That was actually kind of good.
Whoever decided that secret rooms don't count towards map completion is an asshole though. What the fuck is the point of listing an area as 100% complete if there's still secrets in it?
/v/ is usually right. If you like a certain genre and /v/ recommends something in it, it's gonna be good.
/v/ is only 'wrong' when people play games they know they won't like because /v/ recommends it.
If you don't like rts you aint gonna like age of empires ii, that doesn't make /v/ wrong, I know you're out there anon you fucking faggot.
That time that different anons on /v/ said that
Morrowindis better than Oblivion
I'm not a big fan of RTS because I'm not gud, but AoE2 is still comfy as fuck.Who'd say /v/ is wrong for recommending AoE2, of all things?
On topic, because of /v/ I played Blood, the GOAT build engine FPS. You all should try it if you have an old school streak in you.
That's not really a recommendation though, that's just /v/'s general dislike of Bethesda's direction.
Morrowind is the compromise between RPG complexity and an actual playable game.
I bet if Daggerfall actually ran on computers back in the day, you'd find a lot more people saying how Morrowind was dumbed down for shiny graphics.
>/v/ is usually right
Emphasis on usually. I hear about some games that /v/ says is shit, but I hear about it from my friends, and it turns out fucking great and or better than /v/ says it is at least.
much like Undertale to name the most recent one that was great, and Pony Island that I thought was pretty interesting, more so than /v/ would lead you to think
I just beat Ori today after I couldn't pull myself away from it this weekend. God damn is it an amazing fucking game
I still can't believe one of my fav games of all time was recommended to me by some faggot on /v/
It's really good, although it made me realize I was complete shit at video games.
It doesn't seem like it should be that hard but I died about a hundred times. And every death gets counted on the fucking pause screen.
>tfw the owl knocks that boulder down before you complete the valley of the wind and you can't go back
>no boss fights
Such a waste, the kuro escape sequences were horrible substitutes
Ginso tree and the area immediately after it was perfect though
That was something really interesting. The lack of boss fights was really conspicuous, especially when you have those forced mini-encounters with DMC doors which are like bossfights, but not satisfying or unique.
I think the game would've been better with boss fights, but then I heard the developer commentary specifically about how they decided early on they didn't want boss fights.
>That was actually kind of good.
Which is why at the time it came out and I played it I saw the majority of people here throw autism fits and shit on it for being an indie platformer
Just beat the ice section.
The "contrast" complaint really came into play here.
>blue/white enemy that shoots multiple blue/white projectiles with a delayed blue/white explosion
>against a blue/white background
>while you try and manuver around as a pure white character
Also, I dont think introducing the "gravity cubes" by throwing you in a spike pit with no context was good game design.
You can change your color. Left, up, right, down, up, up, up, jump, I think.
And yeah, that gravity shifting didn't feel like it got quite the introduction it should have. That's where I felt the indie-ness come in consistently. Didn't have the sort of Nintendo game slow ramp-up introduction for new mechanics.
I just realized that there are people who consider Ori hard
This game is so disappointing after bastion. Also it is a retread of Bastion's plot. I wonder if every game they do will involve the world disappearing.
I don't think the triple jump trivializes any of the stuff I considered hard.
My two difficulties throughout the game were losing tons of progress because I'm retarded and didn't save enough and the chase sequences. The latter kind of hurt the game for me because you have these beautiful chase sequences with this great music, and I'm trial-and-erroring my way through after running into every jagged surface.
I'm not really into WRPGS but I thought pic related was great.
I liked that it was a metroidvania emphasizing platforming over shooting and managed to be quick and satisfying without being Super Meat Boy floaty. I really can't stand everything Super Meat Boy and N+ brought to the platforming genre.
Any other games like this I should play besides Knytt?
That is depressing. It's probably just a misguided expectations thing though, like how Wonderful 101's difficulty complaints are exacerbated by the fact that it looks like a kid's game. You don't think anything with that introduction's actually going to push back or ask you to do things that require some finesse.
I tried Bastion a while ago but was instantly put off by it. Didn't like the art style, the narration, the gameplay didn't seem particularly fun for me, and overall it just bored me to tears for what little I tried of it. So I didn't even try this one.
>You don't think anything with that introduction's actually going to push back or ask you to do things that require some finesse.
I sure didn't and that's probably the main reason why I ended up having the time of my fucking life playing it. I went into it completely blind expecting a 2-3 hour long "artsy" game with pretty minimal gameplay and the intro only reinforced that, but then the actual game began and instead I got a really fun platformer metroidvania.
People think it's too hard? I mean, the game literally gives you save states. If anything, it's too easy and too dependent on gimmicky mechanics that have some shitty leveling system attached to it for no good reason ata ll.
Also, the plot has no weight. A fat dude kidnaps a not-stitch who eventually finds a navi-ripoff that has to narrate all of the terribly written lore. All of the super positive steam reviews rattle off how it's some kind of narrative masterpiece that'll bring you to tears. I was bored to death by the overdramatic shitty intro cutscene and nothing else about it seems touching.
Its only redeeming factor is decent artstyle.
This whole post made me laugh. Thanks, anon.
Have a giant grasshopper for your exceptional comedy skills
>All of the super positive steam reviews rattle off how it's some kind of narrative masterpiece that'll bring you to tears.
I will never understand this, the story is easily the worst part of the game and the intro is so melodramatic that there might as well be a big sign saying FEEL SAD
I guess that's the other way it can go too. I think that we're all too used to games having to wear even slight difficulty as a bullet point on the hypothetical box because the bar's been set so low.
I died a bunch, so yes, it is more difficult than a lot of other games.
Also don't be a fag. The plot is a nice addition to the game. It's simple and heartfelt and doesn't get in the way or get up its own ass. It's like Super Metroid, that's all you need.
You don't have to be a cynical cunt about everything.
Ori is easily my GOTY for 2016. Getting 1000/1000 was one of this most fulfilling vidya related things I've done in a very long time.
It's lulzy how many people can't beat it.
I'd say it was more challenging than hard, which I liked.
The plot mightnot have been great, but I didn't care I had running and jumping and walljumping and triple-jump-into-enemy-kick-into-feather-glide-into-triple-jump-into-more-walljumping-into-now I'm across the map to give a shit about anything else. Also I loved the escape sequences and am personally kinda glad that they didn't have checkpoints.
It's not like Super Metroid though.
In SM, the intro cutscene is less than 2 minutes. After that, you have full control of Samus and learn everything that you need to know through actual play. The intro space station stage puts a new player through the emotions: confusion, anger, fear, etc. all without having to forcefeed information.
In Ori, we get routinely stopped by the navi-ripoff to hear another pointless story about some ancient being that doesn't matter at all. This is far from simple and heartfelt, it's fucking annoying. The game didn't need this at all.
I'm not trying to be a fag about this, I just refuse to give it a pass for something so obviously bad.
You're talking about like three lines when you're getting an ability or reaching a landmark which is just flavor text describing what it is or what it does. It goes away as fast as you can click a mouse button.
You're just nitpicking as a reaction to all the idiots blowing the story out of proportion in reviews because they're huge saps. You're also blowing the story out of proportion but in the opposite way.
And my point is that if the devs actually understood Super Metroid, they wouldn't have considered flavor text in the first place. They would have actually implemented plot related elements into the environment itself.
Instead of flavor text, actually show how the world came to be. For the abilities, create living spaces or war zones that reflected the personalities of the ancient beings. Each ancestral tree could have had artifacts strewn about allowing the player to come to their own conclusion about why this person was important or maybe why this person failed to overcome their deaths.
The same concept applies to the pointless 10 minute long intro cutscene that Ori has. It's seriously overdone compared to SM. Ditto to the oh so emotional tree text that floats in the background as if you're some deaf person that needs it.
But that's not what they were going for. Not everything needs to be some wordless affair where the story is solely relegated to background fluff. Some games are fine like that, but what they wanted was a simple direct narrative with clear characters, probably to fit in with the storybook aesthetic. It's blunt, but that isn't a bad thing.
And when I said it's like Super Metroid, it's because it has that simplicity where the plot is good and makes a simple addition to what's already there. Super Metroid didn't need its intro, it didn't need the metroid saving you, but it's there and the game is better for it.
Also you are deaf for the purposes of the game because the tree talks in a fictional language. Of course you need text.
That's where you're getting things confused though. I'm not arguing for simplicity, I'm arguing for more meaningful design, more intentionality and care to the world and characters so that the player is properly motivated.
SM does an excellent job by setting up a straightforward galactic threat by showing how the Space Pirates are back in business. And more importantly, it turned the Metroid saving scene into a crucial plot point since you were expecting to have to put it down. Throughout the game you expected it to be the main threat that the Space Pirates were exploiting only for it to save you instead.
Ori on the other hand fails to make me care about its world or its characters. So what if a bird steals something from this tree I know nothing about? How does that impact the rest of the world? We see food grow scarce in one forced cutscene, but there's little to go off on how that matters. There's nothing afterwards in any of the environments that indicates that all of the animals are all dying of starvation or that there's anything really wrong aside from tons of spiky plants.
>Someone enjoying video games triggers me
All five games I mentioned provided enough entertainment to justify the price of admission. Ori was a beautiful, fun, challenging game and going 1000/1000 took months and was a blast. Halo 5 is the best console multiplayer, period. Bloodborne is the second best souls game gameplay wise and the setting was top fucking shelf. Witcher 3 is about as good as open world gets
until Crackdown 3and gets bonus points for dropping the mic so hard on Fallout 4. Rare Replay is amazing value for money. I don't even own a gaming PC. You mad.
But it was very clear. The food grows scarce, everything dies, water's poisoned and you fix it, all of the Gumo are dead and you fix the thing that they were trying to fix, volcano's going to erupt and destroy everything and you almost fix it.
It's all very direct and it worked for me, I cared.
I don't really agree. It probably would work, but I'm fine with the way they did it.
I think we can all agree that it would've been GOAT if the combat was less shallow and forced you to utilize all of your abilities and if there was some sort of newgame+/hardmode to add more replay value.
Definitive edition's coming.
I really don't know what I'd want them to do with the combat. Make it quicker so that you aren't clicking things for ten seconds whittling down a life bar maybe.
Bash was my favorite thing about the game, so I thought it was great that you could reflect projectiles/throw enemies into spikes to usually instant kill them.
>that one area where you could either go one way or the other and picking the wrong way blocks off the path
>can't go back afterwards
>finish game with 9x% map explored because of that part
That's what the image was referring to
>throwing in Bloodborne to throw off the smell of Xbottery