"I'm digging Dark Souls 2, but it hasn't quite reached the level where I can get my mind off of Sony selling off their US headquarters."

I don't think that was the point. The mistakes explicitly mentioned in the article are poor corporate earnings posts and the tone deaf reply to the petitions for gay marriage in Tomodachi life.

My understanding is that the recent Tomodachi patch doesn't actually affect the workaround for same-sex marriages in the game (ie. creating a Male Mii that looks female or vice-versa so that they can marry). At least, I think that's what's going on: there have been a lot of conflicting reports the last few days.

"as the camera glides through the slowly opening Door Of Time toward the
Master Sword, it’s hard not to forget the company’s many mistakes, if
only for a moment, and just let the nostalgic thrill wash over you."

I lost to Glass Joe the first time I played Punch Out!

I had exactly two interactions with my current girlfriend's now ex while they were still dating.

No, they don't hate them! They hate the new layout: when it was previewed for AV Club staff, Rabin jumped up and said "that doesn't look shitty enough! Couldn't our desktop site look even more like it's being displayed on a giant, ungainly cell phone with no touchscreen? I'm leading an exodus out of here!"

"Jackass comment" was definitely going too far on the part of the OP, but I agree that the show wasn't "sorely lacking" stakes in its first two seasons. I'd say that foreign policy involvement during a hostage crisis is significantly higher stakes than a PR event during a pre-primary non-campaign.

I remember seeing a Miyamoto statement to the effect of "we have a canon, but who cares? It's the gameplay that matters."

Very true. But it certainly is satisfying to wale on them with the motion controls when you finally win. Fucking Walrus.

It had occurred to me much earlier that eventually the characters would do that. But I assumed it would be a mandatory story event. Then on third cycle, third crystal, I kept pumping the X button because I wasn't paying attention because I was sick of the ritual, and it let me keep going. But I stopped because I…

Ah, but the GameCube made money, even as it lost the "war." If Sega had made money on the Sega CD-Saturn-Dreamcast, I bet there would be at least seven other Sega consoles by now.

There's a quote out there of Miyamoto saying something along the lines of "we have a big book where we keep track of the timeline, but who really cares about that? We worry about coming up with good gameplay." Obviously that's not the actual quote, but there was definitely some awareness of an overarching timeline…

But in Super Mario World there's a massive amount of content that would never open up to you if you just went from point A to point B. Significantly more than in the NSMB games.

Yeah, I feel like a lot of the criticism of WiiU-era Nintendo is just built up rage from Wii-era Nintendo finally releasing. The WiiU is, in pretty much every way, a superior system to the Wii (even if we're speaking relatively to its generation).

Is it the rhythm block part of the final stage that's tripping you up? That part was torture for me, because you have to replay so much of the level for every attempt. Once I got the timing right, the rest of the level fell into place pretty quickly.

I'll be hopefully finishing Bravely Default, continuing a Fusion-inspired replay of Metroid: Other M (simultaneously one of least favourite Metroid games and the most underrated), and playing Dungeon Defenders with my girlfriend (possibly on two screens, since she just bought herself a second 360!)

*Continuing with the spoilers, including possibly spoilers for OP*

I've found it very encouraging to learn that Nintendo is making partnerships with third-parties to get some exclusives going (haven't played a Fatal Frame game before, but I definitely will play the WiiU one if they bring it Westwards).

To my everlasting shame, I had to look up an answer to one of the very first levels, where you have to put the puzzle piece in place in such a way that you can use the top of it as a platform.