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IlyaP

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Everything posted by IlyaP

  1. Well this is a pleasant surprise: https://www.pcgamer.com/the-cyberpunk-netflix-show-is-taking-over-the-2077-mod-scene/
  2. HALF A BILLION DOLLARS?! Fuck me like a virgin goat! What the hell are they spending all this money making? What kind of game necessitates this kind of insane budget?
  3. BWAHAHAHAHA! *falls over* THE FINEST MUFFINS AND BAGELS IN ALL THE LAND FOR YOU, @Ran!
  4. Wowzers. @Ran I've been following a guy on Forbes, who did a 1.6 patch review. From what he wrote, it doesn't sound like a lot was added? That sound about right to you and @karaddin?
  5. Finally finished the final chapter of the Tomb Raider Survivor trilogy: Shadow of the Tomb Raider. It's been nearly two months since I began my revisit of the Survivor trilogy, and this final chapter feels the most conflicted. For one - this was primarily designed by Eidos Montreal, and sought to explore far more complicated themes than its predecesssors - including play narrative, colonialism, history, and (half-heartedly) theology and myth. It's not entirely success, and the cosmology set up in the first and second game seem at odds with the direction taken by this installment. But at least it tries. SotTR also openly criticises Lara Croft, her actions, decisions, etc. - and by proxy the player and (potentially) its previous designers/history, which introduces new questions that...are never fully explored. Despite that, the art direction here is top notch, the coloring much richer than in the previous two games, and the return of the grappling hook is a welcome addition. It also features the strong score of the three games, with music from yet another new composer: Brian D'Oliveira, whose score features a variety of South American and European instruments and brings in several new themes whose composition styles are reminiscent of Bear McCreary. Due to being produced primarily by a different studio, there's a palpable thematic disunion and exceedingly gamified and unrealistic world - particularly in the challenge tombs, which are overdesigned and rely on unrealistic perpetual motion machine mechanics to challenge players. The game tries very hard to make players reflect on their actions, but also brings more depth to Lara Croft and Jonah Maiava, but at the expense of internal consistency and logic.
  6. That was my feeling too. Like, I can jump up to insane areas and see peoples' clothes lines, the heck do I need to be able to go into every single building for? But I understand the position.
  7. An interesting observationt that a friend made: he felt that compared to Witcher 3, the game felt a bit hollow in part because so many buildings were empty and could not be entered, the way they could in Witcher 3. I always found that aspect of Witcher 3 less than interesting, or maybe I just wasn't curious enough. I have managed to access the area behind Pacifica Stadium and found a bunch of unused/empty/transparent assets, but beyond that, it does raise a good question: why are so many buildings not enterable?
  8. D'oh! Thank you @karaddin! (I remember your answer now that you've reminded me!)
  9. What's the appeal of NG+? That one perplexes me. I just...don't get it.
  10. Looks like Cyberpunk 2077 is going to have a crossover with Edgerunners.
  11. Thank the gods that the fans are doing their work. New fixer quests!
  12. But I waaaaanntt a dllllccccc, @karaddin! It's been soooooooo long!
  13. *scrambles to Steam and begins reinstalling CP77 immediately*
  14. I am surprised how much I enjoy it, given that I actively did not like Pathfinder: Kingmaker. The movement speed of the rag dolls is still a little...strange feeling when compared to what I am accustomed to seeing in (say) Baldur's Gate or Pillars of Eternity, but the music is fantastic, the writing is far better than in the first game, and characters like Lenn make it far more enjoyable. I am honestly surprised that I'm enjoying it as much as I am.
  15. Pathfinder: Wrath of the Righteous is my new drug of choice. It vastly improves upon the original, and plays much more naturally, feels less clunky, gets right into the thick of things, and knows where and how to lead players. It feels like many of the issues/complaints raised with the first were addressed and implemented, including (thankfully) the ability to actually rotate the camera, which in the original was only possible with a mod.
  16. Have started a new job, so it's hard to really find time to game, but I've managed to squeeze in a few hours over the weekend and tonight in The Ascent, which...I still don't really know how I feel about it. It feels like Total Recall as filtered through Snow Crash, but with a wretched UI and map integration system and absolutely stunning soundtrack that makes copious references to 1995's Ghost in the Shell. It's such a mixed, strange, ambitious experience.
  17. You know, maybe it's just that I'm tired, but I *legitimately* thought that HotD was an anime series. I saw your comment and thought "Wait, Initial D has a sequel series?!" And then I realised you meant House of the Dragon. And I was a little sadder on the inside.
  18. Why. Why does House of Dragons exist? Several thoughts occurred to me when watching the first episode: 1. Is no one else bored of narratives of succession? 2, It's weird to watch this show and see a world which thinks tall drafty castles with no trees about are to be envied. Seriously? 3. ASOIAF references to the white-walkers? WHY? Given how badly D&D borked the whole concept in the original show, this only works if it's some kind of meta-narrative easter egg to book readers to reassure them that GRRM won't frell it up like the show.
  19. I've completed my replay of Rise of the Tomb Raider (RotTR). The challenge tombs were a bit more gamified than in Tomb Raider: Survivor, but still mostly felt like logical extensions of the world the game presented. RotTR is widely considered to be the best game in the Survivor trilogy, and understandbly so, as it built upon and improved the mechanics of the first game and maintained what worked and jettisoned what didn't - including the desaturated colors. RotTR feels much more vivid and colorful. The game's central mcguffin - the divine source - is a bit vaguer than that of the first game, and leaves a lot to player inference. That said, it's still nowhere near as daft as Shadow of the Tomb Raider's mcguffin. Yes, it is vaguely more science-fictional in nature, but that's mostly ignored - which is probably for the best. On the characterisation side of things: Lara's characterisation in RotTR is a logical progression from Tomb Raider: Survivor, but her motivations seem to be, like the game's themes, all over the map, and a bit of a jumbled mess. A history of the writing process of this game would be extremely interesting to read, to better understand what happened with the writing in this game. The game is also very poorly optimised, with several locations requiring graphical effects to be turned down to stabilise the framerate - even on contemporary high-end systems. Finally, new composer Bobby Tahouri did an excellent job of taking the sonic textures and ideas established by Jason Graves and expanding upon them logically. Onwards now to my replay of Shadow of the Tomb Raider, the final installment in the Survivor trilogy.
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