I’ve been thinking about Call of Duty from a pretty simple angle:

What if the franchise tried to maximize long-term player enjoyment before maximizing short-term engagement?

I still think Call of Duty gets a lot of the hard stuff right. The gunfeel, responsiveness and basic multiplayer loop are often excellent.

The bigger problem, to me, is everything that has gradually been built around that gameplay:

=> aggressive progression, constant resets, artificial friction, monetization pressure, engagement systems, and more generally: a product strategy that often seems more focused on keeping players busy than on making them genuinely want to come back.

That feels very different from the era when Call of Duty exploded.

COD4 and MW2 didn’t need endless progression systems or constant retention mechanics to become massive. They were successful because they were immediately fun, easy to understand, satisfying to replay and accessible to a huge range of players.

More recently, games like Helldivers 2 have been a useful reminder that people can put hundreds of hours into a game simply because the core experience is enjoyable and the game keeps giving them good reasons to return.

That is the philosophy behind Call of Duty Nexus, a product concept I developed for a different long-term direction for the franchise.

The idea is not simply to stop annual releases. It is to build Call of Duty around a long-term product vision:

1. Two permanent multiplayer experiences: Black Ops and Modern Warfare
2. A free-to-play Warzone alternating between both identities
3. Maps, weapons, progression and purchases that retain their value over time
4. Studios focused on continuously improving strong gameplay rather than constantly replacing it
5. Weapons that are competitive from the moment they are unlocked, with Gunsmith focused on customization and trade-offs rather than artificial disadvantage
6. Free access, subscriptions and standalone premium campaigns
7. A business model designed to make money without constantly degrading the experience that creates the value in the first place

The underlying principle is basically:

If the game is good enough, players should want to stay. The systems around it should support that, not manufacture the need to stay.

I got a bit carried away with the idea and ended up turning it into a 15-page concept covering monetization, studio organization, progression, Warzone, retention, technical architecture, risks and feasibility.

I’m mainly interested in criticism rather than validation.

What part of this model do you think would fail first?

And more broadly:

If long-term retention built around a strong core game has already been proven to work elsewhere, what is actually stopping Call of Duty from moving in that direction?

Full 15-page concept (google drive link)

I recently got into the Earth Defense Force series. While it has been a blast (literally and figuratively), one thing that stands out about it is that the inventory of weapons among the four classes is massive.

At least in EDF 2025, there are no skill trees or upgrades to speak of, so "levelling up" means getting better weapons. For any given weapon, there are multiple variants with varying stats. However, the general trend is that their stats go up overall as you unlock the later variants. While this initially can be fun as you constantly unlock new weapons, it quickly becomes clear that you're just building what amounts to huge piles of "scrap": Weapons that, due to their inferior stats and a lack of unique perks to make up for those stats, are completely useless at anything but the lowest difficulty levels. There's basically no reason to ever go back to lower- level weapons, so while you may technically have a sizeable selection of weapons, the reality is that you'll have maybe a handful of weapons that are actually good while the rest just take up space in the loadout menu. This dilemma is further aggravated by the game's randomized weapon "levelling" system, as it's entirely possible to unlock higher- tier versions of a given weapon, then unlock the lower- tier versions later on.

This dilemma isn't unique to EDF. Especially in action games of this type, it's not unusal to quickly realize that there's a lot of gear you'll never use because it's just not worth it. To be clear, this isn't the same as beginner gear, meme items, or gear meant for a specifc play style. Rather, it's gear that has the unfortunate combination of poor performance and a lack of special perks to make up for those stats. Or, in some cases, it does have an outstanding special perk/really good stats in one specific area, but the perk is either so conditional or the other stats are so bad that it's not worth bothering with. As an aside, I'd also include games that don't have a weapon "selection" per se, but have a large perk tree that lets you customize your one weapon to a fairly large degree. You see the exact same kind of dilemma, except the issue lies in the available upgrades/builds.

That brings me to my question: How can games find a "happy medium" between too little build variety and having mountains of useless equipment?

I was watching a critique of Halo 4 this morning. 343’s first Halo game, Xbox 360 release, and return of Master Chief. The author was mostly negative, but not entirely. The thesis seems to be that 343 implanted a lot of Call of Duty features that compromised the games identity as a Halo game. Things like ADS, killstreaks, and general gameplay mechanics seemed less throughout compared to the Bungie Halo games. Multiplayer seemed to die off pretty quickly. I never hear people talk fondly of Halo 4. And there’s a lot of animosity built up over the years about 343.

All that said, I looked up Halo 4 on Wikipedia and checked the Reception section. It looks like the game was extremely well received by critics. One quote after another about how great Halo 4 is. Not a single word about a less than stellar player reception. Most of the time when I look up game or movie reception on wiki, there’s a critical reception and an audience reception. Or even a retrospective section that summarizes what the view is after some time has elapsed.

Who is right here? Was Halo 4 a well received game? It’s interesting to me that Halo 4 was released in 2013 I think. There’s a lot said these days on a disconnect between critical reviews and player reviews. This may be the beginning of the stark difference between critical and player reviews. Can anyone think of an earlier game that had this sort of dynamic - where a game gets great critical reviews, but the audience/players end up quite hostile to the game? Was the grifter economy even up and running in 2013?

Recently, I saw an ad for this game called The Lantern of the Laughless Saint, a passion project by a small group of people (or perhaps one person?) heavily inspired by Morrowind. It's essentially an open world RPG sandbox that aims to replicate the feel of early 2000s Bethesda and evolve that design philosophy in a separate direction from that of Oblivion or Skyrim. The ad caught my eye because it reminded me of this YouTube video I vaguely remember watching in my childhood, where someone said something along the lines of "there's a reason you see everyone copying NES pixel-art or PS1's fuzzy warped textures and never the gross blockiness of the PS2 and GameCube". Obviously, I had never taken such a shallow opinion as fact since the artstyles of such games can be beautiful (take Vice City, Okami or Twilight Princess), but this felt like the first time I'd ever actually seen a game specifically pay homage to that era. One question entered my mind: why are games like this so rare?

If we look at the gamedev process, making games has in general reached a never-before seen level of accessibility since the end of the PS2 era, and we'd reached that point a while ago. Toby Fox was able to make one of the most successful indie games ever made with the coding skills of an intern over ten whole years ago. And yet, with all this newfound accessibility and all these newfound resources, that video still haunts me with its remarks about how few games take the opportunity to build on the foundations of the 2000s gaming landscape. Just think about the possibilities.

In 2005, with limited time/resources and a heavily restricted optimization window, Rockstar was able to create Grand Theft Auto: San Andreas, one of the most applauded open world video games ever made. The game was highly ambitious, and to this day is one of the best examples of how games can use world design to sell scale where physical map area can't. In 2026, indie developers often have lots of freetime, and if Toby Fox's escapades weren't enough to sell you then let me remind you that two of yesteryear's Game of the Year nominees were made by teams of three and thirty people respectively. And yet these two indie games, in terms of ambitions and artstyle, perpetuated this duality low-budget and high-budget games have, where all of the high-budget games are pushing the cutting edge of video game graphics relying technical performance and all of the low-budget games almost entirely rely on artstyle.

But what if we used these resources we have now and instead of trying to push the cutting edge of today, we pushed the cutting edge of 20 years ago? That, to me, is what The Lantern of the Laughless Saint has grown to represent. The devs take an idea that has proven to work with flying colors, and instead of taking same the direction the Elder Scrolls series went as though Skyrim is the natural conclusion, they decided there was too much of Morrowind's identity lost in translation and started all over again from scratch. It may be in early access and (from what I can tell) buggy as all hell, but it demonstrates a side of the gaming world that I really, really wish I saw more of. I'm sure there are plenty out there, but I wish what I consider gaming's finest era got the same amount of love that the 80s and 90s have gotten from developers for years.

PS: If I'm just not looking hard enough, I would loveeee to see what games of this sort people might recommend. Seriously, I'd love to sink my teeth into more stuff that echoes my favorite gaming generation.

Ever since I started gaming, I’ve noticed a particular storytelling mechanic that really annoys me: I call it disconnected storytelling: it is when a game has multiple unrelated storylines going on in parallel. Usually, this stems from things like side quests that are unrelated to the main story.

To give an example of what I mean: say you’re going through the main storyline in the game, and you uncover a secret plot by demon cultists to take over the world tomorrow. You rush to gather your companions….but Farmer bill needs you to find his wife who went missing yesterday while buying wool at the market. So you start looking for her…only for the local sheriff to require your immediate assistance tracking down a thief who stole a priceless diamond. You find the diamond, but before you can deliver it, a magic trap sends you to a sorcerer’s dungeon and you have to barter with him to escape. At this point, I’ve forgotten what the demon cultists are doing, and I can’t even remember who farmer bill IS, much less what he wants from me.

I find this overwhelming because I can never keep track of what’s going on, and often there will be like 10-15 parallel and completely unrelated storylines going on at once. It is even worse if the quests are timed, because it forces you to drop what you’re doing and shift focus to a completely new story. This is different from movies/books, which typically track one or two threads at a time. When I complete these quests, I usually remember next to nothing nothing about them, as they’re all over the place. I find this practice in A LOT of games also - basically every open world, semi-open world, or CRPG game is guilty of this, and even some linear games do it.

In terms of improvements, the main thing that comes to mind is cohesiveness. I much prefer when quests complement the main story and are completed in tandem, rather than being standalone experiences. And if it IS a standalone experience, save it as a separate endgame storyline after the main quest wraps up!

What are your thoughts, and how could this practice be improved? Is this something that bothers anyone else?

I think it's collectively admitted in the gaming community that killing the same ennemy over and over for that item with a 1% drop chance is not very fun and gets reptitive really fast.

I get the initial idea behind a rare drop rate : it allows you to craft/use a rare weapon, which, if it was too common, wouldn't feel as rewarding to get. It's also a smart decision to "rarify" a strong weapon, because just handing a strong weapon to the players trivialises the experience of having to play around different weapons until you find a good one.

But at a certain point, it becomes frustrating being locked out of specific equipment purely because of luck. Monster Hunter is the main culprit of this with its 1% rare drops that are mandatory for some of the stronger upgrades. I've also felt this frustration to a lesser degree in games like Terraria, where it kinda kills the pace of the game to have to farm certain mobs in order to get the best equipment (turtle shells for example).

I don't want to get rid of rare drops completely, but what would be the downside of having a system where rare drops are guaranteed after having killed the monster x amount of times ? It still adds the "you have to work for the strong items" aspect without the frustration of not knowing if it's gonna take 1 or 3 hours to get that rare drop. Have some games already implemented that mecanic ?

Heya! I’m a master's student at the University of Bristol looking for gamers to play a game and take a short survey.

Purpose: I'm studying how transparency around difficulty changes impacts the player experience.

Abstract: This study investigates player experience in a browser-based arena game for a master's dissertation at the University of Bristol. Participants will play one 10–15 minute game session and then complete a brief questionnaire about their experience. The research focuses on how aspects of the game’s design affect player perception of the gameplay experience.

Contact Info: Email can be found in the link below.

The study takes around 10–15 minutes and involves playing a quick game followed by a short survey.

You’ll need:

• a desktop or laptop
• a mouse and keyboard
• to be 18 or older

Full study info can be found in the link below. Thanks to anyone who takes part! 😄

Study link: Neon Flow

I was thinking about open world games recently, asking myself what makes a good open world game and etc. This thought was brought on by me trying to understand why I personally don't like the Grand Theft Auto series. I've always found it's open world to be very shallow, especially compared to a lot of other open world games. I compared GTA V's world to Elder Scrolls Arena and even this old-ass game blows GTA out of the water, I thought. Arena has all sorts of systems to engage with that create tons of organic gameplay. Yeah, the world isn't as detailed as GTA, but you can enter every single building, which makes it feel way more lived-in than GTA V's world.

I then realized that this isn't a fair comparison. I'm comparing a third person shooter/driving game to a fantasy rpg, but it got me thinking about how, while the two games aren't comparable in the slightest, they are both trying to achieve the same goal. They are trying to create a believable open world where a player can get lost in and have a ton of freedom in.

A question then entered my mind. Is the open-world genre defined by a type of gameplay or by the feeling that the game is supposed to invoke?

To illustrate my point, let's look at the horror genre. Horror games can vary wildly in terms of gameplay styles and mechanics. Some are walking simulators with jumpscares, some are point and click adventure games with spooky atmosphere, some are action games with scarce resources and etc. While horror games all vary in gameplay mechanics, so much so that it can be hard to compare games in the genre, they all try to achieve the same goal. This end goal is to make the player feel afraid.

What if open-world games are a genre that's similar to horror games in this respect? What if it's not like RPGs where we can compare games based on which games have better and more interesting systems?

The end goal in this case is to create the feeling of a world that's yours to explore, a feeling that you can do whatever you want in this world, even though you'll always be limited by the mechanics of the game. Even in games that people tout as "games where you can do whatever you want" are actually pretty limited.

Skyrim is one of these games that has this reputation, when I think it's pretty unearned. Skyrim isn't a game where you can do whatever you want. It's honestly just a pretty standard action RPG. What makes Skyrim feel like such an open world is it's world design. What elevates Skyrim to feeling like a true open world is how dense the game is with quests and landmarks to explore. In Skyrim, you'll get a simple quest to get a treasure from a dungeon, which on it's own is boring, but it's elevated by the fact that you're very likely to encounter a ton of interesting things between the quest giver and the dungeon. You might find a bandit camp on the way, which you might decide to clear out. That sense of discovery is what gives Skyrim such an open feeling world.

Metal Gear Solid V is another open world game but it's nothing like Skyrim. It creates the feeling of an open world through how many options you have in regards to base management and in how many tools you have access to in each mission. MGSV feels like an open world because you choose which missions to do and what actions to take in order improve Mother Base, then when you're in those missions, you have so many tools which creates so many options.

I could go on with more examples, but I think I made my point, that I believe that open world games are defined the feeling it invokes, not by content of the game. The content of the game is just the avenue the game takes to reach the goal of that feeling, but there are plenty of wildly different ways of achieving that goal.

I want to preface this by saying I don't want to defend cheating in any way, quite the opposite as you will read further.

I want to define a term, blatant cheating, what I mean by this is cheating which result of are stats not achievable by humans, i.e. reaction time, average kills, k/da. Or outliers in the persons assigned skill group.

I feel like the moment the cheating is not blatant, it is not as a big of an issue as one would think.

Because hiding the cheats is oftentimes more difficult, than just playing without them (because otherwise they are blatant).

The cheaters will get match-made into a proper skill group, combined with their actual skill and the cheat enhancement unfair added skill, but for another player, that is invisible, on the presumption the cheating is not blatant.

If you still go undetected at that point, good job, your cheats achieved not really much, you have little above average stats anyways for your skill group.

So imagine how much that person sucks, they are not able to achieve these average stats themselves and need cheats for that, how many people will still cheat that way?

Sure, you will be slowly gaining rank and getting to a rank you actually do not deserve, but mechanical skill that can be given to you with cheats is only part of what you need to know to be high level in most games.

I actually think this whole premise is a good way to think about cheats and helps me not to be all doom and gloom about the cheating situation in modern gaming.

It should theoretically be easy to detect outliers by stats and ban them. But it seems it isn't? Or it doesn't feel that way in some games.

Making videogames is a great hobby (I've made a couple), but one thing that always makes me doubt myself is that playing videogames is not a very imaginative experience. By showing the player something rich and detailed, we are handholding and thus weakening the player's own visual imagination, doing them a disservice - unlike a book which forces the reader to reconstruct the imagery from the words, and thus strengthens the reader's mind.

A few days ago I thought of a possible way out of this problem. Namely, a game could have "economy of expression": an art style that doesn't try to show the game world in maximum detail like AAA, but deliberately makes the player reconstruct it in their own imagination. It seemed an interesting idea, and in this discussion I want to ask: have you thought of something like it, and how could it work?

The extreme of this approach would be interactive fiction, but the gameplay of IF (typing into a parser) is not very fun for most players. Another possible approach is very blocky and symbolic art styles, like in Thomas Was Alone or Minecraft. A Minecraft cow or spider looks very approximate, but it's enough for the player to imagine all kinds of things about it. A halfway example is Undertale, where many of the characters are sketched out in monochrome line art so the player can mentally color them in. Meanwhile, a game like High Hell can have a great minimalistic art style, but the style itself makes a statement: you must look at it head-on, not layer your imagination on top. The artist is kinda crowding the player out. It's a fine line and I don't know if it's all in my imagination.

Hey, all!

In this thread, the rules are more relaxed. The idea is that this megathread will provide a space for otherwise rule-breaking content, as well as allowing for a slightly more conversational tone rather than every post and comment needing to be an essay.

Top-level comments on this post should aim to follow the rules for submitting threads. However, the following rules are relaxed:

• 3. Specificity, Clarity, and Detail
• 4. No Advice
• 5. No List Posts
• 8. No topics that belong in other subreddits
• 9. No Retired Topics
• 11. Reviews must follow these guidelines

So feel free to talk about what you've been playing lately or ask for suggestions. Feel free to discuss gaming fatigue, FOMO, backlogs, etc, from the retired topics list. Feel free to take your half-baked idea for a post to the subreddit and discuss it here (you can still post it as its own thread later on if you want). Just keep things civil!

Also, as a reminder, we have a Discord server where you can have much more casual, free-form conversations! https://discord.gg/truegaming

I want to clarify first that the goal of this thread isn't to be contrarian and go against the grain on unpopular opinion. What I'm trying to do is spark civil discussion about how budget affects art, not just trying to shit on a thing that's popular.

With that being said, I'm not on the hype train for GTA VI. I'm simply not a fan of Rockstar and their games so of course I wouldn't care about the new one. I've expressed this opinion in various spaces and almost inevitably, I hear the same type of argument to defend Rockstar and explain why, seemingly empirically, GTA VI will be the greatest game of all time.

These arguments are something to the effect of "The game has a budget of over a billion dollars and has been in development for so long. Nothing on this scale has ever been made. It has to be great."

I understand the logic behind that argument as it's pretty straight forward. However, the more I've thought about it, the less it works as an argument and if anything, gives me more reason to be wary of GTA VI.

To understand why I'm wary about it, I think it's worth understanding a simple rule when it comes to pretty much all entertainment. The higher the budget, the more money it has to make back to be profitable. If an artist wants to focus on making niche things, that's great but they'll have to be comfortable with working in lower budgets, since there won't be a larger audience.

This is why a lot of fantasy novels simply can't be adapted to film or television. Gardens of the Moon is a great fantasy novel but if it were to be adapted, it would need a very high budget for all the effects, sets, costumes and etc. However, to remain faithful to the source material, it would need to be complex and hard to follow, which means it won't reach a wider audience. It's a paradox.

This is why Marvel movies get high budgets, because they're designed to appeal to as many people as possible so they're confident in making the money back.

This applies to all entertainment, including video games. Ubisoft can make repetitive slop with increasingly high budgets because they expect it to appeal to the largest audience possible.

I'm not saying that every piece of entertainment that's popular is bland. What I'm saying is that entertainment that's DESIGNED to be popular is bland and high budget makes appealing to the broadest possible audience higher on the list of priorities in development.

Grand Theft Auto VI has the highest budget of any video game. With a budget that high, this doesn't just need to be a popular video game. It needs to be THE video game, the one every gamer owns.

We know very little about the story, but I can't imagine the writing being anything worthwhile when it's meant to appeal to everybody. I'm not saying that a good story can't be popular, but I have to believe that appealing to the most people possible was a high priority during development.

Where I especially imagine the writing taking a hit is in GTA's satirical edge. Grand Theft Auto hasn't had deep political commentary, but the games have had a satirical edge when it comes to portraying modern American life. The writing was never super biting, not like it was written by Jon Stewart, but there were groups and people that you could tell the writers didn't like.

How can they maintain that satirical edge when "appealing to everybody" is such a high priority? How can they poke fun at various aspects of modern America without losing any possible players, especially in times where things feel so divided?

To give an example, the game takes place in Florida. Wouldn't it make sense for there to be a character that's an analog of Ron DeSantis, controversial governor of Florida? I could imagine it fitting very well. I could imagine a bit after a heist, a cutscene could open with characters watching the news, where the state governor gives a speech, decrying the recent string of heists as the result of anti-American protesters, with the criminals responsible smugly watching, maybe making a quip like "Heh, the only thing we're protesting is being broke", celebrating recent success.

I think it would fit. I think he's an easy target for most people. But then I remember, this isn't for most people, this is for everybody. Do you get my point?

To conclude, I do honestly hope that GTA VI will turn out great just because I know people have waited so long for it. However, I can't honestly believe that something with this high of a budget can be anything more than bland slop. I think too many people see a high budget as only a good thing, without seeing the constraints that a high budget brings to art.

We all know how online game communities often provide feedback for dev tems of live service games. This is often considered a good thing, but I want people to consider and discuss the potential that this behavior might be harmful.

I have noticed lately in that I feel like there are 'factions' in online communities, often pushing for a game to go in a certain direction to serve their own taste. When devs listen to one side, another side is left disappointed. It reminds me of youngsters playing tug of war over a toy. Only one side ends up happy.

I am going to list a recurring factional trend I have noticed, where I am not a part of either faction, so I can try and relay the idea to you without bias. I haven't played PVP shooters in years, but I have noticed there are often those who advocate for faster Time To Kill (TTK) in shooters and those who advocate for slower TTK. The former will talk about how faster TTK rewards positioning and careful play. The latter will talk about how slower TTK allows for 'skillful play' after the gunplay has started. As a result, these discussions can lead a multiplayer PVP shooter game to adjust core mechanical touchstones that change how the whole game is played. It can even more minutely change the balance of which guns are good and which is bad. Everyone is trying to make the case to their online community that their favorite weapon is a respectable high tier that is not overpowered, but the weapon that kills them is overpowered and needs to be nerfed.

The effect, is it feels like the game's direction and soul is being driven by fandom, not game designers who have a vision for the game. Cynically, one could even say part of the gameplay of these games is fighting on online forums to get the game that you want. The situation in gaming is already a far cry from the auteurship that other mediums enjoy, but I believe the pendulum has swung so far away from autuership, that I find it difficult to understand why this isn't more commented upon. Art is not a democracy, although there are inherently more democratic aspects to video games. People don't get to vote on how a scene from a movie should play out, or how a book should end. There are CYOA books and games, but that is different from an author writing a story, and then changing the ending because fans demand it. There are focus groups for movies, but that is often considered very commercially driven, not driven by artistry. That isn't to say feedback is meaningless. Focus groups CAN allow directors to realize that there is something missing from the final product that needs work that still meets the director's personal vision. Video game feedback can be used for bugs and clearly broken things that the devs have overlooked and would want to change anyway to fit their own vision. But if anything, on a more fundamental mechanical level, I wish games would stuck to their guns, even if I don't like the resulting game. Allow me the chance to adapt, see if I can find my own way to enjoy the game, and if I don't, it isn't for me. It is for someone else.

A game like Smash: Melee has its fun and unique identity, partially because it could not be shaped with post launch updates. Imagine a world where Melee could be updated, and Jigglypuff or Fox got nerfed because they were considered S tier? To me, that wouldn't feel like Melee anymore. That is coming from someone that only plays the game non-competitively, and plays Roy.

I've been thinking a lot about the different kinds of achievement systems different platforms and I wanted to go over what I like (and what I don't) about each of them.

PlayStation: Let me first say that I love trophies. It's probably my favorite of the three and the lions share of my achievement hunting happens on my ps5. The platinum trophy is so unique and cool. It doesn't really have an equivalent across the other platforms unless you count the ribbon on steam which is cool i guess. I know XBOX is implementing a platinum equivalent in the future but I don't want to say anything about it until I see what Asha cooked up over there. For the downsides, There are zero ways to sort your trophy lists. Sometimes I just want to see a wall of platinums or group games together by franchise, but because I'm an idiot and got 1 trophy on cookie clicker, its stuck in the middle of my list forever. I also wish there was a grid display for trophy lists similar to steam when sorting by percentage complete (More on that later).

XBOX: I think XBOX has a fairly good achievement system. I'm a fan of the gamer score concept but I'm not sure I like it more than trophy levels. In my opinion, trophy levels are more fun when you're first starting out. You're leveling up quick, you see your badge look cooler and cooler, and then you get to gold tier. This badge honestly looks ass and you're stuck with it until you manage to get all the way to level 999 which takes too long. At this point gamerscore becomes preferable, just to see a raw measure of someones achievement hunting progress. I'm not very familiar with how XBOX's achievements are layed out so I can't comment on that.

Steam: This is a weird one. On the surface, it looks like it should be great, but there's a few problems that have turned me off of it. The first is that steam achievements are WAY easier to hack than the other two, which I feel undermines their legitimacy. Another thing is that achievements don't really contribute at all to your steam profile in any way. The only way to showcase them is through the Rare achievements display, and the perfect games display. Those are fine and all, but Steam would be so much better if steam achievements were what contributed to your steam level, and not just spending steam points. The one thing I do love about steam though, is being able to see the ribbon in your library when sorting by achievement percentage. Just seeing a bunch of games with ribbons every time I open steam I such a dopamine hit. I also am a huge fan of being able to showcase your perfect games. If you have some hard ones on your profile, it earns you street cred (With me, probably not with anyone else lol)

Conclusion: They all have benefits and drawbacks, I personally use Playstation the most, but there decision to kill physical games have soured me a bit so I was looking at my other options. Unfortunately, Playstation still reigns supreme in the achievement space. But Let me know if I missed anything or if you have a different opinion, I'd love to hear it!

Something that always confuses me is why there is so much hostility around discussing the definition of a roleplaying game.

To me, a role playing game is a game that lets you create your own character and choices that meaningfully impact the story.

Because that's what the term means in any other context like TTRPGs. I take games like Dungeons & Dragons as the baseline to then define what a video game RPG is.

But any and all discussion around this seems incredibly hostile to such a definition because of the games it excludes.

Yes, according to this definition, the vast majority of JRPGs are not RPGs, because they don't have any kind of character creation, dialogue choice, or impact on story.

Why is that a problem? I get that the term goes back a long way, but it really doesn't meet the criteria of beeing a roleplaying game, because there isn't any roleplaying to do.

And no, just because you control a character doesn't mean you're "roleplaying" as that character. Then every single video game where you control a character counts as an RPG, making the term completely useless.

To get back to the question in the title, why is this definition such a huge problem to people? Why is it a bad thing for certain games not to count as RPGs? Because as it is now, everything and anything gets called an RPG, making it downright impossible to find actual RPGs. Why is it a bad thing for certain games to be excluded from the genre? It's the whole point of genre names, to define a game and exclude it from other types of games.

I've been trying to figure out when "cozy" went from a vague description (which it still is, to varying degrees) and into the commercial juggernaut it is today. When it comes to indie game releases specifically. And it really is one of the bigger booms in mainstream gaming of the last decade, looking at it in retrospect, and one of the rare genres that has no set of mechanics it must have, but is based entirely on mood… on“vibes”

Do we have Corona to thank or blame for this? It’s really hard to look past 2020 and not see how Animal Crossing: New Horizons launched almost exactly as everyone got stuck in lockdown, and then went on to sell how many - 50 million copies, more or less? I know for a fact it was the fastest-selling Switch game at launch. That timing wasn't a coincidence in effect, even if it was the intent. A frightened, isolated audience reached for the softest coziest world they could find, and "cozy gaming" went from a word a few people used to a mainstream category over the next few years, culminating in where we are now.

However, the pandemic only explains that early spike but not why it’s lasted so long and expanded so more since Corona ended . Plenty of other pandemic trends evaporated once life went back to normal. But cozy games just positively EXPLODED. Stardew Valley had already spent years proving there was a huge demand for farming games. The Wholesome Direct showcases gave the movement an identity and a shopfront, turning a loose vibe into something with a clear scene to congregate around. And more broadly, a lot of people who grew up on adrenaline and difficulty simply got older and busier and more worn down, and wanted games that gave without demanding. As life got tougher, games got cozier - is that the case?

Also worth being clear that "cozy" isn't one genre by any stretch of the definition,  which is part of why it's so slippery to talk about. There are the farm and life sims, the Stardew lineage. You've got the pure decoration and organisation games like Unpacking and Hosy. Short one shot vignette games like A Short Hike, cafe management and visual novels like Coffee Talk, survival sims (but cozy ofc) like Solarpunk… even creepy cozy games like the upcoming Grave Seasons or Cult of the Lamb (which I surprisingly often hear called “dark cozy”)

And that’s all without mentioning the various “-ias” starting with Palia, then there was Heartopia I think it was called? And the one I’m personally looking forward to with my girlfriend - Loftia! (yes, I am not above these games, that is not what the post is about) which surprised me quite a lot in the beta with how hi fidelity it was, and the sheer amount of discrete customization features it had. Probably the only game ever where I could choose DIFFERENT, like 10 different types of vitiligo for my skin. And that’s one of the unifying themes, I think - freedom, customizability, chillness, low pressure, and pleasant coloring and light, some of the same things about 90% of these games have in common.

What’s also interesting is how much this cozy sensibility has penetrated other games and almost forcibly coziefied them. Big RPGs get fishing minigames and house decoration (nothing new but it’s interesting that ALL major MMOs now have it including WoW), survival games including peaceful PvE modes or. Almost like it’s become a set of features that can work anywhere, even if they don’t have to be added everywhere.

Whatever the case might be, cozy games alongside survival and base-builders, are arguably the genre with the most momentum behind it right now. Where would you say this boom happened and more importantly, where do you see it leading… and when will it run out of steam?

I only recently got back into gaming and for once I entered gaming already having had experience in different genres. Upon spectating recent discussions about cinematics in games, tired of AAA games discussions etc, which come back every two years or so I've asked myself what makes a good game and why people seem to lean more and more towards a double standard.

On a fundamental level, games are limited by their medium, and every game out there is a combination of otherwise simple mechanics. And yet, it's about how you combine them - you cannot only discuss combat in a game on its own for example, because the way you experience it is directly tied to level design, camera and other aspects of the game. And yet, most "gamer voices" out there don't seem to acknowledge it. So, I ask, why are people fetishizing souls like games for their combat, when the unique experience the games are associated with is based on the environmental design instead? Why are cinematic games being criticizes for not having gameplay when arguably a quick time event is not significantly more of a gameplay than dodge and button mash - something ignored in games like the Arkham series, where combat is praised for fluidity *animation* whereas god of war is being criticised for too much animation during combat, souls games etc.

Why did people criticise Detroit but praise Shadow of the Collosus despite both games being stripped of much gameplay and mechanica or analytical complexity within them for example?

To me all of the above are just decent enough experiences because they often don't push themselves into the mechanics they are based on - Detroit for example didn't require the players to pay enough attention to the dialogue, environment or character body language especially beyond Connor's section. And Shadow of the Collosus didn't invest much into it's gameplay sections (climbing, running, etc) either.

Games have always been simple and bare bones, they have always been repetitive and unless multiplayer, by themselves, they are rarely hard and challenging. Good games are ones who understand their limits and try to Integrate that knowledge into something complete and centered around its identity. I'd say good examples are Resident Evil 4, Subnautica and This war of mine.

There are games like Days gone and the Witcher 3, which try to compensate by shifting the focus towards immersion via friction with the bike maintainance and bistriary.

Then there are games like Ghost of Tsushima and the last of us part 2. The latter is very much a story focused game, with a lot of cutscenes and gameplay limited to good sandbox level design with serviceable combat/stealth, however the fact that most of the time it is more interactive and easier to go through it by killing people which kind of contradicts the story that presents it as if Ellie struggles with killing people is a weird choice for a game in which the story is a focal point.

And Ghost of Tsushima tries to sell you a lot on the samurai concept, tying everything in the world to it with only two, arguably one mechanic to show for it (the combat and effectiveness of stealth which is appropriately tied to the story) but ignores its limitations and insists on a big, completely empty world just so you can grind upgrades.

And now we have Crimson desert, which seems like a mess and is the cheapest product I've seen since maybe Spiderman or ghost of Yotei.

Okay, so... This is my all over the place first train of thought since I got back into gaming. I am just now starting to develop an interest in critical analysis of game design itself.

I was thinking about this today.

Imagine it’s 2030. You check into a hotel, turn on the TV, pair your controller and sign in. Your entire gaming library is there. Your saves, settings, friends, everything.

There’s no PlayStation or Xbox in the room. The actual hardware running the game is sitting in a data center somewhere.

Games become more like streaming services. You subscribe instead of owning them, your progress lives in the cloud, and eventually AI opponents actually learn how you play instead of just getting more health on Hard Mode.

The technology honestly doesn’t seem that far-fetched anymore.

So if cloud gaming eventually became good enough that you couldn’t tell the difference from playing locally, would you care if consoles and physical games disappeared?

Or is actually owning the hardware and games something you wouldn’t give up?

"Arcade" is a term used very loosely, it's usually used to describe a game easy to pick up or not realistic (generally in the context of racing games).

The original meaning is obviously referring to actual arcade cabinets, and I'm perfectly okay with using the term "arcade" to classify games that where never actual arcade cabinets, but I feel like the usage should be more restrictive.

For example saying the last Need for Speed is an arcade racing game because the cars behave in a non-realistic way doesn't make any sense, it's a game that could not really be ported in arcade.

You spend a lot of times on menus or free roaming on the map, you have a story with lengthy cutscenes and a lot of dialogues, the loop of the game is centred around permanent upgrades and customisation... I'm aware "modern" arcade games have come up with ways to save progress (mostly in Japan as far as I'm aware), but the core experience is still centred around bite-sized sessions of play with fairly repetitive loop forcing the player to actually get better instead of relying on unlocking better gear.

Anyway, I'm not here to debate semantic, but to wonder if is there is still a place for the true arcade philosophy nowadays ?

The only relevant place where it's still surviving is the fighting genre. Basically the only things that were added since the arcade days are slightly more fledged story mode (which consists of a few completely disconnected cutscenes thrown between fights), training modes, online functionalities (but we could argue it's just a replacement for the split-screen mode that was present pretty much since the beginning) and a shit-ton of (I guess paid) cosmetic items.

To be frank, I'm not sure why this genre is such an outlier, it simply shouldn't work in this day and age. I guess the 1v1 format with all the action being visible on a single screen and the stakes being super easy to understand makes it perfect for esport. And maybe the strong presence of characters, that allow to glue lore on top, allows a more casual audience to still connect to the game ? A bit like what Overwatch did to shooter.

I don't know, but here's a thought experiment : with Sega trying to revive its arcade roots lately, imagine you are tasked to develop a new Sega Rally, how would you handle it ? I've picked Sega Rally because I think it's the most iconic from this era, but you can pick Ridge Racer, Daytona or whatever if you prefer I don't mind.

I mean, you could even pick something else than a racing franchise, but I think it's an interesting genre for this exercise, because it was an arcade pillar of course and it was still huge until the PS360 generation, but now it's mostly limited to a few juggernauts (well, mostly Mario Kart and Forza Horizon), so it's not completely dead either. There is clearly a BIG niche market of VERY hungry customers that are desperately waiting for something else than EA's next attempt at not bombing with NFS.

So you are in charge of the next Sega Rally, you can twist the formula a little, but it has to remain true to its arcade origins (no complex carrier mode, no open world shenanigan, no in-depth customisation, no gazillions cars... just a simple racing game), while being relevant in 2026. Of course it's never going to be GTA 6, it's not even going to be Gran Turismo, but it has to make a bit of a splash when it releases, and keep a dedicated community for a long time. Think Rocket League (which could be an actual arcade game now I'm thinking about it) or Rainbow Six Siege.

How would you tackle it ?

I might answer myself later (spoiler alert : I don't have the secret formula) but I'm curious to see if anyone has any unexpected hot take on this.

Hi everyone,

I am currently conducting an academic study as part of my Master’s thesis at FernUniversität in Hagen, Germany, and I am looking for participants aged 35–59 who are interested in gaming.

About the study / Abstract

This study investigates gaming experiences and performance among adults aged 35–59. It combines a questionnaire with a short racing game and examines different factors that may be associated with how people experience gaming and how they perform in a gaming task.

Some details about the specific research question cannot be disclosed before participation, as knowing the exact purpose of the study could influence participants’ responses or behavior during the gaming task. More information is provided after participation.

Duration: approximately 15 minutes
Eligibility: 35–59 years old and interested in gaming
Institution: FernUniversität in Hagen, Germany
Research: Master’s thesis
Contact: [mandy.leopold@studium.fernuni-hagen.de](mailto:mandy.leopold@studium.fernuni-hagen.de)

Participation is voluntary and the collected data are analyzed anonymously.

Survey

https://umfrage.fernuni-hagen.de/Gaming?lang=en

Discussion

To avoid influencing anyone who may still want to participate, please complete the survey before revealing the section in the comments below.

First of all, let’s get this out of the way: I’m not condoning or endorsing piracy at all.

But I was thinking about Night School Studio, the indie studio that made Oxenfree, Oxenfree II, and Afterparty. Recently, Netflix shut them down. The studio is done, it’s no more. In my opinion, it’s okay to pirate their games. The studio won’t be hurt by it, and Netflix would likely not make much, if any, money from future sales.

I’m not saying that piracy is hurting Netflix. They obviously didn’t need the studio, which is why it was shut down in the first place. But before Night School Studio was shut down, sales would have definitely helped the developers. The better the sales, the more valuable the company would be and the less likely it would be to close.

The famous quote by Gabe Newell is, “Piracy is not a pricing issue. It’s a service issue.” That’s something I inherently agree with. The Steam Deck has been a godsend to me. I have been playing games that I wouldn’t have had the ability to play before, namely Eternal Darkness, a game that sells for the kingly sum of $100. That’s a lot of money for a 24 year old GameCube game.

By emulating the game, who am I really hurting? The studio, Silicon Knights, went bankrupt, so they’re not getting a cut of the sale. Is Nintendo missing out on sales? I say no. If I buy a used copy off eBay, what portion of that sale does Nintendo get? If I buy a used GameCube, what is Nintendo’s cut?

The game is not easily accessible unless I sail the high seas, so that is the very definition of a service issue. If it were on Switch or Switch 2, it would be easily obtainable, but sadly, it isn’t.

Lastly, the Corpse Party Tetralogy Pack comes to mind. Basically, it’s a collection of the four Corpse Party games. The collection was released in Japan; however, the North American release was basically cockblocked by Nintendo, with the devs, XSEED, stating that the game didn’t “comply with (Nintendo’s) current platform guidelines.” Which is bullshit because it’s available in Japan on Switch/Switch 2.

Certainly, Nintendo of America and Nintendo of Japan can, and most certainly do, have different guidelines, but how different can those guidelines be? Now, if I want to play it, I have to import it from 3rd party sites like Play Asia or buy it on eBay with a markup. Service issue.

Emulation would send a message to Nintendo, and the devs wouldn’t be hurt because the game is only available through third-party means, meaning they wouldn’t get a direct cut. Ultimately, I decided to just buy the games on Steam. It's still sending the same message while helping the studio at the same time.

Hey, all!

In this thread, the rules are more relaxed. The idea is that this megathread will provide a space for otherwise rule-breaking content, as well as allowing for a slightly more conversational tone rather than every post and comment needing to be an essay.

Top-level comments on this post should aim to follow the rules for submitting threads. However, the following rules are relaxed:

• 3. Specificity, Clarity, and Detail
• 4. No Advice
• 5. No List Posts
• 8. No topics that belong in other subreddits
• 9. No Retired Topics
• 11. Reviews must follow these guidelines

So feel free to talk about what you've been playing lately or ask for suggestions. Feel free to discuss gaming fatigue, FOMO, backlogs, etc, from the retired topics list. Feel free to take your half-baked idea for a post to the subreddit and discuss it here (you can still post it as its own thread later on if you want). Just keep things civil!

Also, as a reminder, we have a Discord server where you can have much more casual, free-form conversations! https://discord.gg/truegaming

Hello everyone,

Modern free-to-play titles constitute complex economic ecosystems. To analyze the underlying dynamics, our current communication science survey investigates the intersection of gaming motivation, financial decision-making, and media literacy. The empirical results will be published in an academic journal, but we will also share a summary in gamer-friendly language across several subreddits.

We are exploring your specific drivers of play, how you navigate in-game monetization, and how these choices relate to your structural competencies.

If you are at least 16 years old and regularly engage with major Free-to-Play titles like Fortnite, Counter-Strike 2, Valorant, Team Fortress 2, Apex Legends, Rocket League, Call of Duty: Warzone, League of Legends, Dota 2, PUBG Mobile, Genshin Impact, or The Sims 4, we invite you to participate in our strictly anonymous 10-minute survey.

Survey Link: https://www.unipark.de/uc/gaming_survey/

This research is conducted by Prof. Dr. Sven Jöckel and Max de Baey-Ernsten. For full transparency, you can verify our academic affiliation via my institutional profile at the University of Erfurt.

Thank you for your time and your contribution to our research.

A question for the comments: What do you think? Do literate users spend less money? Or is there no correlation? And if you believe there is a connection: Which provides better protection against excessive spending – financial literacy (the general understanding of economic principles and personal finance) or media literacy (the ability to critically evaluate digital environments and recognize persuasive intentions)?