Category Archives: Art Reviews and Articles

[Game: Armored Core VI: Fires of Rubicon, FromSoftware, 2023]
Crossing the Rubicon:

A Thorough Critique Detailing the Mechanical Flaws of FromSoft’s Armored Core VI

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Introduction:

I’ve spent a lot of time over the past couple years running a fine-tooth comb through FromSoft’s recent works, with articles on Sekiro and Elden Ring which highlight an array of small issues and minor annoyances that crop up in those overwhelmingly great games. That’s not really what I’m doing here. The issues I’ll be discussing in this article feature in nearly every level or mission through the entirety of Armored Core VI, and detract from the game as a whole.

Don’t get me wrong: it is still a good game. I like both halves of its primary gameplay, the mech customization and the mech combat. But even those aspects of the game are far from perfect, and the issues don’t end there. For reference, at the time of writing this article, I have played Armored Core VI: Fires of Rubicon through three times (including two new game + cycles) in order to access every mission, every arena fight, and every ending, and have spent multiple entire chapters playing as each of the four principal mech archetypes in the game.

I’ll be avoiding story spoilers in this article, but will be showing screenshots of gameplay from throughout the campaign. So, let’s sortie . . .

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[Game: Armored Core VI: Fires of Rubicon, FromSoftware, 2023]
Crossing the Rubicon:

A Thorough Critique Detailing the Mechanical Flaws of FromSoft’s Armored Core VI

 was last modified: September 20th, 2023 by Daniel Podgorski

[Game: Death’s Door, Acid Nerve, 2021]
Death’s Back Door:

The Pros and Cons of Acid Nerve’s Crow-centric Reaper Simulator Death’s Door

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Introduction:

The indie hack-and-slash action-adventure game Death’s Door is an experience about which I have a very mixed opinion. And in general, when I have a mixed opinion of a game and the bits I like are cleanly separable from the bits I don’t, I like to organize my review of it into a dedicated pro and con list.

Now, each of the previous three games I’ve covered with one of these ‘pro and con’ lists is a game I ended up recommending, for which I concluded that the good outweighs the bad (whether by a lot, like with Sekiro, or by a little, like with Crypt of the NecroDancer). This is the first time where that’s not quite the case. It is a close call, but I do think the bad slightly outweighs the good this time around. Nevertheless, I think you’ll initially be confused about me saying that, as I’ve got a lot of very nice things to say about Death’s Door.

Death's Door screenshot with umbrella in estate of urn witch - Acid Nerve - review, criticism, genre Continue reading

[Game: Death’s Door, Acid Nerve, 2021]
Death’s Back Door:

The Pros and Cons of Acid Nerve’s Crow-centric Reaper Simulator Death’s Door

 was last modified: July 26th, 2023 by Daniel Podgorski

[Game: Hades, Supergiant Games, 2020]
Ode on a Grecian Burn:

How Hades Shores Up Minor Weaknesses of Supergiant Games’ Earlier Releases

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Introduction:

Each of the first three titles created by Supergiant Games excels in some obvious way over their other offerings. Pyre contains their most imaginative fantasy world, and some of their best original characters. Transistor has the studio’s most innovative and unique core gameplay system, as well as their best soundtrack. And Bastion’s stellar implementation of dynamic narration and avoidance of the later games’ reliance on text boxes and paragraph-long info dumps make it so it’s still unmatched in their repertoire in terms of the successful integration of most story material into the actual moment-to-moment gameplay.

With that list in mind, it’s not immediately clear what Hades offers to make me say the following: it’s Supergiant’s best creation overall. That lack of clarity comes from the fact that it’s not any one single exceptional strength of the game that far outstrips the other titles—but instead the way that Hades echoes their strengths while addressing noteworthy weaknesses of each of their earlier games. Thus, in addition to sharing the high level of quality in art, music, gameplay, polish, and so on possessed by all of the team’s work, it is also the case that, in the few ways in which their earlier games stumbled, Hades dashes ahead.

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[Game: Hades, Supergiant Games, 2020]
Ode on a Grecian Burn:

How Hades Shores Up Minor Weaknesses of Supergiant Games’ Earlier Releases

 was last modified: September 15th, 2023 by Daniel Podgorski

[Game: Demon’s Souls, FromSoftware, 2009]
Slayer of Reason:

A Thorough Epistemological Philosophical Analysis of FromSoftware’s Demon’s Souls

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Introduction:

From the immersive maturity of its mechanical and narrative details, to the unparalleled sense of consideration for consequences that it fosters among players, to the sheer number of genuinely unique and refreshing design risks that it takes—Demon’s Souls is as much a captivating revelation today as it was upon release. Yet, as with each of the later Miyazaki-led FromSoft games that follow in its footsteps (in fact, perhaps moreso than any of its descendants), Demon’s Souls poses numerous difficulties for analysis.

It shares the cryptic approach to storytelling and the elements of nonlinearity that crop up in all of FromSoftware’s recent works, but that’s not all. In addition, it is a game which changes from player to player and session to session in a non-random fashion. Enemy placements, enemy statistics, NPC interactions, and even the availability of a few small regions of the levels all depend to some degree on the circumstances in which the player succeeds or fails.

You will not be surprised to hear me claim, however, that the odd structure and content of Demon’s Souls nevertheless do coalesce into a coherent reading. In the interest of pursuing that reading, our primary ally will be the field of epistemology. In a nutshell, epistemology is the study of knowledge—which includes such topics as belief, truth, justification, and skepticism. Armed with tools from that and related fields of philosophy, we will explore the following interpretation: Demon’s Souls offers a discussion of the limits of human knowledge, and how people believe and act given such limits. That might sound strange or overly vague—but in the sections ahead I intend to provide specificity and support for it, through careful attention to both the game itself and the relevant philosophy.

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[Game: Demon’s Souls, FromSoftware, 2009]
Slayer of Reason:

A Thorough Epistemological Philosophical Analysis of FromSoftware’s Demon’s Souls

 was last modified: May 31st, 2023 by Daniel Podgorski

[Topics: Critical Idealism, Empiricism, Metaphysics, Rationalism]
Controlled Demolition:

How Immanuel Kant Rescued the Field of Metaphysics by Tearing it Down

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Immanuel Kant Sketch by M.R.P. - metaphysics

Caricature Sketch by M.R.P.

Introduction:

In popular discourse, the word ‘metaphysics’ is used derisively to refer to baseless mysticism. But that’s not how philosophers use the word. In philosophy, metaphysics stands alongside topics like epistemology, ethics, and logic as a major branch of the field. Put simply, for philosophers, the word ‘metaphysics’ refers to the field that concerns itself with the nature of being. Accordingly, this field asks extremely fundamental questions, like: At the lowest level, what is there in reality? What constitutes the identity of a singular thing? And how and when does one thing ever become a different thing?

Given such important and fundamental subject matter, it may surprise you to hear Immanuel Kant’s account of the state of metaphysics toward the end of the Enlightenment: “All false art, all vain wisdom, lasts its time but finally destroys itself, and its highest culture is also the epoch of its decay. That this time is come for metaphysics appears from the state into which it has fallen among all learned nations” (Kant Prolegomena 998).

In these words, and others like them, Kant mounts an attack on the metaphysical philosophy of both his contemporaries and of the centuries leading up to his lifetime. He felt that the field amounted to little more than a highly formalized version of what the word ‘metaphysics’ conjures among laypeople today: baseless mysticism. It was baseless, he felt, because it amounted to nothing but coherent guesswork (i.e. as long as folks kept their systems consistent, they were entirely unfalsifiable); and it was mystical, he felt, because it was completely disconnected from the actual grounds of all knowledge (i.e. it was not pertinent to our actual experiences in life, our possible experiences in life, nor the conditions that make experience in general possible).

But despite these glaring flaws he identified, Kant felt the field was not entirely beyond salvaging, and he himself made a concerted effort toward clearing away the centuries of mistakes in order to provide a new and firm ground from which to build anew.

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[Topics: Critical Idealism, Empiricism, Metaphysics, Rationalism]
Controlled Demolition:

How Immanuel Kant Rescued the Field of Metaphysics by Tearing it Down

 was last modified: June 16th, 2023 by Daniel Podgorski