At 4/17/24 08:00 AM, kmau wrote:
At 3/4/24 02:15 PM, WildflowerBouquette wrote:
Anything you'd guys like to see like that?
I don't wish for particular genres to make a comeback, but what I'm really missing are games that tow the line between child-friendly and mature. Games like Majoras Mask that feature a protagonist who is relatable to children, but still tackle serious, mature themes like mortality in a way that doesn't up the age rating.
Some indie games still manage to do that, but I feel like they often have a faint air of cynicism around them and that can make them feel less organic.
Clash: Artifacts of Chaos and No Straight Roads may have a bit of that. The characters there aren't exactly children --heck, Pseudo looks like a carrot if it had a sore thumb that went to the Clint Eastwood school of Having Faces, though Mayday and Zuke are around 20 years old from the look of it-- but the violence in Clash never has blood, while the fighting in NSR is very over-the-top and stylized, facing off against foes like vocaloid mermaid robots or a house-sized tree woman protecting her piano-playing daughter hanging on strings from her hand.
There is *very* light swearing and Clash does have a death at the beginning, but it's hardly graphic. Plus, Pseudo helps arrange what little funerary arrangements there are in that land.
Both Zenozoik and Vinyl City are chock-full of style, color and some odd people, and there's parts that hit hard but are hardly outright cynical.
Heck, in both games there's a character that's pretty jaded: The main antagonist of NSR believes that Rock music is a thing of the past, something that cannot work anymore, based on direct personal history with it, while Pseudo from Clash is... well, he's a hermit. He's got nothing to really live for until one day the Boy comes under his care.
Initially, he does not seek to take care of the boy at all, but as the game progresses and circumstances make his initial plans unfeasible, he becomes a lot more open. He has some wisdom to receive, some experiences to share.
And yet, at the end of the game, there is a truth to his relationship with the boy that hits you like a hammer to the ribs. It is sad, a genuine sadness that does not affirm hopelesness, but emboldens the truth of the bonds people can share.
Likewise, in No Straight Roads, there are things that may hit quite hard. Every boss has a part to them that seems to represent the effect the music as an industry has on them as artists.
The very first boss, in fact, a space-themed DJ named Subatomic Supernova, placed his DJ booth in the middle of his club, with artifical planets rotating around him. He's literally making himself the center of the universe.
However, in collectable voice recordings you can collect, you learn that he used to be an astronomy teacher who had very few students, but nonetheless great love for space. He learnt that he was an accomplished artist and made a new career out of this, but... he also knew how big space was. Feared the vastness of space and time alike, feared being forgotten. He wanted to ensure his own legacy, and thus keeps reaffirming his own importance out of fear of being nothing.
If i may ask, what do you think of all this, based on how i described it? I do not know if you know of these games, but i'm curious to hear your thoughts.