NSFW Best Thread Ever [No SJW-related posts allowed]

RK47 · May 28, 2016

Caim · May 28, 2016

Wait, why is The Witcher 3 on Origin? It's not an EA game. I know it's on Steam and GOG, but why go there?

Kutulu · May 28, 2016

Moneyz? Theres bound to be like 7 retards that like origin & uplay.

pippin · May 28, 2016

Caim said:
Wait, why is The Witcher 3 on Origin? It's not an EA game. I know it's on Steam and GOG, but why go there?

They have all the Witcher games actually.

But seeing Banner Saga 2 there was surprising for me.

Ninjerk · May 28, 2016

I thought you already had it...

Astral Rag · May 29, 2016

markec · May 29, 2016

Unkillable Cat · May 29, 2016

*watches Guru Larry Video*

# The Keio Flying Squadron blunder is not new. PC Format did the same thing with Robocod in 1992 (1993?) - the demo included on the coverdisk locks out the player after the first two levels, but the password select option is still in, giving players direct access to the rest of the game...though the sound is missing. I did this myself back then.

# Likewise with The Cauldron/Evil Dead mistake. I bought Mickey Mouse for the Amstrad CPC back in 1988, only to find out by accident that there was another game on the B-Side.

Havoc · May 29, 2016

You must be fun at parties.

RK47 · May 29, 2016

LESS T_T · May 29, 2016

GamesBeat: On the choice issue, when Amy gave her talk in Montreal, Warren Spector was there. He was one of the guys advocating player agency to determine how the game progresses or turns out, how the story goes. He always felt Uncharted was the ultimate in not giving the player a choice in where the story goes. How do you feel, philosophically, on this point? You have a story to tell, and the story gets told.

Druckmann: You hear this argument from both sides. “No, games are meant to have interactivity, therefore you must have agency.” Or, “No, it has to be mechanics.” I think it’s pretty ignorant to say any one thing defines gaming, when gaming is so broad. Some games give you so much narrative choice and they’re beautiful in that way. And there are games like Uncharted 4 and Last of Us, where in removing that choice and getting you to see the world through a specific point of view, you see the world differently. You question the choices in the game because you are connected through these other parts that are interactive. To us, what’s beautiful about games is that spectrum, that they can occupy all these different spaces.

Straley: To put your foot down and say it must be this way is limiting possibilities of creativity. As well as everything Neil said. I don’t understand the argument. I don’t understand why it has to be so dogmatic.

Druckmann: Think of Her Story. I don’t know if you’ve played it, but it’s this beautifully told game that, when you think back on it, is completely linear. You’re just uncovering chunks. You can’t affect the story in any way. But how you’re unraveling it, because of its simple interactivity—you feel much more engaged with it.

Straley: There’s no right or wrong. That’s our biggest thing. Even when we’re trying to think of story ideas, mechanics, interweaving the two and so on—we have to free ourselves up and ask, “What if?” Anything is possible. We always have the limitation of, we have a joystick in our hands. But to limit yourself is—

Druckmann: I’ll give an example that goes back to what you were saying earlier about filmmakers. Working on the film adaptation of Last of Us, writing that script and looking at that version—it has strengths to it, for sure. But there’s the moment in the game where you’re playing as Ellie. It’s going to happen the same way every time. People will take control of her at that point the same way every time. Whenever they get to it, though—we watch focus tests and they say, “Oh my God, I’m Ellie.”

That’s such a magical moment. It’s hard to articulate why that works. Just moving that character. I’m not really affecting the story. You’ll progress the same way every time. But people connect to that on such a deeper level than they would in a passive medium, even though the narrative beats are the same. Again, I don’t know how to articulate, but there’s something magical about it.

http://venturebeat.com/2016/05/26/naughty-dog-after-uncharted-4-does-hollywood-beckon/

(For Spector's part, while he is evidently a player agency evangelist I don't think he ever was dogmatic, at least not consciously.)

Perkel · May 29, 2016

drunkman confirmed transkido

Unkillable Cat · May 29, 2016

Havoc said:
You must be fun at parties.

Thank you! You're the second member of your family that says that to me. (Your mom says "hi" BTW.)

You hear this argument from both sides. “No, games are meant to have interactivity, therefore you must have agency.” Or, “No, it has to be mechanics.” I think it’s pretty ignorant to say any one thing defines gaming, when gaming is so broad. Some games give you so much narrative choice and they’re beautiful in that way. And there are games like Uncharted 4 and Last of Us, where in removing that choice and getting you to see the world through a specific point of view, you see the world differently. You question the choices in the game because you are connected through these other parts that are interactive. To us, what’s beautiful about games is that spectrum, that they can occupy all these different spaces.

Games can be just like films, books and other non-interactive media, therefore they are awesome. What's more, we're supposed to enjoy it when choice is taken away from us. :retarded: