ITT videogames that cause massive butthurt every time they are posted

Nice dubs.

What's remarkable about this game is that the NPCs have dialogue that's actually good.

They don't have grammatical or spelling errors nor are they sloppily translated from Japanese.

Why that one? I never even heard of it.

Undertale is your average flavor of the month on Holla Forums.

The Elder Scrolls V: Skyrim

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Trips confirm.

Don't ask, just play it.

Overwatch.

checked

The only real butthurt from that is trying to tell whether or not you fags are shilling this ironically/unironically.

I think that's more a game nobody really gives a shit about. People are more dumbfounded by how it ended up making so much money but I suppose I can't argue with trips.

Oh?

I don't think people are so dumbfounded.

Furrys + Youtube horror + memes = cash

And really the formula for undertale is pretty similar as well

Furrys + youtube + memes = cash

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Spec Ops: The Line.

mah nigga

Ironically shilling is still shilling, remember Toddposting?

The Dark Souls of retro games :^)

its shit, get over it.

MGSV.

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Cowards need not apply.
Souls like is probably the worst term to ever exist in video games.

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One of the best games of all time. Partially because I know you neckbeards get booty blasted every time someone mentions how great it is.

Suck it, SJW scum.

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I hate it because it turned Witcher and CDPR into a normalfaggot alternative to Skyrim.

XD let's post le bait games

stay assflustered doomcuck

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Literally all Bethesda games after Morrowind.

Anything using Unity Engine. Both sides get fucking passionate over that shit.

does game maker still cause hubbub?

If it's anything that can cause anger, Holla Forums is angry about it.

wew lad

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He said games, not mods.

Almost every single game ever, you can barely talk about anything on here without some retard having a sperg fit.

Wolfenstein was garbage anyway.

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Any rougelike.

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I was going to say, is there a game that DOESN'T cause massive butthurt when people talk about it?

guaranteedreplies.jpg

wasted trips on gay goat

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camel > genesis

The fact that so many anons still name Genesis as "terrible compared to stuff like Gentle Giant, Camel and Magma” only tells you how far prog rock music still is from becoming a serious art. Hip hop anons have long recognized that the greatest hip hop musicians of all times are 2pac and Ice T, who were not the most famous or richest or best sellers of their times, let alone of all times. Vaporwave anons rank the highly controversial 2814 over vaporwave musicians who were highly popular in websites around Holla Forums. Prog rock anons are still blinded by memes. Tony used a bunch of KORG synths instead of old ARP's (not true, by the way), therefore they must have been terrible. Hip hop anons grow up listening to a lot of hip hop music of the past, vaporwave anons grow up listening to a lot of vaporwave music of the past. Prog rock anons are often totally ignorant of the prog rock music of the past, they barely know the best sellers. No wonder they will think that Genesis did anything not worthy of being saved.

trick question, any game ever causes butthurt here

Who's ready for part 3?

>>>/reddit/

but
yes pre 80s > genesis pre 80s

You absolute dickhead, you don't get the point, don't you ? It goes way too far above your manlet's head, way beyond your memes reach, right ?

I'm not even insulting you. I'm actually trying to make you understand what Jeff Mangum and Thom Yorke and Sufjan have a hard time teaching you : you are the ultimate pleb, you are way too concerned about what other people think about you.

Guess what ? I don't have to justify myself about music because it should be fucking ILLEGAL to hold such a trivial opinion. Genesis is literaly, L I T E R A L Y the point of music.

Do you understand that I'm trying to show you that your memes are embodying your plebness ?

This could all have been different. You and I could have been friends, talking about the merits of prog rock, but no, NO, you just HAD to shit all the way down Genesis' masterworks because you can't handle music with social consciousness.

Guess what moron, Jesus Christ HIMSELF would have listened to Genesis if he could.

You gotta get your posting game on track, man. It's a little incoherent and sometimes ambiguous. Otherwise it's fine…

sage for offtopic

more
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SUN 0))) > GENESIS

Here's the thing about Phil. The man had some serious pipes. He had a 4 octave range and he excelled in any octave. He wrote brilliant songs. And his stage presence was only matched by Adolf Hitler. Seriously, watch them play Dance on a Volcano at Live Aid and then watch a video of the Nuremburg rallies. We had better thank our lucky stars Phil didn't go into politics or he would have taken over the world. But Genesis as a whole had a brilliant dynamic. It wasn't just the Phil Collins backup band. They all made huge creative contributions to what made Genesis what it is. Yes, Phil wrore Mama, No Son of Mine, and Jesus He Knows Me, but Kike wrote Heathaze, Cul-De-Sac, and Domino, Mike Rutherford wrote Land of Confusion, Eleventh Earl of Mar, and Turn it On Again, and Steve Hackett wrote Blood on the Rooftops and In That Quiet Earth. Other bands like Nirvana for instance were not like that. Yes was basically just the Chris Squire backup band. Genesis was this perfect storm of legendary talent, and Phil was the face of it all, the delicious cherry on top of an already delicious sundae. He was the ambassador that allowed the amazing talent of combo that was Genesis to be brought into our lives. He was the prism that focused the lazer beams from the brains of Tony, Mike, and Steve, and amplified them until they were powerful enough to blow our minds out through our ear holes. Yes, he was the most incredible front man who ever lived, hands down.

PETER GABRIEL IS THE BEST MEMEBER OF GENESIS

genesis is bad and you should feel bad.

Only good things to come out of genesis are Steve Hackett and the three first Peter Gabriel solo albums. I wouldn't consider anything else genesis made music, just a formality so Tony can say "eets prog rok with pop on eet"

The only good things to come out of it's shit tier fanbase are fucking nothing. The fans of it had shit taste before it was popular, because it was a shit band albeit with potential, but you can say that about a ton of shit band. The only thing that changed with it's popularity is that the majority of its fans went from having shit taste to having no taste.

The cancer will defend its shit generic pop full of inconsistency as "prog". The cancer will defend its bad and greatly overused britbong level of humor. The cancer will defend most of the songs being rehashes as being metaphor for the past story of the band, the gay Cuck, was forced as everything previous to them suggested that Peter wasnt a fag, and that Banks had a wife, Yet the cancer will still defend the band as not pandering, because Tony used a bunch of KORG synths instead of old ARP's which would have needed repairs, meaning less shekels for him.

I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I didn’t really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely “Follow You, Follow Me.” Otherwise all the albums before Duke seemed too artsy, too intelleotual. It was Duke (Atlantic; 1980), where Phil Collins’ presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel’s departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins’ drumming than Mike Rutherford’s bass lines or Tony Banks’ keyboard riffs. A classic example of this is “Misunderstanding,” which not only was the group’s first big hit of the eighties but also seemed to set the tone for the rest of theiralbums as the decade progressed. The other standout on Duke is “Turn It On Again,” which is about the negative effects of television. On the other hand, “Heathaze” is a song I just don’t understand, while “Please Don’t Ask” is a touching love song written to a separated wife who regains custody of the couple’s child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock ‘n’ roll group? I don’t think so. “Duke Travels” and “Dukes End” might mean something but since the lyrics aren’t printed it’s hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track. The only bummer about Duke is “Alone Tonight,” which is way too reminiscent of “Tonight Tonight Tonight” from the group’s later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself.

Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on “No Reply at All” are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren’t: “No Reply at All,” “Keep It Dark,” “Who Dunnit?” “Like It or Not”). Mike Rutherford’s bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins’ truly amazing drumming. Even at its most despairing (like the song “Dodo,” about extinction), Abacab musically is poppy and lighthearted.

My favorite track is “Man on the Corner,” which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily come off any of Phil’s solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band’s hopeful humanism. “Man on the Corner” profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), “that lonely man on the corner” who just stands around. “Who Dunnit?” profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.

Holla Forums can be the biggest hipsters some times.

I can tell, because I'm also a hipster.

YES
YYYYYEEESSSSSS
MMOOORRREEEEEEEEE

I'm here to serve.
Hugh Padgham produced next an even less conceptual effort, simply called Genesis (Atlantic; 1983), and though it’s a fine album a lot of it now seems too derivative for my tastes. ‘That’s All” sounds like “Misunderstanding,” “Taking It All Too Hard” reminds me of “Throwing It All Away.” It also seems less jazzy than its predecessors and more of an eighties pop album, more rock ‘n’ roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical “Mama,” that’s both strange and touching, though I couldn’t tell if the singer was talking about his actual mother or to a girl he likes to call “Mama.” ‘That’s All” is a lover’s lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it’s got a bright sing-along melody that makes the song less depressing than it probably needed to be. “That’s All” is the best tune on the album, but Phil’s voice is strongest on “House by the Sea,” whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it’s unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song’s third verse at the end it can give you chills.

“Illegal Alien” is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad—a wetback trying to get across the border into the United States—but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he’s wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of “fun ” with “illegal alien ” is inspired. “Just a Job to Do” is the album’s funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. “Silver Rainbow” is the album’s most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with “It’s Gonna Get Better.” Even if the lyrics seem a tiny bit generic to some, Phil’s voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.

M O R E

Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight’. All in all it ranks with the finest rock ‘n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.

In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to “Land of Confusion,” in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson—or any other black artist of recent years, for that matter—has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love’s failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on “In Too Deep”; yet it also showcases Collins’ clowny, prankish, unpredictable side. It’s the most moving pop song of the 1980s about monogamy and commitment. “Anything She Does” (which echoes the J. Geils Band’s “Centerfold” but is more spirited and energetic) starts off side two and after that the album reaches its peak with “Domino,” a two-part song. Part one, “In the Heat of the Night,” is full of sharp, finely drawn images of despair and it’s paired with “The Last Domino,” which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I’ve heard in rock.

Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like “In the Air Tonight” and “Against All Odds” (though that song was overshadowed by the masterful movie from which it came) and “Take Me Home” and “Sussudio” (great, great song; a personal favorite) and his remake of “You Can’t Hurry Love,” which I’m not alone in thinking is better than the Supremes’ original. But I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.

Watch Dogs 2, the game is already causing huge salt in on this very board. Prepare for Holla Forums to rush to the board complaining when it comes out.

in other words MMOOOORRREEEEE

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Swallow the Phíl pill today! Red pills are for fedora fucking wearing faggots, blue pills are for the ignorant masses. Ignore the other le epin undertale maymays, this one is the readl deal

I can do one better.

as far as modorn gaming goes, it was ok.

Still I would have rather had Hitler as the main badguy, I would have preferred a ton of gameplay enhancements, better story, ect.

But yes, 6/10.

This on the other hand.

Do not buy rent or even pirate, single player is corridor, room, corridor, room. Boring level design, and the most cringeworthy multiplayer I've ever seen

I think he meant how Wolfenstein triggers people that browse Holla Forums.

Phil Collins did a better job at being the frontman than Peter Gabriel

What happened here?

I bet you don't even listen to Return to Forever, fag.

tthe only jazz fusion band is brand x you cuck

For a while on half Holla Forums Half-life 2 would cause it but mostly because a single autistic fucker kept on spamming the same thread day after day. Pic related

He's probably the same one that spammed Bioshock Infinite threads too.

people always use that line when starting a thread about bad games

Fire emblem fates. It is fun to ruin half change fire emblem generals by starting waifu wars though. Just suggest that Matti gets around and people who married her will burn the thread to ashes in a Sperry rage.

Sunn 0))) Have like four good songs.

Halfchan
Matoi
Spergy
Fucking autocorrect

Subtle

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Fusion is pretty mediocre tbh.

It's a piece of shit actually. The point is that you can't criticize either of these games without causing massive amount of butthurt among underage crybabies.

I don't know if I'd go as far as a piece of shit, but it definitely isn't good.

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Prime is 15yo, friendo

No the butthurt is definitely from retards who think the original Doom is a better game. The 2016 DOOM is easily the best of the series so far. You can't even look up or down in the first DOOM lel.

The endgame was utter bulshit and ultimate kcmoded/cucload propaganda. Especialy painfull since the moon level was so awesome.

Just a reskined and moded slightly TF2.

New Order was a bunch of propaganda, and the new DOOM was the best DOOM so far. Really, corridor, room, corridor, room? Vast majority of the areas in the game are large areas with lots of routes you can take. You can do a lot of the areas in many missions in whatever order you wish.

Being a corporate bitch must hurt.

Eh, I wouldn't call it massive. Xenoblade Chronicles X was also cucked to high heavens but both are pretty mild compared to the true king of shitter shattering, Fire Emblem If.

Now that was true anal annihilation, I still get butthurt when I stumble across a piece of happy fanart from it in the internet and can't even jack off to the doujins without having a fucking aneurism.

Fuck. That. Shit.

Do you like Bill Willson? I've been a big fan ever since the release of their 1980 album, Crush. Before that, I really didn't understand any of their work. Too wrecky, too shadowy. It was on Crush where Bane presence became more apparent. I think Rising Fire was the group's undisputed masterpiece. It's an epic meditation on mastering a plan. At the same time, it deepens and enriches the meaning of the preceding three albums. Listen to the brilliant ensemble playing of Juan, Brother and Mosquito. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Take the lyrics to Said Nothing. In this song, Bill Willson addresses the problems of abusive agency authority. In Survivors is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Bill Willson solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Call Them In and No Friends. But I also think Bill Willson works best within the confines of the group, than as a solo agent, and I stress the word agent. This is Getting Caught, a great, great song, a personal favorite.

But TW3 is objectively good.

How big is your shrine to Phil Collins? Like, just a closet, or are we talking room-sized?

Sometimes other people have taste that differs from yours. Do not be alarmed! Breathe in, and breathe out. Sit down and close your eyes. The anger will pass soon.

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People hate it because cdpr downgraded the game and lied their asses about it up to the last minute just so they could get dat M$ dosh. Whereas they were once fantastic developers who catered to PC and its strength, they instead became sell-outs.

Combine to that disgusting casualizations all over the place, including but not limited to witcher senses and the joke that is the combat, plus other ingame problems like the horse race being full of bug-like issues or NPC interactions out of dialogs being all fucked.

The only SJW here is you.

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Anything that's not on PC