Blackeyed wrote:I suggest everyone go grab that Silent Hill HD collection for like $30 bucks.
i think there was a kill screen piece up recently that criticized the graphical overhaul of the game - to paraphrase, SH1 & 2 apparently have glitchy animation problems and the high-def removes a bit of the grainy-ness and mystery of the original titles. confirm/deny?
Supposedly the draw distance is significantly improved, which makes the fog less ominous, and yeah I guess there are supposed to be a bunch of glitches, including one that led people to think that a certain scene was censored
butI'm still going to end up buying this, if anything I owe it to myself since I basically wasted twice this amount on Downpour
man, i was wrong about dead rising 2. it's got all the same problems as the first, but the weapon crafting system is a total blast. of course you can't just experiment with combinations, you have to find a recipe for them first and it's bullshit, but it doesn't matter. it's still way cool. i should probably give the original another try
for dead rising 3 they need to overhaul the inventory and separate weapons in breakables and non-breakables, then turn the bulk of the thing into a loose adventure game instead of the radio-fed, quest arrow-led action game it is now. the zombie population should be less random, too, with finite numbers in some areas and legitimate points of origin in other areas where they can respawn, requiring the engine to track their navigation from one location to another. do this and you have a greatly improved game.
i want a zombie game with a strange ecosystem governing the actions of this newly christened lifeform. the microcosm of society that emerges, however bizarre, in the way these beings have to interact with each other and the now unfamiliar world they've inherited is more interesting than the singular craving for flesh. i mean, that singular purpose is frightening and compelling, but it needs more context than any game has been willing to give it. think of the effects of starvation and how that could play into unique encounters. or zombies that only react to your presence. you can even accomplish those one-off moments within a semi-procedural framework, unbound from pure linear game design. if you can pull that off, you'll have something special
sorry to break the super metroid conversation up - i basically always want to be talking about super metroid, but;
last night i finally got around to playing terry cavanagh's at a distance, which was predictably genius - i've mentioned it before, but if you don't know what it's about it's a first-person co-op puzzle game where you and a friend go around two apparently-unlinked worlds and actions in one affect what happens in the other. it only really makes sense if you play it side by side so you can both see the two screens, as it would be all-but impossible to work out what's going on.
the visual/audio aesthetic is just marvellous - it feels like myst, in its abandoned mildly sinister way, and there's one major aspect of gameplay that's positively unsettling.
i don't want to say too much about the gameplay, though, since the first segment of time you spend playing it is spent working out what's going on between the two worlds, but i cannot recommend it highly enough - if anyone's into terry cavanagh's work, experimental/art games, portal 2's co-op, myst or basically just appreciates playing something mind-boggling and original, you owe it to yourself to pick it up.