It is fine that it is subjective, but this is why reviews from a major corporation don’t make any sense. You want reviews from a large number of individuals so that you can get to know some of their taste to see if it is similar to your own. Then you can make a decent guess if you will also find the thing fun.

Not to mention these major review sites rate on a 7-10 scale which is kind of worthless. They are also effectively bribed by game studios so it is actually worse than worthless. It is actively harmful to finding out the truth.

Yeah, and e.g. I don’t have much fun with racing game. Doesn’t mean the games are bad and other people, who actually like the genre don’t have fun. This is why you should know the reviewer and their tastes and biases to make a better judgement whether a game is for you or not from a review.

I like ACGs format for reviews along with the rating scale being a spectrum from Buy now, wait for a sale, never touch. He’s the only one I really go to nowadays to see if the new hot thing is worth my money. It usually isn’t haha

cough cough gregtech new horizons

Yea the greater majority of the population wouldn’t like escape from tarkov or even something lighter like a souls game but some of us enjoy the pain.

If the game requires you to use the volume sliders to have a decent sound design, then it’s kind of a “mix it yourself” game.

Proper spatial / binaural audio in games is a game changer for me and it’s wild that I have to buy something like DTS Sound Unbound (and before that, X-Fi sound card with CMSS3D) just to kind of “emulate” it in games. This is tech they figured out in the 90s.

As a professional generalist/gameplay programmer, imo sound isn’t far off from 3D graphics in terms of complexity, perfs issues and hardware fuckery. That is, if you want to do anything “fancy” with it, of course. As you said, the “play sound.wav” approach is way overused…

I do care about shipping the best SFX I can, and obviously so does our sound guy (who also deeply cares about mixing btw) but unfortunately, as opposed to graphics it doesn’t translate into better reviews/more sales in the execs’ mind so any substantial programming work in that area usually goes on the backlogged pile.

Ironically, I think that situation used to be better because there was a time where you basically had to have a dedicated sound programmer on the team since the software side was also a giant mess.

5.1 and 7.1 systems aren’t all that widespread, even in the music industry. Surround kinda sits in the same place vr does for me. It’s immensely cool, but it’ll never become standard due to hassle and lack of support.

Most of the recent innovation in sound has been trickled down from the music and film industries. Just a general increase in the capabilities of soft synths and a better understanding of foley, alongside dedicated in house recording studios have raised the bar of audio.

To be honest I agree with you that sound is overlooked, sound engineers truly are unsung heroes. I mean even when people point out the sound in a game, it’s usually directed at the composer.

There was a point I used to turn down SFX because I wanted to listen to the music. At some pointed I started to turn down the music so SFX was more punchy like it used to be.

I hate how every AAA game has to be an open world sandbox with loads of extra features. I just want a good story and strong core gameplay.

Which part of that has never been seen before?

Japanese game magazines use a collaborative scoring system for game reviews. 4 editors provide individual ratings and personal opinion of the game, and a combined overall score which is simply a sum of the 4 scores.

And all of these things, including the fun were definitely mentioned in all the reviews. Meme doesn’t make any sense.

Only game I’ve ever come back to this much. Unlocked everything, still fire it up every so often to have a run or two and it still somehow feels fresh each time

Into the Beach for much the same reasons, made by the same studio. Phenomenal gameplay trumps all.