companions die for each playable character in the two games and recognizing when opportunity’s they had to start anew we’re stripped for seeking peace at the wrong time and wrong places wether it be the thug that was murdered by the fans, the biker whom failed to stop the bombs or jacket for failing to protect his lover can showcase an opposite view that far cry 2 did. Showing how violence isn’t just commital to one’s life as an action but a part of life that has to be addressed a with a level of responsibility lest it takes control over one’s life in ways they wouldn’t want.


>the disposition of an individual isn’t tied to their violent tendencies
Thanks to the massive effort by naughty dog and debating towards storytelling this idea is explored through to such detail I couldn’t explain all this in a conventional amount of time in this post. But I’ll do what I can.

Hotline Miami 1 tells us a lot about this concept just off with jacket. The man kills not because he’s loved anyone, or because his life is in any immediate danger(hitherto when the calls start arriving). Simply he calls out of patriotism for the USA and seeks to channel his passion for the country through the often brutal murders of whatever his advisors consider to be enemies, communists, Russians, maybe even troops outside of the countries listed at any point would be included. You can see this aspect of him clearly through how during the murder of a homeless man next to one of his missions he shows visible disgust unable to rationalize his actions or use factionalism as a tool to justify his frustration. His disposition doesn’t change ingame until his girlfriend is seen dead upon rejecting a call, changing his character between each mission to reject violence and his patriotism for the USA as time passes only seeking to be reunited with those who were once with him like beard and isolation away from murder. Ultimately this never happens and by the end he finds little meaning in life once the mafias completely stopped and soon lands himself in prison with little motivation to free himself or find any reason to seek solace in what he’s done.

For the case of Ellie we see a separate scenario where her character was already predisposed to violence. Ellie is a violent person, an aspect of her existing as a sign of her upbringing, in the beginning she would kill and would kill frequently people and infected alike for any reason. In the sequel this aspect of her only amplified her problems and more time is spent acknowledging and exploring how she copes with this as time passes. At the start of part 2 and the entirety of part 1 she openly celebrates violence, complimenting her loved ones for their abilities in killing and her own, but by the murder of Nora she changes. Her passion for killing manifests into an endeavour for tranquility of the situation she was in upon realization of why Joel had conflPost too long. Click here to view the full text.

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