One of the biggest criticisms of Cities Skylines II is that it is lacking content or feels "incomplete". I don't necessarily disagree, but I feel like saying that the game feels "incomplete" might be doing it a bit of a disservice. It is lacking a lot of content from the original game, sure, but that original game had over a dozen expansions and countless content packs and mod assets released over its decade-long life cycle. So of course there's going to be things that the original, expanded game had, which the new game doesn't have.

But the sequel also has (and does) a lot of things that the original didn't do. It has a much more complicated economy, in which all industries generate specific types of raw materials or goods, and all commercial stores sell specific types of goods or resources. Basically, the core idea of the Industries expansion supply lines and logistics was expanded out to the entire game, rather than just those few specialized industries.

In fact, the sequel includes content or ideas from almost all of the original game's expansions. In addition to the industrial aforementioned seasonal cycle and industrial supply lines, we also have a few natural disasters, some eco-friendly upgrades to various polluting infrastructure, pedestrian roads, road-building tools that put Mass Transit to shame, and some customizable, modular buildings.

Unfortunately, some of these mechanics imported from the original game (and its expansions) do not quite live up to my hopes and expectations. I made a video describing how the modular buildings and industry areas of Cities Skylines II do not live up to the expressiveness and creativity of the Parklife and Industries areas from the first game. I'm not going to transcribe the entire video here. Instead, I will summarize the main points and ideas, and refer you to the full video if you want more detail and examples.

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The UFL hasn't even started yet, but It's already proving to be a disappointment. The recently-merged XFL and USFL announced some of its rules recently, which give an insight into how the league's managers are approaching the sport. And it isn't good.

Easily the single best idea that the XFL implemented was its lower-risk kickoff rules. This rule lined the kickoff coverage team at the receiving team's 35 and the kick return team at their own 30 -- only 5 yards apart from each other. The only 2 players not lined up on these yard markers are the kicker (who kicks the ball from his own 30), and the returner (who lines up around his own 10). No return blocker or coverage player may move until the ball has been fielded by the returner or has bounced no the ground. This rule put all of the players only a few yards apart from each other, instead of staggering the blockers across the half the length of the field. This eliminates the high speed collisions that resulted from coverage players running into blockers or the returner at a full sprint, and was expected to dramatically reduce major kickoff injuries (the kickoff being one of the most dangerous plays in all of football).

There has been talk over the years of eliminating kickoffs from football entirely, because of the danger inherent to the high speeds on the play. But the XFL rule provided perhaps the best opportunity to save the kickoff. It was such a smart idea, that both the NCAA and the NFL have considered adopting the XFL's kickoff. Neither has done so yet, but they should. If kickoffs are going to stay in football, I think this is how it will be done.

The XFL's old kickoff rule should be the standard for all football leagues -- but apparently not the UFL.

But the UFL apparently doesn't think so, as the UFL's rules managers are apparently opting to ditch the XFL kickoff rule in favor of the traditional, higher-speed, kickoff.

The UFL is claiming that the XFL kickoff did not result in a significant reduction in injuries, but I'm skeptical of that claim. The league only operated for 2 seasons, and teams didn't play more than 10 games in either of those 2 seasons. That's not a whole lot of time to establish long-term trends. It's not like major injuries are happening in NFL kickoffs every single game. It would take years to establish whether the rate of injuries is actually lower than the NFL, or if it is substantially higher than on any other football play from scrimmage.

Other than a flimsy excuse that the XFL kickoffs didn't apparently reduce injuries in the highly limited sample size that was available, the league's head of football operations, Daryl Johnston, said "the stationary kickoff [...] just didn't look like football.". So the XFL rule is at least as safe as the NFL rule, but the UFL provided no justification (that I could find) based on fair competition -- only a superficial preference that the traditional kickoff "looks better".

In fact, the UFL is actually moving the spot of the kick back to the kicking team's 20 yard line (instead of the 35 yard line in the NFL, or the 30 yard line in the XFL). This is their attempt to eliminate touchbacks and force more returns. This means that the UFL's kickoff rule will likely end up being more dangerous than the NFL's kickoff rule because the UFL will have a higher rate of kickoffs being fielded and returned, which means a higher rate of players running into each other at a full sprint and risking major injuries.

The XFL's kickoff, by the way, had more than a 90% return rate. So it also successfully resulted in almost all kickoffs being returned.

If this lack of forward-thinking is going to be common in the rationale that the operators of the UFL are using to create their rules, then I have zero faith in their ability to run a successful football league.

Silent Hill: The Short Message is a first-person horror game about wandering through looping, decrepit hallways in an abandoned apartment building, while confronting a secret, repressed guilt. And stop me if you've heard any of this before.

Silent Hill used to be a series that innovated, that pushed the envelope. The first game basically introduced the video-game-playing public to the concept of psychological horror. The second polished the formula to introspective perfection, while also providing a template for a plot twist that would be repeated in (what feels like) every horror game since -- at least the ones not named Resident Evil. Even action-oriented games like Dead Space ripped off Silent Hill 2.

Silent Hill 3 introduced gamers to a teenage girl protagonist who actually felt like a real person, instead of being a hyper-sexualized "boob ninja" in a bikini or skin-tight catsuit, while also providing jaw-dropping technical accomplishments. The moving, bleeding, living environmental textures of Silent Hill 3's Otherworld amazing and un-precedented at the time. And it's character models and lighting looked better than many games that would be released on the following generation of consoles.

Hideo Kojima's playable teaser P.T. spawned a cohort of horror games ripping off the formula of first-person looping hallway horrors, of which The Short Message is only the latest example. And heck, even P.T. was really only popularizing horror conventions that Silent Hill 4 had already started experimenting with a decade earlier.

This is a blunt and earnest depiction of teen depression, self-harm, and suicide.

The Short Message, on the other hand, is largely a retreading of horror gaming tropes that are quickly becoming tired and stale. The looping hallways were mind-blowing back when P.T. did it -- ten years ago. But I've seen it in seemingly every horror game since, from Layers of Fear to Visage to MadIson.

It isn't just general horror trends that The Short Message is retreading either. It's also invoking well-worn and frustrating habits that the Silent Hill series just refused to break in its never-ending quest to recreate the lightning-in-a-bottle that was Silent Hill 2. The character's repressed guilt being hidden from the player and revealed as a mid or late-game plot twist? Check. The person you're looking for being dead already? Check. Silent Hill acting as a purgatory that seems to be willfully trapping people until they confront and overcome aforementioned guilt? Check.

The heaviest, bluntest hammer Konami could find

One thing that The Short Message doesn't bother to copy from its ancestors is the subtlety and nuance that Silent Hill used to be famous for. The Short Message is unbelievably heavy-handed, blunt, and melo-dramatic. This is owing, in large part, to trepidation from Konami and/or developer HexaDrive about how to depict the game's subject matter: teen depression, self-harm, and suicide. It's a touchy subject, for sure. One has to give credit to Konami and HexaDrive for so directly addressing an issue that most game publishers and developers won't touch with a 20-foot pole.

HexaDrive's depiction of mental illness is not
as hopeless and fatalistic as Bloober's.

But this is also where The Short Message lands on one of its greatest strengths. It's blunt depiction of teen suicide is at least a hopeful and optimistic one -- one that is also grounded based on the very real social and technological issues that often motivate or catalyze real-life self-harm and suicide by actual teenagers. And this is not something that we should overlook in discussion of The Short Message. It's almost the polar opposite of how Team Bloober (the company that is developing the Silent Hill 2 remake) has historically treated the same topic. Bloober has always shown abuse victims as totally, fundamentally broken individuals for whom death or suicide is a welcome release that spares the world from their burden.

In contrast to Bloober, The Short Message wants depressed teens to know that they are not broken, that they can get help, and that there are people out there who care about them and would miss them and would be there for them in their times of need. The Short Message wants people to know that recognizing the red flags, and talking to the person can save their life, and that, for the depressed individual, things will get better.

If nothing else, The Short Message has its heart in the right place.

And let's face it, teenagers aren't exactly known for subtlety or nuance. Teenagers do tend to blow things out of proportion and be melo-dramatic. So it's hard for me to hold The Short Message's overly-blunt and melo-dramatic dialogue against it. Yeah it's cringe-worthy at times, but it's cringey in exactly the way that real-life teenagers are often cringey. There might also be more intentionality behind the blunt, cringey dialogue than is apparent at the surface level. Does the heavy-handed and cringey dialogue represent the literal events as they actually happened? Or are we seeing the world as the teenage character sees it?