I just realised that the missingno glitch actually has it's own wikipedia page lol. This is uncommon for video game and e-culture stuff (seems more common these days though.) Usually there are just pages on various wikia about that kind of stuff. It was amazing though.
https://en.wikipedia.org/wiki/MissingNo.
I always wonder how the hell people find these kind of glitches in the first place (or rather figured out the process of how it happened,) since the steps required to get this to happen are quite complex sometimes. I think it's usually multiple people working together though. Like I've discovered rare/unique bugs that people can sort of explain parts of but not everything. And I can't because I don't have that knowledge and don't know how it happened in the first place as I wasn't paying close attention lol.MissingNo.[a] (Japanese: けつばん[1], Hepburn: Ketsuban) is a glitch and an unofficial Pok?mon species found in the video games Pok?mon Red and Blue. Due to the programming of certain in-game events, players can encounter MissingNo. via a glitch. It is one of the most famous video game glitches of all time. Encountering MissingNo. causes graphical anomalies and changes gameplay by increasing the number of items in the sixth entry of the player's inventory by 128.
This beneficial effect resulted in the glitch's coverage by strategy guides and game magazines, while game publisher Nintendo warned that encountering the glitch may corrupt players' game data. IGN noted MissingNo.'s appearance in Pokemon Red and Blue was one of the most famous video game glitches and commented on its role in increasing the series' popularity. Fans have attempted to rationalize and incorporate MissingNo. as part of the games' canon as an actual in-game character, and sociologists have studied its impact on both players and gaming culture as a whole. Additionally, references to the glitch and the circumstances around it have also appeared in other games, such as Vampire Survivors and The Binding of Isaac.
Yesterday my friend was telling me about Starfield being buggy. So he views this from a dev perspective (as he is a game dev not on that game,) bugs are obviously a bad thing but I was thinking 'were they at least funny?' So he was like:A player can encounter a MissingNo. in Pokemon Red and Blue by following a series of steps. First, the player watches an in-game tutorial for Pokemon capture in the game's Viridian City location. Second, the player uses a Pokemon with the "Fly" move to instantly travel to the game's Cinnabar Island location. Finally, the player uses a Pokemon with the "Surf" move to travel up and down on the eastern shore of the island until a MissingNo. appears.[7]
These events manipulate the game's random encounter system to generate a Pokemon with an invalid identifier. Each area within the game assigns values to a data buffer to represent the Pokemon that can be encountered in that area. However, some areas--such as Cinnabar Island--do not overwrite the data in this buffer, so the data from the previous area is used instead. During the Viridian City in-game tutorial, the player character's name is temporarily overridden to read "OLD MAN", and the player character's actual name is temporarily copied to that same data buffer. If the player travels directly to Cinnabar Island after viewing this tutorial, the player character's name will be read as the Pokemon that can be randomly encountered in that area. Due to the player character's name not being intended to be read as this kind of data, the game can attempt to generate an encounter with a Pokemon with an invalid identifier, such as MissingNo.[8][9] Fans have dubbed this method of encountering MissingNo. the "old man glitch".[8][10]
As with any wild Pokemon, players may flee from, fight, or capture MissingNo.[9] After an encounter with MissingNo., the quantity of the sixth item in the player's inventory is increased by 128,[11][12] and the game's Hall of Fame Pokemon gallery becomes glitched.[10] Temporary graphical glitches may also occur,[10] which can be removed by viewing the statistics page for another non-glitched Pok?mon or resetting the console.[13]
A captured MissingNo. is functional as a Pokemon and appears in the games' Pokedex as number 000.[8][9] The games classify it as a hybrid Bird/Normal-type Pokemon even though the category of Bird-type Pokemon was cut from the games before release.[8][14] It commonly appears with a scrambled block-like form commonly described as a "backward L-shape", but depending on the player character's name, it can also appear as one of three ghost or fossil sprites not used by other Pokemon.[13][11]
And I just think that's amazing lol and wonder how it could be incorporated story wise.Sometimes
There was a bug where your guns would stop working randomly and the only way to fix it was to change your characters gender
So now I'm going to buy that game. No I'm still not lol. I find the graphics off putting and a bunch of other stuff I've heard about the game like the planet side exploration not being that fun/great. But it's just so impossible because for years before that I was thinking 'I want Bethesda to make a science fiction game centred on space travel and exploring planets' now they have and I just... Cba playing it and it didn't appeal to me somehow lol. And I love as bunch of their RPG's (Fallout 3, Oblivion, Skyrim) because they have worlds that are fun to explore + sandbox + they're good at creating lore + the gameplay is just fun and immersive. Then again in previous titles they have often relied on procedural generation for Oblivion gates, for dungeons and caves etc.
Then started reading this reddit thread from 2013 this comment makes some points:
Yes this happens to everything eventually it becomes more and more difficult to innovate. Also happened to music. Also happened to films.I see the same pattern for many top tier game developers from the 90s. They became famous at a time when just sticking emergent technologies onto your game almost guaranteed you a fresh, innovative product. The added storage space of CD-Roms, widespread home internet, high quality sound, 3D-graphics, sufficient amounts of RAM for detailed simulation... It was a great time for game innovation in terms of technology.
Now fast-forward to the mid-00s. Suddenly, it's becoming hard to come up with anything new since hardware plateaued and it feels, for the first time, like all the basics are covered, everything's been done. You see game developers used to inventing entire new genres desperately throw themselves at the latest fad: Motion controls with the Wii, MMOs, mobile/"social" games, tablets and now (dare I say?) VR. Nothing really went anywhere.
Will Wright joins Second Life, Molyneux does weird Kinect prototypes and leaves Lionhead to do F2P mobile games, Brian Reynolds joins Zynga, Warren Spector makes some bizarre Mickey Mouse project that revolves around the Wiimote, Ken Levine fired everyone at Irrational to make games based on "Narrative Legos", Shigeru Miyamoto makes an iOS game. John Romero has honestly developed this F2P game called "Pettington Park" for Zynga. John Carmack leaves id to join Oculus, Gabe Newell turns Valve into a VR company. Richard Garriott flew to the International Space Station and apparently (and I couldn't make this up) joined "SpaceVR, the world’s first virtual reality platform with the ability to share live 3D, 360-degree content from the International Space Station (ISS)".
There's some exceptions. Sid Meier managed to focus on what he's good at and somehow avoided (a public?) mental breakdown, Firaxis is doing fine. Tim Schafer was lucky betting on Kickstarter. But generally, Will Wright's path is typical.
If I wanted to be dramatic, I'd say that there's a good chance that a lot of the most iconic game designers from the golden age of the 90s weren't ever that talented designers, they were mostly at the right spot at the right time, getting to work on big productions in a time when a little bit of discipline and creativity more or less guaranteed you a place in gaming history. It must be tough to transition from that to the current, F2P-dominated space.
Also just found this and maybe this is a technological issue (talking about Starfield and it's 1000 planets) but this is not an issue I've had with enjoying their other games personally:
At the time I was at uni already lots of companies were shutting down, and there were so many projects that just went nowhere or failed. Phone games were becoming more popular and didn't interest me. I thought the games industry seemed really interesting as a kid in the 90s, but by that point it was an entirely different industry.Worlds feel procedurally generated...
This has always been a problem in Bethesda games. They make a big beautiful world...and then fill it with "random generic". Yeah, I'm sure there are a few cool things mixed in, but mostly it's the same caves and dungeons and houses and rather uninspired loot. Realistically, running around a planet here feels almost exactly like running around a planet in No Man's Sky...and that's why I don't play NMS.
Now I like the stories and quests I've done, but I'm not going near any of those "Mission Boards" to do procedurally generated missions.
Devs need to learn that procedural generation (or the feel of it) are huge turn offs to a lot of people. I'd rather deal with less that hand crafted than "muh million explorable worlds".
I really enjoyed games like Oblivion, The Sims 2, Skyrim that came out in the 2000s and early 2010s. The Sims 3 was also fun. But the next Elder Scrolls game will probably suck (I hope it doesn't but Starfield wasn't great,) and even Oblivion and Skyrim were technically dumbed down from Morrowind (but I didn't play that until after Oblivion, by that point was difficult to get into due to lack of voice acting etc.)
Microtransactions and splitting stuff into 3425235252 different packs everywhere. Focus is on making money so even if your product is the worst game in the series so far (The Sims 4,) it doesn't matter because it earns more money.
In the early 2010s the most interesting games I was aware of besides those that were just recreating classic games were weird artsy things that were purposefully surreal and people would refer to some of them as 'walking simulators.' Polarising genre. 'Are they even games?' other art games too (Journey, Flower, The Path, The Graveyard etc.) This became interesting because everything else had already been done and this was one of the only areas of experimentation (technically this too had been done but not very fleshed out.)
You had a few games like Goat Simulator which were more tongue in cheek (and hiding behind that,) and more recently you have Untitled Goose Game lol. You're more likely to find quirky indie games.
I think a lot of people have experienced that at some point in their life. I don't really remember it in detail but I know once I was staying on a farm as a young child in a caravan and the geese there would apparently chase after me and my brother. I remember the farm, and I remember my parents talking about this. I even remember there were geese but don't really remember them aggressively chasing me or anything lol. I mostly find geese hilarious. Also there were other games with geese in I think in the rugrats game a goose steals the grandpa's teeth and then Chuckie ends up chasing the goose as part of a minigame. (I haven't played this since I was a kid but yeah it's Tommy not Chuckie you're playing as. You have to ride Spike the dog to chase after them.)When we started working on this game, I think we considered the idea of a game about a goose that runs around hassling people a bit of a niche appeal. It turns out people have a lot of feelings about geese! I think it has a lot to do with how threatening they are, in a kind of mundane way – although we’ve never encountered them ourselves, I think we’d underestimated how many people had, and nearly everyone from the Northern Hemisphere that we’ve spoken to about the game has relayed their own stories of traumatic goose encounters. It seems like we’ve tapped into a relatively universal experience without meaning to.
So the beginning part is kind of like the hog wild levels of Crash Bandicoot I think from what I remember.Your first objective in this level is to find Spike (1991). You start out in the playground and must find your way through a maze which leads you to Spike (1991) (1991). There are many dead ends in the maze and it is very easy to get lost if you've never played before. Also in your way will be several geese, which are hiding around some of the corners; you will lose health if you come into contact with them. Keep trying to find your way through the maze until you come to a wooden arch with a bench beyond it (also here is a cookie, which is helpful if you've lost any health). Progressing past this point will lead to the next section of the level.
This section of the level is played while riding on Spike (1991)'s back. Your objective is to follow the goose down the trail until you reach the shuffleboard court. There are several obstacles that you must jump over, including benches, tree trunks and fences.
When you get to the shuffleboard court, your objective changes yet again for the final part of the level: now you must throw pucks at the goose as he chases Chuckie around the court. Be careful with your aim, as it is possible to hit Chuckie. If this happens four times to hurt Chuckie, you have to start over when Tommy starts crying. Five successful hits on the goose will cause him to spit Lou's dentures out and you will win the level.
The repressed geese trauma.
Octodad is another one I remember.
I actually contributed to the kickstarter lol but I don't think I ended up playing it. I did play the original which was hilarious.Octodad: Dadliest Catch is an independent adventure video game developed and published by Young Horses. It is a sequel to the 2010 freeware game Octodad. The game consists of controlling the protagonist Octodad in completing chores typical of the mundane suburban father, but complicated by the fact that he is an octopus in disguise.
From a design/creative perspective you don't want to keep doing the same thing over and over and over again. But it becomes more and more difficult to innovate and the failure rate increases. Then there's the stuff which everyone hates temporarily but later sees some appeal in when it's placed in a different time period/context. That's true of anything creative.
There's a kind of polarisation of the genre in general in the same way The Sims is seen as bad because 'it's not a game,' and 'girls like this' I remember the backlash to Gone Home. I see the wikipedia page below goes into that. I decided to play and review that game in 2014 I think. (Video is private now cause on an old channel lol.) It was OK.
https://en.wikipedia.org/wiki/Walking_simulator
While these video game elements originated in the 1980s, people online began pejoratively referring to new games as walking simulators in the late 2000s, notably with Dear Esther.The Stanley Parable was one of the most interesting examples of this I think and definitely inspired The Backrooms meme. But around that time (let's say 2015-2016 or so,) I mostly stopped paying attention to video games besides the few I still played from before.The walking simulator elements are controversial due to purported lack of challenge, discontent of such games became viral in the mid-to-late 2010s among "hardcore" gamers. In other criticism, artistic aspects and emphasis on decision-making and morality are recognizable in them, and walking simulator elements remain popular.
Another example is Amnesia The Dark Descent. Horror works a lot better when you can't do anything. I found it scarier than any other game I'd played. But again some people found it boring.
This whole thing was incredibly stupid (but there was a lot of dumb culture war stuff going on in the early to mid 2010s surrounding video games that I cba going into. On both sides of the argument):
Led to this copypasta lol (people still get annoyed by this because they don't realise it's just a copy pasted thing):Whether to use the term or something else continues to be debated by developers and fans, with those in support pointing out the positive health and mental benefits of walking as a sign it does not have to be derogatory. Detractors characterize it as dismissive and condescending, relating it to other insults like "social justice warrior", although even its critics expressed a feeling of inevitability that it would continue to be used for the foreseeable future.[3]
Developers including Dan Pinchbeck, who co-created Dear Esther, reject this narrow definition in favor of a more expansive and inclusive one.[2] The 'walking sim' term was later embraced by fans, going so far as to be used as a description tag on the Steam digital distribution service. It is sometimes used in an ironic manner.[3]
Whether to use the term or something else continues to be debated by developers and fans, with those in support pointing out the positive health and mental benefits of walking as a sign it does not have to be derogatory. Detractors characterize it as dismissive and condescending, relating it to other insults like "social justice warrior", although even its critics expressed a feeling of inevitability that it would continue to be used for the foreseeable future.[3]
And as I said before similar concepts to The Backrooms also existed in The Sims 2 a decade before:No, you’re NOT a real gamer.
I’m so sick of all these people that tho k they’re gamers. No, you’re not. Most of you are not even close to being gamers. I see these people saying “I put well over 100 hours in this game, it’s great!” that’s nothing, most of us can easily put 300+ hours in all our games. I see people who only have a Nintendo Switch and claim to be gamers. Come talk to me when you pick up a PS4 controller then we be friends.
Also DEAR ALL WOMEN: Pokemon is not a real game. Animal Crossing is not a real game. The Sims is not a real game. Mario is not a real game. Stardew valley is not a real game. Mobile games are NOT.REAL.GAMES. put down the baby games and play something that requires challenge and skill for once.
Sincerely, all of the ACTUAL gamers.
More recently people have compared this to The Backrooms. That's the worst thing probably about being a creative person. 'This is fucking stupid' then suddenly it gains popularity.Building Trap Doors since 1987. Hans' Trap Door Corp has had many recent complaints of missing employees in the prototype department. Watch your step while visiting!
Another post from reddit:
It makes me think that games we are creating for the future will lack innovation, creativity and heart because those who are brave enough to undertake a career in video games are constantly being reminded of job insecurity, small pay checks, horrendous hours, the list goes on. If we couple this with a publisher's desire to see more and more sequels (2011 had so many sequels) because they generate money, this creates an environment where innovation cannot thrive, the boundaries are further out of reach and the adjacent possible cannot exist: in fact – the adjacent possible is impossible.The part about movies is wrong, especially now. People are only rebooting the past, exploiting nostalgia, creating sequels, and not taking risks.The problem with innovation in gaming is that gaming is incredibly nostalgia-driven. Look at movies for a second: new movies with special effects that would've been impossible when we were kids (let's assume we're all mid-twenties) are well received because movies only take up two-hour chunks of our lives. Sure, we all have our old childhood favorites, but they don't really define who we are. We can sit down and enjoy The Dark Knight just as much as we did Batman Forever when we were young.
You can't do that with games. As kids, we put hundreds of hours into Zeldas and Final Fantasies and Marios and Sonics and Pokemons and the like. Those games were hugely defining of our experiences in the genre. We all pine for innovation in public forums, but secretly, most of us just want to play prettier versions of our childhood favorites over and over again. Look at how many times Ocarina of Time has been sold and resold and resold to an amazing reception.
Innovative games clash with our hardwired expectations of gaming, which is why, no, games are not a good environment for innovation, when the target audience is used to previous generations. I think innovation can be successful within the medium when it defines the gaming experience for new generations. For example, FFXIII could very well be the quintessential RPG experience for today's children.
And there's nothing wrong with that. That's why I hate when new parents on reddit are so proud of starting their kids out "the right way" with gaming on their childhood favorites. It's innocuous indoctrination, sure, but it's indoctrination nonetheless. It hurts the reception of innovation because we're raising the next generation with the same "things ain't what they used to be" mindset on which so many of us were raised.
Long story short, I think innovation does not currently work well in the video game industry, but I don't think it's the video game industry's fault. I think it's the players' fault for being generally closed-minded about new experiences that clash with what they know and love.
I think we've reached the deconstruction era where it becomes more fun to break stuff (like I do on YouTube,) or create some fan game that parodies something or takes some emotion people experienced and then focus on that. Like Escape PS1 Hagrid because Hagrid was creepy in those games. When you do that you kind of get away with doing crazy things like having several different game genres in one, and you never get famous enough to attract serious criticism either, you've incorporated nostalgia too and you're not pretending your work is supposed to be 'serious.' And if it's just a meme/joke/something to not take too seriously then that's not as bad.
Cowardly though.
The descontructing thing is something conservatives absolutely hate. It's also what a lot of people hate about 'post modernism' haha.
I think this lack of innovation, the poor response to change, combined with journalists just doing what they always do (encouraging people to get into fights,) led people to try and find people to blame. Knowing that everything has already been created before when it comes to art and storytelling also makes it impossible to creatively innovate in those domains. I think innovation is still happening in science.
Also people want stuff that makes them feel like they did when they were children (impossible of course,) they want fun and challenging gameplay and they want innovation and the creative/design/artistic side of the industry want to find outlets for that, and having something that achieves all of that and satisfies everything is very difficult. Even harder than with a movie and the film industry is having similar issues.
Part of the reason The Sims was so popular is it made failure fun and the roots of the game were in failure and crisis. Like initially a big inspiration was Will Wright losing his entire house in a forest fire. Also the dark sense of humour and lore. Eventually all those things were stripped away. Which is why among many other reasons The Sims 4 doesn't work well. It's not replacing this with anything equally compelling. They brought back the want and fear system a couple of years or so ago but it doesn't work well. It's poorly executed and immersion breaking. There are things the game does well and better though it's just the overall package which is worse.