I'm not blaming any specific person @
Falgor
; rather I would bring up the LP and get downvoted to hell with people complaining specifically about the way the LP was written, and not necessarily what it was talking about.
What stands out the most about the LP is not the complaints he makes
(Which I think it's the norm on SomethingAwful to exaggerate statements for humor anyway), but the multiple "Fixing Golden Sun" parts (I recommend above the rest of the LP because he isn't making fun of the game, he's sitting down and actually writing hands-on approaches to improving it). They stand out, to me, as someone who is looking for the good as-is and sharing ways in which it could have been
so much better. Things like Mia's lack of an actual character, for example, or latter parts of the first game's story doing nothing but pad the game. Even just the intro to the second game stands out to me, because... Why exactly DOES Felix mope and say nothing to Sheba while they're drifting on a piece of land in the middle of the ocean? Why DOESN'T Felix tell Sheba what his goal is, and better set that goal up for the player to understand, instead of waiting until half-way through the game before telling you?
It's like if you played Dragon Warrior but don't get told that your mission is to fight the Dragon Lord until you're 50% done the game. That seems like a no-brainer, but it's easy to overlook because... Well, fans of the game have already passed that 50%. It's hard to remember what the motivation to play is until that point. Because the animations are neat? Because you wanted to know what you didn't yet?
I'm personally used to the Zero-Punctuation-esque snark, though, since several screenshot LPs are sort of like that. Many of the ones I read beforehand were games I'd never heard of, mind you, but even other games I like I had a laugh reading. Things I hadn't noticed before get center spotlight. Maybe a gap in a fence isn't a tangable flaw, but from the perspective of "what if these events were real" (which should be the goal of any RPG writer, to enforce the player to think in such a way), one has to wonder why the protagonists didn't capitalize on these things.
Like think realistically: If a bridge were out and you need to go to the other side, would you (a) build a raft, or (b) travel half-way around the continent and back to get to the other side? The LP laughs at the game because the choices are almost always (b).
Overlooking that is equally as silly.
I think it's a matter of loving a game enough to laugh with it too. Maybe that wasn't the writer's goal, but it's what I got out of reading it.