@getz: would love to see Zombi's permadeath system at work in a game like Fallout, also the real time inventory, and the loot scanner - it's a good compromise for being afraid to waltz into a new area, if you can scan ahead and see exactly what's there.
will the new pc just be a redressed shepard though?
in a cast full of individualized characters we're all expected to play as the generalized savior/not savior, it's the major flaw in bioware's formula for me, would be nice if we could carve more individual paths ourselves this time.
yeh I'm oddly preoccupied with it, i don't usually count the days to a game but I have been with this. i guess because Bethesda are the only ones that provide this kind of experience, and its only once every four years at this stage.
i'm jumping between Sword Coast Legends, Wasteland 2 on the ps4, and the last leg of a no-mage nightmare playthrough of the Dragon Age trilogy, I also started Zombi last night, which seems really cool so far, but all of which will be put on hold on Tuesday.
@imsh_pl: celluloid is not technology based, it's chemistry, silver halide particles reacting to light, hence the need for darkrooms and all that, but a piece of 35mm celluloid from eighty years ago is basically the same as one made today, different film stocks do have very different characteristics, that's why 70s movies look like 70s movies, it's the particular stock that Kodak and Fuji were promoting at the time, but it's the same process now as then, and the same amount of grain, you can't change that, it's those little halide critters, you get more noticable grain in 16mm because it's half the size, projected to the same proportions, and with 70mm it's much less noticeable. Also, if you use insufficient light for your shot, and rely on the film stock to compensate for an exposure, the grain becomes more noticeable, and if you use tons of light, and can close your aperture right down as a result, it's less noticeable. But they knew all these tricks way back then.
technology arrived late in the game, and took hold because video is cheaper and easier to manage, but only now is it catching up to what celluloid film can do.
I wasn't hyped for it, but i like atmospheric games so i picked it up, and then I was so impressed with the performances and the dialogue during the first hour... i got excited. and then... the rest of the game happened.
i can forgive a lot of the game's problems, even the tedious pacing it has, and the awkward gameplay elements that don't flow well at all, but what i cannot forgive, in a game that revolves around decisions i'm supposed to make, is being landed with a series of premade choices on the part of the characters, not only that I wouldn't make, but that no-one would make, completely illogical decisions that could've been avoided with story dynamics that are readily available, the story is overloaded with premise to begin with, the one advantage of that is you've got lots of ways to move things along, you don't need to also throw the plausibility of the well written characters out the window.
to explain exactly what i'm talking about...
it starts when Mike wants to shoot Emily for being bitten, just on a random hunch, which is not believable at all, then he decides he doesn't want to wait a few hours where it's safe, he wants to leave now, because... well, no reason. then the others decide they need to go after him, because... no reason, except... to save him? then one person gets separated because she wants to close a manhole cover after them and the others are like 'okay but we have to go on, can you catch up?' - i mean, is this a joke? is this a horror movie joke? either way it's awful, it goes against all the hysteria and fear that's been established.
in a game where there's monsters running around, and there's all kinds of falling and sliding and crashing - why not have them pressured out of the basement by an attack? then separated by some physical event? Same result, you get them wandering around alone, but the decision making stays believable. And if you want Mike to shoot/almost shoot Emily, plant a theory that suggests bites cause infection first, that way he has a reason, and it stays reasonable. Because after that i felt like the one integral pull the game had for me as a participant... was not at all respected, or even understood well enough.
if the game didn't seem so professionally put together i wouldn't mind, but as it stands it amounts to a bit of a masquerade, burdened by far too many unnecessary things - those totems, those recap sequences, a million jump scares that don't work - all contributing to a lack of story balance that undermines the work that's gone in, and including a few obvious plot fumbles that just should not have been allowed. If you ask me Supermassive need to get their core story skills honed before they go hiring ace dialogue writers and excellent cast, and the whole industry needs to realize the challenge that lies in making these types of games, it's tough, and when you mess it up, it feels like adolescents playing at making movies.
Resident Evil Remake. I've always disliked horror games, yet somehow have a deep, deep affection for RE1, 2 and 4 (as well as Silent Hill 2). Chalk it up to industry trends I guess. Yet somehow, all these years later the Resident Evil Remake remains its own, utterly singular experience. Games are still chasing after it more than a decade later.
forgot about that one, makes my top 5 for sure. this is one of the problems with a digital collection, you can't just look at your shelf for your game history anymore, trying to think what's on what console, i may have to do up a list on here for future reference.