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periodicreviews · 4 years

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Uncharted 1-3

With the release of the Uncharted trilogy for free, I decided to finally make my way through them. When I bought my PS4 in 2017, it came with a copy of Uncharted 4 that I’ve left untouched until now. I go into specifics for Uncharted 1-3, then talk a little about the series as a whole.

Uncharted 1

My biggest complaint with this game was the platforming. It was not only tough to figure out which ledges were “grabbable” but even after my 9 hours in the game, I couldn’t accurately judge distances.

Some ledges appear to be close enough, but there’s actually a different side path the developers want you to take. Drake as a character seems to have a variable jump distance depending on if the game detects you are trying to land on a grabbable ledge.

If you jump too soon or at the wrong angle, you’ll execute a short “hop” and fall to your death. I haven’t done any digging on whether such a system exists, that’s just what it appears like.

I died over and over on one of the later levels where there is a series of platforms in the rafters of a church. I just kept misjudging distances and jumping too early.

My primary cause of death had to have been just been falling as opposed to any enemy NPC.

As I say that, I’m reminded of one particular shootout in a courtyard. At the time I remember being really frustrated that being in cover didn’t mean that you were safe from bullets. There was so much gunfire that I couldn’t get anywhere near the people who were shooting at me especially with the number of grenades they were shooting at me. It was tough to have to unlearn everything I know about cover from Gears of War, where you are safe if you don’t peek out from people shooting towards you.

Uncharted 2

Uncharted 2 in some ways felt like a step back and a step forward.

The remastering team on U1 maybe did too good of a job because I felt the eyes of the characters in U2 felt a lot more lifeless.

The step forward was obviously in the improved platforming. I had less and less trouble judging distances. I can’t tell if that’s just because I had 9 hours of practice from the previous game, but I feel like the system judging character movement was also greatly improved.

I died 10 or more times in a single sequence when a helicopter is firing missiles at a building. The building begins to tip over and collapse and you are supposed to jump through a window on a neighboring building to escape.

Fail to jump and you die. Jump at the wrong angle, and you fall between the collapsing building and are crushed. Before I realized I was supposed to go through the window, I thought I was supposed to grab onto the ledge of the neighboring building.

Right after you jump at the exact spot, Drake says “Jump”. But for me, this audio cue always came after I was supposed to jump. I’m not sure if they intended that audio cue to be the cue for the user or not.

This particular scene is a symptom of the root problem in my opinion of the game trying to be too cinematic. I say that, even as a fan of Quantic Dream games. I know there’s a very fine line between cinematic and game. Go too far and you can confuse the player on when they are required to interact and/or make it feel like their actions have no impact. Uncharted 2 had a few such sequences for me. I never wanted to see another train by the end of it.

Uncharted 3

The beginning of the game had me a little worried about the collision detection. It might have just been a side effect of playing with a smaller character model and the collision requirements being slightly different than the regular sized character. There were a few moments when I would get stuck in the chase sequence on corners or edges of geometry.

U3 also put a lot more importance on the melee combat system. I personally prefer to stick with the gunplay but for certain enemies like the shotgun/bulletproof vest guy and the giant brawler types, it felt like a requirement to engage them melee combat. The ability to return grenades and dropdown on enemies in silent takedowns was a welcome addition though.

I really hated the “drug trip” levels. It was very uncomfortable to look at the screen as it distorts and I started to panic during the first level because I was worried I was going in circles and causing this level to last longer than it should. Though to the developers’ credit, that’s really the point of these sequences.

There was one segment I was intent on getting through on all stealth as you infiltrate the airport to stowaway on the cargo plane to the desert. Two enemies at the end guard a door and you can’t shoot either without triggering the “alert”. You had to catch their attention, one at a time, to lure them away from the door and take them out. I really wished I could use the rock mechanic from Horizon Zero Dawn to even get them to spread out on a patrol as they searched for the noise. Ultimately, I was able to remain in the shadows enough to grab their attention but not to fully alert them.

General

I think story-wise, I enjoyed the first game the most, despite it being a little cliché that the Nazis appeared. But gameplay-wise, I probably prefer U2. I enjoyed Elena being presented as someone who didn’t have to rely on Drake to save her. The scene where Elena breaks Drake out of jail in particular was well executed and it was fun to watch these actors perform it.

In U2, although realistic that there would be some animosity between Chloe and Elena, I wished the two could be there as part of a team, not just as two sides of the love triangle. Thankfully they do warm up to each other.

In U2 and U3, characters ask Drake “what’s the point?” and I felt like Drake never successfully answered that. In U1, the driving motivation is rescuing Sully and Elena, then later on it’s in preventing the destructive power from leaving the island. In U2, despite Elena being on death’s doorstep, Drake still decides to face Lazarevic. In U3, especially after getting the warning that Francis Drake himself is alleged to have written. Drake wants to continue on. I guess that just speaks to who he is as a character but the 2nd and 3rd games lost me in that regard as to knowing when to quit. To be fair, he did want to quit in U2 until Schafer convinced him otherwise with the power of the Cintamani stone.

Music

Given Uncharted’s inclusion on stuff like Video Games Live, I expected there to be more to the soundtrack. The main theme is notable but unfortunately that’s the only track that stands out. There are no bad tracks so to speak, but nothing that made me want to listen to it again.

Hints

The hint system was hit and miss at times. I imagine they did a lot of testing to figure out what’s the average time it takes for someone to figure out a particular puzzle and then use that time for how long it takes for the hint to appear. Frequently, the hint would appear when I was already well on my way to finishing the puzzle or when I had just figured it out.

Sometimes the hints would take the form of pressing up on the D-pad and that’s great because I have the option to not press it. It was frustrating when character dialog would tell me what to do instead of letting me figure it out. I know I could’ve turned off the hints in the menu, but I think that would have only worked for the D-pad. It would’ve been nice if that extra character dialog wouldn’t give it all away or could be triggered optionally by the D-pad.

Take a break

It’s probably my fault for trying to rush through these games. But I couldn’t help but notice how high the body count is as you kill non-descript enemy after non-descript enemy. In the first game, they’re just trying to find El Dorado and yet these people are throwing their lives away. In U2, it’s maybe a little more believable because Lazarevic is a warlord basically. And in U3, I guess it’s also believable that this secret society has vast sums of money and influence. Everyone has a price as they say.

At times, I just felt fatigued at having to mow through a whole other squadron of enemies. I know that sounds strange from someone who has played his fair share of Halo, Call of Duty, and Gears of War, where there are no puzzles or exploration, it’s just killing.

In two of those, you’re fighting aliens or “monsters”. I wonder if I played through the 3 Call of Duty Modern Warfare games back to back, would I feel the same way about them? Or maybe it’s merely because Uncharted is not sold to me as being a soldier on a battlefield, you’re just a treasure hunter against mercenaries hired by some rich guy who are just looking for a paycheck (though to be fair, that’s many soldiers as well). Maybe it’s just my personal tastes changing over the years.

This endless warzone type combat also made me yearn for one or two scene where Drake takes it easy. Even just like stopping to eat or sleep would’ve been good. The puzzle and vehicle sections are there to break up the standard run and gun action but I just feel like as a person, it would feel more realistic to see Drake take a nap some time.

Granted, Uncharted is not necessarily aiming for realism. Chances are very low that any person would be able to climb up a train car as it teeters on the edge of a cliff in Tibet. Or escape from a collapsing building that has been shot with rockets from a helicopter gunship. Or survive days walking through the Rub' al Khali with no water and still have the stamina to survive waves of troops in a gun battle. And keep doing it all over and over again.

He does take 1 nap in Uncharted 3 for like 3 hours and I welcomed every second of it. Uncharted 2 opens at a bar where he takes several sips of a drink and of course he takes several sips of the poisoned water in Uncharted 3. But in excluding all of these normal human activities, Drake feels less and less like a human and more like a god.

I feel like maybe I’m missing something that all of these 10/10 and 9/10 reviewers saw. Part of that is probably the time that has passed. I started with The Last of Us and moved on to other games, like Death Stranding, that have built upon the motion capture acting format. Part of it is probably due to me trying to beat these games too quickly, especially when it comes to 2 and 3. I feel like as a whole they are more an 8/10.

I’ve since moved on to Uncharted 4 and so far it feels like a very different game, which I’m not sure if that is a good or a bad thing yet.

#uncharted

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minnievirizarry · 7 years

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5 Powerful Insights an Instagram Tracker Should Reveal to Your Brand

While Instagram might have felt like uncharted territory in the past, the platform represents major possibilities for marketers today.

The numbers don’t lie. According to recent Instagram statistics, brands are hopping on board en masse as the platform approaches 1 billion users.

Meanwhile, approximately 80% of Instagram users regularly follow and engage with their favorite brands who are seeing more revenue than ever as a result.

However, a major struggle for brands on Instagram has been a lack of in-depth analytics and tracking tools versus the likes of Facebook or Twitter. Growing and scaling is nearly impossible on any social platform without understanding your presence by the numbers, right?

Thankfully, times have changed.

Having an Instagram tracker on deck (such as Sprout’s very own) can clue your brand in on some major insights that could potentially transform your social presence. Whether you’re looking for more followers, engagement or revenue, the importance of investing in analytics for Instagram can’t be understated.

But what exactly can you learn from an Instagram tracker? What burning questions should your analytics answer?

We’re so glad you asked. Here are five insights you can gain from an Instagram tracker:

1. Which Hashtags Should I Focus On?

Brands that understand how to use hashtags receive more love from their followers, plain and simple. That said, there’s a lot of room for error and improvement when leveraging hashtags for any given brand.

Think about it. Your hashtags are ultimately what make your posts searchable and crucial for drawing in new followers. Check out how Canva uses hashtags akin to keywords without coming off as spammy or salesy:

It's the weekend! Don't forget to treat yourself! 🍦Inspo and Photo by @blarejune.♥️

A post shared by Canva (@canva) on Aug 26, 2017 at 1:38pm PDT

Furthermore, branded hashtags are essential for keeping track of your marketing campaigns. Considering that 7 out of 10 hashtags are branded, creating your own hashtag is also an expectation of modern marketers.

Here’s how Photoshop uses their #PS_Summertime tag to help curate user-generated content for their feed:

Get lost in the curl with this #Ps_Summertime piece by @molham.haidar.

A post shared by Adobe Photoshop (@photoshop) on Aug 31, 2017 at 9:50am PDT

It also pays to uncover new hashtags relevant to your audience and brand beyond your own. Community hashtags such as #motivationmonday and #workoutwednesday can help expose your brand to fresh faces who otherwise might not interact with you. Here’s a prime example from the official English Premier League Instagram using the #throwbackthursday tag:

Since netting against Liverpool in 2012, @10aguerosergiokun has scored in all five #pl matches he's played against the Reds at Etihad Stadium . #tbt #throwbackthursday #premierleague #aguero #mcfc @mancity

A post shared by Premier League (@premierleague) on Sep 7, 2017 at 5:44am PDT

Plenty of variety, right?

Whether you’re trying to figure out which hashtags to use or how often to use them, an Instagram tracker eliminates the guesswork. For example, Sprout can inform users at a glance which hashtags are receiving the most love from your audience.

From determining which types of tags resonate most with your followers to avoiding using the same tags again and again, an Instagram tracker keeps you from playing guessing games. In other words, you always know which hashtags to use based on your business’ data.

2. What the Perfect Time for My Brand to Post?

Time is everything when it comes to social media. This rings true when determining what time of day to post and how many unique photos you should push per day too.

Perfect timing is a two-way street, though.

Posting infrequently means fewer opportunities to engage your followers and bring in new ones. On the flip side, posting too often could label you as a spammer. Finding that sweet spot in terms of frequency means understanding the best practices of your industry and the best times to post on Instagram, respectively.

Many major brands do well with just one carefully-crafted post per day, still receiving plenty of “Likes” and comments. For example, daily posts are commons for ecommerce brands like ThinkGeek who consistently push products and deals to their followers:

From Hoth to hearth. Star Wars Wampa Cave Snow Globe

A post shared by ThinkGeek (@thinkgeek) on Sep 6, 2017 at 1:23pm PDT

However, some brands and industries such as beauty and fashion regularly post three times or more per day. Brands like Victoria’s Secret and H&M, who are among the most popular brands on Instagram, are notorious for this:

We're halfway through the week. Here's a great outfit to wear during the weekend! #HM❤️

A post shared by H&M (@hm) on Sep 5, 2017 at 11:03pm PDT

Posting less frequently is fair game depending on your goals. Larger brands like Arby’s who are known for their humorous and creative posts obviously put a lot of work into their content. As such, their hungry followers don’t mind waiting:

Seat belts, everyone!

A post shared by Arby's (@arbys) on Sep 5, 2017 at 9:02am PDT

But what does “ideal” timing and frequency look like for you?

With the help of an Instagram tracker, you can experiment yourself and see what times your posts typically garner the most engagement. Furthermore, Sprout’s Instagram scheduling better ensures you can stick to a timing schedule without sweating about being glued to Instagram 24/7.

3. Which Types of Posts Are the Most Popular?

In terms of the types of content you can publish on Instagram, there’s often much more than meets the eye.

Literally.

While Instagram might be viewed as little more than a place to post memes or snapshots of cocktails, it’s a prime platform for promotional content. In fact, Instagram users spend the most on products purchased through the platform versus any of the other major social site.

Of course you can’t just go blasting product photos and expect traction. Brands are expected to diversify their content accordingly. With the help of an Instagram tracker, brands can hone in on the exact promotional posts that win over followers. At the same time, you can phase out non-performing post types and only focus on what’s driving your engagement upward.

For example, user-generated content is absolutely crushing it right now as regrams are among the most popular types of posts on Instagram.

Not only do such posts show off your followers, but they also provide opportunities to let your fans promote your products and brands on your behalf. oVertone’s feed is almost exclusively UGC as fans are constantly willing to submit their own photos and leave positive feedback on those same posts:

@gscarolinelbr: "Custom hair painting by Caroline (pre-lighten) and incredible pastel pink conditioner by #overtone."

A post shared by oVertone (@overtonecolor) on Sep 6, 2017 at 6:57pm PDT

Analytics are key to effective UGC campaigns as you determine who your brand evangelists are, what types of posts get people talking and what products are most popular on Instagram. The same rules apply to other types of content including text-based posts, contest posts, videos and everything between.

With the help of an Instagram tracker, you can even assess often-overlooked aspects of your posts such as captions. For example, popular Instagram pages such as that of Humans of New York boast huge numbers with long-form, storytelling captions and no hashtags. Not exactly conventional, but clearly effective for their unique brand:

“My English is not good. Spoken English is very difficult. But I want to study at Columbia so I am trying to improve. I decided to come to America because of Forrest Gump. I’ve watched the movie five times. I like Forrest very much. Forrest is very simple. He picks one thing, and he keeps going. When I was young, I thought Forrest was stupid. But now I have a different view. I think people are too complicated. They complain about everything. Forrest never complains. Forrest chooses one thing and he keeps going. I watched the movie last month to encourage me. My life is hard because people don’t ever know what I’m saying. But I just think of Forrest. Forrest figured everything out because he just kept going.”

A post shared by Humans of New York (@humansofny) on Jun 16, 2017 at 11:47am PDT

Again, the possibilities on Instagram are seemingly endless. That’s why keeping stock of your content is so important. While hashtags and frequency are easier to break down by the numbers, the type of content you post requires a strong sense of awareness.

Maybe over time you learn that your followers are in love with selfies. Perhaps you text-based motivational content gets the most “likes.” Either way, an Instagram tracker can paint a clearer picture of what’s performing and what’s not by tagging your campaigns and tracking them accordingly.

4. What Do My Followers (& Competitors) Actually Look Like?

Ask yourself: how well do you really know your Instagram followers? What about competing brands in your space?

When you’re running multiple social platforms, keeping track of your followers and competitors alike can feel like an uphill battle. With an Instagram tracker and keen attention to your Instagram analytics, the task becomes much, much easier.

Important variables to note when considering your content and tone on Instagram include:

The demographics of your followers (age, gender, geolocation)

Where your followers are coming from (your website, email list or other social sites)

How often your followers engage with your content (and what they’re saying when they do)

For starters, don’t assume that your followers on Facebook or Twitter are the same as your followers on Instagram. After all, you don’t want to simply repeat the same posts over and over across all of your social platforms, right? That’s why having content tailored exclusively for Instagram is always a plus.

Also, users on Instagram tend to skew younger and female according to demographics data, which might, therefore, influence what sorts of content you push to the platform.

And finally: what about your competition?

Although chasing your competition’s follower count shouldn’t be a total rat race, it does help to understand where your numbers stack up against each other. An Instagram tracker can help you keep an eye on competing accounts without totally obsessing over them.

Sprout’s Instagram competitors report allows you to “spy” on what the competition is doing, and identify potential opportunities for your own brand.

5. How Are People Engaging With Your Posts?

Last but not least, with engagement being one of the key pieces to Instagram’s algorithm, you need to track comments and likes. The more often people engage with your content, the more likely you’ll be to pop up in their feeds.

But don’t just stop there. Make sure you’re taking the time to reply to any comments you receive. According to one of our surveys, 15% of consumers will unfollow a brand if they fail to reply to their messages.

In order to avoid losing followers due to unresponsiveness, use Sprout to reply to Instagram comments on desktop or our mobile app.

One of the biggest advantages to using Sprout to track Instagram comments versus replying directly on Instagram is you have all of your comments in a single stream. On Instagram, incoming comments are mixed in with all your other notifications like new followers or likes. And Instagram only shows your 75 latest notifications. So if you get a lot of likes and new followers, you can easily miss new comments, especially on older posts.

With Sprout, you can filter engagement to just show all your comments.

Then you can reply directly within our app and mark messages as complete so everyone on your team knows they’ve been responded to.

Are You Using an Instagram Tracker to Fine-Tune Your Social Presence?

Even though the platform is still relatively young, your Instagram presence shouldn’t be covered in question marks.

Long gone are the days where marketers can treat Instagram as a sort of “great unknown.” Through analytics tools and monitoring metrics, we can better glean what types of content encourages new followers, when to post it and how often to push out new content.

If you aren’t using an Instagram tracker, there’s a good chance you’re flying blind in terms of your social presence. Instead, take control and fine-tune your posts based on data versus guessing. Start by signing up for a free trial of Sprout to experience how beneficial an Instagram tracking tool can be for your brand.

For those of you who’ve been sleeping on Instagram analytics, what’s been holding you back? What’s your biggest struggle when it comes to locking down your Instagram presence? Let us know in the comments below.

This post 5 Powerful Insights an Instagram Tracker Should Reveal to Your Brand originally appeared on Sprout Social.

from SM Tips By Minnie https://sproutsocial.com/insights/instagram-tracker/

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aurimeanswind · 7 years

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Games Are BETTER With Stories. Full Stop.

So this is a bit of a different tact for a post. This kind of acts as an OpEd to Ian Bogost’s opinion piece over at The Atlantic claiming that video games would be better if they abandoned stories.

For reference, here is the article in question:

https://www.theatlantic.com/technology/archive/2017/04/video-games-stories/524148/

Now I understand this article was probably intended to get a rise out of not just passionate video game writers such as myself, but also folks who actually write video games, develop games, and aspire to make the medium better as a whole. I have nothing against Bogost, this is even the first I’ve heard of him, but his piece seems so lacking in any credit for fantastic gaming examples at all that I thought a detailed response to the article, some counterpoints, could prove an interesting read.

I have nothing against him, and he is absolutely entitled to his own opinion. That being said... I really, really disagree with him. This is not meant as an attack at all.

So the big aspect this article hinges on is that environmental storytelling is kind of a joke, by comparison, to “real” storytelling, like that of TV, film, and novels. The two big examples he uses are BioShock and Gone Home. The comparison of Gone Home to a young adult novel is both kind of apt, but also really dismissive of what that game evokes out of people.

Something really massive about games, and I talked about it on my Alex Talks about experiences, is that each person experiences a game differently. Now, this is absolutely true of all art and art forms, but the difference in games is that can have some form of physical manifestation. When you experience a video game differently, when it causes different senses in your brain, you will likely play the game differently. This can be a subtle thing, from dying more in a shooter to dying less, or exploring one room where another person spent hours in it, examining the environment.

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And that’s the key thing with games: everything is a story, and that story is always different depending on the player. Like I said in the video above, some games are crafted in a way to make that experience almost identical for everyone, but death count, level of frustration, difficulty level, all go a way to make it very subtly different for everyone who plays that, and thus the experience will evoke different things for different people, and in turn, will be different depending on the player. Now, I just mentioned that a different interpretation or experience is true of any form of interpretive art, but the fact that the way, the vehicle by which that changes is completely unique to games (deaths, retries, difficulty, etc) goes further to make gaming experiences have their own unique flair to them. This may seem like a weird and arbitrary detail or argument, but it’s not. It makes games accessible in ways that some mediums just art. Take my experience with Uncharted 4, compared to my mother’s. She doesn’t play many shooters, but because of the lock on and ease-of-diffuclty settings specific to Uncharted 4, she was able to play the entire game by herself, something untrue of the series up until that point, and she loved it.

Another big focus of Bogost’s argument were examples that all fell into the narrative-driven gaming experience. He also didn’t really end on an argument, a concept to push forward with. He said that games would be more interesting if we could take their worlds apart and put them back together, which I think was mostly in reference to What Remains of Edith Finch, a game that just came out today and I have not played, so I can’t really understand.

But to the argument against the narrative-driven game, let me bring up a gameplay-driven game: The Legend of Zelda Breath of the Wild. Every aspect, every occurrence in that game is a story. It’s a unique story to the player that is playing it, but there is no denying that this game that “forewent its story in service of being a video game” actually has more unique storytelling to it than most games of the last ten years. Everything you do and explore and engage with is a story unique to you as a player, and all the pulls and hints and attractions of that world, while still slightly guided, are at the behest of your own agency. When I run off and find some animal that I chase into a fight with a Lynel, that is a narrative of my own making, with characters, a hero, a villain, and a complete arc. It’s unquestionably the narrative he believes games should be abandoning, but never seems to provide a clear explanation of what that abandonment would be in service of? Instead, he’d rather a game be a flat picture that evoked sounds and colors over player-driven exploration, because guess what: that’s story. That’s one of many, many ways games can tell stories, and to disregard that as “just gameplay” or “not a real story” would be to disregard the majority of ambient storytelling devices in games.

Again, I think this may come across as an odd example, and maybe Bogost would even say that that’s merely gameplay, and in service of his argument. But I’d disagree.

There would probably be an argument saying that The Last of Us’s story is just a movie or short TV series made into a game series, and that’s fine. I’d respect that argument, if it was well articulated. The Last of Us isn't even mentioned as one of the story-focused games in Bogost’s articles, either. Probably because he’d too easily write it off as another, “better” medium’s linear narrative merely adapted into a game. But The Last of Us accomplishes so much within the medium of games. It’s a story with gripping tension that genuinely complements the set piece moments of action placed throughout it’s story. There are moments, like when Joel gets injured toward the end of the Fall season, that are experience partly through cutscene, partly through actual, interactive gameplay. Their subtle ways to trick your mind into investing in the characters, only its not really trickery; it’s genuine emotion brought out of the player. Naughty Dog’s linear storytelling approach is one that works, and works very well. People will argue about their gameplay, but the tense, slow pulse of combat in The Last of Us is almost perfectly tailored to the narrative in play. It’s top of the line.

I could go on and on, but let me just touch on one other thing.

A lot of people give JRPGs shit for having batshit stories, or as what Bogost would probably describe as an “objectively bad story”, but that’s just not true. You can tell a story that is over the top, occult, or absurd, and still have it contain gripping characters, true moments of genuine emotion, and incredible payoffs. Persona 5 is absolutely one of those. If you want to sit here and tell me Persona 5 has a bad story, be my guest, but you’d be for sure wrong. All stories have some level of subjective determination with them, and they’ll resonate differently with different people.

What’s very cool and poignant about the Persona stories is their sense of scale. They take place over such a long time that it’s a different kind of investment. The 102 hours it took me to play Persona 5 was an investment, typically far longer than any entire TV series that exists out there. And instead of the time-skipping pacing of a television show, Persona always has a strictly metered pace. Pacing is a massive advantage video games have over just about every single other medium in existence, but I won’t get into that here. What i’m saying is, by pacing things out in a game like Persona 5, so that you actually live an entire year in a person’s life, there is a gradual and steady build of investment, not just in your own character and the world, but the other characters, You have to spend some collective amount of time with another character to become their best friend and confidant, just like real life. Persona is already unique in its approach to this, and just going and watching the Persona 4 Animation ostensibly proves that you lose almost all of the magic converting what is an “anime game” to an “actual anime”, and that is proof enough for this relatively shallow argument in an example that I don’t even think Bogost would have considered.

I don’t mean to sound dismissive here. There is absolutely room for conversations about how video games could, and should, be better. They still have plenty of room to grow. But by saying that they will be stuck in “perpetual adolescence” and should ostensibly “give up” is, as Danielle Riendaeu said on Twitter, just fucking lazy.

Anyway, cheers to Bogost’s opinion, it did awaken something passionate in me. It seems this was definitely more on the bait-y end of the article spectrum, and maybe I fell for it, but I’ve always vehemently fought for the fact that video game stories are great in their own right, interesting, and unique in both their approach and results. But like I said, he is absolutely entitled to his opinion. <3

#ian bogost #the atlantic #persona #persona 5 #persona 4 #the last of us #the legend of zelda breath of the wild

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