Good write up!

For my own perspective, I’d like to add that I think they’re all worth playing even if you don’t stick them out. I think Castlevania is one of my favorite series to discuss from a media literacy standpoint because it’s easy to the ideas as they evolved over the different games. You don’t even necessarily need to attempt to tackle them in chronological order because the old ones still have a direct and simple charm to them, if that’s your thing.

While Metroidvania has half of Castlevania in it (and all of Metroid), outside of Igarashi’s contribution the series didn’t show a whole lot of interest in following through on a lot of those ideas, especially as it attempted to break into 3D. Curse of Darkness was perhaps the closest, but still not very. It doesn’t surprise me that Igarashi broke off on his own eventually and now does Bloodstained. I think it’s fitting, it’s a good thing to give him his own series (while still holding clear inspirations) and let him do his thing.

I was never a fan of Lords of Shadow and for the longest time I couldn’t quite put my finger on why. As you state, the series is loosely defined as “gothic action with Dracula” so to say something isn’t a “true” Castlevania feels disingenuous. Especially when it was so open to remaking and reinventing itself prior, so what difference is another reboot? There was a clear conversation or thread of design going through the early series up to that point and Lords just kind of tosses all that aside to go in on game design of the day. God of War as you put it. I don’t want to say it’s a bad game or shame you for liking it, but it’s just a bit too far of an outlier for me to really embrace in a meaningful way

OP, you did not mention Vampire Survivors. HAVE YOU PLAYED VAMPIRE SURVIVORS?!

I initially wrote it off because it didn’t look like the kind of game I was into, but the “we have Castlevania at home” vibe is very much intentional and endearing. We 💜 you Antonio Belpaese! For $4 the game looks like a flashy mess, but it hits all the dopamine receptors in just the right way and the metagame of unlocking all the secrets is incredibly satisfying.

Which doesn’t even get into the Castlevania DLC where Konami actually gave them assistance and let them use that delightfully crunchy authentic sprite art. The ending of the DLC (completing Richter’s scenario) legitimately had me in tears, it’s so good and the kind of love letter/wrap up to the series that Konami was never going to give us. Please don’t skip this entry! 😭

Protontricks can help for some games. Personally I used it to install Openplanet for Trackmania which doesn’t have any sort of explicit Linux support specified.

What Protontricks does is allow you to run installation files within the context of a steam game, as you mentioned. Simply launch Protontricks and select the game you’re trying to modify and it will mount it properly for you. Then choose “Run an arbitrary executable (.exe/.msi/.msu)” and proceed to run the installer as you would normally.

Sometimes the path can still be a bit janky. For example when Openplanet wanted to install to the Trackmania directory as mounted through Protontricks, I had to specify: Z:\home<USERNAME>.steam\steam\steamapps\common\Trackmania.

https://www.youtube.com/watch?v=Tg5kB4UcAuA

If you’ve ever listened to Welcome to Nightvale this was one of the first weather reports. Was driving to work one day when it came on and just had to pull over and stare off into the distance for a few minutes.

I keep screaming about how the TPM 2.0 requirements of Windows 11 are insidious due to the ability to implement remote attestation now. I don’t think they’ll spring the trap immediately, but it’s locked and set and you’d be a fool to believe it won’t happen eventually.

Remote attestation allows changes to the user’s computer to be detected by authorized parties. For example, software companies can identify unauthorized changes to software, including users modifying their software to circumvent commercial digital rights restrictions. It works by having the hardware generate a certificate stating what software is currently running. The computer can then present this certificate to a remote party to show that unaltered software is currently executing.

It still brings a smile to my face every time I play Mario Kart 8 on my Linux desktop using a PS5 controller.

I pay for games where I think money will get to the creators that deserve it, but Nintendo only gets my most sincere disdain.

Isn’t that part of the benefit of federating, too? If Bluesky turns heel, just cut it back off again.

I suspect handhelds are going to be the future for awhile now. It’s not just out of a growing demand or simply because portable graphics processing and battery power have improved (although those factors do help) but it’s another chance to:

1. Push locked hardware
2. Funnel to controlled storefronts
3. Bring down and moderate the increasingly unsustainable AAA development costs

Those first two aren’t particularly surprising, they’re the key elements that Nintendo has honed in on while Sony and particularly Microsoft continue to struggle. Microsoft feels like they’ve just left XBox to languish while they focus on Game Pass as a means to ensnare you into their economy which is why they’re first down this path, but I think Sony will follow shortly. In an ideal world, I’d love to see Sony get back to hardware manufacturing with a Vita like device you could load Linux/SteamOS onto. Vita was a great little product, done so dirty. EDIT: I know the Portal exists, but that’s mostly just a dumb receiver as far as I understand it. Still, they’re already not too far off … come on guys, just a little further.

But moreover it’s that last point, really. It’s hard to continue to push out these extraordinarily big budget, bordering on AAAA (lol) territory games that continue to flop. I know the Switch 2 is already doing stuff like Cyberpunk 2077, but that stuff can still be hell on battery life as well as requiring lower resolution and lowered visuals in portable mode.

I feel like Nintendo is making a big mistake pushing that 4K60 envelope with the Switch 2, although I see why they made that maneuver. The Switch was perpetually underpowered and they felt the need to close that gap, but they already struggle to push out big budget tentpole franchises as is illustrated by Mario Kart World being the only big release title. Also, I just want to generally point this out, Nintendo suffers from needing to up the stakes. It’s what lead to Mario Galaxy being such a grand adventure, then Odyssey going even bigger than that. Now we have Kart World because … gotta get bigger than 8 Deluxe somehow I guess.

I don’t know what any of this means or where it’s going, I just wanted to try and call out some of these observations. Turbulent times ahead, I don’t know that anyone really knows what the next 2-3 years will look like.

You’re not wrong. You didn’t even stick around for the pole dancing boss! https://youtu.be/m4f4z6fZh1I?t=651

Yes! The original Code Vein is one of my guilty pleasures. It’s very rough in spots and a lot of the levels feel like they’re just hallways to connect arenas, but there’s still a lot of fun to be had if it looks like it might be your kind of thing.

The character had a ton of options and the character builds in game let you unlock skills from classes for permanent equip so you could start to blend the classes together to your liking, creating some really cool builds if you put some thought into it.

It’s a silly game, but one I recommend if you’re just looking for a bit of fun and not expecting an overly engaging experience.

…

It’s been a few years, actually reinstalls

YES! Thank you, finally someone else who sees it!

In my opinion, Deathloop is a spiritual successor to the OG System Shock as well. System Shock 2 and Prey (2017) both adopt RPG elements which is all well and fine, I adore both those games, but OG doesn’t have them and leans more on the interplay of immersive systems, really giving credence to the immersive simulation labeling that feels a bit more obtuse these days.

In OG System Shock, I really do feel you’re supposed to play with the Mission difficulty maxed so you have a time limit. It’s fine if you don’t, I’ve still never beaten it with the time limit on either Enhanced or Remake, but hear me out. System Shock (especially the REAL OG release) was an older game where you were meant to invest more time into it. You were supposed to do new game runs where you start from scratch, learn the world, learn the systems, and push further every time. It becomes more menacing when SHODAN is a real opponent that you can literally “lose” the game to.

Modern gamers don’t really tolerate that kind of stuff because losing a good run to an 8 (or 10) hour time limit feels like a waste of your time, and I can sympathize with that. That’s why Deathloop pulls the idea of runs into a metacontext where you’re reliving the same day over and over again, learning the layout of the different areas at different times of day, making use of the tools available to you until you’re ready for THE DAY when you do THE RUN and basically speedrun the game.

Part of me wonders what a Deathloop without Wenjie’s preservation mechanic (I forget what it’s called at the moment) would look like where you’re forced to re-gather your favorite weapons from their specific locations each run would look like, too. But I get why it was included and I’m not ready to say it would 100% be a better game without.

Oh and Julianna obviously acts as the SHODAN antagonist stand-in even though I know their personalities and motivations are very different. You get how having an ever present, somewhat omniscient foe hunt you is kinda the same.

There’s more but I won’t ramble any further. I know they’re very different games, but you see the outline, right?

EDIT: Of course there’s copious amounts of Thief and Dishonoured DNA in there, but I’ve actually never played those so I have less to say about it. I promise, I’ll get on it someday, I swear!

I think a lot of it is timing, too. Remember, the first Torchlight was 2009, we’re talking pre-indie craze. There’s been no Super Meat Boy or Fez yet, I think. ARPGs hadn’t absolutely flooded the market yet and seeing a very competent and stylized, if simplistic Diablo-like back then could generate some interest. That carried on to the 2nd, which had a lot of improvements.

There’s a bunch wrong with 3 and Infinite, but they were also competing in a saturated market and, you’re right, the Torchlight “brand” didn’t really have enough luster on its own to carry a series.

EDIT: Diablo II was 2000 and Diablo III would be 2012. We were fucking starving back then.

I absolutely recommend it! Slope’s Game Room has an excellent, 2 hour retrospective you can put on while you work if you want a pretty good deep dive. Other than that, I recommend getting yourself set with some emulators so you can kind of dig through the series. A lot of the early games are difficult and I think it’s perfectly fine to kind of just pick through them a bit, get a taste, move on, return to the ones you like, etc.

You can absolutely feel the arc of design elements through the early series up to the pinnacle, Rondo of Blood. That’s because it was all being done by Konami teams, often who knew eachother or were handing the projects off. Rondo hits this sweet spot where you can feel the inspiration of old vampire novels combined with dramatic stage plays (the stages have dynamic names like Feast of Flames instead of just area descriptors), told with 80’s anime cutscenes, wrapped into a videogame package. It’s truly a work of art that both wears its influences on its sleeve and also that couldn’t really exist the way that it does in any other medium. So where do you even go from there? Symphony of the Night! It takes everything that works about Rondo and kicks it to 11 while flipping the franchise on its head with an absolutely rocking soundtrack and sprawling castle. You can enjoy these games in a vacuum, sure. But playing the series up to that point gives you a real appreciation for what they were going for and how they accomplished it. I don’t even think you really need to play them in order because going back and returning to previous entries almost feels like fitting in missing pieces of a puzzle.

The series flounders a bit when it hits 3D, but it will always have a special place in my heart. Koji Igarashi takes the Symphony of the Night formula and basically owns the handheld world, especially from Aria of Sorrow into the DS trilogy, A++. Ultimately I think he developed that formula enough on his own that breaking it off into the Bloodstained series feels right and good, I think he’s better off this way not weighed down by Konami and the Castlevania franchise, but in this way, we still feel that arc of development. Bloodstained: Ritual of the Night actually took a bit to grow on me, but once it did, I saw it as the most Igavania game that ever existed, he has refined the formula.

All this to say that we just don’t get experiences like this anymore, where series have the proper time to cook and develop. Instead we get Concord where they pour millions into something and try and ram it down your throat, “You WILL enjoy this new franchise. You WILL pick one of these characters as your favorite to get invested in, even though we’ve given you no reason. You WILL make this your ONE game you play because … reasons?” Ditto Marathon. Ditto MindsEye (likely). Ditto all the other rubbish they keep pushing out.

EDIT: OH MY GOD! And the Castlevania DLC for Vampire Survivors, how could I even forget. It’s been a Castlevania wasteland for years and that DLC is some of the best I ever played. Completely the Richter scenario and getting to the end of it legit made me cry, it was such a love letter to fans and felt like a huge emotional, respectful sendoff for the series that Konami will never give us 😭 It’s so good, if you’re a Castlevania fan you should absolutely play it and if not, save it til the end because it’s incredible and bittersweet.

As to boycotts, your individual purchases always matter; not just with what you don’t buy but also what you do buy.

Agreed. I’m having a bit of a hard time articulating my ideas properly.

I think my overall point is just that it’s really hard to organize purposeful and effective boycotts these days, especially since no matter what the issue, there’s usually a counter movement dampening it. Whatever market forces are causing these companies to register the lack of interest and disdain the consumer market has, I’d like to identify it and capitalize on it because when the market adapts, it most likely won’t be to the consumer’s benefit.

You could live quite happily off indies these days, but it’s hard to ignore the thrashing leviathans. I’m not sure how much I really care about them anymore, but they do take up a lot of the oxygen in the room. And they seem to control a lot of platforms/storefronts as well …

One of the things I’ve been thinking about a lot lately is media literacy as it relates to gaming - specifically about the design conversations developers are often having amongst each other that players only vaguely feel. Let me elaborate:

A good example is the Castlevania series. From early on, Castlevania was always both refining and reinventing itself. Vampire Killer and Castlevania feel to me like a kind of A/B testing to see what hits. When Castlevania prevailed, they immediately began iterating on the formula with both Simon’s Quest and Dracula’s Curse figuring out different modes of gameplay through nonlinear level design and changing characters. Super Castlevania IV was already a remaster of sorts starring Simon Belmont. Of course followed by the all time greats Rondo of Blood and Symphony of the Night. It had trouble jumping to 3D with the N64 entry which was just called Castlevania again and eschewed the burgeoning Metroidvania/RPG elements of its predecessors.

This eventually leads us to Lords of Shadow which I can certainly respect as a good game with a dedicated following, but it never appealed to me and I had a hard time putting my finger on why. It’s because it’s not just a reboot, but one that kind of wholesale grabs the QTE/cinematic/rage mode game mechanics of the 2010’s and stuffs them into a Castlevania package. It’s difficult to say anything isn’t a “true” Castlevania game in a series that was already very loosely defined as “gothic action probably with Dracula somewhere?” but it had very firmly stepped away from the conversation of its own series.

Even if you’re new to the Castlevania series today, I think you can find great satisfaction in trawling through the depths of the franchise, playing them in chronological release order, and appreciating the various thematic and gameplay elements that each entry contributed to the series. I think gamedevs could learn a lot by looking at this evolution, too. Take look at the Release timeline and note the space in between early entries.

Nowadays, a big game will spend multiple years in development. Inspirations it may have taken from the gaming landscape are years in the past, assuming it even picked up on them when they were peak. When that theoretical game exists, someone may then take inspiration from it and push it into their years long development. The needle moves sooooo … slowly …

And because of that, as we all know, they’re willing to take less of a risk on creating innovative games. There’s this prevailing notion that there are only “good” and “bad” game design concepts and if you mash enough of the good concepts together in a package, you’ll have a good game. They’re all homogenizing because they’re no long trying to deliver on a product to entice you to play it, they’re trying to force a platform/market on you. Take a look at Concord or Marathon or MindsEye or any of the other monumental flops. Kind of like the DCU in my mind; you know the proper thing to do is take the time to build out the world and characters by giving satisfying entries that serve people the things they’re craving. But they keep jumping the gun. If you really wanted Marathon to succeed as a GaaS, why not create a single player game first and allow players to get accustomed to the world and give them something to value to pull them away? The eagerness with which they keep sacrificing projects to snap the trap shut early and make their money back should be a big clue.

Anyways, speaking of MindsEye, I was watching this video earlier which speculates the game was supposed to be another metaverse platform called Everywhere, akin to Epic’s Fortnite. Nobody wants an everything game. Nobody wants an everything app. I don’t want ONE game that I play for the rest of forever, that’s not a thing I ever wanted. They’re trying to forcefully dictate the market at us and everyone is just gagging. As consumers I don’t think we can put effective boycotts together anymore but the market is so utterly saturated and overwhelmed that you literally cannot get people to care. It stands at the complete opposite end of what the article discusses and I think that’s worth meditating on.

The game looks fiiiiiiiiiiine but I’m already exhausted at the thought of another $80 USD price tag with DLC/microtransactions and forced multiplayer elements.

AAA studios are all doing the same sorts of things and putting just a little twist on it hoping it’ll be enough to persuade you away from all the other AAA games and studious out there doing the exact same thing.

I’m not a hater, I don’t hate your mediocre looking game that absolutely fails to stand out from the crowd, but I’m not gonna buy into your advertising for it either. To anyone who finds a home in this game and enjoys it, I’m legit happy for you. Mostly I’m just never going to think about this ever again.

https://www.pling.com/p/2142966/

Maybe not all that close, but it’s the best I can think of right now.

I think it has the general old school vibe, maybe you could tweak the colors to be a bit brighter like your example?

https://x-plus.store/products/n150-netbook

I picked one of these up after it got some buzz the other week. Still waiting for delivery, though, will report back once I’ve had some hands-on time with it! Probably just going to do Arch.

It’s hilariously awful because, as a fan of the original Marathon trilogy, the aesthetic of the new game is the only thing that appealed to me; and it was stolen.

I have no interest in an extraction shooter. You can make an extraction shooter if you want, but you gotta make something that players can get emotionally invested in first. Original Marathon players won’t recognize this and new players won’t care so what was the fucking point of any of this, I’m going crazy. This industry has lost all direction

100% agree and I would like to add on to it that it’s worth just posting information, too.

Did you run into a weird error with your Linux install and have a difficult, yet interesting time troubleshooting it? Post the solution! Even if it doesn’t directly address someone else’s problem, often finding pieces of an issue and correlating them with a bigger problem can help.

I don’t run a personal blog and downvotes mean literally nothing here, so have at it!

I went cold turkey on Reddit when they stopped API access and it was rough in the beginning, but I get ever so slightly hints of the old internet here on Lemmy. It’s raw, but it’s fresh and it’s ours. I love it.

After stating its studio would be based in Bellevue, Washington, the statement explains that the “LFG” in the studio’s name stands for “looking for group,” a common internet acronym for people searching for people to play games with.

“Our first game is a team-based action game that draws inspiration from fighting games, platformers, MOBAs, life sims, and frog-type games.”

Studio named LFG and cites MOBAs as an inspiration. More MP only, GaaS stuff.