I actually do enjoy a bit of tedium, but it very specifically has to be building to something (I'll swim around breaking rocks as long as Subnautica demands me to if it means getting to build some cool new thing).
Your point about not opening half the map just on the main missions is salient too for the same reason. Collecting for collecting's sake is not enough for me, and too much of this game is just...there.
I don't know if my fondness for any game tanked as steeply as Ghostwire Tokyo. I started out really enjoying it gameplay and traversal, the environmental design and level of detail, the style and enemy design. But it just did not last. I got reasonably swept up in map-clearing activities myself but grew bored of them so quickly I could barely bring myself to finish the game's relatively swift main campaign.
Marvel Midnight Suns. Disregarded it on announcement and launch because I wasn’t interested in the core card-based system. Played a little bit of Slay the Spire, which didn’t catch with me but did suggest I might actually be able to enjoy a card-based system with enough narrative context to keep me interested.
So far, so good. I just completed Act 1 (which prompted me to exclaim “that was only act 1??”) and I’m a little worried that I’m going to tire of the side missions soon and lose steam overall, but it hasn’t happened yet. The characters are fine enough, although they definitely give off MCU fanfic vibes (it’s jarring to me having a Peter Parker voiced by Yuri Lowenthal who is such a little remora sidekick in his characterization). The loop is pretty satisfying, if not a little clunky, and I wish the balance between doing battles and running around the abbey grounds leaned a little less on the abbey stuff.
But it’s a lot of fun and very addictive. I’m saddened that it performed poorly but I bear my part of the responsibility willingly.
Marvel Midnight Suns. Disregarded it on announcement and launch because I wasn't interested in the core card-based system. Played a little bit of Slay the Spire, which didn't catch with me but did suggest I might actually be able to enjoy a card-based system with enough narrative context to keep me interested.
So far, so good. I just completed Act 1 (which prompted me to exclaim "that was only act 1??") and I'm a little worried that I'm going to tire of the side missions soon and lose steam overall, but it hasn't happened yet. The characters are fine enough, although they definitely give off MCU fanfic vibes (it's jarring to me having a Peter Parker voiced by Yuri Lowenthal who is such a little remora sidekick in his characterization). The loop is pretty satisfying, if not a little clunky, and I wish the balance between doing battles and running around the abbey grounds leaned a little less on the abbey stuff.
But it's a lot of fun and very addictive. I'm saddened that it performed poorly but I bear my part of the responsibility willingly.
The first and only survival-crafting game I've enjoyed, and I enjoyed it immensely. Too many of them feel endless and aimless. Subnautica has a perfectly fine-tuned sense of progress that's always dangling some new capability or area to explore just ahead.
I'm not convinced that cameras and Nextdoor are having a material impact on the vague idea of "trust between neighbors," but I admit it's hard to gauge because I only have my own experience, which exists on a potentially wide spectrum.
I'm barely on Nextdoor and was surprised to hear there's apparently a pretty common use of it for public shaming. The potential for petty community conflict does seem heightened by some of these technologies.
Home entertainment is such a closed system that all these companies are just beta testing shitty ideas for each other. Eventually they all do the same thing as long as any backlash was neither too destructive to revenue nor sustained. See endless streaming services price hikes, account sharing lockdowns, or the fact that you just can't buy dumb TVs anymore.
The childishness on display is surreal. This is a whole-ass nation acting like an unimaginatively smug 10 year old.
He has a pretty versatile body of work, and I think one of the biggest throughlines is that he's very intuitive about how to approach a given story or idea. I'm not a huge Daredevil comics fan, but his take on the character for the Netflix show (at least the first season when he was involved) is about as near perfect an adaptation as I could possibly imagine (due in no small part also to Charlie Cox's masterclass performance).
Did they publish the poll itself? Curious how they defined "iconic." These results are baffling. I'm most surprised by Shadowheart, who is a great character but...functions as part of an ensemble and is arguably not even the most "iconic" character within her own game. And BG3 itself, despite being one of the most culturally impactful video games in recent memory, still is just too young to qualify for iconic status.
Buffy the Vampire Slayer spoilers.
The opening scene of The Body. It's not the first time the show intentionally subverts its own identity, but it's certainly the most powerful.
For a show that has by this point in season 5 shown it's fair share of dead bodies, even just the unglamorous, undramatic image of Joyce's body spilled across the couch is off-putting. Then the brief fantasy of Buffy imagining that she saves her mom's life, and the stark transition of fantasy Joyce expressing relief at being saved snapping back to to a shot of her llifeless, expressionless face. The overstaurated color in the cinematography, the unnatural emphasis of atmospheric sound as Buffy's senses short circuit under the mental strain of processing the moment. The childlike fear and uncertainty when she accidentally breaks Joyce's rib administering CPR under the 911 operator's instruction. It's brutal reality manifested in a world that has trained it's viewers to expect (quality) melodrama even at its most sincere.
It's important to note that the episode follows one of the silliest episodes of the entire show (though not without its own gross implications), wherein a lifelike sex robot tears through Sunnydale looking for her creator. The first few seconds of The Body overlap with the last few seconds of the previous episode, intentionally creating a major tonal whiplash.
I think Drew Goddard once described The Body as 45 minutes of the best TV ever filmed and I still think that stands.
Edit: found a short clip on YouTube. Can't believe I forgot about "Mom?...mom?........mommy?"
That's cool. I do enjoy lore, but more in an "explain it to me on YouTube" kind of way than an "uncover it organically through gameplay" way. I need characters, acts, and arcs to be immediately engaged.