STOP DOING HYPER REALISM
VIDEO GAMES WERE NOT SUPPOSED TO BE REAL LIFE
YEARS OF SO CALLED TECHNOLOGICAL ADVANCEMENT YET NO REAL WORLD USE FOUND IN MAKING A GAME HAVE MORE REALISTIC VISUAL AESTHETICS THAN METAL GEAR SOLID 4

Wanted to look better anyway for a laugh? We had a tool for that, it was called "ART DIRECTION"

"Yes give me SLIGHTLY more smudges on that brown stained floor, give me slightly more lighting that completely destroys the art style at the cost of taking HALF A YEAR from my graphics card's life expectancy." - statements dreamed up by the utterly deranged.

Look at what NVidia and it's mafia of bitcoin miners have been demanding your money all this time, with all the decades worth of beautiful low spec games in your backlog.
???????????
"Hello I would like my games to run and look worse please"
They have played us for absolute fools.

A tasteless sludge of recycled content .
The more I play other game in the series , the more this game show how it understands nothing about what make the other game specials , its only strenght is the combat system and the very few new monsters .
MHGU has the worst pacing in the series , recycles assets that don't mesh together and has to mudy up everything with bad visual filters , the vibes are non existent and its just "look its x from that one game" all the way trough and bad .
I hate this game
best rendition of the Switch axe tho

Are we so gullible? Do we as an audience not demand anything from our art? There's no story, no new mechanics, no real characters, no interesting or enjoyable visuals, no compelling gameplay, no original ideas at all in fact. Is a faceless strawman to antagonise really enough to get millions of people to play an Unreal Engine asset flip made as artlessly as possible? Is no one else actively disturbed by how blatantly and gracelessly this rips mechanics from every popular game of the last 2 decades, without integrating any of them together whatsoever? Has art ever felt this cynical before?

Feel free to discount my opinion. I am a 'salty Pokemon fanboy' after all, and I only gave this game an hour or so of my not particularly highly valued time. I personally just prefer the art I engage with to care for the art form it sits within, even a little bit. Palworld hates video games. It sees nothing more within them than a collection of things to do and hopes that by shovelling a flaccid farcical version of as many of them as possible into your mouth it will somehow constitute a 'video game' when all is said and done. It doesn't. I'm deeply saddened that so many gamers think so lowly of our art form that they genuinely think this is acceptable.

I'm a sucker for media that goes all-in on style, and the fullness of Obra Dinn's artistic vision is overwhelmingly impressive.

I waited years to play this because I tend to give up on puzzle games when I inevitably hit a roadblock and get frustrated for feeling too dumb. But Obra Dinn is so brilliantly designed that it empowers you to feel smart. Lucas Pope strikes a really rewarding balance in difficulty. Nothing discourages me more in an adventure/puzzle game than the "how the fuck was I supposed to figure that?" solution. Obra Dinn never made me feel that way. Yes, a couple scenes and solutions are tricky or a little ambiguous, but the mystery is so well plotted that you're never going to be stuck for long. And when you are stuck, it's just so novel and cool to look at that it's hard to be mad.

It's easy (and correct) to point to the graphic style as beautiful and refreshing, but the physical composition and framing of the scenes deserves attention, too. Spaces on the ship are filled organically and feel real. Time-travel scenes are cleverly framed to guide you toward clues, whether tangible items or simply highlighting a relationship or interaction. And again, Pope strikes an amazing balance - there's no confusing visual cruft, and the communication of clues perfectly ramps up in cleverness to let you keep feeling clever, too.

Above all, it's clear that this game is full of intent. A setting and concept we rarely see in games; a uniquely-minimalistic visual style; tightly refined mechanics that empower the player: all choices that must have been made with great consideration and care in order to express a very specific vision. I love engaging with art made with that kind of intent. It's what makes game design a craft, and it's what makes Return of the Obra Dinn a holistically incredible experience.