Kirk Hamilton

I mean, you're playing and it's just completely incoherent.

Like you'll just have these quest objectives pop up that'll just be like, go give money to the beggar.

There's no context for anything you're doing.

You're just doing things and not actually doing money.

Yeah, it's a narrative design problem.

It just says, go talk to this guy.

It does speak to the kind of the importance that reviewers and critics, and I think maybe a lot of normal players too, place on narrative because a close comparison to this game is Kingdom Come Deliverance 2, which is a game that also has just a ton of stuff to do, but the writing is so much better than it is in Crimson Desert and the storytelling and the design and the way that it all is all crafted around these two main characters who are very compelling and

Um, that I think that people really liked it more in that game was, was a game of the year nominee and received rave reviews from critics.

So maybe that, maybe that, maybe it's the answer here is just that critics in particular place more value on story than your average player might.

Maybe that's the answer.

It's like, oh, you helped me even though you didn't have to.

You were a hero.

All right.

Next question.

This is from Morgan.

Morgan writes, long-time listener, first-time asker.

I just finished a book about invented languages called From Elvish to Klingon, where one of the chapters is about fake languages in video games.

The chapter discusses the different purposes between in-game languages like Dini from Myst and game jargon like Leet speak.

It was an interesting, if very dry, read.

Here's my question.