>>719103598
He's %100 right but I haven't seen an open world game in over 10 years that understands how important it is give the player fun and diverse locomotive options.
Elden Ring and Dragons Dogma 2 both really highlight how much a lazy "move faster button" can ruin open-world design to the point it loses the replayability that the very genre is supposed to encapsulate.

If you are making an open world game and only have a horse or just a cars and bikes, you are making a steaming pile of shit that will sell half as well as it is hated.

In a video game, pic related's imagery hould by followed by mounting a fucking dragon or flying a jet. It should never ever for any reason be followed by merely jogging forward by holding a button.
Yet it always seems to be. It's why retarded autists think the genre itself is the problem. It's very much not. It's modern lazy safe investor-focused game design.

It's a genre about traveling long distances with diverse satisfying freeform movement.
Modern game devs have completely ignored the second half of that description and just do what the investor said.

It's the equivalent of saying you are making a classicsl orchestral album and it's just rap with a violin on some of the songs. To fuck up open world gameplay by not having the very act of moving be fun is to prove you are infact a no-talent hackfraud.
It's why I don't respect a single prolific developer anymore. They have all committed this sin:
An open world game where traveling long distances is an afterthought and not respected as an aspect that needs to be engaging beyond holding or mashing a button.

>>150295516
K

In reflecting on the trajectory of European cultural history, it's hard not to see the Romantic Era—spanning roughly from the late 18th to the mid-19th century—as a high watermark of creative and intellectual vitality. This period saw an outpouring of works that celebrated individualism, emotion, and the sublime forces of nature, all rooted in a distinctly Western ethos of exploration and introspection.

Consider the symphonies of Beethoven, which pushed orchestral music to new emotional depths, or the poetry of Wordsworth and Shelley, evoking a profound connection to the natural world and human spirit. In literature, Goethe's *Faust* grappled with the eternal quest for knowledge and meaning, while painters like Turner and Friedrich captured landscapes that mirrored the inner turmoil and grandeur of the human soul. Even in philosophy, figures like Hegel and Schopenhauer laid groundwork for understanding history and will in ways that influenced generations.

What strikes me as particularly noteworthy is how this era reached its musical zenith toward its close, with composers building on Romantic ideals to their fullest expression. Take Erik Satie, whose works in the late 19th century, such as the *Gymnopédies* (1888), distilled Romantic introspection into sparse, meditative forms. Satie's innovative use of simplicity, ambient textures, and unconventional structures—eschewing bombast for subtle emotional resonance—represented a peak refinement of the era's emphasis on personal expression and atmospheric depth. It was as if the Romantic impulse, having expanded to operatic heights with Wagner, found a poignant culmination in Satie's understated mastery, bridging toward modernism while encapsulating the period's core spirit.

Of course, one could argue for earlier peaks, like the Renaissance or Enlightenment, but the Romantic Era's fusion of nationalism, artistry, and philosophical depth feels uniquely cohesive.

https://youtu.be/oxqyUW2txQw

>>212788679
this actually leads me to an interesting question:

do more brown people actually care for 'arry pottah if you put more brown people in it?

cause i am under the impression that brownoid culture lacks the inherent spark that would click with the story in the first place.

it's like that one tweet about pic related where some black guy went "Why mus' whypypo always clim' mountains an sheeit, there aint nuthin up dere mufugga bixnood!"