It’s not limited to those two, it’s very common, generally the norm, not having a postgame state when the stakes are too high. You’ve got two choice :

• let the player come back to it after you beat the big bad, so you have to create new interactions to try and reflect that, and not change the world significantly so all the stuff that’s left to do is still available and makes sense. It often feels like saving the world achieved nothing.

• show in the ending that the player actually achieved something big, to the point coming back after it would not be the same game, basically.

How would you explain returning to BotW after killing the source of all shit and still having hostile guardians and blood moons resurrecting monsters?

It’s not a very notable thing, and we don’t see who the hands belong to, but it just seems like what they went for IMO.

Cadence of Hyrule is pretty good, more forgiving and more of a connected map with item-based puzzles compared to Crypt of the Necrodancer. The map is reordered between games, but it’s mostly designed rather than fully procedural. It’s fun.

It borrows heavily from a Link to the Past visually, but has references to many episodes. You’ve got enemies from Breath of the Wild, Gerudo, Goron, even a full Majora’s Mask inspired DLC.

I am more familiar with Forza Horizon, which is my own comparison point, but, yeah. It’s like they missed why those were fun.

Also, those button missions. They’re slow to set up, they interrupt the flow of driving, they’re mostly easy enough you can still beat them while messing up completely and they don’t incentivize breaking records.

Compare that to speed traps and danger signs in Horizon. You see them, you speed through them, you do stupid shit. No pause, no slow as hell camera move showing you the obvious thing you’re supposed to do. It’s all organic.

Regarding Order of Ecclesia, it’s even less connected than Portrait of Ruin, which at least has a central hub. Only the very last part opens up a bit but it’s not a big area. The rest is almost completely linear and made of separate, small levels, featuring a bit of backtracking for specific quests. Calling it a metroidvania is almost a stretch at this point.

It is pretty good though and I liked it a lot. It almost feels like the missing link between classicvanias and metroidvanias, especially in hard mode.

Until then it wasn’t a thing, but 8 is a precedent for new DLC tracks. The original had a great DLC with 4 extra cups of new circuits. Those are included in the Switch version. There is also the later pass that is made of recycled Mario Kart Tour content, but except maybe a couple, those are rather forgettable and disappointing.

I am really not sure whether we can expect new tracks in World though. If they want them to work the same as the rest of the game, it would basically mean also designing a new landmass around them. It’s not impossible, but I assume it must be a lot of work.

All those lazy bums getting their nutrition from free IV drips.

Et bon débarras.

In Cadence of Hyrule there’s an “enemy” (more like a trap really) that’s a pair of white hands coming from the ground which grabs you and prevents you from moving for a couple turns. I am pretty sure it’s supposed to be that guy.

It’s not a floor/wall/ceiling master, there are wallmasters in the game too and they’re a lot bigger and brown coloured.

I hadn’t even thought of local coop free roam, but yeah, that would be fun too.

What I had thought though was why the hell don’t we meet random online people messing around, in that mode that’s basically just about messing around? Anything to make it feel less empty and boring.

I mean come on, they did random online coop in the latest actual main Mario game!

they didn’t resembled Sims 2 prototypes too much though since they would be too unfit for survival on the Rim in that case :D

Honestly, Sims personalities are mostly unfit to survive in any world, including their own.

I agree this one is great. But there’s another problem with World : it’s one of the 3 tracks or so that are actually new. Almost everything else is an old track they remastered a bit. It’s not badly done, but it feels stale.

Base game 8 already had a lot of fully new, very good tracks. And 8’s DLC had some of the best ever, including a few cool crossover circuits.

Even World’s music feels like they went exclusively for nostalgia. There is a lot of it, but every piece of music except this episode’s main theme is a remix of a previous Mario Kart or Mario game.

I must say, even though I don’t play much online, the lack of a traditional 3 lap grand prix is annoying.

The roads between circuits are not so great a concept that they had to force it on every mode. Especially since a lot of them are very same-y, with only a couple rather cool areas. I was not a big fan of linear tracks that have appeared since 7, but 2 “laps” of random highway for only 1 lap on the actual circuit is worse.

For that reason and a couple others, I still think 8 is the better game.

I had no idea there was a trademark on the JavaScript name.

Does the Goth family live here?

Just tried, turns out I had already signed it.

Return to Dreamland is an original game though. Which is even more confusing in Europe where it’s called Kirby’s Adventure Wii, while being completely different from Kirby’s Adventure.

However, Nightmare in Dreamland (GBA) is an actual NES Kirby’s Adventure’s remake.

Kirby game titles are a mess, especially since they’re almost all different in every region.

I was going to recommend Bomberman. Super Bomberman 4 on SNES in particular is very fun, you can grab not only bombs but opponents too, and there are cool mounts with special powers. A bit chaotic in some arenas, but the classics are still there of you want them, and then when everyone gets better ot wants a quick laugh, you can go for the crazier ones.

I’ve been hearing about this for so long I honestly can’t remember whether I’ve already signed it.

Tu penses à Bonne Maman, Grand-mère c’est le café, et ça laisse un goût beaucoup plus amer.

Eh, ils ont pas complétement tort. Je pense pas qu’on puisse considérer Sarko et Fillon comme des victimes de la société. Ça paraît bien une évidence dans leurs cas.