I don't want to tweet more on that thread because jerks are all over it, but holy heck guys it's gotten worse. I just did a bounty mission and can I bring the person back? Nope! Because I have a pelt I don't want to get rid of on my horse. So Im stuck. This is insanity.
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The first is that it's achingly gorgeous. The second is there isn't a single major publication that wants to rock the boat. The third is that a lot of people keep talking about the "maturity" of the story, but it's gruff, empty nonsense. The texture of story w/ no actual story
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But when it comes to the mechanics, I genuinely wonder if a lot of people look at complicated design as a "challenge." Like if it's hard, that means they have to master it. But to me that shouldn't apply to UI. Just gameplay. Because I love the souls games which are
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Sunk cost fallacy: The reviews all say the opening is slow but then it picks up steam, but really they've been playing so long, and they wouldn't play something this long that isn't good, therefore this game must be good.
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I think quite a few reviews detail how perplexing the game is (unscored reviews like Kotaku and Polygon stand out) but I also wonder how playing a game (for free) ahead for review and persisting for *that* purpose affects their experience and estimation of it
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I talked with @JaminWar like five years ago about this, but IMO it has to do with the format of games criticism. A 23-minute Bojack episode and a 65-hour AC: Odyssey review get the same magnitude of analytical/experiential real estate. The incentives aren’t there to chew on it.
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The second is that the line between strategy and analysis is super blurry. It’s not clear what the reader wants and it’s not clear whether the critical focus should be on game-as-media-artifact or game-as-thing-to-master.
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The third is that while we’re getting better about the critical vocabulary, it’s not practicable to have a canon that sets the bar for e.g. “this is what we mean by good storytelling,” since there is neither time nor incentive for a reviewer to be conversant with the landscape.
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Anyway I’ll chill, but I really do think nobody has yet cracked the nut in a Kael-like way of what the critic is truly *offering* the reader, what is made good or made possible by the critical lens. It’s a bit orthogonal to helping navigate e.g. “Total Noise”.
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