something about this feels…unnatural
maybe just because we’ve been talking about Breath of Fire lately
The voice over made me think of this.
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Whaaaat? On the Switch? That’s awesome
Wow this rules, the switch is too much for me lately.
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Definitely going to tie myself up with a cord this way
I learned that I’m not an ambi-turning once I used VR and the cord is inevitably twisted clockwise
Was Wasteland 2 good any good?
I think the Felix Plays Every New WRPG Opinion was: decent I guess, but does nothing to stand out against some of the truly remarkable stuff that’s come out in the past half decade
2 Likes
I think Wasteland 2 is unfortunately underrated because it was so early in the WRPG revival and it looks so much like a bad unity asset-flip game at times. It handles choice and consequence style play more profoundly than most games, especially in the second half of the game but it critically missteps early on by announcing those intentions too directly, making it seem like a hacky Bioware style “Your choices matter, but not really!” affair when in actuality it goes further than even something like Alpha Protocol for enabling huge variance in player experience.
Its jank but its appealing jank.
It was also marred, early on, by terrible UI and glitchy combat
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When Wasteland 2 came out there were almost no screenshots or videos of it anywhere.
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I have never played Wasteland 2. But they released a major patch later on, which overhauled the game quite a bit. It’s probably better than early reviews let on.
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I was a backer and quit playing Wasteland 2 after a couple of hours once I realized I was spending more time rotating the camera than anything else. I always felt like I was missing something if I didn’t look into every corner. I wish RPG devs would just stick to fixed perspectives that show you everything you need to see.
Does the director’s cut do anything to address this? Otherwise the game seemed pretty good.
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Not to be that bitch but without an Oxford comma…
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This is a very good description of how Steam works and Valve’s role in creating success stories:
If you built a business on Steam in the Curation + early Greenlight eras it’s entirely possible you learned to make games for Valve staff and for Insiders — and not games for the actual Steam audience. That can kill you in the current market.
The author notes the market impact between the hand-curated store, when every game was hand-picked and got millions of dollars of free advertising; the Greenlight era, when games were allowed on but Valve was still transitioning out of hand-selecting the featured games and corresponding success stories they were creating, and the modern era, where Valve algorithmically doles out marketing to games people are playing and highly rating and buying (as someone who has worked with Valve and personally known Valve folks across these periods this is accurate to how they internally see it and why they wanted out of a restricted platform).
And with this clarity, I think it’s easier to talk about what value a place like itch has, and specifically its utility as a scene instead of a store, where feedback and creation are greater remuneration than, well, remuneration (because ain’t nobody making any living money on itch).
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