Games You Played Today V: The Phantom Play’n

played the first couple levels of Metal Hellsinger and this is apparently the game that can successfully carry on the doom 2016 thing and actually expand on it?

love how timing your shots to the soundtrack is not only a scoring mechanic but makes all the big explosions pop off so it feels real good to land a long perfect combo. the vocals kicking in as your multiplier builds up is great! each weapon making you focus on a different beat is cute and makes mastering the necessary cycling of weapons feel even better

could do without the supergiantcore narrator and i don’t love not being able to remap the shoot button off the trigger but this has some really fun ideas!

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that’s nothing, all day yesterday people were complaining after they got into matches that the FTUE was applying to them and they were locked out of most of the cast, apparently caused by the most recent maintainence. I’ve also heard a few people say that they weren’t getting Kiriko’s achievements or that they weren’t working, which doesn’t sound right because I’ve got both

meanwhile the worst I’ve got is a single skin didn’t get migrated over in the bnet account merge

the needle in my head is still on “Blizzard launch” but it’s slowly tilting towards the cynical playerbase refrain of “small multibillion dollar company”

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Been messing around with two anti-capitalist dystopian outer space sci-fi games on gamepass.

Citizen Sleeper: This is the best CRPG I’ve played since Disco Elysium. It’s similarly mechanics-lite, with all choices made via boardgame-influenced dice management. The gameplay is simple but satisfying, all about prioritizing your various obligations to people in the short amount of time you get each day. It’s sort of like social links in Persona combined with dice slotting and rolling, and very simple currency and inventory management. The worldbuilding and writing are both excellent – a baseline of solid pulpy sci-fi throughout, punctuated by occasional brilliance. Basically, you’re an emulated consciousness in a robot body, you’ve escaped your corporate owners, and you’re trying to make your way as a refugee on an independent space station that’s a few decades out from a semi-successful revolution. This one is a real winner, I’m totally hooked.

Hardspace Shipbreaker: You’re a laborer at a hyper-exploitative space corporation; your job is to salvage wrecked spaceships for scraps. You work at an open-air (well, it’s space, so open-void) scrap yard, and every day you choose an assignment, one of a variety of different starship models that has been towed to your yard. In first person view, you float around in zero G and use various tools to cut the ship apart, then use a gravity gun to shoot the parts into salvage bins and furnaces. You’ve started the game with an unreasonably high debt, and you’re trying to repay it.

So far I’ve only played the tutorial and the first full ship. This game makes me think of that big trend of countless janky, first-person sim games like “Car Mechanic Simulator” or “PC Building Simulator”, but it seems a bit more polished than most of those.

The controls are incredibly fiddly and complex because you have to maneuver in zero gravity. The most annoying thing to me is that your mouse look (or in my case, controller look) has intense momentum. When you move your camera, the camera has to ramp up in speed, and then it has to slowly come to a stop at the end, usually overshooting the spot you meant to look. At first I thought this was a bug, but apparently they’re trying to simulate the inertia of, like, rotating your head in space… or something. It feels TERRIBLE, especially because the game is constantly asking you to make precision cuts in spaceship parts. It’s so hard to get your reticle in the exact spot you need it when it drifts every time you move it. I know eventually you can upgrade various parts of your suit and toolset including your thrusting mechanisms, so maybe you can fix this later with an upgrade.

Aside from the terrible controls, I actually kind of like this game. It feels really satisfying to methodically strip a spaceship for parts. Especially if upgrades help the controls, I could imagine this as a great game to play while listening to music or a podcast. The writing is alright; they lay on the corporate satire unreasonably thick, like whenever you’re in a story bit it’s 5 jokes about bad workplace policies per second. But it’s kind of funny how hard it just blows your hair back right from the start.

The game is sort of hinting that I’ll find, like, data dumps and artifacts on some of the ships I break down, so maybe it’ll go in a weird cool direction.

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There’s brake controls the game should have taught you early on. Possibly Q and E together? They stabilize, absolutely, both translation and rotation (and work while you’re cutting stuff). The inertia comes not from turning your head but from the fact you’re turning your entire body with small thrusters on your jetpack, so of course it’s janky. The controls only seem unwieldy at first, learn how your grapple and brakes really work and you’ll be spider-manning around in no time, independently of upgrades.

I don’t feel it goes in nearly as interesting a direction it could, sadly. I was playing it from the first beta and I feel it became less interesting as it got more complete. Also the game’s biggest weakness is it’s supposed to be a workplace from hell but the actual work gameplay is intensely compelling so there’s some serious dissonance at work, so to speak.

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I played and enjoyed Life is strange

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there is so much backtracking in super paper Mario that I can HEAR rudie telling me that it’s horrible and to stop playing AND INSTEAD I’ve decided to make all the recipes. then I unlocked flopside and met the sister who wants TWO ingredients! more backtracking! I love this game. I love seeing every room 100 times but flipping anyway cuz WHAT IF I MISSED SOMETHING OR HAVE A NEW POWER THAT MAKES THIS PLACE NEW

I’ve had the ‘you found a pixl’ song stuck in my head for a week (on top of like 40 versions of orcinoco flow layered on top of eachother screaming in my head cuz I had to spend 2 and a half hours sailing really far in gemstone to get a pink camouflage cuttlefish. like why us my brain doing this. why are there so many different pitches of Enya saying SAIL AWAY please brain, have mercy. how about a little backtracking in super paper mario as a distraction

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a more talented person than I would just make this song but i am having a lot of fun imagining that hellscape

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actually i did kinda make this song for Tom’s Diner:

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Encountered the first white dragon and was rewarded with an invincibility potion, numerous bags of points and a crashed screen transition

Classic stuff

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I finished Fatal Frame 3 last night. It has a lot of the same problems that I noted while playing the first game two years ago, like a convoluted story, lots of repetitive backtracking, frustrating enemies. But it has a lot of good to it too, like an interesting structure with a hub from which you depart to explore deeper and deeper into a dream manor where a loss and guilt burdened ghost haunts seeking vengeance. Emotionally, FF3 is at least trying to do something that, in the vein of like Pulse or Ringu, imbues a lot of sadness into the curse agony its characters and supernatural entities experience. It is also a very pretty PS2 game with lots of nicely detailed rooms decorated with lovingly weathered sub 720p textures. All of this is, as usual, held together by excellent sound design which only enhances the creepiness of the really creepy looking enemies and images. This place feels horrible. The best piece of music still belongs to the very first room in the entire series, which is also in Fatal Frame 3 for story reasons:

This is a cool sequel for fans because it’s one of those that synthesizes a lot of the past to make something that, within the context of its series, is just distinct enough to really be appreciated as radically different in some ways. There’s too much to list here, but the combat is a big improvement and is much more engaging, and so is exploration albeit I found it also kind of a slog.

Still, I haven’t played Fatal Frame 2 in a long time and I wonder now if that game is really just special or if it also suffers from similar problems that I now know the first and third do. I remember that the gameplay, story, presentation and basically everything about FF2 was seriously creepy. It was one of the last games I can remember feeling like I just couldn’t deal with at certain points. Beating it was a big moment that changed how I would play scary games, I felt braver after that.

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I’ve said it before, but this remains the only video game to ever make me yell out in fear.

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i played through all of For the Frog the Bell Tolls, which i remember really liking, and i still do. its really charming with it’s spritework and ditty little tunes, and it doesnt take itself too seriously but except for some fourth wall breaking moments still presents the island and its people as something with more thought put into it then throwaway gags. the plot itself doesnt make any sense once you think about it after its big twist at the end but it also doesnt need much thinking in the first place. you just kinda go from place to place. the gameplay itself is neat, with its fight mechanic basically making each upgrade feeling necessary and useful: youre not gonna win that fight against an enemy more powerful then you if you dont have that extra heart that was down the side path near him. its gameplay is more about exploring its little world and doing little quests for little characters to remove road blocks and solve platforming puzzles which wouldnt work so well if i didnt think of it as charming as it was.

however, it got kinda frustrating towards the end, even though its only a few hours long. for one thing, if you get stuck in a unwinnable fight, you really cant do anything to get out of it if you cant escape (which, most of the time while youre a frog, you cant), which usually means ending back up at the nearest hospital. there were some moments during the platforming bits that felt cruel in that way, where if you messed up a jump or went a wrong way you’d end up in a fight with a bat or snake that’d make you lose, causing you to go all the way back to the hospital and spend the time traversing the world and redo the platforming up to that point again. which, wouldn’t be so bad if i wasnt also worried about getting into too many fights so i’d have enough health to face whatever was coming at me in the first place. that usually meant either having to mindfully avoid a lot of enemies or just farming certain enemies for health. it just felt like a big time waster at times, which made the story’s constant backtracking more painful. so often you’ll be told to go somewhere to find someone or something, only to find out that thing is blocked/isn’t there, and then you have to go back to the person who told you, and then then tell you you need this other thing first, so you go to do that, and then you head back and then you can go to the thing that you wanted, etc etc. its really silly constant sidetracking, similiar to the trading mini-game in link’s awakening that became popular enough that it got put into every zelda game since, but it just really drained me by the end, even with how short and small the game is. i just wish it was actually shorter or more inventive with its time spent with me i guess?

also, played through as much of bug fables as i could before it got taken off gamepass. i think i got through halfway of the game before it did. i really liked it, i love bugs. the combat is… just paper mario, which i really enjoy, except maybe with a few additions. i havent played thousand year door in years so idk if any of the stuff like the position of your party member mattering during battle is in there, but its neat once i realized it was a thing. all the different bug designs are so cute that i love talking to all the npcs when i visit different towns. leif is system representation. its bug boys: the video game. i wish it didnt get taken off while i was in the middle of playing it :frowning:

kirby and the amazing mirror is confusing to me. its a symphony of the night but if you go down the wrong path you cant really go back until you reach a goal. there are certain pathways blocked by certain blocks that idk what powers can break them. and every power you get can be knocked out of you in one hit. it feels so rough around the edges that its attempt to be a regular kirby game is holding it back, it feels like. like it was torn between making a bunch of stages with secret exits and a metrovania or w/e that it made both, which has resulted in me accidentally playing the same areas over and over again because i cant go back to the start. idk if ill play this for long.

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Writer: Yoshio Sakamoto

Suddenly reminded of the apotheosis nadir of this man’s use of this design pattern: the segment in Other M where you get (authorization to use) the Wave Beam.

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Super paper mario’s like 10 years old at this point but the part where you can transition to 3d is still pretty cool.

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I just hit launch on Fortnight

Dear god

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soup no

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can you still get the emo calico?

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It’s Good

Yes, it’s part of the battlepass which will last until the end of the year

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I think I got the best ending already after walking into some kind of vortex like a minute into my first round

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This game’s sick

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