Tag Archives: video game review

[Game: What Remains of Edith Finch, Giant Sparrow, 2017]
Dissecting Finches:

A Critical Analysis of the Mechanics of the Unique Artistic Game What Remains of Edith Finch

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Introduction:

This is a critical look at the mechanics of What Remains of Edith Finch. Now, probably, if you have only passing familiarity with the award-winning game in question, to that sentiment you respond: “Isn’t it just a walking simulator? Is this just going to be an article complaining about the game’s genre? Wouldn’t it make more sense to discuss the story?” And the short answer to all three of those questions is just, “No.”

In more detail, my answers are:

First, while the frame narrative of What Remains does indeed bear the trappings of the projects that are (usually derisively) called ‘walking sims,’ much of the substance of the game lies in a series of levels or minigames that pair with subplots of the story. It plays out like an anthology of tiny games. And it’s mostly the gameplay within those minigames that I want to discuss here.

Second, even if the frame narrative was all there is, I have no particular issue with the concept of so-called ‘walking sims.’ They’re done no particular favor by being categorized as ‘games’ . . . but in the wider world of interactive art, it’s natural that something came along to fill the gap between, on the one hand, audiobooks, fiction podcasts, and linear visual novels, and, on the other hand, narrative-heavy games with minor puzzle gameplay like Finding Paradise, Oneshot, and Firewatch.

And third, to say that it makes more sense to discuss the story than the gameplay is to imply that there is a sharp dividing line between those two things. I deny that there is such a divide. I believe What Remains of Edith Finch does a great job of interweaving gameplay and narrative—so great sometimes that there are segments of this game that I consider to be among the tiny-but-growing list of instances of games reaching the level of artistic excellence that is routinely found in older forms of art. But unfortunately, such moments (which I would not hesitate to say are brilliant), are in the minority within the game. And that’s true despite the writing of the game being truly solid and high-quality from start to finish. So that’s what I want to talk about now.

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[Game: What Remains of Edith Finch, Giant Sparrow, 2017]
Dissecting Finches:

A Critical Analysis of the Mechanics of the Unique Artistic Game What Remains of Edith Finch

 was last modified: March 1st, 2023 by Daniel Podgorski

[Game: Enter the Gungeon, Dodge Roll, 2016]
Center the Gungeon:

Achievements as a Desirable Compromise Solution for Completing Games like Enter the Gungeon

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Introduction:

In this article, I will explain a potentially unintuitive belief that I hold about a specific style of games: that the best possible experience of playing roguelikes and derivatives of roguelikes is usually attained by pursuing 100% achievement completion as the primary end goal of the game. My test case for this purpose will be Dodge Roll’s highly polished and mechanically satisfying top-down shooter Enter the Gungeon.

Like so many of its peers in the increasingly-loosely-defined genre it at least partially shares with notables like Rogue, Spelunky, and FTL—Gungeon is a game that is played by repeatedly attempting to win difficult randomization-heavy play sessions averaging less than an hour each, where dying means a total end to that playthrough; to continue playing, a newly-randomized session must begin from the very start.

And why do I think that pursuing achievements (or trophies, or badges, or whatever you want to call them) offers the best way of engaging with Enter the Gungeon and other games in this style? Simply, because doing so offers a balanced, varied, thorough, satisfying compromise between two inferior extremes.

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[Game: Enter the Gungeon, Dodge Roll, 2016]
Center the Gungeon:

Achievements as a Desirable Compromise Solution for Completing Games like Enter the Gungeon

 was last modified: February 27th, 2023 by Daniel Podgorski

[Game: Super Meat Boy Forever, Team Meat, 2020]
Bandage Man:

In Defense of Super Meat Boy Forever, the Unjustly Hated Sequel to an Indie Platforming Legend

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Introduction:

Super Meat Boy is one of the greatest 2D platformers of all time, and it is rightly renowned for having some of the best level design in the entire genre. Its follow-up is an auto-runner with randomized levels, sporting both a genre and a limited control scheme that seem targeted toward mobile gaming. The original creator of the title character, Edmund McMillen, who acted as artist and codesigner on SMB, was completely uninvolved in the development of the newer game. The musician Danny Baranowsky, who provided the iconic original soundtrack for Super Meat Boy, was also absent from the development of the new title due to parting ways with Team Meat after some kind of dispute in the intervening years. And for the first year that it was available, the new title was distributed on PC solely through a controversial platform: the exclusivity-favoring, light-on-features Epic Games Store.

These facts about Super Meat Boy Forever are by now well-established reasons that many players have bounced off of, negatively reviewed, or (more commonly) simply avoided the game. And seeing as I am a big fan of Super Meat Boy, and not in general a fan of most mobile games, you may suspect that I would agree with those unhappy and dismissive appraisals.

But get this: I don’t.

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[Game: Super Meat Boy Forever, Team Meat, 2020]
Bandage Man:

In Defense of Super Meat Boy Forever, the Unjustly Hated Sequel to an Indie Platforming Legend

 was last modified: February 1st, 2024 by Daniel Podgorski

[Game: Elden Ring, FromSoftware, 2022]
Tarnishing:

A Thorough Critique Detailing the Few Mechanical Flaws of FromSoft’s Elden Ring

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Introduction:

Imagine sitting next to a friend and looking out over a majestic seaside vista. The sky is clear and there are birds in the sky. The sun warms your skin and occasionally a soft breeze sweeps through. Now, over the gentle sound of the waves, your friend turns to you and says, “Look, someone left some litter on the beach.” In this context, I am that friend. That remark is the equivalent of what I am about to do. Welcome to my article on Elden Ring!

Elden Ring overflows generously with quality, beauty, and entertainment.

Despite its incredible boss and enemy variety, it includes several of the best boss fights that are present in any game, FromSoft or otherwise. Despite the staggering number of weapons, weapon arts, shields, and magical abilities in the game, genuinely novel methods of attack and defense are found from the start of the game to the end. And despite the immense size of its map, it contains multiple individual areas, such as the Volcano Manor and Elphael, which stand alongside earlier creations like the Painted World of Ariamis and the Boletarian Palace as some of the best level design FromSoftware has ever done. But you don’t really need me to tell you that. If you’ve encountered any review or other type of media about Elden Ring since its release, then you already know all of that.

In setting out to write an article about the game, I wanted to approach it from an angle that would be different from the thousand others in existence, while also providing something valuable. There’s really no sense in me just throwing my praise on the praise pile. So, instead of talking about Elden Ring’s overwhelmingly large number of mechanical (and other) strengths, I’m going to dig into its vanishingly small number of mechanical weaknesses. For reference, prior to writing this article, I played through the game three times with drastically different builds, racked up well over a hundred hours of playtime, gathered 100% of the game’s achievements on Steam, and (as far as I know) beat every single unique and repeated boss that is present in the game.

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[Game: Elden Ring, FromSoftware, 2022]
Tarnishing:

A Thorough Critique Detailing the Few Mechanical Flaws of FromSoft’s Elden Ring

 was last modified: January 7th, 2024 by Daniel Podgorski

[Game: Half-Life, Valve, 1998]
Half-Lively:

Half-Life, Black Mesa, and the Work of Art in the Age of Post-release Modification

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Introduction:

In an unassuming former monastery building adjacent to the church of Santa Maria Delle Grazie in Milan, Italy, there is a wall decorated with the remnants of a mural painted by Leonardo da Vinci. In English, the mural in question is known as The Last Supper, and—due to a combination of the oil-painting-like techniques employed by da Vinci (which differed considerably from Fresco techniques, and thus were very unconventional for mural work) together with aspects of the construction and later history of the building—the work is badly damaged.

Meanwhile, about 20 minutes away, in a space on an upper floor of the Galleria Vittorio Emannuelle II shopping complex (next to the Milan Cathedral), at the time of writing this there is an exhibit known as Leonardo3 which includes, among other features, a computer-aided reconstruction of what The Last Supper would have looked like at the time of its original completion by da Vinci in 1498. The question I now pose to you, dear readers, is a simple one: if these were the only two options in existence, which one would you say is what is meant by the phrase, ‘The Last Supper by Leonardo da Vinci?’

I’ll give you my own answer to this quandary in due time, and (regardless of your own response) it’s almost guaranteed to be an answer you don’t expect. But I can’t provide it just yet, as first I need to take some time to introduce and discuss the main topic of this article: Half-Life. And I need to do that in order to adjudicate a similar superficially straightforward dilemma. The Half-Life remake Black Mesa is a terrific game, is an incredible labor of love, and is the single greatest fan-led project of its kind ever completed. But on top of all of that, does Black Mesa also count as being Half-Life itself?

The Last Supper by Leonardo da Vinci - Half-Life, Black Mesa, Valve, art, Walter Benjamin

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[Game: Half-Life, Valve, 1998]
Half-Lively:

Half-Life, Black Mesa, and the Work of Art in the Age of Post-release Modification

 was last modified: March 10th, 2024 by Daniel Podgorski