#16 Ready Player 4
In my first entry about Sekiro, I wrote mostly about the game’s difficulty and my belief that the experience would not be harmed by the addition of an optional easy mode. What I didn’t mention is my secret ulterior motive. After all, I play the game on the “normal” (ie, only) difficulty level, which is probably what I would play even if there was another option. But if there was an easy mode, it would be easier to talk about this game without talking about the difficulty, which is what I’ve wanted to do all along.
FromSoft games are good in several different dimensions. Their visual styles are typically consistent and evocative, their storytelling and worldbuilding are effective without intruding on gameplay, they reward exploration, and they have high replayability. They’re also good in areas that we’ve fallen out of the habit of talking about. Their level design, for instance, is excellent. Remember that? “Level design”? Once upon a time, in the days of John Romeros gone by, level designers were the rockstars of game development. In today’s games writing, the phrase is only occasionally seen.

Therein lies part of the difficulty of talking about them. They’re good in an way that eludes the usual language we use to talk about games, which is why their fans so often fall back on terms like “throwback” or “old school.” In some ways, this is surprising. Nostalgia games are their own genre now, frequently featuring pixel art, sprites, 2D platforming, or some mix of the three. FromSoft games are not part of that genre, nor are they in particularly close proximity to it. Sekiro, in fact, has several concessions to simplicity, such as simplified crunchThe voluminous attributes of the Souls series have been condensed down into what are essentially “damage” and “health.” and a tutorial systemAn NPC in the hub area volunteers himself as your training partner and explains various game mechanics to you.. In other games, those on the higher end of the grognard spectrum would be deriding these additions as “streamlining” or “hand-holding,”Predictably, some people are in fact calling them that, but not as many as usual. and yet Sekiro retains its sense of being a throwback to an earlier age. What gives?
Continue reading 〉〉 “Sekiro: Shadows Git Gud, part two”
Like I said at the start, you can’t really divide this story into a tidy three-act structure. It has a beginning and an ending, but between those points it’s built less like a movie and more like an open-run comic book where you chain stories together. That makes a lot of sense, not just because this is a comic book story, but because mapping three-act movie structures to games has always been difficult due to the radically different pacing and runtime of these two mediums.
In terms of structure, it’s a bit like a soap opera. You have your A plot, and then you introduce a B plot, then A sort of wraps up and transforms into a C plot, and so on. You’ve always got at least one plot open because the story can’t end.
Even though I can’t really divide this story into tidy acts, I will say that I think we’re done with the introduction. The writer now has their major pieces on the board. The Kingpin is in jail, leaving behind a power vacuum. The Demons have stepped into that power vacuum and are grabbing Kingpin’s property and armaments. The story has hinted at something called “Devil’s Breath” without telling us what it is or what it does. Peter and MJ are both involved, but they’re not working together yet.
Now it’s time to up the stakes.
Continue reading 〉〉 “Spider-Man Part 11: The Osborn Rally”
My column this week revisits some of the ideas a I touched on during my Batman series, where I made the case that difficulty is a multi-dimensional problem and too often we reduce it to a single linear scale. Mostly this is an attempt to un-stick the usual arguments about difficulty so people stop talking past each other. I’m not trying to stop the debates on difficulty. I’m just hoping the debate can move in a more productive direction if we can make our arguments clear.
Also, I know we just had this debate last week when Bob Case talked about it, so this will be familiar territory for most of you. I’m not trying to beat a dead horse, I’m just trying to keep my Escapist content relevant.
There’s a little drama that plays out every time a new Dark Souls game comes out. It goes something like this:
Continue reading 〉〉 “Experienced Points: The Difficulty of Talking About Soulsborne Games”
If you’re reading this series, then you’ve probably already heard the news that BioWare says they’re not done with Mass Effect. Of course, they listed Mass Effect 3 and Andromeda as possible launching off points for future stories. Their first instinct is to build on the games with the weakest stories, which probably indicates that any future titles would be more of the same.
Guys! Mass Effect 2 is the fan favorite! Sure, story dorks like me would whine all the way through it, but it’s the strongest in terms of fan support. If you’re going to copy a previous game, copy the popular one!
I think it’s safe to say that BioWare is now completely divorced from their brand as developers. Andromeda was their big chance to start over with a clean slate, and it was a sad imitation that missed the point on every level. This is a company that banks on their reputation as storytellers that no longer knows how to tell a story.
But Shamus, this game came from a new studio! This shouldn’t reflect on the rest of BioWare!
If anything, that’s the most damning fact of all.
Continue reading 〉〉 “Andromeda Part 25: BioWare is Dead”
We have an extra-long show for you this week. Note that I’m not promising it’ll be the same quality. I’m just saying there will be more of it.
Show notes: Continue reading 〉〉 “Diecast #251: Risk of Rain 2, Satisfactory, Anthem”
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