#REVIEW: Nobody Saves the World (PS5, 2022)

I haven’t reviewed a video game in forever, for a whole bunch of reasons, including but not limited to the fact that that for a long time I was saving that for the YouTube channel, and– perhaps more saliently– it’s been forever since I actually beat anything. My gaming backlog, assuming I’m going back to anything that I started and put down, is literally longer than it’s ever been before, and contains some genuinely good games that I just stopped playing for no good fucking reason and moved, ADHD-style, on to the next shiny thing. I quit playing Baldur’s Gate 3 because it depressed me, but Prince of Persia: The Lost Crown, Armored Core 4, and a couple of others are also out there, and I’ve also downloaded The Surge and Sifu for cheap-as-hell and free, respectively, and not touched them yet. It’s too damn much, I tell you! Too much!

I started playing Nobody Saves the World because I’d hit a section of Prince of Persia that my platform skills weren’t up to par with without a lot of practicing and I wasn’t in the mood to beat my head against a wall any longer. Also, I thought I had downloaded a demo, but apparently I bought the entire game, I assume on the cheap, and then … forgot? But I played an hour and a half or so before realizing that I’d accidentally started a whole-ass new game and wasn’t playing a demo, and by then I was stuck. And I don’t mind being stuck, because this is a hella fun game, with its only real drawback being that it’s impossible to stop playing and it took up more of my life than I wanted it to on more than one occasion.

See all those characters up there? With the exception of the wizard Nostramagus, who is the only one with eyes, they’re all you, including the egg. At the beginning of the game, Nobody– a pasty white humanoid who looks more or less like the Pillsbury Doughboy without his clothes, and who, entertainingly, doesn’t appear in the above image– gets a magic wand that lets him change shape. You start off being able to turn into a rat, and over the course of the game gain a ton of other shapes, including a bee, a dragon, a robot, and the aforementioned egg. Each form has its own abilities and powers, most of which can be readily swapped between shapes, so by the end of the game you might be using the Dinosaur but have added the Slug’s mucus trail (seriously) to his abilities and also be borrowing a passive ability from the Bodybuilder that lets you knock enemies back further than you might have before. Everything, and I mean everything, is upgradable, and one of the reasons the game is so hard to put down is that there’s always a reason to play another three minutes– you’re either right on the cusp of gaining a level or a new form or a new power for a form or there’s a dungeon over there that’s ripe for pillaging or you just figured out how to solve a puzzle halfway across the map that requires the power you just unlocked, or or or or or.

It’s kind of repetitive, and at 25 hours for a damn-near completist run I’d say maybe don’t shoot for a completist run, but there’s a world out there to be saved and you’re the doughboy to do it, one way or the other. The art style is lovely and the music is burned into my brain rather unpleasantly and the sense of humor throughout is really great.

My recommendation: Go wander through a big crowd until you get Covid and an excuse to stay home for a week (Screw you, CDC!) and then download this (it’s apparently inexpensive) and go to town.

A poll

The scenario: You are a Persian warrior. You are exploring an ancient cursed palace. You come across your corpse with a bow that belongs to your friend sitting next to it. Which of these two things do you find worthy of comment?

#REVIEW: Lords of the Fallen (PS5, 2023)

This could have been Game of the Year for me, if it had found a way to stop stepping on its own dick.

Post-Thanksgiving reviewlets

Thanksgiving was nice and peaceful, pretty much exactly the way we all wanted it, and rather than a big meal with a giant turkey we just made a ton of side dishes. Fried pickles and queso and mini cheesecakes and meatballs and a bunch of other shit that probably really doesn’t go together but we did it anyway. A small part of me misses mashed potatoes and stuffing and this corn casserole that is a family dish on my wife’s side of the family, but fuck it; Christmas is three weeks away.

Anyway, I’ve Consumed some Media, to use a deeply odious phrase, so let’s talk about it.

I finally finished Blasphemous II the other day, and other than an enormous and highly annoying difficulty spike on the penultimate boss, I’m a big fan. I turned my YouTube channel back on the other day so if you want to see what the original game was like, feel free (I don’t plan on going back to regular recording, but I wanted to watch some of my videos, so I had to turn the channel back on) but the basic idea is this: Blasphemous II is an outstanding Metroidvania with a deeply weird, pseudo-Catholic skin laid over it, only, like, insanely creepy Spanish occult Catholicism. It’s really something, and I’d love to pick the brains of the people who wrote it because I want to know what they’re like. The sequel smooths out some of the rough edges of the original, removing some bits of nonsense like instadeath from touching spikes and adding some weapon choice, and again, other than that difficulty spike, which nearly led to me putting the game down until I remembered I don’t take shit from video games, I really really enjoyed it.

I know about Neal Shusterman’s Unwind “dystology,” (fuck you, it’s a trilogy that got dragged out to four books because one of them ended up longer than the author wanted) because my students are reading the first book. They really enjoyed it last year and I resolved to read it at some point or another, and then I found a really good deal on the entire set (four books plus a fifth that is apparently a short story collection, by other authors?) and picked it up. There may very well be a full post coming from the series once I’m done with it, but I wanted to complain about something very specific and very weird about the third book: the main characters spend a fair amount of time hiding from the authorities on what is more or less a Native American reservation, only the weird thing is that the book treats all the characters and situations taking place at the res as people we should remember and events we should know.

I was convinced this place had never been mentioned before. I am open about the fact that my recall between books isn’t great; this is a YA book, so I don’t really get to blame my reading comprehension … but this was a lot, and I didn’t remember any of it. So I actually took the step of going back through the first two books today and looking for any mention of this place. And do you know what happened? The first book literally passes over it, saying “this character had some adventures, and we’re not going to talk about them,” and no, that’s not a joke, and I remember noticing it and raising an eyebrow on my first read, and the second book mentions that this one character did some stuff on a reservation during happy adventure time. And that’s it.

It’s obviously possible that the short story book fills us in, or that it’ll happen as a flashback later on or some shit, but this was a really bullshit move. Questioning myself over whether I’d read anything about this place and these characters before seriously affected my enjoyment of the book, and the whole thing was either a deeply bullshit move (if it’s a short story published somewhere else) or a seriously bad authorial decision if it isn’t.

This one’s going to have to be a full post on its own, but before I write it: has anyone out there read this? Because I need to talk to someone about it and hash some shit out before I write a big post out about it. The short version is that I think Sapolsky does make a pretty good case that there’s no such thing as free will … and I don’t care. There’s a lot more to say but that’s the gist. Anybody read it? Let me know.

It’s here

This seems as good a time as any to point out that Diablo IV released yesterday, and if you’re the type of person to care about such a thing– and even if you’re not– that evening livestreams are gonna be a thing over at the channel for the next little while. I’m not going to commit to every evening or anything like that because presumably my family wants to see me, but I don’t feel like this game works for my normal half-hour-to-forty-minute video format, so livestreams it is. Here’s a link directly to tonight’s stream; I think a small number of my students showed up toward the end, so chat got kinda lively for the last 15 minutes or so, which was nice. Go check it out, and hopefully I’ll see y’all in there once in a while.

I have updates about Dr. Curry; the short version is that I’ve Done Stuff, but said Stuff hasn’t resulted in any actual, like, action yet. I’ll fill y’all in tomorrow.

Where am I?

I need you to understand that when I say I have spent the entire weekend playing this game I mean I have spent the entire weekend playing this game:

It’s a game about fishing. There’s no combat. You fish. I’ve been fishing all weekend. I made my wife make fish for dinner. I’m going to dream about the theme music tonight.

You should play it.

What day is it again?

This has been keeping me busy for the last couple of days:

I don’t know how familiar you are with Stray, but I’ve been jonesing to play it literally since the first moment I heard of it, before the PS5 even launched– it was originally talked about as, if not a launch title, something really close to it, and it just came out yesterday. I’ve got two livestreams up at the channel and I’m expecting a third Friday night; the game is short so I might finish it then or it might require one more (and then maybe another to try and snag the trophies) but I’ve been having an absolute blast with it. Even if you don’t normally follow my channel or video game YouTube in general, give this five minutes if you’re a cat person. It’s really cool.

A couple of reviews

Return of the Obra Dinn (PS4, played on PS5) was recommended to me on Twitter as a neat little mystery game that might be up my alley. I am fond of indie games that have unique looks to them, and I certainly haven’t played anything that looks like this in quite a while. For about the first half-hour or so, I hated it. The game is very obscure at first about exactly what is going on at any given moment and what you’re supposed to be doing, and the initial learning curve is steep. I beat it today after just over nine hours. The reason I didn’t post yesterday is because I sat down after dinner intending to just play a little bit and the next thing I knew it was 10:30 and my wife was asking me if I had any plans to come to bed.

The premise: It is 1807. You are … well, you’re an insurance agent, as ridiculous as that might sound, and the Obra Dinn, which had gone missing, has shown up at port in England, with all hands dead or missing. Your job is to find out what happened to them, using a weird little magic pocket watch to jump into specific moments in the past. There are 60 people to identify, between the crew and a small handful of passengers, and you must identify everyone on board and determine how they died. You have access, eventually, to all of the moments where anyone died, and you have to piece together clues using their jobs, ethnicities, associations on the ship, and dress to figure out who everyone is, and sometimes you need to trace someone back through moments of other people’s lives to figure out what happened to them.

It’s fucking fascinating. I’m going to play through it again to record a guide over the next few days. The game is four years old, so no one really needs a guide right now, there are plenty out there, but I’m going to enjoy explaining how clever I am.

Tom Sweterlitsch’s The Gone World was also a Twitter recommend, and I started reading it the same night I started playing Obra Dinn, and so the night before I was up too late playing a video game, I was up reading the first half of a book and didn’t get to bed properly until past midnight. This is the cover to my edition but the quotes are different; mine describes the book as a cross between True Crime and Inception, and that’s about as accurate a description for the book as I could possibly imagine. It starts off as a rather gruesome police procedural/murder mystery and then before you know it Sweterlitsch has worked in time travel and the literal end of the world and “thin places” between universes and holy shit it’s a mindfuck.

This book is currently on my shortlist for the best books of 2022; I’m not a hundred percent certain it’s going to stay there, as it’ll depend on how well the book sticks with me. The first 2/3 or so are amazing and, again, I was up too late reading and blew through half of it the first time I picked it up, but one of two things happens toward the end and I’m genuinely not sure which: either Sweterlitsch sort of loses control of his narrative a bit, which has gotten quite complicated by the end, or my tendency to not be the universe’s most careful reader got the better of me and hurt the rush to the end a little bit. Or, entirely possible, both happened, but one way or another the worst thing I can say about this book is that 2/3 of it is phenomenal and it doesn’t quite stick the ending, which I figure is still worth a recommendation.

Anyway, that’s what I’ve been doing the last couple of days. I no longer celebrate the Fourth of July, so we haven’t done anything America-related today, although my birthday is tomorrow so we had my birthday dinner tonight. I am full of pork chops and mashed potatoes and sheet cake. ‘Twas a good day.