Category Archives: Your Mid-week Mission

[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: March 25th, 2026 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.

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[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: August 8th, 2025 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: October 19th, 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: April 28th, 2025 by Daniel Podgorski

[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