Give Me A Hot Take About Video Games


Any PC Games of the Year 2018 list without Kenshi is invalid


People should throw Destiny in the trash since it’s Borderlands without the funny characters or 90’s humor.


Borderlands had funny characters? I think that’s my hot take


More games should try for impressionism, and have their worlds driven by atmosphere and mood rather than constructed storylines. Not that the latter can’t work, but the amount of time and immersion games require (and maybe most importantly how they allow people to experience them at their own pace) makes impressionistic storytelling viable and accessible in a way it just isn’t commonly in a lot of other media.

(This brought to you by my continuing adventures through the Souls games and the creeping dread after about 25 hours that I’m going to end up in the “Dark Souls 2 is actually the best one” camp.)


It had a guy who desperately wanted you to shoot him in the face. That was kinda funny.


Wait what? Why did he want that?


Dark Souls 2 is the worst Souls games by far with it’s slipshod world design and pointedly sexist plotline that after the DLC come be roughly summed up with “Women am I right?” and gets by largely on From’s talents in world design and people’s love of underdogs that are Actually The Best (See also KOTOR 2 and BioShock 2) and all told while it’s not a bad game is still the weakest Souls game by far

This take brought to you by me forgetting to post it for weeks until someone else mentioned it and is not actually targeted at anyone you can like it if you want I don’t really care it’s hardly senran kagura


Unclear at this time


I played a ton of Dark Souls 2, but was pretty burned out by the time Scholar came out, and I never finished it. Now you’ve got me really curious. What on earth happens in it? Despite the community being garbage re: the messages they leave around female NPCs in the games, I’ve always felt that the games were pretty good about their representation of women, so I’m really surprised to hear that it gets bad.

Also, my hot take: Dark Souls 2’s world design is excellent. In the same way that DS1 is set in a world where time is losing its meaning, DS2 takes place in a world where space is losing its meaning. That’s why everything connects up in bizarre ways that are baffling and weird. This is, of course, supported by my personal headcanon, in which the rubble you bypass via the Shrine of Winter wasn’t originally there. Instead, the weird, black stone tunnel you pass through to reach the castle would dump you out somewhere else entirely unless you walked through the shrine first, warping space itself.


I wrote about it a while ago in this thread somewhere:

I think that post is the main one that should cover my issues but I have not yet had my morning tea and that thread is huge so I make no guarantees


Bioshock 2 really is the god damn best. It has the single best piece of storytelling with Minerva’s Den, Lamb is a better villain than Ryan or Fontaine and the combat, which has always been the real highlight of this series, fucking rules, the rumbler and the big sister are great additions.

Multiplayer wasn’t bad either, I loved following each of the characters as they descended into Adam-induced insanity.


It is real damn good! As is KOTOR 2 as I understand but those where the examples that came to mind first



I played the DLCs as they came out, and with the time between them I never noticed that the queen was the villain in each of them. It’s suddenly really obvious now I’m that thinking about them all at once. I get that the game wants to be about cycles, but having each cycle play out with, “The evil seductress did it,” is a big yikes. Thanks for sharing that.


I haven’t gotten to the DLC (or even the ending) yet so my opinion might very well change at that point. At the moment, I think we just disagree on the world design and the effect it’s going for. I’m wondering if the weird spatial stuff it’s doing is having more of an effect on me because I’m coming straight from DS1 and Bloodborne, where the spaces are clearly mapped out in context with each other.

Since I’ve now finished it (previous takes were made at about the 75% mark), I am also legitimately curious in why you thought being a video game added something, inasmuch as it can add anything, to Bloodborne as a piece of media (unless maybe I’m misremembering your take in which case I apologize). I’m in the camp that feels like games do have some unique qualities and strengths, but it felt like such a rigid narrative that outside of the “let’s make the player secretly the antagonist” trope, I’m not sure why it couldn’t have been (considering its length) a TV series.


I think 2 was better with Tiny Tina and Mr. Torgue, but yes.


The cast of characters from the Mortal Kombat series would make for a great dating sim.


I would give Kano a smooch


I do have a response for this but it’s going to be a busy weekend so I’ll sum it up quickly before I forget. The way that the games use difficulty and its art design to create a narrative that could be told in other mediums (I don’t really believe that the souls games are tales un-tellable in any other medium as I don’t really believe that of anything) but would lose a lot if you did. Bloodborne especially as forcing you to the role of the poor sap in the cosmic horror story does a lot for the genre and hot damn does it use “let’s make the player secretly the antagonist” trope well


I loved MGS5. And MG Survive had most of the mechanics from that, with a pretty good and creepy survival experience. The thirst and hunger stuff was pretty overwhelming at first, but once you got deeper into base building and had more crafting terminals, thirst and hunger weren’t as much of a concern. Exploring the fog and toxic areas around your base were usually pretty tense and exciting. And carefully having to decide how long you could stay out there depending on how much oxygen and supplies you had. Scattered around the world were small base camps with wormhole generators which became fast travel points and safe areas once unlocked. But turning on a wormhole generator attracted waves of enemies that you had to defend against with traps and fences for a few minutes (2-5 minutes, depending on where it was). Sometimes you came across one when you were low on supplies and oxygen and (sometimes) running from a horde of wanderers (the game equivalent of zombies). So you had to plan carefully. Did you have enough resources to deal with the waves of enemies? Or should you head back to your base to refill and repair your oxygen tank, craft more traps and fences, and then back to the locked base camp to unlock it? And with the heavy fog in the world it was easy to get turned around and have a hard time finding your way back (the fog of war on the map did clear as you explored though). I loved that tension. While there were some really frustrating parts, overall I enjoyed my 20-30 hours playing through the campaign. Multiplayer was a lot of fun too.


the reason i love gen 1 and 2 pokemon more than all the others has little to do with design and far more to do with ken sugimori’s gorgeous art and its use of white negative space