I remember watching somebody play the game Vaudeville (an AI driven murder mystery,) and the AI would not stop talking about all the mythological creatures going around killing people in the zoo, even though only one person was dead, and there were clearly no such creatures; the player couldn’t even punish them for…

In the US, changing a video game’s stage for non-commercial purposes is the kind of thing that would generally fall under Fair Use: the problem is that he wouldn’t be able to stream it himself at least, because then it would probably fall under being ‘commercial,” since he’s presumably trying to make money that way.

I guess they need more money to make other games Epic exclusives, since they seem to be struggling to come up with new ideas themselves. The last big Epic release was, what, Fall Guys I think? 

“ At the time of writing, the Palestinian death toll has surpassed 5,000. ”

Yeah, a lot doesn’t make sense: why did it have to be from scratch, instead of using bought assets? Why not make a more simplified game? There had to be other considerations at play here...

I wonder how lazy Nintendo’s writing has to get before its fans admit it’s a problem...

It’s around 200 lines, which is probably a fair baseline, since some dialog was probably cut or re-recorded, but a lot of it is also less than a sentence long.

The problem was that they changed the game engine twice, and as said, had no clear vision: it’s pretty much like how constant movie reshoots cause the costs to balloon.

I’ve noticed a lot of people don’t like the ending, but I think this article nails why it’s so spot on: the player needs to decide what’s important to them, because at the end of the day, most people you meet fell in love with V the hero, and running away from dealing with Mikoshi means V is no longer that person, and…

Look, Erin is a bird now, that was the best he and Mikasa were going to get, best accept that and move on. 

Honestly, Starfields big problem is that it wasn’t the school yard bully when it should have been: instead of other games needing to fear being displaced by it, it’s being displaced by other games instead.

It feels like a failure of vision: a space game where exploration and distance don’t matter, an RPG with mechanics that only ever act as a meaningless gate, a shooter where each gun somehow feels the same, and a builder with useless rewards.

Just so people know, Gaming Heads is a Hong Kong company, and I’m not sure if Sony goes by California or Japanese law, so it may not be best to assume that US or European law will matter all that much.

There was an All You Can Eat Sushi Special, so she’s decided to never leave.

Cyberpunk 2077 isn’t really about capitalism per-say, but dehumanization in general: for example, someone like Adam Smasher wouldn’t be a kind, loving person in ANY society, capitalist or not, because he only wants the thrill of power and murder. He’s not trying to escape poverty, he’s just doesn’t love or respect…

Performance with the Switch will almost certainly become worse as more and more games rely on DLSS and the like to keep up consistent framrates, and the lack of optimization for everyone without DLSS will probably become more and more apparent as time goes on.

It probably costs more money to get it working on the Switch, not less, so a discount doesn’t make much sense, and Nintendo fans don’t seem to have any issues paying more for games in the first place.

Some slick looking Pelicans out there now.

It’s a glorified Excel spreadsheet, and people make spreadsheet software even though Excel exists, so Bethesda has no excuse.

So, I watched a stream for 5 minutes, and there was a sound bug that sounded like the player was getting shot at the entire time, even with all the enemies dead. It disappeared when he got into the ship, so not the worst thing, but the jank is still there.