After VtM 1’s tumultuous release, not to mention the drama surrounding the sequel’s development, that makes sense to me.

That being said, I don’t think it’s quite as big a leap as the person above is making it sound. To use their words, The Chinese Room are known for “strong art direction, atmosphere, and story, [and] weak gameplay”. They also suggest that the games TCR make are “the exact opposite” of Bloodlines 1. Which is kinda boggling my mind, cause I’m pretty sure the critical and user consensus of that game is that it excelled in its art direction, atmosphere, and story, and fell comparatively short in its gameplay. In fairness, I think he was referring to the limited open world nature of VtM 1 vs the straight linearity of the “walking sim” genre, but still. I’d argue the most memorable section of VtM is the Ocean House Hotel, which is, basically, a linear walking sim level, and it’s not as though the og game did a ton with its open world.

Now there’s an argument to be made that Paradox made the wrong call by doubling down on the peripheral elements of the game, rather than hiring a team that has ARPG gameplay bonafides, but I think that’s only an argument that can be made with the benefit of hindsight. Additionally, is it true that the gameplay/combat of VtM2 is glaringly bad? I can’t speak for myself, but the handful of reviews I read characterize it as serviceable at worst. Which, again, seems right in line with the first game.

I’m very much on the outside looking in though.

Here’s hoping, though I can’t imagine they’ll command the same budget nowadays, which makes me wonder if the style will need to change. After 15 minutes or so, I adjusted to the stylization of Alita’s appearance and it didn’t bother me, but I have to imagine ditching that touch could save a fair chunk of VFX change. Making every frame containing your main character a visual effect shot can’t be cheap.

Apropos of nothing more than my idle speculation, I’d guess they will return to the transport tycoon genre if they are able to do so. Before Skylines took the crown from SimCity as the preeminent example of the genre, they made the Cities in Motion games, which were narrowly focused on improving the mass transit of existing cities (as opposed to building the city itself). I know the second CiM game had some interaction between the city and your efforts as transportation czar (in the same way you could indirectly influence a citiy’s development in, say Railroad Tycoon), but the emphasis was always on transit. I imagine the newly independent team will want to keep their focus narrow, unless another publisher swoops in to replace the safety net.

Lol you’re correct. Idk what happened there, meant to say fun!

Tremors is up there for me. Every couple of years I revisit it and have just as much time as the last.

Sorry man, I’m not knowledgeable enough about computers to provide a summary, but I’ll mention this fun tidbit: apparently, the shipped version of task manager contained thus guy’s home phone number in the code by accident. He commented it out, but left the phone number in there, which means he can find instances of the source code being hosted online by reverse searching his home phone. Which is still a number he maintains, and he asks people not to call. Which is a bold thing to leave in the video imo

Ah I see, I misunderstood how you were applying the terms. My bad. I suppose I don’t typically talk about consoles or games independently of the experience that they offer, so whether it’s a new product with a vintage inspiration, or something vintage all the way through, I’d think of both products as retro, because, to me, they are both offering an experience reminiscent of an earlier era. I understand that’s an incredibly subjective experience though, and your take is probably more factually correct.

Rad! I love the docs that Danny and the rest of the team do, and I just watched a bit of the preview they did of the tavern keeper game. Glad they’re having success enough to expand a little.

Tyl what til means!

Okay, I’ll bite.

My brother and I routinely dig out our old N64 when we go home for the holidays and enjoy an afternoon of retro gaming. In your opinion, I am using this incorrectly, because I’m actually vintage gaming, since I am using original hardware and software to do it (if I understand your assertion correctly).

But, our specific purpose in using that original hardware is to, as you say, “[relate] to the past, past times, or the way things were”. We engage in this ritual as an homage to when we were kids and getting a new game for Christmas was one of the highlights of the first quarter of the year. So, I argue our use case meets your definition of retro as well vintage, and that you’ve invented a false binary where none actually exists.

In broad terms, sure, but we’re talking about the business of theatrical exhibition here, which over the past several years has had a real rough go of it. In some ways, this is because the industry is addicted to shooting itself in the kneecaps at ever opportunity, and in some ways because COVID accelerated the trend of people waiting for VOD rather than seeing something in the theater. So, a movie smashing box office records in today’s environment is still newsworthy.

I think you might reconsider what qualifies as “best case scenario” if you end that statement with “when this thing goes, it’s taking the industry with it”. Like, best out of a bad bunch, for sure, but the best possible outcome?

Ah, the old adage holds true: everytime Morrowind is mentioned, someone starts a fresh install.

No I hear you. I just think you’re letting your negative perception of that element of the game’s community weigh in a little too heavily on your analysis of the game. People being annoying by talking about the game like beating it is a badge of honor (spoiler alert guys, you’re meant to beat the game) and your assessment of the Souls-like gameplay loop are, at best, tangentially related.

No shade to you, by the way. How the culture receives and talks about media is as big a part of its legacy as any constituent element of the text, and it’s a worthy subject for criticism. It’s just that, in my opinion, criticism is sharpened when the author is very clear about when they cease to review the game/book/movie and when they start to review the phenomena around that media.

Fwiw, this subject has been on my mind since reading a review of the movie Eddington in which the author talked about the temptation to stop talking about the movie and start talking about the subjects the movie was touching upon. I have been making a concentrated effort to improve my critical writing this year, and that line resonated with me. So, this diatribe has been fermenting in my head for awhile now, and your post was my excuse to get it out. By no means do I mean to lecture you on how you should feel about Dark Souls or it’s fandom.

Start the music you say? Daring today, aren’t we? [Full disclosure, everything I know about Star Trek comes from memes and the 12 or so TNG episodes I’ve seen]

Man, if they aren’t putting “It’s David Cronenberg’s Kenshi, more or less” on the metaphorical box, they’re making a mistake.

Would never ask you to.

Depends on how reductive you’re being. To me, your initial assertion that Dark Souls isn’t difficult (or is not as difficult as an online game) because it’s ultimately just a test of your pattern recognition / memorization and reflexes is ignoring the forest for the trees. If I applied that same mindset to playing an instrument, I could argue that, mechanically, they’re the same. You learn a boss’ pattern (I.e. learn the sheet music) and then it’s just a matter of moving your fingers to hit the requisite inputs.

Of course, I think most people would balk at describing making music as nothing more than playing the right notes at the right time, and rightly so. We tend to attach a certain amount of ineffable poetry to that act. I’m not saying that they’re 1:1 equivalent, mind you, but I’ve heard enough folks discuss a Souls boss fight in musical terms (tempo, rhythm, crescendos, etc.) to see the parallel.

I typically turn the water off if I’m brushing in the shower. Hop in, shampoo, rinse, apply conditioner, turn off water, brush teeth, scrub body, turn water on, rinse, done. Makes use of otherwise dead time I’d spend waiting for the conditioner to work, and is comfortable enough with the residual heat from the walls and steam.

Unfortunately, you are mistaken. Ross is indeed the founder of the initiative. If you look at the SKG homepage you’ll see Ross is the sole contact listed.

Additionally, here is a PC Gamer article from April 2024 (the month The Crew’s servers shut down) which cites Ross as the founder of the initiative.

I believe he may have reduced his most visible contributions to the movement after it became about gathering signatures in the EU, since he is not a citizen. I could be wrong on that front though.