Zoe Quinn, Turf Wars, and God You Are Stupid

So you may or may not have heard about the latest BIG GAMING SCANDAL to hit the shores of hell in the past few days.  I mean, of course you have, and if you haven't well then go on one of the three websites that haven't gone into full lockdown mode and read it up.  The only new thing I can add to the debacle itself is that I'm surprised no one's mentioned this on Sad Beta Cuckold's million word epic:

i mean, COME ON DUDE.

But no, I'm not exactly interested in directly talking about this.  Who is exactly surprised that the person with extreme depression issues might also have some other emotional issues bundled in?  Or that game sites, using said person as a icon for discrimination in the game world (which is still a real thing, sorry nerds) because she was LOUD and FEISTY about that discrimination, are now slightly leery about reporting that she could be less than perfectly moral? Or that the nerd boyfriend exercised the well known axiom of "fool me twenty dozen times, better obsessively categorize all the ways I got humiliated?"  Zounds, ya fucks.  The only amusement I get from this whole ordeal is the sputtering rage that nerds have over the fact that even VIDEO GAMES are not safe from the concept of "woman using sex to acquire power."

The only truth that needs to be said about this is how boringly this is going to be resolved.  That is to say, like every other conflict in history that has involved two zealot factions, everyone loses except those who control the zealots.  Zoe Quinn isn't going to suffer.  She's already posted a vague blob thing about "not negotiating with terrorists" while everyone she's allied to get all their personal information hacked into.  No doubt she already has an exit strategy planned out with a guest column on Kotaku within a week.  It won't be a good column, but it doesn't have to be.   All that needs is the all important subtext: "you have defended me well, my disciples, but the war continues."  Zoe gets her game Steam Greenlit, and receives pity money for her vague game jam project, while her followers get angrier and less connected with any sort of reality.

Meanwhile, you have the Angry White Nerds, who are going to rail at the FEMINIST MAJORITY via hour long videos and screech about DMCA complaints that have no real relevance to their rabid viewership.  All that matters on these videos is how long you can ramble about the hypocriticality of women, no matter how possibly weird some of their theories could be.  This is the sort of community that, when someone posted on King Chublord Internet Aristocrat's video "hey i think your points are mostly good but why are you yelling about Phil Fish's dumb ass come on" the resulting reaction was almost entirely "FUCKING SJW EAT MY DICK SALT SALT SALT."  People claim that the hate and invective are for the sake of "protecting my video games and video game journalism integrity," but of course anyone with goddamned eyes could tell you those ships have sailed since fundamentally forever.  Let's be fucking clear here: social justice did not destroy the video game industry, the video game industry destroyed the video game industry.

No, the real purpose of these videos is the all-important subtext: "you have fought for me well, my disciples, but the war continues."  The alpha nerds keep getting more and more views for their videos (no doubt leading towards some sort of weird monetization scheme like the Dude Frequency Kickstarter thing) while the rest of the lonely nerds get angrier and pretty well guarantee they will never get a fuck.

Does no one else realize at this point that the most entrenched Gamergate and Anti-Gamergate folks are for all intents and purposes the same horrible shitheels?  Both sides can't exist without the other, since without the other posting scurrilous and insane gender theories, the first side can't post their own scurrilous and insane gender theories as a refutation.  We're not in hugboxes anymore, we're in a fucking inverse echo chamber that is just getting louder.  Neither side actually wants to talk, but keep eating the same stale talking points posted on 4chan/tumblr about how the other side is trying to ruin everything about anything while their own faction just wants to have fun and play some video games.  Trying to determine shit like whether Zoe made up her initial harassment charge against nerds or not is fucking impossible.  The truth is obviously somewhere out in the No Man's Land, but venture over the bunkers and you're immediately gonna get artillerized by a nonstop barrage of 75mm imgur albums, each shriller than the last, until finally you're forced to go "jesus christ all of you fucking suck."  Nothing is going to bridge the divide.  The volleys between outrage culture and apology culture are just gonna keep popping up at a faster and faster frequency, like a bad science fiction movie.  Then we finally immanentize the eschaton, and I wake up one morning and my laptop is wearing lipstick and ripping my dick off because I made a joke about how much I love big titties without appending a paragraph about how important the woman attached to big titties are.

The weirdest part of this stupid mess is that the Sad Beta Cuckold's stated purpose for looking like the biggest bitch on Frolix 8 was his hope that it would...someone bring together serious talk among game enthusiasts and social justice warriors about morality?  Are you joking?  Like either he's being disingenuous like everyone else in this fucking mess, or we've got someone whose relationship towards the internet is like Wile E. Coyote's relationship with boulders.

At any rate I'm already sick of talking about this tldr: everyone in the Zoe Quinn Saga could be loaded into a giant brazen bull and nothing of value would be lost

also im sorry there's no pictures here but GISing for anything related to this mess is a surefire ticket to madness

Drakengard 3

I had a dream a few nights ago.

I met an old man by a road I had frequently crossed as a child.  He was a kind man, wearing a bomber jacket with a sick dragon on the sleeve.  No, a cool looking dragon, not a physically sick dragon.  I approached him.  What do you want, old man.

Give me your fucked video games.  I blink, and am about to speak, but he interrupts.

No, not edgy.  I don't want your gritty reimaginings, your oh so wacky this girl's a slut but she kicks ass too XD, your boring anti-hero that murders innocent bystanders because of Tragic Event X.

Give me your fucked video games.  I try to speak again, but the dragon comes to life within the jacket, and cuts me off.

No, not surreal.  Too well written, too much symbolism: I read enough thank you, your video game will never compare and it saddens me to see it try.

Give me your fucked up video games.  I raise my hands, my voice a beautiful contralto.

No, not dark.  I fucking hate rainstorms and piano solos.  Why are you showing me that.  Jesus.

---

Fucked up video games are a rare thing.  They are the products of a creative process gone horribly wrong.  They are rarely, if ever, something that would be called "good" in the sense that an average player will actually enjoy playing it in the hopes of a stimulus/response model.  Indeed, good gameplay usually mars the process, allowing the player another avenue of enjoyment rather than "LOOK AT THIS RETARDED SHIT."  They lack any sort of internal consistency, usually consisting of the developer sticking in as much random cool concepts as humanly possible, regardless if any of it makes sense if you take even one step back from the endless sensory overload.  The rareness draws from the fact that very few video game people have genuine creativity, and even fewer have an inability to corral that creativity into manageable form, and even when that happens, most studios have the uncanny ability to kill that psychotic spark so it becomes merely edgy, or dark.

There's only a few real examples of beautiful disasters in games.  Killer 7.  Xenosaga.  Alot of the more recent Modern Warfare games, once you realize that they embody the fever dreams of a million right wing conspiracy theorist, rolled into a deceptive "press X to stab terrorist" pastry.

Of course, the true embodiment of the fucked up video game catastrophe is Drakengard.  Released in the early 2000s, it is a dark fantasy tale about horrible people doing horrible things.  Most of the horrible people are your comrades, defined by "pacts" with various magical creatures that give them great powers at the expense of some human attribute, like "aging," or "sight," or "your womb."  The main character is a humongous asshole whose sister wants to bang him, and forms a pact with a dragon, depriving him of his voice.  Bad things ensue.

I played part of the game in college, but at the time did not make it very far.  The reason for this is that you could charitably describe the gameplay as "Dynasty Warriors 0.2."  Your guy runs around and murders hundreds of dudes in the exact same way.  Sometimes you get on the dragon and shoot fire at those dudes before random bullshit ranged enemies force you to stop using the dragon.  Repeat this for 20 hours.  Hi, I'm Drakengard.

As a result, you're forced to acknowledge everything else in a desperate attempt to justify the money you spent on the game.  In this regard, Drakengard does not disappoint.  The game's plotline was the product of a bunch of different people that clearly had wildly varying ideas of what the ultimate theme was supposed to be, so it's impossible to predict what the hell the game was going to throw your way next, unless your prediction is just "something bad."  This is especially true of the endings, which all fuck your hero over in various hilarious ways, especially the final one, which I won't spoil because your obnoxious hardcore nerd gamer friend probably sent you a youtube video of it five years ago.  It's unfortunate that the Western release of the game cut out the most surreal and 3dgy aspects of the game (such as your boring blind paladin actually being a HUGE PEDO), but honestly, the game we got was still insane enough to get a massive cult following.  This spawned the direct sequels of Drakengard 2, featuring the same awful gameplay and a far less ridiculous story, and Nier, which I haven't played so NO SPOILERS DICK BREATH.

Enter Drakengard 3.

You play the nerd boy fantasy magical girl Zero, a gal with a low cut outfit, uncomfortable fuck me heels, and a mysterious flower in her eye.  Her objective is to kill her five sisters, helpfully named Five through One, with the help of Mikhail, the childlike reincarnation of your previous dragon that was mortally wounded in the prior fight with your sista sistahs.  Unlike the hero of Drakengard, Zero can talk, and talk, and talk, usually about how much she hates everything and how she wants to fuck something.  Mikhail (whose english voice actor was so fucking bad that I had to install the Japanese voice pack) acts as her wacky foil.  Additional wacky foils are found as you murder each sister, in the form of the sisters' male disciples, all of which have one bizarre sexual hangup after another.

As you might assume from this brief summary, Drakengard 3 really really wants to return to old screwed up ways of the original, but one can tell that the various CRAZY TWISTS that happen through the story are less the result of the director and producer just making up shit as it goes along, and more a careful, deliberate attempt to make a game that's just messed up doooooooood!!!  Put another way, if Drakengard was the strange antihero that came out of nowhere and warped the minds of a bunch of nerds, then Drakengard 3 is the shadowy SQUARESOFT organization attempting to genetically engineer a superior version of the original duder.  Unfortunately, as any cheetos encrusted otaku can tell you, the vat-grown mutant clone of a hero might be able to put up a fight, but ultimately it's just gonna melt into a big hunk of goo and bones.

So this, I ask the beings on high:  what made Drakengard 3 melt?

The good news is that the game finally has workable gameplay!  Sort of!  Controls are definitely more responsive and fluid, and there are actual combos and weapon combinations!  You can use a sword, spear, chakram, or PUNCHFIST, and different weapons within each subset have different moves and attributes, so it's actually fun to experiment.  Dragon flying is better, and feels less like being the world's shittiest World War I pilot and more like Star Panzer Dragoon Fox 0.8.  Ranged enemies remain fucking horrible to deal with, and now you have lots more giant monster enemies whose combat patterns consist of "do obvious telegraphed attack, take ten second break."  If you ever get in trouble, you have INTONER MODE, which Drakengard 3's "oh shit" button, where you have ten seconds to mash on all the buttons and do big damage to all the bads around you.  There's a shit ton of boss fights, but mostly boil down to either 1) fighting a giant monster by headbutting them with a dragon until they reveal their weak spot, or 2) fighting an evil woman by cheesing them with whatever overpowered weapon you have at the time.

The biggest issue, gameplay wise, is that despite having enough time to release ~$30 DOLLARS~ worth of DLC, Square-Enix clearly didn't have enough time to release a game that was actually optimized for console.  It's been awhile since I've seen a full-price game with the array of technical problems that Drakengard 3 boasts.  Bizarre game glitches?  Framerate that drags down to the single digits if something more than a swung sword happens?  Cripplingly long loading screens after every major fight?  WE GOT THEM ALL.

There's a bevy of other issues, mostly related to the game's obviously slashed development time, but what really matters here is the story.

As stated above, the developers of Drakengard 3 really wanted to replicate the surreal, car-accident magic that was Drakengard.  And for a little while, it almost works.  The characters are almost entirely horrible, if not right malevolent, people, and there's enough death and destruction of innocents to make me smile.  A little.  There's also a shitload of my favorite meaningless video game feature, "bad guys screaming about how you're gonna wreck their butts."  I was hopeful, I admit it.

But after awhile, you start to realize that what you saw in the opening hours is pretty much all you're going to get.  Zero whines and verbally abuses her dragon, the soldiers yell about how unstoppable you are, a big monster appears and you whine about how much you want to kill it and leave this area.  A large part that made the original Drakengard was a glorious mindfuck in that it subverted your expectations of what the game was going to do next, plot wise.  Drakengard 3 plays a fairly pleasing tone at the start, but aside from a slight wrinkle in how it explains the differing endings, it's all painfully predictable.  Even when the game does a BIG TWIST, it's the sort of twist where you shrug and go "gasp, yeah, I guess."

A good example for this is the disciples.  Each of the four sisters has a male disciple that joins you once you murder them.  Gameplay-wise, they're supposed to be combat helpers, but I am not exaggerating when I think they killed one enemy during the entire playthrough.  So really they exist as an endless source of banter during the game, and at first they're pretty funny.  There's the innocent-looking boy that wants to murder everything, the old perverted guy with a big wang, the pretty boy that's an obnoxious awful idiot, and the good natured dude who also happens to be a complete and total masochist.  This leads to some decent exchanges at first, but ultimately they're so one-note in their motivations and reactions that you just roll your eyes when the boy says for the 500th time that he loves the look of gore on a decapitated head, or the old man says that Zero needs to bathe in the healing light of his cock.  The only character that remains amusing by the end of the game is the masochist, and while yeah it's partially because the Japanese VA's "unnnngh" sound whenever someone threatens to stomp his dick is hilarious, it's also because he reveals other character traits throughout the game besides "I like being hurt," which places him heads and shoulders about the other talking fetishbags in this game.

The diminished returns get worse once you beat the game for the first time, and alternative plot paths start to open up.  The downer alternative endings of Drakengard were the best part of the game, and while the designers clearly wanted to emulate that, the way that they're done is just so limp and unappealing that I had staked all my hopes on the final ending.  The game knew this, of course, forcing me to find all the weapons and suffer through what can only be described as the "Drakengard 3 anime-style beach filler episode" in order to unlock this path.

I'm going to describe this path.  Needless to say, ***big spoilers for both Drakengard 1 and 3***






The true final boss for Drakengard 1 was a two minute rhythm section where you had to nullify white and dark rings of energy coming at you from a lady statue with like colored rings from your dragon.  Needless to say, of course Drakengard 3's true final boss is also a rhythm section/lady statue!

That is seven minutes long!

Which forces you to hit a shit-ton of rings in a half second window of time!

And the camera is constantly obscuring your dragon and/or the lady statue, so you're utterly reliant on a laggy, unintuitive rhythm!

That's bad, because if you fuck up EVEN ONCE, you get to restart things all over again, including the simplistic three minute opening section that you won't have trouble with after passing it the first time, but will still force you to pay attention and boy will your eyeballs and hands hurt!!!!

Oh yeah!~

I forgot to mention that once you manage to get past all of this, the screen fades to black, and there's three more timed prompts you have to hit which have no rhythm market at all, including a final one WHILE YOUR DRAGON IS TALKING!!!!!!!!!!!!!!!

this is me at age 14, little did i know i had perfectly anticipated my reaction to this fucking boss fight

The designers no doubt believed they were making a WACKY STATEMENT about the nature of super hard final bosses.  We live in a world of broadband internet and youtube, and so it was so no big surprise a user on Nico Nico immediately released a video that demonstrated each time you needed to hit the button.  With all that in mind, I still feel the need to say "fuck you, that was horrible."  There's nothing iconoclastic about testing your player's patience so far that even the proudest man is forced to get online to figure out how to cope with your bullshit rhythm mechanics.

So what is the TWIZTED reward for this?  For all intents and purposes, this:

I had expected some big cursory "SCREW YOU PLAYER" ending in the form of everyone dying a horrible death like the previous Drakengards, but no, it was basically "yay you saved everyone it's the ULTIMATE HAPPY ENDING ^_______^"  In a sense, it took an entire game to set up the payoff, but Drakengard 3 finally subverted how a vidya game should work, and destroyed everyone's expectations and hopes in the most smug, pug-pissy way possible.

---

Congrats, Drakengard 3.  You're a fucked up game after all.

The old man smiles, and walks into the distance.

Overthinking Terrible: Aliens vs. Predator (2009)

Aliens vs. Predator, released by Sega and Rocksteady in 2009, is the literal embodiment of disappointment.  It's hard to understand how the developers took what was a pretty basic and nonshitty formula from the past games in the series, and then somehow manage to fuck up each faction's scenario in completely different ways.  So let's go at this from each campaign, from relative best to absolute worst.

ALIEN:  This is the best character to play as, bar none.  You get to crawl on anything you want, and while the control is pretty fucking weird to get used to (sometimes you just automatically transition, sometimes you have to press the middle mouse button or you're just grinding your carapace on the intersection), it's fun.  The game's best bits, gameplay wise, are when it's you versus six marines in a wide open area, with them steadily freaking out as you take out lights and slowly wittle down their forces, performing various stealth kills, then scrambling away before an organized response can be made.  It also helps that, unlike the original AvP, there's some effort to orientate the character as opposed to your viewpoint going absolutely berserk the moment you climbed on a wall.

Some areas are better designed for this than others; one of the many hallmarks of the fact that Sega and Rocksteady clearly Just Didn't Care about this game is that the main areas are recycled among each campaign, and no, there was not much effort made to have something for every race to enjoy.  So for every spooky parking garage where you can hide under a walkway and feel like badass prime, there's an outdoor area where you will be seen no matter what, and your own hope is that the terrible AI gets stuck behind a turret, which happened to me no less than three times.

This sounds pretty fun, right?  No doubt, and you'll start to feel pretty good about yourself about an hour into the game.  Guess how long this campaign is!

That's right, just about the time games designed for the NORMALS would be kicking things into high gear, you fight some Predators (which demonstrate how fucking awful melee combat is in this game, more on that later), and then a SUPER PREDATOR that demands the strategy of kiting around the boss arena for ten minutes and goddamn don't even try to fight him, dude is like Rugal from KoF in his ability to ruin you in a second flat.  Then the game ends.

Let me put this another way: the most fun campaign in the game is easily, easily the shortest.  It's even weirder when you consider the fact that there were plenty more settings to recycle from the other campaigns.    Did they run out of time to put three marines in each room?  Was there a bug where climbing up a room in the giant pyramid crashed your game and reset your bank account to zero?  I don't understand.

MARINE: Okay so this is easier to understand.  The first two thirds of the game are you versus roughly three to seven aliens at a time, occasionally accented by lame jump scares that would make Doom 3 embarrassed (true story: doom 3 is the only horror video game that ever scared me thanks to a part where a ceiling tile fell onto a desk).  At first this was pretty challenging, as I was having to kite aliens who were faster than me and fairly decent at climbing around walls to flank me.  Then, in a moment of desperation as an alien was about to claw me to death, I hit the middle mouse button.  My wimpy pistol flung out, disrupting the alien strike.  What.

To say the least, the Marine campaign got alot easier when I discovered that I had a spammable move that not only knocked away baddies, but also interrupted ANY ATTACK.  Suddenly, I was no longer vaguely worried, but just but on my Benny Hill techno mix (feat. XRAPTOR DEUS) and proceeded to turn into some sort of schoolyard bully against all xenomorphs everywhere.  By the end I was sort of embarrassed, especially thanks to the plethora of audio diary pickups that consist of the development staff trying and failing to immerse you in the MASSIVE THREAT that the aliens represent on a metaphysical scale.  The best audio logs are those where the aliens are attacking, since they were clearly to cheap to dub in sound effects, so you just get some guy going "oh no they're coming through the walls auuuugh" in total silence.  I never thought I'd say it, but I miss the retarded chubby british dude from AvP 2000.

But then suddenly, the game decides that aliens are no longer fun to massacre, and we get COMBAT ANDROIDS.  If you raised your eyebrow at the notion at gun fights in an aliens vs predator game, rest assured, so did the person assigned to integrate it, because goddamn is it fucking awful.  Let's break this down:

• Combat androids are so fucking annoying to kill.  See, because they're androids, they don't care if you shoot them in the head.  It just comes right off, and yet they still seem fully capable of murdering you in half a second on hard mode.  Torso shots are similarly useless.  The game helpfully suggests SHOOT THEIR LIMBS ROOKIE, which means you have to shoot them in the legs, but this makes them fall down, usually behind cover, so now you have to dart back and forth to the side shooting the other leg because of course the android is still happy to kill you and aggggh.
• Did I mention how easy it is to die?  Androids either have the accuracy of your average saturday morning cartoon evil minion or a Navy SEAL who was just told that his target ate his girlfriend's breasts on a plate made out of orphans' bones.  If it's the latter, expect to reload that checkpoint.  
• Now, I know what you're thinking:  why not just use cover yourself?  That would be a good idea except, unlike the androids, your character has a religious problem with crouching.  Let that sit in your brain for a second: in a fps released in 2009 with traditional gunfights, YOU COULD NOT CROUCH.  In my first fight with an android, there was a piece of debris directly between me and the android, leading me to mashing on my keyboard desperately trying to find the GET IN COVER GODDAMNIT button, all the while the android slowly whittling my health down while constantly getting into cover himself.  I'd say this was an example of AI mocking me, but:
• There is no AI, and this is the only reason I was able to finish the marine section.  Well, that and the incredibly overpowered sniper rifle/carbine, which had a handy scope highlighting any baddies.  As a result, alot of fights consisted of running to the other side of the room, then waiting for an android to peek out of cover, shooting him once, waiting for him to peek out of cover again, so on and god this game is fucking garbage.

This culminates in the final boss fight where you fight Bishop Weyland who is actually an android or something??  It doesn't matter because he has a shotgun that can kill you from any distance with a single shot, and if you're like me, the game checkpointed right after the prior fight with CLOAKING androids so you have to spend a minute refilling health and ammo just so you can get splattered again.  My eventual winning strategy was kiting him around two columns so his AI would glitch out and he'd take the long way around to get at me.  ARE YOU STARTING TO NOTICE A PATTERN WITH FINAL BOSSES?

PREDATOR:  Ughhhh.  So in the original AvP, as I vaguely recall, the Predator's entire arsenal was either energy based (the shoulder cannon, plasma pistol, stealth, and medicomp) or limited in use (speargun and disc).  Thus, the fun of playing the predator was learning to use the best weapon at the best time, with it being impossible to simple use the same attack over and over.

You can probably guess what I'm about to say about how they handled the Predator in this game.  The theme here is "incremental upgrades, each stupidly better than the last."  You initially start off with just your melee (which is incredibly awful, akin to playing rock paper scissors with hands that have been stung by a hundred hornets) and shoulder launcher (also awful, using about a third of your energy if you fully charge it).  So in the beginning, things were pretty tough.  I'd have to sneak up, engage cloak at the last minute since I had to save energy, sneak up behind, have the marine freak out FOR NO GODDAMNED REASON, re-engage cloak and run like a baby, so on and so forth.

It was about the fourth time this happened that I noticed something disturbing.  I had forgotten to turn off cloak, and yet my suit's power was exactly the same.  That's right, I could cloak as long as I wanted.  Suddenly, the game opened up, or rather, for the next half of the campaign I just ran as fast I could through the various corridors I had seen two times already.  Jesus, this fucking game.

Eventually I ran into the throwing discs, which were clunky as shit to use, but could knock down enemies so whatever.  Then I ran into the spears.  In the original, spears were hell of powerful, but also took you out of cloak and were limited in numbers.  Thankfully, the developers of AvP 2009 were like "waaah pooopy" so both of those unfortunate drawback were removed.  I guess it was sort of cathartic to be able to waste the combat androids so easily after the Marine campaign, but it was also pretty pathetic that my predator was closer to some hyper steroid quill rat from diablo 2 than a literal embodiment of mankind's uncomfortable place at the top of the food chain.

Then I ran into the final boss, yet another fucking PREDALIEN, and beat him by (get ready) kiting him around and using proximity mines (which I never used before because they depleted energy, but the developers got around this issue by making your energy infinite in the boss arena).

So that's the game.  There's multiplayer, but I have no doubt that the single person still playing it now is some horrible techno-mutant that will upload his consciousness into my body the moment I join a server.  Everything in single player is just so dumb and lazy and poorly thought out, I can't think of a single idea that wasn't run into the ground so hard that any semblence of "neat" was extinguished.

A good example of this comes in the middle of the Marine campaign.  Eventually you come across an alien hive with all the bizarre organic structure that the movies have never explained.  Going through a corridor, I came across a MIGHTY SUSPICIOUS looking part of the wall.  I've seen Aliens about 20 times, so I immediately knew that it was an alien and opened fire.  What I didn't notice that doing so awoke another alien much closer to me.  I was pleasantly surprised.  Maybe this game wasn't total shit!

This opinion changed after the sixth time they did this.