I recently played an indie sci-fi game on the PS5 titled Deliver Us The Moon. It was alright. I rather liked the story, and most of the methods that the game uses to deliver that story. It's very similar to Tacoma in terms of how it tells its story, but with a greater emphasis on player-driven problem-solving and puzzles. It's biggest problem, however, is the surprisingly poor performance and frequent technical problems. Even on the PS5, this borderline walking sim was barely able to keep a steady framerate, and I experienced multiple hard crashes.

That being said, I still recommend it for gamers who happen to be fans of hard science fiction, because our options in that particular sub-genre are fairly limited. We have butt-loads of fantasy sci-fi games about space marines shooting aliens or robots, or about dog-fighting in outer space. You know, you're Mass Effects, Halos, Dead Spaces, StarCrafts, Colony Wars, and so on (remember Colony Wars? Man that would be an excellent candidate for a reboot on modern consoles, especially if it includes full VR support!). These are the games that are "sci-fi" in the same way that Star Wars or Transformers or pretty much any comic book movie are "sci-fi" movies.

But as far as the video game equivalents of harder sci-fi movies like 2001: A Space Odyssey or Arrival or Close Encounters of the Third Kind, the well is considerably drier, and most of what we do have is relegated to smaller indie titles. Don't get me wrong, we have some great options! Games like Soma and Outer Wilds are some of my favorite games ever.

So when I see a hard sci-fi game like Deliver Us The Moon pop up on a gaming storefront, I try to make an effort to play it. There's plenty of total flops in this sub-genre, but there's also some real gems. And I think that if Deliver Us The Moon could have its performance stabilized, it might qualify as one of those gems. But this video isn't a review of Deliver Us The Moon. I have a full written review on my personal blog at www.MegaBearsFan.net, if you want to read it. Instead, I want take a few minutes to dive into one particular aspect of the story and premise of Deliver Us The Moon that just kind of grinds my gears. It's a problem that I've seen repeated multiple games and movies that try to address this particular socio-political topic, and I worry that it might be doing more harm than good to the public's perception of this issue.

A big issue that I have with Deliver Us The Moon is its near-future depiction of apocalyptic climate change.

I'm going to change pace a little bit for this installment of "How Madden Fails To Simulate Football". Previously, I've focused on the rules of the game and on on-field gameplay. This time, I'm going to go off the field and start talking about team-building and coaching strategies, which are key to creating an engaging Franchise Mode experience.

This is a topic that was voted upon by my Patrons. If you would like to have voting power to influence the content that I create, then I encourage you to support my content creation through Patreon. Patron support helps offsets the cost of the server for my blog, the license for the software that I use to YouTube edit videos, and any research material that I buy.

The COVID years have been hard on a lot of people, and many of my Patrons had to discontinue their support due to financial hardships. I want to take a moment to wish all my former Patrons the best. I hope that 2022 treated you better, and that 2023 will be better yet. I'd also like to thank my current Patrons and those who stuck with me. To all my Patrons -- past, present, and future -- thank you for your support.

Now let's talk football! I'm writing drafted this essay in the month or 2 leading up to the 2023 NFL Draft, so this topic will actually be kind of relevant at the time that it is published.

One of the ways that Madden is most different from real life football is that in Madden, the exact skill level of every player in the league is known to everyone all the time. Because of the way that Madden implements player attributes and progression, users don't have to evaluate player talent at all. Ever. In the vast majority of cases, ordering your depth chart is a simple matter of sorting the players by their overall ratings. And if it's not the overall rating, then there's usually a single other attribute rating that determines who starts and who doesn't. It's usually speed. For example, I favor kick and punt returners with speed, and usually put my fastest reserve player as my starting returner, regardless of his overall rating. So yes, there are some edge cases where a user gets to make judgement calls about which player better fits your play style. But for the most part, it's all about that overall rating.

This means that there is no mystery or question about which players are actually good, which players aren't so good, and which players are outright busts. It also means that Madden doesn't have true position battles. One player is objectively better than the other in the vast, overwhelming majority of cases, even if it is just marginally so. It means there's no question whether a free agent or trade will be an upgrade over the players already on your roster. It means that there isn't much value in testing out rookies in the preseason because you already know exactly how good those players are, and whether they are deserving of a starting position or roster spot based on their overall rating.

All of the intrigue and "what ifs" that go into roster movements and decisions in NFL front offices are simply non-existent in Madden because so much of the game is based on these absolute numbers that are completely open and transparent to everybody.

photo credit: Pittsburgh Post Gazette

photo credit: John Jones / Icon Sportswire

Every year, there are questions about who is the best player in many teams' lineups.

Think of some of the big questions from early in the 2022 season: Is Mitch Trubisky better than the rookie Kenny Pickett? Should Devin Singletary get more carries than James Cook? How about Tony Pollard or Ezekiel Elliot? Should the Packers look to Allen Lazard or Sammy Watkins to replace the lost productivity of Devante Adams? Will Nakobe Dean play well enough as a rookie linebacker for the Eagles, or should they stick with their veteran starter from last year? Is Bailey Zappe better than Mac Jones? Is Trey Lance better than Jimmy Garoppolo?

At the top of my list of favorite game franchises, sits 2 seemingly unlikely companions: one is the first 4 Silent Hill games developed by Konami's internal "Team Silent" studio; the other is the series of "Souls-Borne" games created by From Software. If these 2 franchises are not my number 1 and number 2, respectively, then they are both definitely in my top 3, with Sid Meier's Civilization being the only other real contender.

On the surface, Silent Hill and the Souls-Borne games don't seem to have a lot in common, nor would one necessarily think that they would appeal to overlapping audiences. In some senses, it would seem that they couldn't be further apart. Silent Hill is a series of slow-paced psychological horror games with linear narratives, that emphasize puzzles and encourage the player to run away from threats and avoid the games' poorly-developed combat mechanics. The Souls-Borne games are frenetic action-RPGs that barely have any plot at all, and which are built entirely around combat mechanics, and which are infamous for their difficult gameplay. But despite the radically divergent styles of gameplay that these 2 franchise offer, they both contain similar themes and are open to similar artistic interpretations, which appeal to me, personally because of a particular aspect of my core beliefs and identity.

You see, I'm an atheist. More specifically, I consider myself to be a "strong atheist", "anti-theist", and "secular humanist", among other labels. Not only do I not accept any of the various god-claims due to insufficient evidence; I also positively believe and assert, with confidence, that there are no gods at all. Now, I'm sure that I've just invited a slew of commenters who will try to convert me or share their beliefs for why their personal god is real, but I'm not here to argue about the theology. Besides, I've pretty much heard it all. Not just on the internet, but also from extended family. God of the gaps, personal incredulity, watch-maker, Pascal's Wager, Kalam and other various Cosmological Arguments. I've heard it all -- or at least most of it. And I reject it all.

I am as confident in my belief that there is no god, as I am in my belief that there is no Santa Clause (and for many of the same reasons). So unless you think you can convince me that Santa Clause is real, you're probably wasting your time trying to convince me about your god.

But my atheism goes a bit further. I'm also an anti-theist, and I believe that religion and religious institutions are also dangerous and do more harm to society than good.

And based on my own personal reading of both Silent Hill and the Souls-Bornes, it seems that both game franchises kind of agree with me.

Elden Ring is winning "Game of the Year" awards left and right. Critics and players are almost unanimously praising From Software for successfully adapting its Dark Souls design into an open world in its latest release. And I have to say, it is, indeed, one of the better open worlds that I've seen.

But you know what? I always kind of considered Dark Souls to be an "open world" game in all the ways that matter. I even brought it up as an example in previous video essays about open worlds. So as far as I'm concerned, Elden Ring isn't really doing a whole lot that the original Dark Souls wasn't already doing. Elden Ring just does more of it and is less subtle in its approach.

Why do I consider Dark Souls to be a practical open world? Well, first and foremost, most of the world of Dark Souls is seamlessly connected. Almost every landmark that you can see in the distance is a place that you can (and probably will) actually go. This is also largely true of FromSoft's other games, including Bloodborne and Sekiro. The first 2 Dark Souls games, as well as Demon's Souls are also open to a lot of significant sequence-breaking, allowing players the option to handle levels out of order, or to skip entire levels altogether.

Dark Souls most dramatically diverges from a more traditional open world (like Skyrim) by wrapping its world in a vertical helix, rather than stretching it out over a flat plane. From Firelinek Shrine to the depths of Lost Izalith and Ash Lake, to the heights of Anor Londo and the Duke's Archives, Lordran is an almost completely contiguous place. But despite the narrower confines of the game's levels, there is still a sense of awe and wonder to exploring the depths of a level, only to eventually circle back to someplace familiar and slowly realize that everything in the world fits in place. It's all functional, and the relative arrangements of game levels helps to tell the story of how Lordran's world worked, and how it eventually collapsed. And now that Elden Ring has come along with a more traditional open world, it kind of proves something that I subconsciously knew all along: From Software's particular approach to story-telling is actually perfectly suited to an open world design.

Oh, and before I go on, I want to provide a minor spoiler warning for Elden Ring, and pretty much all of From Software's catalogue back to and including Demon's Souls. I will be talking about how these games deliver their narratives, which will involve talking a bit about the overall narrative structure and some thematic elements that these games all have in common. I will provide a warning for any explicit story spoilers, so that you can skip those. But if you want to go into any of these games completely fresh, then I recommend you play them first, then come back to this video.

Dark Souls's world is wrapped around a vertical helix, instead of spread across a flat plane.

For Halloween this year, and in anticipation of Konami announcing new Silent Hill titles, I have adapted an old blog post about the Lakeview Hotel of Silent Hill 2 into a YouTube video essay. The video essay includes some revisions, including clarifications of certain points, further explanation of some of the assumptions and head canon that go into my interpretations, and so forth.

This video was available exclusively to Patrons for 2 weeks prior to its public release. If you would like to support my content creation, and get perks such as early access to content, please check out my Patreon page and consider becoming a contributor. And be sure to take the Patron entry survey to tell me which content you like the most, so that I can try to produce more of that type of content.

Editing of the video and its release to Patrons was completed a couple days before Konami announced its upcoming livestream in which it would announce new games, so I sadly did not know about the new slate of Silent Hill games (including the official announcement and trailer of the Silent Hill 2 remake). At the time of releasing this video, all of that was still rumor -- and not entirely convincing rumor, considering the bevy of Silent Hill rumors that have been floating around since the cancellation of Hideo Kojima's Silent Hills all the way back in 2015.