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It's the little things that matter.

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Post by Random User » Thu May 19, 2016 6:14 pm

I actually hates having to clean the badges, because I didn't feel like maintaining their shine but I also didn't want them to be grimy.

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Post by I am nobody » Thu May 19, 2016 6:48 pm

I loved that Geralt's hair grew in The Witcher 3. It's as pointless as everything else in this thread, but "I need a haircut" is refreshingly grounded problem to have in that game.

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Post by ScottyMcGee » Fri May 20, 2016 10:35 am

[QUOTE="Spritedude, post: 1579411, member: 29348"]
It shows how tenacious and unhesitating he is. Unlike whenever Bowser kidnaps Peach, and Mario just stands and watches helplessly until he gets blasted away or something.[/QUOTE]

I always thought that too. I figured Mario is just thinking, "Damn. . .do I really want to help dis bitch again? Like REALLY? Hmmm."
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Post by Apollo the Just » Fri May 20, 2016 12:29 pm

I keep thinking about Tales of Symphonia things. Looks like it's time for my annual/semiannual Tales of Symphonia playthrough.

Anyway, I enjoy how different characters' "affection" for each other (which is mostly pre-determined but is affected by the choices you make as Lloyd) actually shows in battles too? Like when someone dies whoever is closest to that character will say "OH NO" or "I'LL AVENGE YOU" or whatever (e.g. when Raine dies, Genis shouts something, unless you're doing Raine's ending in which case it's Lloyd, etc.) and sometimes they'll go into Over Limit from that character dying. I just really appreciate all of the different REALLY MINOR things that are affected by the affection mechanic, like small cutscene changes and stuff. Overall it adds up into a pretty major part of the game's appeal, but a lot of the individual ways it manifests are just little things that I really appreciate.
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Post by Valigarmander » Tue Jun 07, 2016 7:58 pm

I like when a game's credits thank you, the player, at the very end.

In fact, I feel kind of cheated when they don't.

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Post by Apollo the Just » Wed Jun 08, 2016 2:36 am

I like how in the Persona 3 soundtrack, the melancholic alternate songs that play in the outside areas (school, city) for the last month of the game are entitled "memories of the school," and "memories of the city," etc etc, and then the credits theme of the game is called "memories of you."

This is something you would literally not even notice just by playing the game. It only is noticeable by someone who knows the names of the tracks in the OST. But I think it's a really cool thing? This naming convention from the tracks that appear at the end of the game is applied to the stylistically different, vocal credit song.
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Post by I REALLY HATE POKEMON! » Wed Jun 08, 2016 2:49 am

P3 was so good.

I like how DBZ Dokkan Battle lets Broly (and currently only Broly) attack everyone at once like the unstoppable badass he is.

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Post by Valigarmander » Mon Sep 05, 2016 3:15 am

Gonna rave about Super Metroid some more: I love the diversity of the creatures you encounter. Each area of the game has its own unique fauna. Some creatures are only encountered in a single room. Some enemies are virtually identical in behavior, but are given distinct appearances based on where they are encountered (like Reos, Gerutas and Holtzes). Even species that appear in multiple biomes like Geemers and Cacatacs have palettes that vary depending on the location. It lends so much character to Planet Zebes. Brinstar, Maridia, Norfair, everywhere feels like its own ecosystem.

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Post by Bomby » Mon Sep 05, 2016 9:14 am

In Castle Town in Twilight Princess, there are two little doggies hanging around and there are bones you can throw for them to fetch.

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Post by Sim Kid » Mon Sep 05, 2016 9:59 am

Sometimes in The Sims, if your sims are in a good enough mood they'll sing in the shower.

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Post by ScottyMcGee » Tue Sep 06, 2016 10:02 am

I love it when games have a television on and it has an actual coherent mini clip or commercial.

I was playing Beyond Two Souls and in the game you control a spirit called Aiden who inhabits the main character Jodie. Jodie has lived most of her formative years inside a lab where these two scientists study her. All her rooms have security cameras. When you control Aiden to fly into the scientists's room, you can see the security camera feed. The security camera feed shows exactly where you last left Jodie standing. I just really like how the developers put so much effort into the continuity.
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Post by Apollo the Just » Thu Sep 08, 2016 12:06 pm

I like that the music when you're soaring in ORAS changes depending on if it's day or night. Like, soaring in general is almost a purely aesthetic addition - obviously it has mechanical uses, like encountering pokemon in the sky and mirage islands, but by and large the twists and turns and dips and speed bursts are all purely for the enjoyment of flying around on a meta latias/latios. So having a different track to set the mood when you're flying around in the sky, and having the stars come out at night as the more melancholic version plays, is just. So appreciated.
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Post by Valigarmander » Sun Nov 13, 2016 1:48 am

bump

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I like how the Kongs will taste the honey while clinging to honey walls in DKC2.

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Post by Apollo the Just » Mon Nov 14, 2016 1:44 am

I like how in Azran Legacy, when you tap on things to search for puzzles or hint coins, some objects just make a noise or move around. I like how the environment is interactive in cute little useless ways, like you can jingle the pots hanging in the kitchen or make the soup on the stove bubble, or bite into a steak 4 times until you uncover the hint coin.
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Post by Spritedude » Tue Nov 29, 2016 5:29 am

In Skyrim, you eventually meet Paarthurnax, the only living good dragon, who lives atop the tallest mountain in Skyrim.

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He talks with you about being the Dragonborn, old dragon culture, how to defeat Alduin, what your next steps should be, etc. However, one thing I like is that when you come back to talk to him just for the heck of it and not as part of a quest, you kinda expect something like "why do you delay, Dragonborn?" or "I have no more wisdom to give right now, begone" or whatever.

But instead, he just says hello in the dragon language. "Drem Yol Lok. Greetings."

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Post by Valigarmander » Thu Dec 22, 2016 9:26 pm

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Unlocking the final boss in Krematoa in DKC3 will cause the map to turn red. Revisiting any of the other levels in Krematoa will reveal that they've all received a red tint as well.

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Post by Valigarmander » Wed Dec 28, 2016 3:18 am

I thought DKC2 and DKC3 improved on the original in almost every conceivable way. One thing I really loved about the first game that the sequels didn't have was the way some levels would change aesthetically as you progressed through them. For example, Ropey Rampage (the second level of the game) is dark and rainy throughout, but at the very end the storm clears, the sky brightens, and butterflies begin to flutter around.

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My favorite instance by far is Snow Barrel Blast. The level starts out sunny and clear. As you progress, the sky darkens and snow begins to fall in the distance, which turns in to a raging blizzard that eventually engulfs the foreground. It's such a cool detail, and for that reason alone Snow Barrel Blast is one of the most memorable levels in the game for me.

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Post by Marilink » Wed Dec 28, 2016 3:41 am

^I like how DKC1 wasn't afraid to go with an almost purely ambient soundtrack some of the time. The snow levels in that game don't have incredibly memorable music, but when you're in the level, it's very mood-setting. Pretty unusual for a game in that era to opt for a non-melodic/thematic song, especially for a platformer. The Temple level music also comes to mind.
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Post by Valigarmander » Sun Jan 08, 2017 2:21 am

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In the background of Castlevania's third level, you can catch a glimpse of the game's final level, including Dracula's residence. I thought it was some cool foreshadowing.

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Post by Valigarmander » Fri Jul 14, 2017 12:39 pm

Sonic CD is a bit of a black sheep in the StH Genesis family for a number of reasons, but I love it just as much as the others. I really like the way the time travel system impacts the gameplay, but I also like it for aesthetic reasons. Every stage has a past, a present, and two futures (good and bad). The past shows the stage as untamed and natural. The bad future is lifeless, completely mechanized, and utterly polluted, while the good future shows a clean, lively world with nature and technology existing in balance.

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It's also cool to see how the stages evolve through different time periods. In the past, Wacky Workbench is still under construction. In the good future, it's been transformed into something vibrant and funhouse-like, while in the bad future it's rusted-over and dilapidated.

One last detail I like about this game: the bad futures show the perils of pollution and disregard for the environment, typical fare for a Sonic the Hedgehog game. But rather than taking a hard anti-technology position and portraying the good futures as devoid of human influence, they instead show nature and technology as living in harmony. That's cool, and something I'd love to see more of.

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