I think it was a one time grant for lutris or something, not Wine. It wasn’t out of their good heart or ethical fibre. It was also a one time thing 5 years ago for so little money that it wouldn’t cover even a single developer for a single year.
I mean, sure, it might be a dumb argument to make, but it doesn’t mean that wasn’t what he intended it to be about. The author is free to have an intention and interpretation of the work that is radically different from the audience’s perception. It happens with all art forms.
He made another game which is a direct criticism of capitalism. The dude is talking about the first few Fallout games, he hasn’t worked on Fallout since Bethesda bought the IP.
If someone ask you for a ride and you tell them not to roll down the window and they say “lol, nope” and still get on the car. They can’t be mad if you stop the car and tell them to get out when they roll down the window laughing hysterically at your face. Pressing escape means nothing in this case. The Verge’s writer was acting stupid on purpose. This is like kids who think that crossing their fingers behind their back means they aren’t bound to a promise. It is wishful thinking.
Add: oh, and BTW, there’s a reason almost all terms of service start with “By using this software you agree to…” the legal fact is using the service not clicking on the agree button. That’s just legal ammunition that companies use to prove on court that the user was aware of the legal contract. EULAs uset to be sheets of paper on a cardboard box along side CDs. No one had to click on an agree button. By buying and using the software, those were the terms you agreed to. Almost all contracts include that sort of language because the use is the fact that supports the legal contract. Law is just leaving facts and agreements on paper, facts overrule legalese, that is actually the basis used by courts to dismiss enforcement of EULAs. Like how signers aren’t legally bound to fulfill irrational or unachievable agreements, or language intentionally obtuse or ambiguous.
There was a very direct terms of service “Don’t share info”. But The Verge are notoriously awful journalists. It’s like they have no clue of what basic decent journalism entails and confuse good reporting with being trolling assholes. There’s a reason they were the only idiots who broke it and got rightly burned at the stake for it. I bet the guy wasn’t even looking at the screen when he spammed the ESC key at the game. Just because it wasn’t 100 pages of legalese doesn’t mean they weren’t bound by it, clicking ESC instead of the button OK means nothing in legal terms. And just using the software means you agree to the explicit and implicit terms of service that come with the software as long as it isn’t something blatantly illegal. They were assholes and received the consequences of their actions. And that’s that.
Maybe because that one didn’t come from videogames. Selection sets or groups have been a thing on UI for a long time, ever since vertex editor on CAD software.
Funny enough, Rogue doesn’t have a set of permanent enhancement for a wider meta game. In Rogue you start over from scratch always and every time. That’s the difference between a roguelike and a rogue liTe game. Binding of Isaac and Spelunky are roguelike. You die, you start over from scratch. Hades and Slay the spyre are rogue lite. Every run gives permanent enhancements that change the next runs, so each time you start slightly different or progressively better.
I think it is. It’s more akin to a renovation project. Like when venues have a 1920’s pipe organ upgraded and refurbished to keep it playing. Sure the keyboard is now midi, the pump is electric instead of manual and the valves are electrically controlled now. But it keeps a masterpiece in working order and modernized for today’s enjoyment. While an engineer definitely lost nights of sleep and lots of elbow grease to make it possible. It’s not easy to keep such old code modern and playable.
Only game I know for sure I could install on a toaster and would run at 300fps.
It’s actually very granular on the grind difficulty. There’s a story only mode that removes the survival elements and leaves only the material gathering for crafting. There’s also a creative mode where you don’t even have to gather materials and can just build whatever and go wherever and see all the story bits with almost no challenge at all. You choose how you want to go at it.
The game has a pretty unique mechanic. It makes you control two characters at the same time. It’s not a coop game, with optional solo. It’s strictly a single player game, where you use one controller to move two characters, the titular two sons, one on each control stick. Throughout the game you use movement and interactions with the environment to solve simple puzzles to remove obstacles in your way and travel to your destination. Usually, by having you do different things with each character simultaneously. After a while, it becomes second nature to control both brothers in a synchronous and flowing manner when you get used to the challenge of moving and paying attention to two different things at the same time.
Near the end of game though, one of the brothers dies. Now, you are left with two control sets, but only one character. Puzzles similar to ones that you already solved, now you have to figure out how to solve them, on your own. This on its own is gutwrenching as you developed a familiarity and affection to both characters and their dynamic, as they grow from mutually annoyed siblings, to a well coordinated team of brothers who care and protect each other.
But through the game, you’re also taught that the younger brother can’t swim, he doesn’t know how to. So whenever you had to cross a body of water, the elder brother had to carry the younger brother on his back. He is deadly afraid of being in the water since their mother apparently drowned herself and he saw her die.
At the climax of the game, alone in the middle of the ocean, you have to swim to shore. The emotional kicker is as you discover that using the dead brother’s stick on your controller, which you haven’t touched in at least half an hour since the other brother died because it doesn’t do anything anymore, calls however upon the memory of the older brother when you swim. You have to use both controller’s sticks to swim effectively and survive, and you can hear him cheering and supporting the younger brother to find his strength and swim on his own, back home, to carry on and save their father’s life.
It’s such an empowering and emotional moment.
The ending of that game still makes me tear up after all this years as it makes me think of my own family. Even writing this comment I’m getting emotional. And it does it all without a single line of dialogue, text or voice acting. All by animation and vocalizations along with game mechanics. It’s one of the most effective uses of gameplay I have ever seen in a video game and forever has made me think of this as one of my favorite games of all time.
Other video games, and things people call emotional are usually about story elements, plot lines, events on a character’s arc. Things that have books upon books of analysis and history. Not that they’re any less valuable or deserving of praise, but using gameplay this effectively to convey emotion is, however, kind of unique and rather harder to pull off effectively.
This is what happens when the justice system is designed to keep poor people subservient and not to uphold the law.