His Extra Punctuation on Roger Ebert's claims of the validity of video games as artwork, in which he gives a respectful, rational and highly intelligent breakdown of the argument that proves to be one of the most sober and thoughtful takes of the issue found anywhere on the internet. Doubles as a Pet the Dog moment.
Art is any created work that provokes strong emotions in you, personally. And trying to impose your feelings on someone else is as pointless and time-consuming as trying to impregnate a dishwasher.'
Be honest- none of us expected Yahtzee to be honestly excited about Watch_Dogs? Or at least impressed with it, saying that it's a perfect example of how to announce a game- no fucking around with fancy HD trailers, just 10 minutes of straight up gameplay.
Juliet is always in control of the situation, has a healthy, devoted family life, and the developers would never suggest that the player should feel motivated to protect her from rapists - seriously, that's pretty fucked.
In XCOM Enemy Unknown, using a heavy to blow a hole in a UFO and then using a sniper to double tap a high level threat alien in the head with no other turns left when they were out of range to help. Described by him as one of his high points of the game.
"A masterstroke of unconventional strategizing of which I was so embarrassingly proud that I boasted furiously about it for the entire last thirty seconds of an internet video." *Cue credits*
In his dual review of Doom 3 BFG Edition and Medal of Honor Warfighter (ha ha ha ha), Yahtzee calls out the people who protested at him giving Modern Warfare 3 and Battlefield 3 the joint worst-game award by saying he "doesn't like shooters," getting genuinely angry at them, which makes it even more awesome.
Yahtzee: I suppose Warfighter, ahahaha, exasperates because after I declared Battlefield 3 and Modern Warfare as the twin bollock lords of shit mountain there were dissenting voices dismissing my opinion on the basis that I "just don't like shooters". Oh you ignorant littlebastards, stick your balls up your ass and clench yourself castrated. I was into shooters when you were sucking on Wiimotes, you cover-loving, health-regenerating, murderer-come-latelies. You don't even know what a shooter is! A shooter is fast-paced circle-strafing wits-about-you rocket-jumping last-scrap-of-healthtoodly-fuckpies organic excitement in a fancy hat! It is not riding a conveyor belt to the next chest-high wall and resting your head on it until you get lulled into a lovely little sleep by other people's gunfire!
The bit at the end of the E3 2013 review, where he admits that the Xbox One DRM issue had been resolved, and that he has to fall back on "less popular" arguments, such as...
You've got to admit that it took serious courage for Yahtzee to give The Last of Us a negative review instead of praising it like every other reviewer despite knowing the backlash he would receive afterwards.
Also worth noting that while he admits the game's intro sequence and story are done well, the latter being something people often praise, he also comments that game's plot is very predictable.
Another one is for how he responded to the viewers "stimulating E-Mails" in comparison to SSBB: Instead of dedicating another video to shame them, he decides to empathize with those viewers, and review a really shitty game to help them both vent frustration.
And more props to Yahtzee for being honest about GTA V.
A pretty bang-on response to a common rebuttal in "Broken Age":
'That's the joke,' I hear you argue. 'Then why aren't I laughing,' I retort.
His What Is The Matter With You People? article, besides calling out some rather disturbing people in the Call of DutyFan Dumb, he also brings up how the death scene from the nuclear bomb in the original Modern Warfare managed to be both shocking and horrifying due how the player character in it is struggle to survive before finally succumbing, and how the attempts to shock the player in the series have gone down hill:
By Modern Warfare 2, though, the series had rather drastically devalued killing off the player character, and virtually every temporary protagonist who isn't palling around with Captain Price's unit gets knocked off by the end of their moment in the spotlight. Instead, the game finds a different way to play with our expectations of a player character by having us participate in a massacre of innocent civilians. It gives us the usual nose-leading mission directive but simultaneously, within the context of the world, condemns us for following it. It brings to mind that one science experiment where members of the public continued electrocuting a prisoner because an authority figure told them to. How much would it take to persuade an average person to commit an atrocity? When we come to Modern Warfare 3, the "shocking moment" has become just another item on the checklist, and is a hollow, incidental event. There's no toying with the perceptions of a player character and their role; you just get to see a small child get blown to bits in London. Presumably just one of many children who were killed in the slightly ridiculous simultaneous chemical attacks on every European city, but apparently the one worth focusing on was the American tourist. Perhaps they felt all the native London children would be less relatable because they'd all be picking pockets and covered in dirt from sweeping chimneys. But that's not why I'm complaining about it (for once). I'm complaining because it failed in its purpose. It wasn't shocking because I saw it coming a mile off. And it bothers me because it wasn't included for its importance to the plot or for any kind of gratification (at least I hope not), but because there had to be a shocking moment. It seems almost bureaucratic, like it was requested by the accounting rather than the story department. And there's something very disturbing about a large faceless game publisher coldly and emotionlessly tearing apart a simulated child purely because it was on the schedule for that day.
The "A Link Between Worlds" reviewnote A minute into the video, after building up to bash the game, Yahtzee, convinced that the only one who would actually keep watching after that point would be Nintendo themselves, proceeds to have a chat with Nintendo concerning their recent failure syndrome.. The explanation is in that "Note" bit there as to not give away the punchline, but for the curious, enjoy the following:
"It is a nice idea to be able to play as Dracula; I look forward to the game that allows us to do so! Rather than the shirtless mopey pantywaist presented for us here."
"Dracula does not tussle with the groundlings like a terrier at the bear-baiting! Dracula does not do mandatory stealth sections! Dracula does not fetch quest! Dracula is the guy on the far end of an army of minions, slouched on a throne, tossing expensive wine glasses aside 'cause he couldn't give two licks of a used tampon for whoever has to shampoo the carpet!"
His review of BioShock 2; he goes into details on what a good sequel should do, mainly take advantage of plot ideas that could be expanded on, but he feels that the original Bioshock did such a good job wrapping up all its plot threads that it has no room for a sequel, and the idea of playing as a Big Daddy also ignored what they were supposed to represent in the original, along with creating a completely a Super Prototype that made him wonder why it wasn't seen in the original. Even allowing the story to make any sense given the state Rapture was in required a number of Retcons that he felt made no sense.
In his review of Half-Life, despite how he frequently complains about the state of the FPS genre, he's able to see through his Nostalgia Filter and admit that the game represents aspects of older FPS games that he never liked, mainly platforming and having to walk on narrow ledges, things that he feels don't work well when done from a first person perspective. None the less, he still finds the game's story is very well told and praises it as an example of how a story can be told without relying heavily on cutscenes.
While he has fun taking jabs at Nintendo, during the review of Luigi's Mansion, in the midst of jab at how convoluted recent Nintendo controllers have been, he detours into a Take That directed towards "dedicated social media interfaces that run on money", saying that Nintendo at least still makes "games machines."
In The Sims 4 review he argues that EA's deep cuts into the content shows that they have missed at least part of the point of what makes the series so compelling.
So presumably, you know what The Sims is by this point - it's the best possible argument against the existence of a benevolent interventionist god, in which you direct small groups of dollhouse residents until they cease to amuse, then burn their lives to the ground and laugh at their betrayed tears. But before you start assembling your psychotic single-white-female-esque campaign of torment, do bare in mind that there isn't any swimming in Sims 4. So you can no longer lure them into the pool and delete the ladder, which was so iconic to the series, they might as well have removed the green diamond thing.
I wonder if, in their snip-happy way, EA truly realizes how devastating to the core principle removing swimming pools really is. What The Sims is is a consumerist middle class fantasy about walling yourself off from the real world and reducing all measurement of human development and personal success to one's possessions, your dragon's hoard of crass, suburban decadence. And in that game of Top Trumps, the swimming pool is a kingly crown. It's always the first thing on my progress list when I play The Sims, after the second toilet and a TV bigger than my left bum cheek.