Search Results
7/16/2025, 7:13:30 PM
7/7/2025, 9:11:00 PM
>>714757206
>>714800764
What they care about is what the game Says, both about the industry, as well as about themselves. To them, these games aren't games meant to be evaluated for what they actually are. They're conversation pieces that are meant to make these journos feel like they're sending a meaningful message to the industry, as well as to the journos' disappointed fathers. They want the world to think they're very serious people doing very meaningful work, so the actual quality doesn't matter. Because THEY CAN'T TELL THE DIFFERENCE BETWEEN INTENT AND EXECUTION. these people gave bioshock infinite a 94 on metacritic when it came out because they called the writing "masterful" and the gameplay "exciting". They don't actually care that that's complete bullshit. They just want to believe it's true because it makes them feel better about what they've decided to dedicate their lives to doing. They spend barely any time on every game that comes out and pretend to have a worthwhile opinion on ALL of them. They have to constantly pump out multiple videos every week and give no fucks about actually understanding what works and what doesn't about any of the games they cover. They want to write the history of gaming but they can't even keep up with the here and now. That's the biggest issue with the voters.
The Oscars are unironically infinitely less embarrassing than the game awards because while the Oscars voters are often stuck up and arrogant out of touch prudes, The Game Awards voters are desperate dogs looking for validation.
2/2
>>714800764
What they care about is what the game Says, both about the industry, as well as about themselves. To them, these games aren't games meant to be evaluated for what they actually are. They're conversation pieces that are meant to make these journos feel like they're sending a meaningful message to the industry, as well as to the journos' disappointed fathers. They want the world to think they're very serious people doing very meaningful work, so the actual quality doesn't matter. Because THEY CAN'T TELL THE DIFFERENCE BETWEEN INTENT AND EXECUTION. these people gave bioshock infinite a 94 on metacritic when it came out because they called the writing "masterful" and the gameplay "exciting". They don't actually care that that's complete bullshit. They just want to believe it's true because it makes them feel better about what they've decided to dedicate their lives to doing. They spend barely any time on every game that comes out and pretend to have a worthwhile opinion on ALL of them. They have to constantly pump out multiple videos every week and give no fucks about actually understanding what works and what doesn't about any of the games they cover. They want to write the history of gaming but they can't even keep up with the here and now. That's the biggest issue with the voters.
The Oscars are unironically infinitely less embarrassing than the game awards because while the Oscars voters are often stuck up and arrogant out of touch prudes, The Game Awards voters are desperate dogs looking for validation.
2/2
6/29/2025, 4:32:18 PM
>>713973902
Nothing. It's going to be the second worst GOTY winner after TLOU2 (no, it takes two, God of war, sekiro, astrobot, etc are not bad winners, kys)
it was made by 30 devs and a dog. it constantly screams that it's art. no journo/normie will actually scrutinize it and realize that the characters are butchered by the writers for the sake of drawing out reveals that aren't anywhere near as mind blowing as they believe they are (if only they'd taken their own story's message to heart and saved themselves from falling in love with their dogshit writing), and the combat never forces you to engage with the turn based elements even on expert, it only pushes you to learn parry/dodge timings.
all its challengers are outright/spiritual sequels and every fag in the gaming community, journo or not, is addicted to novelty over actual quality. they'll ALWAYS go for the "big new thing" regardless of how shit it actually is. Death Stranding 2 might get art design and some technical awards, and MAYBE Direction for Kojimbo, but it's a sequel with no novelty. KCD2 coulda been the frontrunner had it released after E33, esp since warhorse is technically also a AA studio, which pecks away a bit at E33's biggest strength. but it's a sequel and it'll be forgotten. if DK Bananza somehow gets a 95 on metacritic, I think it'll pull an astrobot and win GOTY at Geoff's show while the fag journo sites give theirs to E33. but even it's biggest shills keep calling it a spiritual Odyssey sequel so it doesn't have the sheen of novelty either, tough sell. that leaves Ghost of Yotei, and given how much Sucker Punch expanded and how garbage the DLC writing was compared to the base game of Tsushima, I don't think it'll deliver. Sony also JUST won GOTY last year so fags on the jury will be biased toward the 30 devs (and a dog). if Yotei somehow manages a 95 on metacritic, it'd prob be the frontrunner, but I just don't see it happening. I think at best it'll win Action or Action/Adventure.
Nothing. It's going to be the second worst GOTY winner after TLOU2 (no, it takes two, God of war, sekiro, astrobot, etc are not bad winners, kys)
it was made by 30 devs and a dog. it constantly screams that it's art. no journo/normie will actually scrutinize it and realize that the characters are butchered by the writers for the sake of drawing out reveals that aren't anywhere near as mind blowing as they believe they are (if only they'd taken their own story's message to heart and saved themselves from falling in love with their dogshit writing), and the combat never forces you to engage with the turn based elements even on expert, it only pushes you to learn parry/dodge timings.
all its challengers are outright/spiritual sequels and every fag in the gaming community, journo or not, is addicted to novelty over actual quality. they'll ALWAYS go for the "big new thing" regardless of how shit it actually is. Death Stranding 2 might get art design and some technical awards, and MAYBE Direction for Kojimbo, but it's a sequel with no novelty. KCD2 coulda been the frontrunner had it released after E33, esp since warhorse is technically also a AA studio, which pecks away a bit at E33's biggest strength. but it's a sequel and it'll be forgotten. if DK Bananza somehow gets a 95 on metacritic, I think it'll pull an astrobot and win GOTY at Geoff's show while the fag journo sites give theirs to E33. but even it's biggest shills keep calling it a spiritual Odyssey sequel so it doesn't have the sheen of novelty either, tough sell. that leaves Ghost of Yotei, and given how much Sucker Punch expanded and how garbage the DLC writing was compared to the base game of Tsushima, I don't think it'll deliver. Sony also JUST won GOTY last year so fags on the jury will be biased toward the 30 devs (and a dog). if Yotei somehow manages a 95 on metacritic, it'd prob be the frontrunner, but I just don't see it happening. I think at best it'll win Action or Action/Adventure.
6/21/2025, 6:06:23 AM
>>713203574
>middle school baby's first existentialist parryslop sells more than the most bog standard atlus drek
the numbers being discussed are 3.3 million and 2 million. the real lesson is that dogshit made by pseud faggots for an audience of fat schlubby millennial midwits that are insecure about how uncultured they are in real life and use navel-gazing "art" discourse as a way to cope with it doesn't fucking sell.
>middle school baby's first existentialist parryslop sells more than the most bog standard atlus drek
the numbers being discussed are 3.3 million and 2 million. the real lesson is that dogshit made by pseud faggots for an audience of fat schlubby millennial midwits that are insecure about how uncultured they are in real life and use navel-gazing "art" discourse as a way to cope with it doesn't fucking sell.
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