Here we are again (again): the thread where we discuss the games we are playing in 2025

Ghost Of Tsushima is a beautiful game, it’s just a shame the writing is mind-numbingly stupid. Feels like a language-learner’s abridged version of an epic tale. Most open world games are a series of stringing-you along side missions, but almost every quest here is “Ok, I will help you, but first, my cousin is in trouble”, delivered without shame, wit or imagination, hundreds of times. Tonally, it is constantly hitting the same notes, with a wooden sort of expression, over and over again. I know war never changes or whatever but maybe it could change just a little bit? The Mongols are a dehumanised racist caricature, little more than the orcs in Lord Of The Rings. It’s trying to be like The Witcher, using Japanese folk stories as references, but it’s like all personality and weighty ideas have been rubbed out and simplified into the same old US shit soup: Us vs Them, Good Guy With A Gun, With Great Power Comes Great Responsibility, Family said with a deep voice, and lots and lots of vengance. Just an absolute braindead snorefest. Aesthetics aside, there are virtually no plot lines that feel specific to the location or the culture it is borrowing from. They could just as easily be in Game of Thrones, or any other HBO show.

As an aside, this game is just calling out to be more violent, wild and explicit. Not having dismemberment and pools of blood is a mistake. Not having magic is a huge mistake. You’ll just hear a tale about some Kappa and go in a bog and find… a man, a common thief, who was just pretending. Better stab him. Somewhere else, people are going mad because of a curse… wait no, they were just drugged, by a man, an evil guy, who you have to kill now, just like the other one… and on and on.

It’s a shame, because the combat (on hard difficulty) is quite satisfying, and a lot of the open world design very elegantly improves upon the formula (wind trails as GPS, follow the fox or the bird for upgrades). The set-pieces, ambiance, the homages to Japanese cinema are accomplished well. It’s just really rubbing me the wrong way that so much care was clearly put into the visual side, and almost none in understanding the culture and ideas of the place it is depicting. It feels like Japan as set dressing for an open world action game, rather than a game set in Japan. In general, I think cultural appropriation is fine, actually. It’s only a problem when it’s done badly; and by god, it is done badly here.

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lol thats weird I logged in yesterday to post about playing ghost of tsushima and left the tab open un posted…

I only played a couple of hours so far so I hadn’t noticed any of the problems you laid out so I hope it doesn’t rub me the wrong way. I have a more nuanced take on cultural appropriation in that its fine if you are appropriating a hegemonic culture (IE scottish people appropriating american culture in GTA) or at least a culture with similar influence (USA appropriating japan with ghost of tsushima) but not fine if you are taking from a culture who cannot define and defend its own culture (americans appropriating polynesian culture with Moana)

I’m also playing The Crew Motorfest because I just like cruising around really large maps (Fuel (video game) - Wikipedia ruled) and it was so cheap on special and this game is kid friendly since it lacks the police chases and the music with n words in it that NFS has - but man oh man does the dialogue suck balls. Playing through the on-boarding races where they plonk you in the various classes of vehicle and you can’t loose and there is a voice over explaining the class but its so so so up it own arse and self aggrandising lol. Also I’ve just realised the map is tiny compared to the crew 2…

That’s the thing I like about NFS that the crew and forza and stuff just get so wrong. NFS knows what it is and doesn’t pretend its not that.

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it’s not particularly offensive in an oulandish way (unless you’re Mongolian), it’s just that the story parts of the game are so deeply uninspired in a way that is increasingly grating as it goes on, and it’s fuking long too. as I said though, the bones of the game are well made and it is really beautiful so I am still playing it and having a good time for the most part.

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Playing through God Hand, and I can’t tell whether it’s the edgelordiest game ever, or if it’s an over-the-top parody of edgelordiness. It’s simultaneously misogynist, homophobic, fat-phobic, and a rollicking good beat 'em up. I’m in chapter 3 and I can’t stop playing.

Send help.

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the first game i’ve played this year and on my new PC is Outer Wilds! i’m very slowly going around planets in the system and connecting a few dots here and there, but no big discoveries so far. i managed to die before even getting in the ship which was funny, and i saw there’s an achievement for dying in less then 60 seconds. that’s my next goal

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I’ve still been plucking away at the 3ds library.

I’ve been wanting to play pikmin lately but don’t feel like buying one, so I’ve settled for Hey Pikmin! Unfortunately it suffers from too much “we got pikmin at home” energy for me to get any enjoyment out of it.

I also played a few levels of that chibi robo zip game. It’s pretty cool! It introduces a lot of ideas early on, some of which are explained while others are left to the player to figure out. I appreciated that along with the general tone the game is going for. I’m still trying to decide if it’s a little clunky by nature or I’m still getting used to the controls, but I can see myself playing more in the near future.

The real crown jewel in the collection, however, is SMT IV. I only just beat the tutorial dungeon so I’m not too far in just yet. Having to constantly center the camera after years of dual joysticks makes me sick to my stomach and the encounter rate I’d stupid high without giving you much of a chance to avoid or get the first strike, but even with those faults the game is a fantastic time (as if I needed to day such a thing on this forum). It’s very snappy and I think the limitations of the 3ds are really playing to its favor. Cutscenes will just be hand drawn stills that fade in and out of each other, shops and (fully voiced!) NPC interactions are menu based, and the 2d sprites of the battles mixed with sparingly used attack animations is just a great combination.

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I broke my no early access rule with Hyper Light Breaker. The devs have been going through some hard times and I like what they do, so I figured it can just sit in my library for a couple years while they finish it.

You wouldn’t guess it from the Steam reviews, but this game is well tuned for the state it’s in, but performance is crap, options are almost nil, and there’s a lot of work to do. It starts off way harder than most games and it’s a bit of a treadmill to get going so I think a lot of people played it for an hour or so and refunding it before figuring it out.

I saw a lot of Steam reviews that were just stating false things about the game. Like that enemies don’t telegraph, or it’s possible to softlock out of starting a new run. In 2-3 years I think this might become one of the best rogue-lites out there, but that’s a ways away and they already had to lay some people off after getting screwed by Embracer.

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I like this take. I think I’ve gone on about this on the forum elsewhere another time but I’ll also throw on the added complication of open practices (things which are open for anyone to appreciate or use or even exist to be shared), semi-closed practices (things which can be performed or done or consumed or whatever by outsiders, but only in accordance with certain protocols), and closed practices (things which lose all meaning outside of the culture of origin, or even if outsiders can be invited to do certain things it only makes sense when it originates from the larger context of the culture itself).

Moana is an interesting example because on the surface it seems nice (references and fusions of several different Polynesian/Pacific Islander cultural motifs), and it’s not like Polynesians and Pacific Islanders weren’t involved. But then on the other hand there is always the ways in which tokenization places certain individual representatives of a culture in an unearned or inappropriate position of authorship and authority, and as such just becomes a way to draw attention away from the fact that even a cast full of Polynesians and Pacific Islanders and consultants and whatever are not the primary beneficiares of such a media product, Disney execs and Disney shareholders are, most of which who are not Polynesians nor Pacific Islanders.

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I don’t think it’s intelligent enough to have satirical or ironic aims.

Also, for the record, looking over the credits as catalogued on Mobygames reveals that no one was credited as “Writer” or “Story Designer” or “Narrative Lead” or “Guy Who Wrote The Stupid Shit.” I’m not sure what to make of that, because another game from Clover, Ōkami, also does not credit anyone in that sort of position, but like, that game had a story and writing that at least wasn’t unrelentingly embarrassing and juvenile, right?

This seems like a really weird oversight in terms of division of labour. Who is ultimately responsible for Gene hating on Olivia and calling her a bitch for basically no reason? Is it the person credited for “Planning?” Or the 7 people credited for “Event Design?” Is it the Producer, Inaba Atsushi, or the Director, Mikami Shinji? Is it a little bit of all of them, like, did you just dip in to the one meeting room with the script in it here and there and write down some bullshit on your way to the can? Or did they only write the game after an unrelated meeting had dragged on too long and they forgot what they had actually decided to meet for?

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Shinji Mikami wrote every word of God Hand and he did it with his left hand.

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Maybe not embarrassing and juvenile, but it certainly was unrelenting.

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…but… that’s the Devil Hand…

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That’s right.

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I just prefer not to think of culture as primarily a commercial product, or cast myself as arbiter of the moral rightfulness of a certain piece of art based on the identity of the people involved. I find it unnecessarily limiting and distracting to operate on those terms. I don’t think that is a privileged position, I think it’s reflective of what culture is actually made up of: doodles, memes, news stories, group chats, grafitti tags. Culture exists so disney can make a movie about it, not the other way around. All art absorbs and processes what the creator has seen and is aware of in one way or another, art history is a history of iteration and humanity is based mostly on people mimmicking each other. Great artists steal, and wether they get away with it or not, artistically, is about the merits of the thing itself. Ghost of Tsushima’s story commits the capital sin of being supremely boring, first and most importantly of all, and feeling entirely unspecific and uninterested in the beliefs and stories of the place it is set in, secondly. That means that the more I play it, I feel a bad taste in my mouth, something about it is not winning me over, it’s wasting my time, and that, to me, is what’s really deeply wrong and offensive.

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Never played God Hand, but Okami unfortunately has some of the most juvenile and off-putting writing I’ve come across in a video game. And it really stands out because of how it clashes with the elegant art and music.

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I think Ōkami’s writing is amateurish, but God Hand’s writing is juveline in that it thinks having a Mexican character yell “¡No hablo inglés!” as an attack or having a spanking move you can perform on all the female enemies is funny.

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I wrapped Like a Dragon: Infinite Wealth last night so I played about an hour’s worth of Final Fantasy VII Remake and I was really surprised at how much I enjoyed it. Definitely the combat is the star, at least so far. I went into playing it having read as little as possible about the game in general, and I was in no way prepared for it to be so… um… ‘action-RPG-y’? I guess that’s the best way I can describe how it’s coming across for me. But still a little ‘RPG-y’ because you can bring up the action menu to cast spells and take actions? Anyway, it’s great, and it was exactly what I needed right now. I’ve said this before (I think last time it was about Theatrhythm?) but sometimes it’s nice to play a big huge game that had a bunch of money spent on it in the right ways?

So yeah, it will be funny if I come out of this as a real FFVII fan, even though I never enjoyed the original.

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been playing The Roottrees Are Dead and having a good time. It’s a puzzle game set in 1998 about sifting through web 1.0 and old fashioned newspaper and libary reference info to piece together a tycoon style family lineage after a bunch of them get killed in a plane crash. It’s a great idea and the current release is an expanded and refined version of a couple years old game jam product. The original version had a bunch of AI art, which the developer has removed and replaced with actual human work so thanks for doing the right thing. The main premise, while interesting, is a little strained: the Roottree family has an idiosyncratic legal arrangement regarding inheritance across generations and for some reason you need to discern who is a qualifying family member to sort out the estate. Maybe it’ll make a little more sense as I go along idk. Some of the puzzling has likewise thinner reasoning behind it eg you discover a lawsuit in which the plaintiff is only identified by their initials, for no other reason than you now have to figure out what the initials stand for. But these are small complaints and the whole of it is appealing. It’s got a nice atmosphere that recalls old early windows/power mac/CD rom educational software, the kind of experience that was more common before The Video Game became dominant. It takes place in a diagetically-presented home office on a calm night which reminds me of the experience of moving around A.C.M.E. headquarters in nighttime San Francisco in Where in Time is Carmen Sandiego?. Plus there’s clearly a lot of pleasant imagination behind the creation I appreciate it

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I started the new Dynasty Warriors game, and almost immediately got annoyed that I could name my protagonist but not customize anything else at all. This was further compounded by meeting, in a cutscene a little bit later a woman character that is aesthetically the gender swap of the protagonist character!!

I wanted to toss my controller out the window. WHY NOT LET ME PICK HER for goodness sake. You’re letting me name the guy whatever I want, and so far he’s essentially characterless and voiceless like, why on god’s own earth would you not give me the barest minimum player character option

Frustrating frustrating frustrating

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