This has been gone over in many other articles, but the short version is that what the player sees in VR is strong enough to trigger an instinctual expectation of motion that, when the body doesn't feel it, causes a nausea reaction. You're seeing something that the brain knows is wrong based on physical feedback; the most likely cause based on data from the last several million years of evolution is some kind of ingested toxin, so systems get purged to remove the poisons from the body as fast as possible. Personally I just get a nasty headach and woozy feeling, but other people need an emergency bucket available. The cost/benefit ratio to FPS VR is completely off, no matter how cool it seems before the reaction kicks in. At this point I've learned the best thing to do with a VR FPS is to poke in for no more than two to three minutes to get a sense of the environment, and then switch back to the monitor and never use the headset for it again.
Daggers, mcversehub.Com for instance, are fast but weak, while a halberd is noticeably slower but better for slicing enemies at range. The Spelunker armor comes with a pet bat that flies out to attack enemies for you, but the hunter's armor gets a bonus ten arrows per pickup. Equipment also comes with a number of abilities, further complicating the selection. Abilities such as weaken enemies or lightning strike are only rarely pre-equipped, but rather must be chosen. A sickle might have two ability slots with three options each, but once you've chosen one the other two go away. There's a hard choice to be made between "move faster for five seconds after dodge roll" and "heal allies in small radius" and it can take a surprising amount of thought to pull the trigger. Each ability also can be upgraded twice and this is where character leveling comes in.
Telltale Games has a way of making games based off of characters or stories that already have impressive stories and making them better. With Minecraft: Story Mode, however, they managed to create an entire universe and story based off of a game that didn't necessarily have either of those. We've seen our hero, who is meant to play the role of your average Minecraft player, traverse the overworld with his friends, each who represent different types of players, in order to meet his favorite band of heroes. Of course, not everything goes as planned as chaos ensues and Jessie and his friends are put in a position as the only ones capable of saving the world from the Wither Storm. This episode, though, is much after those events with Jessie being in charge of the new Order of the Stone, fighting monsters and searching dungeons for loot. They've become what the old Order used to be and are loved by the common folks but hated by other adventurers who do the same thing but aren't as well known as them.
No game has done what Minecraft has done. No game even remotely associated with the "sandbox" element has realized that truest sense of childlike wonder and exploration that Notch and his friends at Mojang have achieved. They’ve changed how you can approach the fundamental necessities of a game, while fueling a sense of personal freedom that no game has ever reached. It’s clear that Minecraft is a commercial success and a cultural milestone, but if as gamers you look into what Minecraft is and what it does, you realize that it’s not just about goofy blocks of sands, hissing Creepers or that square sun rising over the horizon. Minecraft is a landmark title in games as a whole; it does things that no game before it has achieved, at least not at this level. Making a game a work of art isn’t about flowering up the graphics or enlisting big-name voice talent; it’s about using what you can only do in a game and making something fresh and new. It’s about taking these distinctive qualities of the gaming medium and breaking free of convention. Minecraft does all that. In spades. If we’re to show the world that games can do amazing things, things that film or TV can never hope to ever achieve, Notch’s indie-game-that-could is our best weapon. Plainly and simply, Minecraft is a work of art.
It’s safe to say that Minecraft has become one of biggest gaming phenomenons ever, earning mass cultural significance and merchandising opportunities, all while solidifying Persson’s creative mastery and contributing to the indie game boom of the 2010s, but Minecraft has taught many gamers and developers alike that there are ways to approach game design from other angles and still provide a fulfilling experience. When it comes right down to it, gaming hasn’t had the kind of creative milestone Minecraft has shown in a long time. It uses the gaming medium in groundbreaking ways that no other medium can use; it is a work of art in every sense of the matter.
There's probably a good reason people build dungeons. At first it seems like a great plan to construct a subterranean labyrinth, because maybe the kingdom needs a place to store its surplus supplies or random undesirable people. Why build a giant construct from wood and rock when there's so much unused space underfoot, other than mining being crazy-hard to get right. The point is, eventually all that space attracts things. Big, mean, hungry things that no society can function around. Zombies and skeletons are only the start of the problem, and it doesn't take long for an evil overlord to come along and put this undead labor to use devastating the countryside. Dungeons are an archaeological trap, useful right up to the point they're the base for the downfall of the realm, and the ones in Minecraft Dungeons are a perfect illustration of how it all goes horribly wrong.
