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The witcher 3

Theitanic

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Tintalya Grand Master

Tintalya

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Er zijn meerdere treasure hunt quests die niet afgemaakt kunnen worden als niet alles in de correcte volgorde gedownload wordt (wolf armor) en in sommige sessies besluit Geralt dat hij opeens niet meer kan duiken (soms midden op zee) waardoor je de game opnieuw moet laden. Soms activeer je het mediteren te snel en dan kom je vast te zitten in het menuscherm terwijl alleen de dpad nog 'werkt'. Recent de game nog gespeeld en de hoeveelheid bugs en glitches is om eerlijk te zijn best verbazingwekkend.
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RobertAugustdeMeijer Community Regular

RobertAugustdeMeijer

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Over hoe goed ik Super Metroid vind: The first time you play through Super Metroid, it's a genuine Ten. It has that brilliant tutorial on the space ship, it has another brilliant second tutorial on the planet's surface (Perhaps you didn't notice how the first area, up until you take the first elevator down, is a tutorial. That's because it's so engaging), it has the epic boss battles (Kraid filling the whole screen! Getting a second chance against Ridley! Pushing the Crocomire into the lava! Electrocuting Draygon with your grappling beam! And of course, the most epic of all, pwning Mother Brain with metroid powers), it has that soundtrack that perfectly fits each environment, it has all the nifty power ups, it has level design that still impresses after two decades, the endless replay-ability as the de facto speed run challenge... I could go on slobbing all over this masterpiece, but here's the ultimate testament to Super Metroid's quality: it's never been improved on. People try, and they make fantastic products like Guacamelee, Ori, Shovel Knight, Order of Ecclesia, Salt & Sanctuary, Cave Story, Owlboy, AM2R, Zero Mission... but they've never been able to replace. After 1994, video games had no choice but to try something different. Yes, it was fashion that made people want 3D. It was investments in 3D technology that had to be returned. It was designers hoping to be the first to make the next Doom. But you know what, in a hundred years art historians might write along these lines: after Super Metroid perfected the possibilities of two dimensions, the only way forward was attempting a third. Gamers weren't tired of 2D, they simply couldn't imagine anything better. They still can't. The second time you play through Super Metroid, it starts to feel like something more than a Ten. If I had reason to make an uber-scale, an S-rank if you wish, perhaps an 'Eleven', Super Metroid would be in it. Why exactly? This has everything to do with the game having the best power up in computer game history: the wall jump. 'Hold on,' you say, 'what's that?', or, 'that's not really a power-up!', or 'you don't even have to use it!'. It's those reactions which make the wall jump so great. Let me explain.
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RobertAugustdeMeijer Community Regular

RobertAugustdeMeijer

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Games have an existential problem. In order to be a game, they must be interactive. Of course, a calculator, doll, remote control, pillow case, food, and many other things can be interactive without being a game. So what kind of interactivity counts then? It must be playful, i.e., not be dictated. There has to be a sense of creativity, expression, player identity. All the same, this interactivity must not be meaningless, it has to be somehow rewarding; without goals there is no agency. So altogether, games need both freedom and they need rules, the grand paradox of ludology. Without freedom, a game is simply a puzzle. Without rules, a game is simply a toy. But by giving them both to the player, they are in turn stuck in a lie. Games are a hoax. They are not free. The player is always limited in their expression by the game’s rules. Every video game character is tragic: sooner or later their agency will become exhausted. They might reach their goal (dictated by the game) or end in perpetual limbo (dictated by the game not having any new goals). And so, we continuously consume new games to be briefly fooled that this time we the players are the ones in power. And then we figure the game out and reconcile our mourning with a new product. Rinse and repeat.
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RobertAugustdeMeijer Community Regular

RobertAugustdeMeijer

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Enter the wall jump. Super Metroid’s game manual does not recognize this move. Nor does the game’s level design. But there’s one corner of the map where the player can get stuck and has to use the move to get out. The area is out of the way and optional. If you asked me how it was implemented, I would guess the designers thought: ‘what if the player never finds out about the wall jump? Okay, we’ll put this tutorial in a funny area they probably won’t find the first time they play, but most likely will the second or third. That should do the trick’. Another paradox: the wall jump is essential to the Super Metroid experience. All the while, it is essential that the player find it on their own. Why is this paradox so important? That’s because the use of the wall jump is the player breaking free of the fundamental crisis of players being trapped in a game. The wall jump is a spiritual power-up. Once learned, it cannot be unlearned. The second (or third or fourth) playthrough starts with this new ability, having learned it the last time, and now their chains are free. Remember that moment in the Matrix when Neo’s vision goes all digital and he realizes he doesn’t even have to dodge bullets? This is the video game equivalent. The hallways, jumps, and ledges of this alien planet say, ‘you must first get the jump boots.’, but you simply jump via the side beyond the obstacle. The game says, ‘you must acquire the ice beam to make platforms’, and you use the side of another platform to get the job done. The level design says, ‘you must get the speed booster before you can get the power bombs to get the grappling hook’, and you wall jump your way not only straight to your destination, you also pick up the wave beam way ahead of time. It’s you who is in control now, not the game.
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RobertAugustdeMeijer Community Regular

RobertAugustdeMeijer

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The dirty truth is that the designers were on to you right from the start. They knew you would abuse the wall jump in order to shred their tightly woven design to pieces. And so, they added another level of design. You might have thought it was a coincidence you could save a lot of time beating Kraid before entering Norfair. Or when getting that wave beam so you don’t have to backtrack back to Brinstar. You probably felt amazingly clever. And yes, you were. But so were the designers. They wanted your cheating to be rewarding. They designed Super Metroid to have their design broken. They also added the finicky shine spark, another power-up not required and hardly acknowledged by the game, but oh so useful once you get it under your control. There’s also bomb jumping, unique charge shots for every weapon, the mock-ball, the powerbomb heal, even that weird knockback which teleports you half you a screen. And more. We’re not completely sure which of these ‘hacks’ were supposed to found and used by the players. It doesn’t matter: they’ll always stay one step ahead of us thanks to simply having done this: your final reward is seeing on a clock how fast you beat the game. In other words, Super Metroid doesn’t care how you beat it, it only asks you to do so as quickly as you can. It’s not you versus Mother Brain, it’s you versus the last time you played, the previous you. Ultimately, Super Metroid changes from a game where you’re trapped on a planet with monsters and obstacles, to a game where these monsters and obstacles are trapped on a planet with you.
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