Madden NFL - title

I don't think I've ever played a football game that feels like it truly nails special teams play. Madden has been especially bad at this phase of football for a very long time, and has largely neglected it year-in and year-out. Every now and then, a release comes out that focuses on special teams, but the upgrade is never as comprehensive as it should be. I was considering making a video about all of special teams, but that's too big a topic to tackle in a single video, so I decided that it would be best to make shorter videos that each focus on specific aspects of special teams play.

While drafting the script for my previous video about pass blocking and pass rushing, I had started thinking about issues with blocking and rushing in special teams, and thought I'd do a video about one specific specialist position that has been a personal crusade of mine for quite a few years now. I'll surely discuss more of Madden's special teams failings in future videos. But for today, I want to talk about how Madden completely fails to do justice to an oft-overlooked and under-appreciated specialist position: the longsnapper.

The full video on YouTube contains additional commentary and examples.

I'm looking at this specific position for two reasons:

  1. I played on special teams in high school and worked alongside our longsnapper. He spent extra time before and after practices honing that skill.
  2. And the 2nd reason I'm covering this topic is: unlike other highly specialized positions like holder and kickoff coverage gunners, Madden actually includes Longsnappers as a position in the depth chart, but has never included any mechanics or rules that actually make the longsnapper a meaningful position on your team, or which differentiate who is a good longsnapper versus who is not.

As for my high school teammates on special teams: there were several of us who never would have seen playing time if not for our special teams duties. Instead of resigning ourselves to a life on the bench, as some other reserves had done, we carved out niches for ourselves, so that we could see more playing time. We worked hard to earn our positions, and the coaches noticed the hard work (especially if it was extra-curricular in nature), and they rewarded us with extra rotational reps on both offense and defense in relief of tired starters. My experience has lead me to respect special teamers, probably much more than most football fans.

Some of us reserve players would have never seen playing time if not for our specialist roles.

A Knee-Jerk Reaction

I remember proposing a "Longsnapping" rating on a YouTube comment or Madden forum like 6 or 7 years ago, and received absolutely vitriolic responses that largely boiled down to "having the outcome of a game decided by a random fluke like a botched snap would be horrible game design." It's a sentiment that does makes a certain degree of sense. Determining the outcome of a match by a die roll does seem like it would be bad video game design -- at least, outside of digital craps.

But hold on a minute. Is it really bad game design...?

Running backs have a rating that determines their likeliness to fumble. Quarterbacks have several ratings that determine the accuracy of passes. Receivers have several ratings that determine their likelihood to catch a pass. Linemen have ratings that determine if they whif on a block. Defenders have ratings that determine the likelihood of missing tackles. DBs have ratings that determine whether they blow a coverage. Kickers have ratings that determine if they miss a kick. Every player has ratings that determine if they get injured on any given play. All of these ratings can affect the outcome of a play or an entire game based on a random die roll. Heck, even coaches have ratings that determine how much players develop in the offseason or how likely free agents are to sign a contract. Ratings semi-randomly deciding the outcomes of games or entire seasons is apparently OK for literally every other position both on and off the field, but somehow having a rating that determines if a snap or special teams hold is botched is a bridge too far?!

Nobody complains about other positions having ratings that can randomly decide a game.

To be fair to the critics: if you're playing a 5 or 6-minute quarter pick-up game online or in Ultimate Team, and each team is only getting between 3 and 5 possessions the entire game, it does make sense that you wouldn't want your one and only attempt at a punt or field goal to go awry because of a fluke like a botched snap. In such a shortened game, it would swing the game wildly in one direction or the other, with little-to-no time or opportunity for a team to overcome such an unfortunate outcome. (I keep saying, every installment in this series is probably going to refer back to that first essay about quarter length.)

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Control - title

I kept hearing good things about Remedy's Control, but I never got around to playing it. For some reason, I was thinking it was an XBox exclusive. Maybe it was a timed exclusive? Anyway, it showed up as one of the free PSPlus games of the month a couple months ago, and I downloaded it to play over the summer. I kind of regret not having purchased it, since it's a pretty good game with a lot of neat and innovative ideas, and Remedy is a smaller studio that could definitely use the money and deserves the support, especially considering that Control was released as a mid-budget, mid-price, $30 release ($40 for the new Ultimate Edition). I'll probably buy it as a gift for a friend at some point, so that I can support the studio for making a quality product.

In any case, consider this a recommendation: if you haven't bought and played Control yet, please do so. It's definitely worth checking out, especially if you like a game that will give you a substantial challenge. It's available on the next-gen consoles, but if you're like me and haven't been able to secure a PS5 yet, then it's also available on the previous-gen as well. It won't have the fancy ray-tracing and other advanced graphical effects, but it played well and ran mostly smoothly on my PS4 Pro. The only technical issue I had was long load times and a temporary freeze whenever I unpaused the game. No big deal. The game is tough, but it wasn't so overwhelmingly difficult that I was stuck constantly staring at the long load screens.

Spectacle action worthy of The Matrix

Control is certainly a spectacle to behold. Every fight feels like it has the bombast of the climactic lobby shootout in The Matrix. Nobody is running up walls or doing slow-motion kicks, but the player (and enemies) can levitate, bullets are whizzing past, furniture is getting thrown around, loose paper and stationary is flying everywhere, and chunks of the walls are being ripped or blown off. At the conclusion of each fight, the environment is completely trashed, and it looks fantastic. Even on the PS4, the level of detail is impressive.

The aftermath of every battle reminds me of the lobby shootout from The Matrix.

There's also a surprising amount of expressiveness in the combat mechanics. I can go in and just shoot all the enemies as if this were some basic cover-based shooter. Or I can use telekinesis to barrage the enemies with the clutter in the environment. I could even run in with the shield up, attack with the "melee" psychic push, then dodge around, managing my energy like the stamina bar of Dark Souls. Even within one of those broad play-styles, there's a handful of support abilities that can be used to varying effects. I can haphazardly throw any old object at enemies with telekinesis, or I can specifically search out objects that might explode and do larger amounts of damage to be more efficient. I can mind-hack an enemy and turn him against the other enemies to act as a damage sponge and spread around my DPS. There's a surprising amount of options here, especially considering that first impressions make Control look like just another run-and-gun shooter.

By midway through the game, the challenge had started amping up to the point that I wasn't able to rely on simply shooting every enemy with the pistol anymore. Doing so was still possible, but it was difficult. I started using all of my psychic abilities in many encounters, and I was rotating through all of my available service weapons based on the situation. Even the abilities and weapons that I initially thought were garbage (such as the shield and the pierce weapon) started getting regular use against certain enemies or in certain situations. I even learned to spend time scanning the environment for particularly destructive telekinesis objects.

Abilities and weapons that I had initially dismissed as "garbage" were getting regular use later in the game.

This was a far cry from my recent experience with Resident Evil Village, in which I was able to breeze through a vast majority of the game by just shooting everything in the face with the pistol or shotgun, and never had to utilize the more diverse tools and environmental opportunities at my disposal, because using them was more trouble than they were worth. No, here in Control, I am using everything! In fact, I even had a viewer pop up on my Twitch stream and comment that he had never bothered using the shield, but watching me use it against the Distorted made him realize that he could have been using it in his playthrough to save himself a lot of frustration and respawns.

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It seems we can't go a year without new rumors of Konami resurrecting the Silent Hill franchise. Frankly, I'm getting really weary of it all.

Last year, Kojima rumors resurfaced (despite seeming exceedingly far-fetched), and the rumor-mill also postulated that Konami was bringing back some of the original game's creative team for a reboot or remake. Well over a year later, there hasn't been any formal announcement on either of those rumors, so I'm assuming that they were never more than rumors.

This Tweet activated the rumor mill.

However, the rumor mill has been churning once again this year. A cryptic trailer and social media post last month for a game called Abandoned made people speculate that Abandoned might be a codename for a new Silent Hill project, and that its developer, Blue Box Game Studio might be another fake Kojima studio (because the internet just won't let the Kojima-Silent Hill rumors die). Remember that Metal Gear Solid V and P.T. were original teased as being indie games from Moby Dick Studios and 7780s, respectively.

But no, Blue Box is a real indie game studio, headed by a real developer named Hasan Kahraman, who is not Hideo Kojima. So no, Blue Box's PS5-exclusive Abandoned is almost certainly not a Silent Hill game in disguise. At least, not an official one with the support of Konami.

So that's it, right? This year's Silent Hill rumor has been squashed, right?

Apparently not.

Konami and Bloober are working together.

In just a matter of days after the Blue Box rumors were debunked, Konami went and announced a "strategic partnership" with Bloober Team. Bloober Team is, of course, the studio behind some of the most popular indie horror games of recent memory, including the Layers Of Fear games, Observer_, and Blair Witch. But it was their most recent game, The Medium, that caught the attention of Silent Hill fans. The Medium features a novel split-screen mechanic in which the player character can be navigating and solving puzzles in two parallel realities at the same time. One reality is a decaying, nightmarish version of the other abandoned and decrepit "real world". And just like with Stranger Things, the mere existence of a nightmarish alternate version of the same place made people start saying that "it's exactly like Silent Hill" (even though it isn't), and got fanboys insisting that Bloober Team should be contracted by Konami to develop a Silent Hill game.

The announced partnership already has everyone assuming that Bloober will be making a Silent Hill game. Even though the Silent Hill rumor is still just a rumor, this is the first time in all these years since Kojima's ousting from Konami and Silent Hills' cancellation, that the rumor actually seems credible. After all, there was an official announcement from Konami and Bloober this time around. And what other famous horror IP does Konami have, other than Silent Hill?

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Assassin's Creed: Valhalla - title

One of the thoughts that dominated my playtime with Assassin's Creed IV: Black Flag was "Oh I hope the next game is a viking-themed game!". I felt that the open-ended sailing and naval combat would work well in a viking setting, complete with raiding coastal villages as an extra way of obtaining wealth and loot (in addition to plundering trade ships in the open sea). Black Flag was so good, it seemed like a sure-fire, slam-dunk idea! What could possibly go wrong?

Well, it turns out: almost everything could go wrong.

I've been hoping for a viking-themed game ever since Black Flag.

For starters, I refused to buy Assassin's Creed: Valhalla at its release because I did not want to give any money to Ubisoft, which has had ongoing legal issues regarding multiple sexual harassment and sexual assault allegations against high-level managers and executives. Like the Catholic Church, Ubisoft may have systematically hid these alleged transgressions and protected the executives who were committing them. Even the company's HR department has been accused of being complicit.

So fuck Ubisoft and its executives, who (if these allegations are true) should all be in prison, and the company's ownership should be given to the employees who were wronged. I wasn't going to give that company a dime of my money, so I waited and watched eBay for cheaper, used copies to show up. I specifically filtered for "used" copies -- none of that "new, sealed" wholesale scalping nonsense that is all over eBay. Buying a sealed copy from an eBay scalper is the same as buying a new, retail copy, as far as I'm concerned. Several months after release, I finally bought a cheap, used copy for about $30 from someone who claimed to have played the game and got bored of it, so that my partner could kill time while stuck at home during the ongoing pandemic in 2021.

She played through the entire game, and liked it just fine. I played a little bit, hated the early hours, and stopped playing it so that I could work on other projects. I only came back to it later (after she had finished) to see if the game had any redeeming qualities. And even then, I did not even come close to completing the game because it's just too damn long, and I have much better things to do with my time.

You had one job, Valhalla! And you couldn't even get that right!

Assassin's Creed: Valhalla is a tedious, repetitive, drawn-out, copy-pasted, glitch-laden, slog of a game and story. It tries to copy the one thing that Black Flag did so well, and which inspired all future sailing mechanics for every Assassin's Creed game that followed, but it actually somehow manages to remove that thing! That's right, there is no naval combat in the game at all. Worse yet, there is absolutely nothing to do with the longship except use it as a vehicle for moving about the empty, sterile seas and rivers. There isn't even much in the way of islands to discover out in the open seas, so even the exploration incentive is gone. The Norway map has a few islands, but the England map has virtually none. In fact, you don't even use the longship to sail the seas around England; you only use it to sail up and down rivers looking for villages to raid. The key selling point of Valhalla, the longship, is nothing more than a glorified truck, and the rivers that run across England are basically just roads.

The longship is little more than a truck, and the rivers are little more than roads between raids.

Things are spaced out a bit more than I usually expect from an Assassin's Creed game. The map isn't quite as littered with mindless collectibles, even though it is still littered with mindless collectibles. But the map still isn't quite big enough, the distances still not quite far enough, and fast travel is still accessible enough, that I never felt it necessary to use the boat as the most efficient method of traversal. If you're stopping at every village to raid, to search for every collectible, and to play every side quest, then you're better off just using your horse, because any time you would save from using the boat will be offset by the extra time it takes to board and unboard the thing everytime you stop for a side quest.

It's like Ubisoft took the castle sieges from Middle-Earth: Shadow of War, stripped out the Nemesis system that gave those sieges context that made them worth playing, and then just put rivers between all the castle gates so you'd have an excuse to attack from the boat. But the longship feels completely unnecessary to the game. Early in the game, the longship feels like it might be a more integral part of the game, when you're sailing around the seas, fjords, and snaky coastlines of Norway, and crossing large bodies of water is necessary. But then you get to England, and the map is almost completely land-locked, save for those traversable rivers.

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Outer Worlds - title

Obsidian Entertainment's follow-up to Fallout: New Vegas was a hotly-anticipated game for me, but it's timed exclusivity on the Epic Game Store meant that I had to wait an extra year to play it. I probably could have gotten it on console. I didn't because I was worried about performance limitations, but I don't recall reading or hearing too many complaints, so maybe it was fine on consoles. Ah well, much like Outer Wilds, I may have ended up waiting unnecessarily long to play The Outer Worlds. Unlike Outer Wilds, The Outer Worlds is not the instant-classic that I had hoped it would be.

Here I come to save the worlds!

The early hours of Outer Worlds seemed promising enough. The game is based largely around the same factional conflicts that drive the plot of Fallout: New Vegas, with the player dropping into an unfamiliar situation, and solving the locals' problems in one of several ways. Most quests will require the player to chose sides in a conflict and fight the opposing side, unless you have high enough speech skills to negotiate some kind of peaceful solution.

This sort of stuff is, of course, the highlight of the game. The relationships between quest-giving characters and their respective factions are like little puzzles for the player to figure out -- puzzles that can be solved equally effectively with kind words, as they can be with a gun, or sometimes both a kind word and a gun. Outer Worlds rewards the player for doing that little extra bit of due diligence to complete an optional objective, or to hack that terminal to find some juicy bit of intel that I can use to sway an NPC to give you what you want.

Players also assemble a crew of companion characters, each with a strongly-defined role. Each companion provides buffs to certain player skills. Parvati provides a buff to engineering skills, Ellie provides a buff to medical skills, Max provides buffs to hacking, and other characters provide various combat skill and intimidation buffs. These buffs can stack together and get quite large too, especially after you take one or two perks to improve them. I hardly ever needed to use food or drugs to buff a skill because my companion characters almost always provided me with enough of a boost to get me through most quests.

Players create a crew of companion characters to go questing with you.

I was actually surprised at how early in the game I had recruited all possible crew member. All but one come off of the first world, and the final one can be acquired on an early game quest on another world.

Which companions I take on a particular quest is, therefore, important. I found it was a good idea to pay attention to the dialogue from quest-givers to get a better idea of what lies ahead for me in a given quest. It's also worthwhile to check out the quest log to get any insight on what I'm expected to do. Going on a "bug hunt"? I'll take my heavy-hitters like Nyoka or Felix. Need to hack my way into a derelict outpost and get it operational again? Take Parvati and Max. Need to rescue some colonists who are trapped in a cave? Take Ellie and Nyoka in case anyone needs medical attention.

Or at least, that's how it works in principle. Remember when I said that the game seems promising in the beginning? Well that's because the opening chapter of the game is a very well-constructed vertical slice of everything that Outer Worlds has to offer. The downside is that, unlike Fallout: New Vegas (which has a similarly excellent opening chapter that serves as a vertical slice preview of the whole game), the whole rest of The Outer Worlds is just the opening quests repeated several more times on different planets, and it never gets much harder or more surprising.

In practice, there weren't very many quests that required diverse skills. I only specifically remember having to treat an NPC's wounds twice, and one of those was at the very start of the game before I had Ellie in my party anyway. Even though I kept taking Parvati whenever I thought I was going to need to repair things, there were still only a handful of engineering checks, and I recall them all being relatively easy. Honestly, I found that quests seemed to be much more dominated by speech checks, and my companions were mostly just bullet sponges and pack mules.

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A gamer's thoughts

Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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