#oneaday Day 531: Riding the air

Kirby Air Riders is out today, and I've spent the evening playing it. Specifically, I've spent the evening playing the "Road Trip" mode that I didn't know anything about prior to starting the game. This is a single-player mode that is presumably intended to get you up to speed on everything you might be doing at any point in the other modes, but it also unlocks a bunch of stuff in a similar fashion to Smash Bros.' single-player modes from over the years.

The whole package is very Smash Bros., in fact, including the way you navigate the menus, the way you adjust your settings for a play session and the overall structure of the game. It's a very customisable game, from the look of things, so I'm looking forward to investigating the other aspects of it soon.

Road Trip, meanwhile, that I can talk about. In this mode, you pick a character and initial "machine" to ride on, and progress through a series of stages, each of which is split into a series of "encounters" on the road. Under most circumstances, you have a choice of three encounters to choose from at any point, with different rewards on offer for each. Successfully beating an encounter generally rewards you with some Road Trip-specific currency and a stat increase or two. Outside of the competitive events, you may also run into shops (where you can, of course, spend the aforementioned Road Trip-specific currency) and weird things that determine which of several branching paths you will take at the conclusion of the current stage.

The events you'll compete in on the Road Trip are generally pretty short in duration — races tend to be one or two laps at most, and the events which aren't races are all time-limited. It's enough to give you a look at the different things you can do in the game's other modes, but in a way that you never get particularly bogged down in anything. You rarely do the same type of event twice in a row, and the difficulty curve progresses nicely from "very easy" in the early stages to "genuinely quite challenging, but not annoyingly so" as you get closer to the conclusion.

As you progress through the Road Trip, you'll gain the opportunity to earn "memory shards", which tell the unfolding story. This is surprisingly dark, considering this is a Kirby game, involving a mechanical creature that has sat for aeons without being able to move because it requires someone's "strong will" to allow it to do anything, a terrifying orbital satellite that, among other things, constructs an army of robotic ants to rip this aforementioned creature to bits and rebuild it into a world-crushing weapon, and the implication that everyone's vehicles in the game are like Pokémon, if Pokémon were forms of sentient transporation rather than creatures that liked to fight. So maybe not all that much like Pokémon at all, other than the fact that they clearly have "personalities" of sorts, and partner up with the people of Kirby's world, Popstar, in a quasi-symbiotic relationship.

In the events, Kirby Air Riders is chaotic. For those concerned that it might be a bit too much like Mario Kart: it's nothing like Mario Kart. My wife saw me playing it briefly and said it looked like "Wipeout, but Kirby" and honestly she's not far from the truth there. There's a touch of F-Zero, a bit of Burnout, even a bit of Twisted Metal in there, depending on the type of event you're playing. I can see it easily being overwhelming for some players, but there is clearly method in the madness.

Probably the most clever thing it does is use an incredibly simple control scheme, much like Kirby platformers tend to. There are only two buttons to worry about: characters accelerate automatically, and the only time you need to press a button is when you want to slow down (which also charges up your boost) or use your character's "Special", which can only be used when a particular meter has charged.

The "Boost Charge" mechanic has a nicely tactile feel. You're effectively "pulling back" your character, winding them up and then letting them twang forward, though the exact implementation of this depends quite significantly on the machine you've chosen to ride. Some are built for drifting around corners; others stop dead when charging a boost and can thus immediately change direction when going around 90-degree bends; others still can't drift or boost at all, but make up for this with other strengths.

These differences between the machines, along with individual machines' special capabilities (such as the "Vampire Star" machine's ability to "bite" opponents, damaging and slowing them down and stealing their power-ups) and the stat growth throughout Road Trip mode mean that there's a surprising amount of depth considering how simple the game is to control. Different machines are eminently suitable to different types of event, so it pays to try and build up a collection — indeed, I believe to get the "true" ending for the game, you need to collect all of them prior to reaching the final encounter, though this is made more straightforward through a New Game+ option that lets you carry over the stuff you've already acquired.

There are some other interesting little things, too. A significant portion of the Road Trip mode involves the "Top Rider" mode, which is racing from a top-down perspective on simplified tracks. This is a lot of fun, though obviously less spectacular and chaotic than the 3D races — and it's nice that this is a whole mode you can play given equal weight to the "main" game mode. There are even different control options, depending on if you prefer "turn left and right" or "push the analogue stick in the direction you want to go" for these top-down sequences.

All in all, it seems like a really solid game given that distinctive Sora Ltd. polish. I'll be interested to see whether it has the juice to go for the long term on the multiplayer circuit; I can see this being a really solid multiplayer game, but, of course, it needs a community for that to work over the long term. I don't yet know if the broader community will take to it in the same way as something like Mario Kart — but then, Splatoon came out of nowhere on Wii U and managed to be a big enough hit (on the Wii U!) to spawn two sequels, so there's precedent for a Nintendo game not called Mario Kart or Smash Bros. to have a thriving online community.

More than anything, it's nice to see the Switch 2 finally picking up the pace with some solid releases — and on proper game cartridges, too. Now, if they'd just quit doing that dumbass Game Key Card thing completely I'd be very happy indeed…


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#oneaday Day 530: My way is always better

The review embargo for the "Analogue 3D" FPGA-based N64 clone system came up yesterday, and as is usually the case with such things, about a bazillion reviews all dropped at the same time. The machine looks like a nifty bit of kit — although calling your brand "Analogue" and then not actually having any analogue outputs on your device is a bit weird — and has been reviewing well. As an owner of a MiSTer Multisystem 2, I have no real need for one — just as well, since ordering Analogue stuff is an absolute fucking nightmare — but I'm glad this thing exists and, moreover, appears to be pretty cool.

What has been less cool are the inevitable arguments that have been breaking out in the comments of pretty much every single video and article I have seen on this thing. It's utterly ridiculous to see grown men (and I would place good money on it being all men) of a certain age all getting pissy over how different people choose to experience retro games.

Here's my feelings on the subject: I don't care. Really! I do not give the slightest shit, so long as you're having a good time and you aren't causing anyone else any trouble.

If you want to set yourself up with a MiSTer stack you built yourself, fab. If you want to buy a MiSTer Multisystem 2 to take the hard work out of building an FPGA device, great. If you want to buy a SuperStation One, I hope you love it. If you're running Batocera on a mini PC, more power to you. If you do all your retro gaming on an Anbernic handheld running its stock OS, have fun. If you've spent several weeks finding the perfect alternative operating system for an Anbernic handheld, I hope you've had a fulfilling time doing so. If you're an original hardware junkie with a massive physical collection, can I come and visit? If you have your childhood console and nothing but an Everdrive, amazing! And I'm probably contractually obliged to mention that if your experience with retro gaming begins and ends with an Evercade or Super Pocket handheld, that is 100% fine, too.

Y'see, the important thing with enjoying retro games, to me, is, funnily enough, the games themselves. So long as you're able to experience the games you want to play in the way you enjoy experiencing them, it absolutely does not matter how anyone else wants to do it.

And yet you just have to look through any of these comment threads to see the FPGA nuts arguing with passionate advocates for RetroArch; Windows vs Mac OS vs various flavours of Linux; "download for free!" types against "I prefer to buy official rereleases" people. Basically, if there are two opposing viewpoints possible in this area — and there are quite a few of those — you can count on representatives of those viewpoints all yelling at one another.

Why? Why does it matter to you that some people think the Analogue 3D is a cool device, and you don't? Why does it matter to you that you use software emulation on your Mac and some people prefer to use an FPGA solution?

It's just another example of the Internet being constantly, unnecessarily adversarial, and it's really rather tiresome. As I say, so far as I'm concerned, I have no personal pressing need for an Analogue 3D, as I already have a suitable solution for enjoying N64 games in place — but I absolutely, definitely do not begrudge anyone their desire to add one to their collection! So if you happen to be one of the people lucky enough to have one coming your way soon, I sincerely, absolutely hope you enjoy it. And that you play Beetle Adventure Racing if you haven't already.


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#oneaday Day 529: A different hotel

It's time for my monthly visit to the office, though this time things have been a little bit different for various reasons — not least of which is the fact that I'm staying in an unfamiliar hotel, as my usual place was full. This new place seems nice, if charmingly dated, though it is twice the price of my usual place. It's all getting expensed though, so no problem.

I actually have tomorrow off, which will be nice, as it's Andie's birthday and I won't have to brave the M25 in the middle of rush hour.

Today I elected to listen to some "criminal records" on the journey, because I just felt like it for some reason. My cheese of choice was Louise (Redknapp, nee Nurding), a fairly disposable pop singer that I primarily bought two albums for because I fancied her. Also I ended up quite enjoying them both, particularly the second, Woman In Me.

I was interested to discover that Louise had done some more albums after the two I was familiar with — including one from around 2000, and another that is quite recent. I actually really like what I've heard of the 2000 album, Elbow Beach, so far, but I haven't yet listened to the latest. I think that will be the accompaniment to my drive home tomorrow.

I've always had a soft spot for cheesy, disposable pop music, particularly from the mid to late '90s, because it's tuneful, it's catchy, it's uncomplicated and it plays well as background music you don't have to concentrate on too hard. As a teen, I did the majority of my music listening while doing homework in my bedroom, so it's always been a good accompaniment for doing anything that might be a bit tedious or repetitive — hence why I'm enjoying it so much as a soundtrack for driving.

It's also nice to be of an age where you don't have to make any apologies for what you listen to. I'm sure some of you are silently judging me for having owned two Louise albums in the past (my CD collection went to Music Magpie a long time ago though) but I don't care. Silly fluff it may be, but there's a place for silly fluff, particularly in a world that feels increasingly devoid of joy in the current moment.

Anyway, I'm typing this on my phone and getting annoyed at autocorrect, so I'm going to leave that there. I am looking forward to a nice sleep in this comfy bed, and then a leisurely drive back with some cheesy pop blaring tomorrow.

Maybe they'll have released the Epstein files by tomorrow!

#oneaday Day 528: Autumn plague

Andie and I were ill all over the weekend. Nothing serious — and thankfully not COVID, which we were both concerned it might have been — but the kind of cold that is just enough to be moderately debilitating and make you want to stay in bed for a good 75% of the day.

I think we're both over the worst, but we've both been left exceedingly exhausted, as neither of us have slept very well for the past two or three nights. Hopefully tonight will allow me to get a decent rest, as tomorrow I have to do a long drive for the monthly trip into the office — though it should (should!) be moderately less stressful as I'm driving down in the daytime in order to attend in the afternoon, and then I have the following day off work completely.

With all that in mind, a proportion of today has been spent napping, and I suspect an early night will follow. I genuinely couldn't keep my eyes open by the end of the morning's work, and so my lunch break was spent not eating and watching some TV, but just napping. It was nice.

A middle-of-the-day nap is not something I really started doing until a few years ago, and I'm aware that it can mess up your sleep schedule and all that business. But sometimes it's just nice to allow yourself that moment of peace and quiet, to shut down for a bit and attempt to replenish your depleted energy reserves. It doesn't always work, of course — sometimes waking up after a nice nap leaves you just wanting to nap a bit more — but at others, it can be just what you need to refresh yourself a bit. A power nap, or whatever.

For some reason, I find it much easier to fall asleep for a nap in the daytime than I do at night-time. Part of this is the mind's tendency to ruminate on things last thing at night, but I'm not exactly immune to that in the daytime, either. And yet still I find it much easier to nod off in the middle of the day than at night-time.

Perhaps part of this is down to the fact that from university onwards, I was a bit of a night owl. I have particularly fond memories of being up late one evening pootling about on the Internet, receiving a message from a friend of mine who said that they were going to the beach, and heading off for a thoroughly pleasant evening of night-time beach foolishness with said friend and some other mutual acquaintances.

There was also the period around 2010 or so where I was Going Through A Difficult Time, shall we say, and as part of that process I completely ruined my body clock to such a degree that I was going to bed at 5AM and not waking up until 12 hours later. Not my proudest moment, but also I think the support I was receiving at that time is what helped me get through that particularly difficult period, as incompatible as it may have temporarily made me with a "normal" existence.

Maybe I just like sleeping. I do like sleeping. Regardless, I'm going to sleep relatively early this evening in the hope that I feel a bit more human tomorrow, because right now I feel like a sentient pool of sludge.


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#oneaday Day 527: Dangerous toys

Do kids play with toys any more, or are they just plonked in front of a tablet or smartphone as soon as possible, and left to it? I guess in many ways this is the same question as people were probably asking twenty or more years ago, only with "tablet or smartphone" replaced by "TV or computer".

I occasionally think back and have fond memories of playing with toys as a kid. I was fortunate enough to have parents who would buy me cool things for birthdays and Christmas, but who were disciplined enough to not cave in to my every demand at other times, thereby helping me to understand the concepts of Enjoying What You Have and Delayed Gratification. On top of that, I have a brother ten years my senior, which meant that I had a bunch of cool hand-me-downs that I was able to enjoy. They may not have been the latest and greatest, but I still enjoyed playing with them, regardless.

I had all sorts of different things. I've written about Manta Force before, and that was definitely a favourite. I was also very fond of Scalextric and the Hornby train set we had — though both of those were something of a "luxury" option that only got taken out on particularly special occasions and/or when we could convince my Dad to go up into the loft.

There were smaller bits and pieces I have fond memories of, too. We had a big brown plastic box full of Lego, for example, and I used to enjoy fitting together the big "road" pieces from some sort of city set, and attempting to build buildings and cars to go into these scenes. Among this Lego was a beautifully constructed house that (I assume) my brother had built at some point in the dim and distant past, and I could never quite bring myself to take it to pieces — I never quite managed to make something quite as elaborate as that myself, but I enjoyed the attempt, and the tactile nature of just putting the pieces together.

One set of toys that stick in my mind oddly vividly is a collection of sci-fi themed-toys from a firm called Britains. These were distinctly 1950s "retro" in style, but I always thought they were pretty cool as they were modular — in other words, they came apart, and you could slot them together in different ways to make your own custom spaceships and vehicles.

They didn't really do anything by themselves, but for child me, they were a powerful spark for the imagination. Much like I did with Manta Force, I would imagine myself being among the little toy soldiers and their vehicles, playing out a story in my mind, not even thinking about the possibility of getting lead poisoning from these solid-metal models.

I sort of miss that, and I do often find myself wondering if today's kids have any concept of what playing in that way feels like. I, likewise, find myself wondering quite how many adults of my age take a bit of time now and again to disappear into an imaginary world, helped along by a few potentially toxic props. Because, after all, isn't that all people are really doing with a train set or Scalextric track?

Note to my wife: don't worry, I'm not about to start collecting 1980s toys. I absolutely do not have the room to do that. But I am thinking about maybe getting the old Scalextric out again for an evening or two…


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#oneaday Day 526: Full Metal Schoolgirl

Full disclosure: the other day when I said I was going to play Full Metal Schoolgirl, I actually ended up playing more Tears of the Kingdom. I didn't feel bad about that, either, but it did mean I haven't been able to talk about Full Metal Schoolgirl.

Until now! Because I played it this evening.

Full Metal Schoolgirl is a roguelite action game. I know, I know, we're not exactly short of those, but this one had my attention for a few reasons. Firstly: mecha gyaru schoolgirls. Secondly, it's developed by Yuke's, who do cool stuff. Thirdly, the entire concept of the game is savagely anti-capitalist, and frankly, with the world the way it is right now, that was rather appealing.

You take control of one of two mechanised schoolgirls, each of whom have their own reasons to want revenge on the local megacorporation, which has been turning its workers into cyborgs so they can work more hours without having to take a break. The upshot of this is that they have become "The Working Dead", doomed to continue working their meaningless, joyless jobs even after death.

Enter our schoolgirls, who raid the company's 100-floor headquarters, only for the one you didnt pick to get immediately injured and, predictably, show up as a recurring boss character at various points throughout proceedings.

Your gal has a melee and a ranged weapon. Ranged weapons either have infinite ammo and an overheat gauge, or a limited clip size (and thus the need to reload) but an infinite stock of ammunition. Melee weapons, meanwhile, use up a stamina bar with each strike, and this bar is also used for dashing, dodging and blocking.

The game flows on a room-by-room basis. You're not always locked in each room and have to defeat all the enemies to proceed, but you often are, particularly when some of the game's special mechanics come into play.

Clearing a room rewards you with loot, which can be replacements for either of your weapons or shield, a battery for healing, or a mod which confers a reasonably significant passive bonus of some description, along with a small passive penalty. You also gain various materials with every kill and most bits of scenery destroyed, and there's a currency that only applies to your current run that can be used for various purposes, such as opening locked item chests that can guarantee items of a particular rarity.

Part of the game's setup is that your chosen gal is livestreaming her massacre, and as she progresses, requests will come in from the viewers. These usually take the form of clearing the room in a time limit, without healing or without depleting your stamina bar completely at any point. When one of these comes in, you can accept it, or you can accept a harder variant for a bigger reward. If you successfully complete the request, your gal earns cash donations which do carry over between runs, and these, along with the materials, are used to upgrade her Base capabilities between runs.

It's a lot of fun so far! There's some nice weight to the combat, and plenty of variety in the guns. Since the enemies are robotic, they explode and shatter into pieces dramatically when you blast or slice them, and each room is furnished entirely with physics objects, meaning you absolutely wreck the joint with each encounter.

There are a variety of different enemy types that change up with each block of levels, including some who have a "job title" and act as a miniboss. These can be staggered, which leaves them open to a "Retirement Blow", a satisfying cinematic attack that usually defeats them outright.

Thus far I've enjoyed what I played, and it kept me occupied for a good two hours solid earlier. I'm looking forward to playing it some more — it's a nice, silly, fun game, and that's exactly what you want sometimes.


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#oneaday Day 525: Less than diVine

Apparently the erstwhile Twitter and Bluesky founder Jack Dorsey has funded a relaunch of the social video service Vine in the form of "diVine", a new app/service that not only does what Vine did, but also has an archive of "more than 100,000" Vine videos from before the service shut down.

Vine, for the unfamiliar, was a service where you could post six-second looping videos. And that was pretty much it.

Some people I've seen are really excited about this and I do not understand it. To my eye, Vine's six-second videos were not only the height of pointlessness, they were the beginning of one of my least favourite evolutions of the Web: the obsession with "short-form content" that has led us to today's TikTok-obsessed society, and the fact that some people would inexplicably rather get their news in vertical video form from someone holding a camera too close to their face, yelling and presenting subtitles for what they're saying one word at a time in an obnoxiously loud font.

To some folks, Vine was the height of comedy, and I still don't get it. I've seen supposedly popular Vine skits and found them painfully unfunny. To others, it was a place to enjoy music loops, but I'd rather listen to full tracks rather than six-second loops. To others still, I'm sure it was a place to perv on girls dancing (which is, to this day, one of the first things many people suggest to me when I indicate my distaste for TikTok), but if I want to get my rocks off to sexy girls, the Internet has been built on that for decades.

When Vine was originally a thing, I downloaded it to see what all the supposed fuss was about, but deleted it in less than an hour after completely failing to understand the appeal. I had absolutely no desire to make six-second videos of my own, and the six-second videos the app had put in front of me as a new user did not convince me of the platform's value as a means of expressing oneself.

Like I say: to me, Vine was the beginning of the brain-addled, attention-deficit Internet of today, where no-one is capable of focusing on anything for more than about six seconds. I didn't want to support it back then, and I'm certainly not celebrating it coming back now.

Interestingly, this sort of ties in with something else I wanted to talk about, which was that Metroid Prime 4 previews have been met with a certain degree of consternation following the reveal of an apparently quite annoying "sidekick" character. I can't comment on whether or not he actually is annoying myself as I haven't really looked into any of the coverage as yet, but what I did find interesting was the following Bluesky post:

Alexa Ray Corriea
‪@alexaray.bsky.social‬

You wanna know why we're having nag line discourse in 2025? Because developers know we're fighting an attention economy war we'll lose no matter what. Players don't read, have TikTok open next to them, god forbid we are scared you miss something and then blame us for not giving you all the info.

"Nag lines" are those moments when a sidekick or companion character continually bugs you to do something in a video game, with one of the most notorious examples being the now-elderly "Shoot the Hinges" YouTube video. These days they tend to be a little more elaborate, but they're widely disliked by a lot of people for either stating the obvious or giving away things that the player could have otherwise discovered organically. In some cases, games that launched with extensive "nag lines" ended up patching them out after people complaining — Alexa Ray Corriea, author of the above Bluesky post, cites Horizon: Forbidden West as just one example.

But she also has a point. Nag lines are there because of the not-unreasonable assumption that a statistically significant proportion of people playing a game aren't really paying attention. Whether it's because they're listening to a podcast, watching a YouTube video or stream, scrolling through social media, posting in group chats, flipping through TikTok, swiping people on Tinder or whatever it is people do these days, their attention isn't 100% on the game, because today's Internet practically encourages you to act like an ADHD squirrel rather than settling down and focusing on anything.

And to me, Vine was the beginning of that. Actually, that's not quite true; I was very resistant to joining Twitter in the beginning, because I wasn't a big fan of the microblogging format for similar reasons, but I got over that and found some value there. Vine, though… I never found that value there. I never understood what it was for, or what the appeal was. And I firmly believe that Vine and its subsequent imitators like TikTok had an incredibly adverse effect on anyone who found themselves addicted to them, because they normalised and commodified short-form content and turned people into dribbling consumers of content.

I feel like this is a problem we need to address. Actually, I feel like we're long overdue addressing it. Because at the moment the norm, particularly in big-budget triple-A games, which is where "nag lines" are most frequently heard, is to pander to the lowest common denominator in terms of attention span and intelligence, and that results in experiences that are annoying and patronising to anyone even slightly above that minimum basic standard.

But the statistics back it up, unfortunately. Do you know the most depressing YouTube analytic? It's "watch time", which indicates that a significant number of people will click into a video, watch it for less than ten seconds and then click away. The same is true with websites; the assumption — which is, unfortunately, not too far from the truth — is that people will decide whether or not to stick around within less than five seconds.

There is so much competing for our attention online at any given moment, and the modern Internet has conditioned many of us to believe that we must consume as much content as possible, as quickly as possible. A member of a Discord I'm in once proudly explained how they "kept up" with all the content they wanted to consume, and it was a frankly terrifying account of watching some things at double speed, trusting AI summaries (which, let's not forget, are frequently wrong) and never actually taking time to really enjoy and digest something.

I am, at least, thankful that the entire world hasn't gone the short-form, attention deficit route. I am presently playing through The Legend of Zelda: Tears of the Kingdom, and that game couldn't be further away from this whole philosophy if it tried. No nag lines, no pressuring you to constantly be doing, no constantly rewarding you for every little meaningless thing you do, no achievements, no social features — just a big ol' world to explore, with lots of things scattered throughout it that you'll only ever stumble across by accident if you're being curious, taking your time and really drinking everything in. (I say all this with the caveat that the Switch 2 version features a certain amount of ADHD gaming features such as a "daily bonus" you can access via your mobile phone, but all this stuff is easily ignored — and by that I mean "it doesn't appear unless you specifically ask for it", not "it only does a few little pop-ups" — and can be turned off altogether if you find it intrusive.)

I've said many times over the last couple of decades that I don't feel like the modern world is built for me at all. And I mean that in numerous different ways. I am thankful that I still have a few ways to escape from the sheer manic energy of it all, but I worry that one day it won't be possible to hide from all this any longer.

In the meantime, "diVine" can go fuck itself. Actually, no. I will give it a moment's praise for the fact it is specifically weeding out AI-generated slop and not allowing it on the platform. But then I will still tell it to go fuck itself.


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#oneaday Day 524: Steam powered

So Steam announced a bunch of new hardware, and some of it looks quite nice — though the fact that no prices have been mentioned as yet is a bit of a concern.

Of the items that have been announced, I find the "Steam Frame" probably the most interesting. This is a standalone VR headset that can either stream games from another computer, or run games installed on its own storage. It doesn't have to be VR games, either; you can play standard 2D games on a big "virtual screen" in VR.

There are a number of attractive things about this. Firstly is the fact that it looks like being a relatively lightweight, comfortable headset — certainly a far cry from the units of even just a few years ago. Secondly is, of course, the Steam compatibility; by running things from your Steam library just like a Steam Deck (or the newly announced Steam Machine), it has an immediate ready-made library of thousands of games to choose from without having to worry about whether the platform will be supported over the long term. Thirdly is the fact that it's a standalone headset that has nothing to do with Meta — since up until now, your only real option in that regard has been a Quest.

Now, of course, being tied to Valve and Steam has its own concerns. Steam's community features remain a rancid cesspit of the very worst examples of humanity, for example, as discussion forum after discussion forum is overrun by right-wing fuckheads crying about "DEI" and "woke" at the slightest hint of a female character in a leading role. That is something that the company probably should address, but it also feels like it's probably much too late for them to be able to do anything about at this point. We are very much in "lunatics running the asylum" territory at this point, since it's extremely rare anyone from Valve actually steps in to deal with a situation; mostly it's up to developer and publisher community managers to stem the tide of absolute sludge from the dickheads of the Internet — and I absolutely do not blame any of them who simply refuse to engage with a Steam discussion forum on principle.

Then, of course, there's the matter of several of Valve's games encouraging a form of gambling with their lootboxes and tradable items and whatnot. Add the exploitative (and easily exploited) trading card system to the mix and you have a whole mess of ethically questionable stuff going on, because this stuff probably makes Valve a lot of money.

And finally, of course, there's the fact that Steam is the one example of online-centric DRM that everyone has been sort of fine with for a long time. Sure, there are many games that can run without Steam being open, but it can be a bit of a pain to find out which games this applies to, and which require you to have a stable Internet connection. There's no good way to take your games "out" of Steam in the same way that GOG.com provides, either; no making your own physical copies or backups of Steam games.

There's also the fact that Steam was pretty much single-handedly responsible for completely destroying the collectible physical market for PC games — although I will be fair here: if you're going to be gaming on a standalone VR headset you probably don't want to be inserting discs into it while you're trying to get your game on.

I'll be interested to see what people think of these new machines once they're out in the wild. I have no particular need for a Steam Machine, as I have a perfectly competent "living room PC" that can run most games I'm interested in playing on PC rather than console — but, as I say, the Steam Frame is of at least moderate interest to me for gaming purposes. If I do end up getting one, I will almost certainly keep my living room PC up and running as it is, as I don't just game on it; it's also an entertainment centre, my video editing system and where I do just… general computery things. I'm not entirely ready to make the switch to Linux (which SteamOS is a flavour of) as yet, but I suspect that time will come at some point.

Anyway, I'm reserving judgement until I've seen prices and I've heard what people I trust think of these things. But there's definite potential for Valve to have something special here. I certainly think they're well-placed to fill the growing Xbox-shaped hole in the games industry with Microsoft's continual missteps in that regard.

We shall see!


Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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#oneaday Day 523: A deluge

There is a veritable deluge of good games that have come out recently, and this statement applies pretty much regardless of the specific types of game you are into. From my own personal perspective, I've been having a great time with Hyrule Warriors: Age of Imprisonment, Absolum, Final Fantasy Tactics: The Ivalice Chronicles and Lumines Arise from recent releases, and a copy of Full Metal Schoolgirl arrived today, begging me to "just give it a quick try" this evening. Then alongside that, from varying degrees of "the past", I have Death end re;Quest: Code Z and The Legend of Zelda: Tears of the Kingdom on the go. And I'm playing Space Rogue and The Granstream Saga for video series.

Honestly, it's easy to get overwhelmed at times like this and get struck down with the dreaded analysis paralysis. But I've been trying hard to fight through that any time I feel it of late — and that, in part, is how I've ended up with quite this many games "on the go" at the same time.

You see, the way I figure it is that if you have just one "big game" on the go at a time, sometimes you're just not in the mood to play that one game, and thus it pays to have other things you can turn to. It's easy to start feeling "worried" that you won't get around to finishing any of the things you've started, though, but realistically, with the way today's games are designed, you can devote an evening to one thing, play something else another evening, play something else another evening, and so on.

It doesn't matter how long it takes you to get through something — and to some people, whether or not you get through it at all, though I don't fall into that category, as I do like to finish what I start. The important thing is just that you feel like you're spending your time in a way that is enjoyable and beneficial to you. So if you're in the mood to fest on a single game for multiple days straight, do that. If you're not in the mood for that one "big game" one evening, don't spend hours agonising over whether or not you're "allowed" to play something else — just go play something else. And, heaven forbid, if you're not in the mood to play anything at all of an evening? Stick the telly on and watch a few episodes of a favourite show. Yes, it can even be something you've watched myriad times previously if you really want.

Part of the "I must stick to one thing" mentality that I have been doing my best to shake off is down to my time working in the games press, when it was important to get reviews done in time for embargoes so you could have competitive coverage. And I even self-inflicted this somewhat with MoeGamer, too, in the name of being able to give single games or series more in-depth coverage. But none of that needs to happen. It's nice to be able to write stuff for MoeGamer or script videos, but it's not an absolute requirement of everything I play.

Honestly, I think part of the reason I worry over such things is because I want to feel like I have made a contribution to the world of video games through writing about stuff — particularly stuff that doesn't get a lot of love or attention from mainstream outlets. And I do still feel like I want to do that — but also I have to remember that I am also making a contribution to this world through my day job, and my work in that regard is probably getting seen by a lot more people than articles on my own personal websites. Probably, anyway.

All this is a long way to say that I think I'm going to play Full Metal Schoolgirl this evening, and I'm not going to feel the slightest bit bad about it.


Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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#oneaday Day 522: Bravo Eurogamer

Just recently, Eurogamer published a review of Arc Raiders, the latest multiplayer craze, and ruffled more than a few feathers when the reviewer, Rick Lane, dinged the game with a 2/5 star rating, primarily due to the game's apparent use of generative AI to create many of its voice lines. The developer, Embark Studios, has form in this area, with its previous title, The Finals, also featuring AI-generated voice lines.

The reviewer's justification for giving the game such a low score was not simply "AI bad" — it was because, from an artistic perspective, getting a soulless robot to voice the human characters in your game that is about robots who have taken over the world and forced humanity underground feels just a little too incongruous to be able to pass without comment.

And I agree. I also firmly, strongly and resolutely believe that the use of generative AI in video game development is an obnoxious, odious, wasteful, exploitative and ethically reprehensible practice — and I have a firm policy that I will absolutely not engage with a game that appears to have been tainted with generative AI garbage. It's why I didn't play The Alters, it's why I haven't played the latest Everybody's Golf, and it's why I won't touch Arc Raiders. (In the latter case, it's also because I suspect I won't like Arc Raiders, but that's beside the point right now.)

I've been disappointed at quite how many people I've seen handwaving away this aspect of Arc Raiders in particular. Indeed, the Eurogamer review has a comments section that is at least as much of a trash fire as you would expect, because Video Game Good, and you're not allowed to take a firm ethical stance about something in a review because then the Gamers™, the good little consumer piggies that they are, will get mad that you said their Favourite Forever Game This Week was perhaps not to your taste for a perfectly valid reason.

The unfortunate thing with Arc Raiders is that its use of AI and machine learning (which are different things) is a bit shrouded in uncertainty right now. Some folks say that its generated voice lines are fine because it's actually just a fancy text-to-speech system; some folks are taking this argument further in order to weaponise disabled people and accessibility features; some are saying that it's fine because the actors the voices were trained on were aware of what they were signing up for.

But regardless of whether or not Arc Raiders' voices were generated by supposedly consenting voice actors, or if they were the product of the more environmentally disastrous end of generative AI, the entire thing rubs me the wrong way. The really stupid thing is that the generated voices in Arc Raiders are for things that voice actors could have very reasonably just recorded — things like vendors, NPCs and suchlike — and Embark's justification for using generated voices is that it's "quicker". On top of that, the results are markedly, obviously inferior to using an actual voice actor recording the complete lines, so one has to question if cutting corners in this way is really worth it.

Embark's not a small, frugal indie company, either. They have the resources to be able to afford voice actors to do a proper job. They're just refusing to. And regardless of the tech that produces the not-very-good end result, it sets a poor precedent to do that.

The arguments in favour of generated voices aren't very convincing, either. The most common one that comes up is that "one day we'll have games where every NPC conversation will be AI-generated, and you'll be able to talk to them about anything!" And to that I say: I absolutely do not want that.

When I'm playing a game that has characters in it, a narrative, a setting, all that stuff — I want to experience the vision of the creators. I want to enjoy something that someone else has created, with a clear vision and purpose behind it. I want to be able to reflect on the way a writer composed a piece of dialogue; how a character's mannerisms tell us more about them; how the tone of the whole piece gives a feeling of coherence to the game as a complete creative work.

If you're AI-generating your dialogue, you get none of that. You get a hodgepodge, incoherent mess that is easily exploitable — and, indeed, we've already seen that numerous times already, whether it's Darth Vader saying fuck or a character in the latest HoyoVerse game apparently having no idea who they are, what their background is, what their personality is or what is around them.

I refuse to accept the "genie is out of the bottle" argument. We've been making video games for 50+ years at this point, and the reason the medium has continued to endure is because of human creativity. We have seen incredible advancements in storytelling, mechanics and the overall craft of making all manner of different games over the years — and the AI glazers seem to want nothing more than to just throw all that experience away in favour of some "vibe coded" garbage with AI-generated dialogue and synthesised speech.

Couple that with the fact that AI is insanely wasteful, growing increasingly likely to make the worldwide economy crash, disastrous for the environment and taking valuable resources away from doing things that might actually make life better for people who really need it to be better? Nah. Don't need it. Don't want it. And will not support anything made with it, no matter how much you argue "no no no, but this is a good use of it, actually."

I say bravo to Rick Lane of Eurogamer for having the balls to stand up and say "no" to this garbage with a thoughtful and well-considered critique. If only we could see a bit more of that kind of thing, and less of this sort of rubbish.


Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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