Oh wow, that's a blast from the past!. I was a big fan of Boiling Point even though it is quite possibly the most consistently broken game I have ever played. As such I held a small flame for The Precursors for a fair few years. A real shame Deep Shadow's ambitions massively outstripped their abilities. It's a sage warning though - a great trailer/demo does not guarantee... well... anything, really!
eulogize_my_baked_goods's forum posts
The inference in the OP seems to be that you can't comment on something unless it directly effects you. I think that ultimately this is a rather blinkered world view. Does that mean that as a white, middle class man I can't comment on my dislike of racist, sexist or any other attitude I dislike/disagree with? It may well be that your opinion ends up being more relevant through association but that does not invalidate mine. It also doesn't mean I'm 'white knighting' or trying to 'protect' other people - I'm just voicing what I feel. In essence this is all that Patrick was doing - commenting on something he found distasteful, even though it does not effect him as directly as you - and within this context I see no problem with his words in the slightest.
Note that within the cringe-worthy context of Joel's terrible script (which he himself was obviously gritting his teeth through for the entire show) and the general knuckle dragging tone of the last nights VGX I think PK's words were pretty much on the lighter side of what they could have been. Calling him out in a thread like this seems... weak.
So the big question then is, how much of this demo was projected game/gameplay, and how much of what we are seeing currently is actually just aspirational. In short, I want to believe that the scope of this game is as suggested by the trailer but am equally open to finding out that things are a little more 'critical path' as long as the game is good.
So that trailer is pretty killer, but I'm sure I've seen that 'ground-to-space' tech in an engine demo from a few years back. The idea is not that new but it's implementation in a game engine is still pretty unique. I can't help but wonder if this is the same people and that this is the actual game that demo developed into. Does anyone have a clue what that demo was and what I seem to be miss-remembering?
This game captures brilliantly not only a place in time, but also the memory of a certain youthful energy that I also found surprisingly impactful. I'm 34 now and as with many people my age I'm seeing the achievements and explorations of my youth disappear into the middle distance, replaced by the inevitable mundanity of adult existence. Although my own story is very different from those depicted in the game, Gone Home brought all of those emotions flooding back. In many respects it's the first game version of something like Dazed And Confused or High Fidelity that I've seen in that it depicts a world overtly nostalgic but also succeeded in evoking a real visceral reaction within me. I really think Fullbright have created something very special here; a game that neatly sidesteps the many "not a real game" arguments by just being so damn effective at what it sets out to do. I can't wait to see what these guys do next.
BTW, ever since playing the game I can't get Genesis's Home By The Sea out of my head! Completely unrelated but in an odd way oh so appropriate.
It's a dawning realisation that Ryan has been a persistent part of my life, week in week out, for the best part of 10 years now. I did not know him personally but feel like I did, and this news has been a real shock.
I can only offer my most heartfelt wishes to the GB family and all of his loved ones.
To paraphrase; I'm a Ryan Davis fan and this shit is fucked up. :(
All I can do is echo the sentiment (the one Jeff often makes) that backing a Kickstarter project should not be seen in the same terms as making a pre-order. This is an investment in a group of people, an activity, or whatever creative endeavour is at the core of a specific project. It's far from a strict contract in the, "I'm buying this fixed thing from you with this fixed sum of money with the expectation that it will arrive within this fixed time frame." Having said that, the documentary has in no uncertain terms been absolutely fantastic and worth the money I invested all on its own. Imagine the Bastion project the GB guys ran but filmed professionally and with a much more coherent voice, detailing the trials and tribulations of life inside one of my favourite development teams? Hell, if the Kickstarter had just been for the documentary I'd have backed it, but instead I'm actually getting the chance to watch - and partake in via the backer forums - the development of one of DoubleFine's next games... and then I'll get to play it ahead of anyone else as an added bonus! Pretty good value in my book, all with the proviso that this is more a vote of confidence in a group of people and if I don't know how things are all going to play out ahead of time, well that's just the way it is. Something I am completely accepting of.
A couple of thoughts regarding Infinite's combat.
This is a game, not a movie, and as such it is left to the player to decide the path they take through combat sections, and indeed just how far to push things. Of course, you can spend your entire time executing every last enemy in an area for the maximum gore factor. However, you can also resort to more standard gun fighting from a 'safe' distance or even spam your vigour's ad-nauseum, getting your enemies to fight your battles for you. In general I was pleasantly surprised with how flexible things can get, and indeed the scarcity of resources within the world encourages you to experiment with different approaches far more than the original game ever did. In short, it is left up to you as to how light or dark things get during combat... which brings me to my second/main point.
I think you really do need the context of the games ending to appreciate the level of violence on show. Booker/Comstock is a man straddling a bloody divide - on one side he is a man fighting his demons, and on the other a man who has succumbed to them. The game does not tell the player this explicitly until later in the game but I do think that the jarring nature of the games combat manages to bring this into hard relief far earlier than the story itself does.
Early in the game Elizabeth flees from you, finding your actions far more terrifying than those of her previous captors. Indeed, for the rest of the game she is never totally relaxed in your company (her consternation toward you brilliantly captured in her expressions) and in general you always get the impression that she regards your motivations with deep suspicion. You play a dark character with a dark history and an even darker alternate history/present/future. Nowhere is this more apparent than in the games combat - Infinite's core gameplay - and in that context I feel it is completely justified.
Granted only in hindsight does this become quite so clear, but I don't think it is wholly the developers fault if individuals decide not to engage with the world they have constructed. Is Taxi Driver flawed because some people will not have the stomach to partake in Travis Bickle's decent into the abyss? No, it is a masterpiece of film making that asks it's audience to come with it on a journey. I would argue the same is true of Infinite. It is a game that places the choices of its central character firmly within the hands of its players - not in an RPG 'pick an action to progress' way, but in the visceral reality of it's core gameplay design.
Edit: Love that Rab Florence piece. It echo's my own thoughts exactly - Infinite is ultimately bigger/better that the sum of its parts... although they are quite good as well. ;)
I'm not sure that the majority of people who actually watched the event would have felt underwhelmed by it, but in general the coverage is just typical of what the internet does in these situations - emphasise the negative in order to attract attention to itself. Remember that we live in a world that demands over the top marketing and feeds off of overzealous promises (something the likes of Apple have excelled at), even though we all know in are heart of hearts that these statements barely ever pay off. In that regard I thing Sony hit a nice balance where the people who really do care (developers and the platforms core fans) will likely have come away with the reassurance that they weren't just going to repeat the mistakes of the past. As someone who last owned a Sony console in the PS1 days I can say that I was highly impressed with what I saw and came away much more positive about the Playstation's future than I had expected I would.