#DESIGNED FOR THE OPEN STRUCTURE

[shame-kink]

guttertanks are actually just kinda bullshit

[totally-not-an-awkward-okapi]

Had a weird dream about Free Willy but trying to break an Angel(?) out of a government facility and honestly now I’m attached to this big anxious bird. Learning to fly is hard when you’re a gangly preteen.

[mxwhore]

updated my boys ref sheet so he doesn't break his neck while landing :)

tip jar

[unopenablebox]

please ao3 i was relying on you to keep me from unwillingly haunting wedding reddit. i was going to read boromir slash fiction

[kakyogay]

haha sticking to canon is for nerds ahaha

I say as I worry that I'm shifting too far away from canon with my ideas

[caterjunes]

now, i KNOW people are sooo horny for prince sidon. and i *guess* i get it? but my standout interactions with him were

him repeatedly interrupting me as i'm sneaking & battling desperately upstream through the rain towards zora's domain, to remind me that he's there, watching, not helping me, being unceasingly chipper

him giving me inadequate instructions to prepare for the attack on vah ruta, leading to me having no idea what the deal with the giant ice cubes is or how to handle them, resulting in me immediately getting hit by said cubes. at which point he contemptuously shouted "GET A GRIP, LINK" at me.

[rawliverandgoronspice]

"…minimize the toll of time taken on both of them the same way it did for Zelda, especially since they semi-turn to stone immediately after. There are a lot of dialogue bits that feel like they are here for damage control and reassure us that the nice things are nice and the bad things are bad…"

So much yesssss. I honestly wonder if they did that because the story plays in a way where Link at no point feels like an active participant in any of what is happening.

Like "Oh yes there are consequences… but don't worry nothing is really gonna happen until we're in the present time with Link." It's weird how it almost feels like the game doesn't even acknowledge calamity Ganon. Not saying we need this huge cutscene about it, but imagine just showing Calamity Ganon being born at the same time as Zelda turns into a dragon. Showing the immediate negative consequences, and how Hyrule now has to wait millennia for totk-Link to finish what was started.

Hey, thanks for the ask, and sorry for the wait!

Yeah, I think there *was* a way to connect past and present more efficiently --using the past as revealing new information to guide objectives in the present-- but I think it would have gone against their open world philosophy (which didn't really mesh with the kind of story they tried to tell). As a consequence, nothing in the present really happens either honestly? The consequence to restoring a region involves giving you a tactical advantage and having some key players moving to the main Lookout Camp, but fundamentally you could skip all of it and lose almost nothing plot-wise, because the philosophy is: you can beat the game in any way you want.

And while I think it worked for BotW, where rediscovering that world you lost is never mandatory but it does give you emotional stakes in the fight ahead on top of helping you prepare your final battle, here it just feels... meandery? Your main goal is to find Zelda, but you don't actually have to find Zelda. You can finish the whole game without having invested a single thought into finding Zelda beyond the tutorial area. The overarching objective to Destroy Ganon worked in BotW because it remained the core pillar all the way, literally staring you in the eye from all across the map: every other quest objective is nested in the first one and optional by default, and it is made abundantly clear what the game expects of you while guiding you to opportunities to make your journey easier and more grounded as you rediscover Hyrule (gradually mastering the land, your own abilities, and your understanding of your place in that land to give you the best possible chance --mastering the Wild and becoming part of it, if you may).

But here? The game *tries* to hide its core objective (which is to Destroy Ganondorf: this is what actually triggers the ending credits sequence, not finding Zelda, which triggers... nothing at all actually) in a mystery the game... isn't actually that invested in gameplay-wise.

For example: you go handle the issues in the various regions because there are problems to fix and maybe you'll get information on where she is, which is honestly an assumption that is kind of based on... nothing? Why would the ritos facing an unnatural ice storm or the gorons facing a drug problem give you a clue on Zelda's location? Like yes, surely there is something weird going on and it might be linked to the same phenomenon that made Zelda disappear, but what makes you think going there will give you any hint of where she is? Honestly, the Lucky Clover sidequests almost feel like they should be the main quest given they actually involve Zelda sightings directly, but the fact that the game extra-diegetically categorize them as sidequests lets you immediately know these are all red herrings before you actually complete them...

But honestly: it would make sense to go look for her.... where she was last seen. Which is under Hyrule's Castle. And I didn't go there immediately, not because the game convinced me it was not necessary, or was too dangerous and I wasn't prepared yet, but because I knew for sure it was where Ganondorf would be, and so I pretended to be stupid so I would let the game lead me to its interest points while ignoring the glowing red hole under the core landmark of Hyrule where I had last seen Zelda and Ganondorf.

Sure, there was a glowing red boar in BotW screeching into the night, but. The game told me it's where the final boss was. Immediately. It was not trying to surprise me with that information. TotK, on the other hand, does an awkward little song and dance being like "oooooo I wooonder what you'll have to dooooo neeeext" and... it's pretty damn lame that I need to consciously course-correct the bad job the game does at leading me places to have a good time with it, using game design literacy to assume what I should and shouldn't do not to ruin my own experience as I play (same could be said for the Dragon's Tears as well, and it does an even worse job at it since I *did* spoil myself almost immediately, because I trusted the open world philosophy to carry into the memories like in BotW --and the fact that they are linear??? somehow?? without telling you and it's the only linear thing in the entire game?? is just so so so Not Good).

When I say the quest design of this game is a complete mess, I do mean it. It's layers upon layers of these baffling decisions, and I don't understand why they didn't apply any of the lessons learned in Breath of the Wild, given they were genuinely good and interesting lessons that have guided open world quest design ever since the game was released.

[broodygaming]

Made a spooky game!

Bout a little kiddo who wakes up in a storm and her moms are missing! Goes on a creepy adventure to rescue them! Throw in some cool family drama and a little bit of a heartwarming message and boom! A game.

This was my first time drawing everything for one of my projects! Very nerve wracking. Tilesets are hard lol.

[tovaicas]

not me importing my anti-air defense worldbuilding h/cs into ishgard bc I can

[shoechoe]

Playing vanilla Minecraft for the first time in a while for the new 1.20 update and I know this isn't a new feature, but- holy shit I haven't had this much fun exploring cave systems in vanilla Minecraft since I did it for the first time as a seven year old

[eternalchant]

gonna be real gang. been playing palworld.

[vinkumakkara]

cool thoughtful video abt big modern AAA open world games that I Have Not Played

[wingscreation]

hm this is a bit interesting to say the least. I'm not really iffy about time travel in general and parallel universes could be interesting if done right.. just a lot to think about

Link to article

https://www.eurogamer.net/naoki-yoshida-on-dawntrail-criticism-community-feedback-and-the-future-of-final-fantasy-14

[gudmould]

Design of injection mold for breast shield

1 Plastic part structure analysis Figure 1 shows structure of face cover and bottom cover of breast shield, and plastic part is made of ABS.As shown in Figure 1 (a), there are 3 circular holes at the front end of face cover, 1 U-shaped notch at rear end, 2*φ2mm vertical cylindrical holes at the bottom of inner surface, and 2*φ2mm oblique cylindrical holes at the front end. Angle between axis and…

[prokopetz]

Something that pops up in my notes from time to time is folks thinking I'm being excessively kind in my criticisms of Dungeons & Dragons, and I'm going to spin this off into a separate thread to address that without putting anyone on the spot.

First, if your own critique of Dungeons & Dragons is rooted in the idea that it's the Worst Game Ever, that speaks more to the limits of your experience than it does to anything else. Dungeons & Dragons in any of its iterations is far from the worst the tabletop roleplaying hobby has to offer – like, you have no fucking idea!

Second, I tend to be even-handed in my discussion of D&D's rules because, fundamentally, the rules are not the problem – or, at least, not the principal cause of the problem.

In many ways, the indie RPG sphere has never escaped the spectre of Ron Edwards, sternly pronouncing that the mechanical process of playing traditional RPGs causes actual, physical brain damage, and that this brain damage is responsible for the bad behaviour we often observe at the table. We don't say it that way anymore, but on some level a lot of us indie RPG designers still kind of believe it.

This is understandable. As game designers, we're naturally inclined to think of problems at the table as game design problems. When we see a problematic culture of play, our impulse is to frame it as something which emerges from the text of the game, and which can therefore be mitigated by repairing the text of the game.

Confronted with the obvious toxicity of certain facets of D&D's culture of play, we go combing through its text, looking for something – some formalism, some structure, some piece of rules technology – which we can point to and say: "this is it; this is where the brain-worms live."

The trouble is, this is not in fact where the brain-worms live. Certainly, the text of a game, particularly a very popular one, can have some influence on the game's surrounding culture of play, but that text is in turn a reflection of the culture of play in which it was written. The Player's Handbook isn't an SCP object, spewing infectious infohazards everywhere when you crack open the cover – hell, I'd go so far as to say that many of the problems of D&D's culture of play operate in spite of the game's text, not because of it!

Basically, what I'm saying is that I don't see any contradiction between being the sort of pretentious knob who writes one-page indie RPGs about gay catgirls talking about their feelings (which I am), and speaking favourably about this or that piece of rules tech from whatever flavour of Dungeons & Dragons is in favour this week (which I do), because I recognise that you can't game-design your way out of a problem you didn't game-design your way into.

The fact that one of the biggest problems facing the tabletop roleplaying hobby is something that can't be repaired by fucking around with dice-rolling procedures is a bitter pill to swallow for a lot of indie game designers, and I won't say I wasn't resistant to it myself, but it's something that's both useful and necessary to accept.

(None of this means that the text of Dungeons & Dragons in any of its incarnations is beyond criticism on other grounds, of course, and I've never been shy about highlighting those criticisms where they're warranted. The only way you're gonna arrive at the conclusion that I'm some sort of D&D apologist is if you're starting from the presumption that The Real Problem Is The Rules.)

[mightaswelljxmp]

hm ok so interestingly, bdubs’s courthouse is built on an odd number of blocks. note the roof of the facade coming to a point, but more importantly, the nine pillars….

you don’t use an odd number of pillars. like ever.

let me get this out of the way first: i get why you’d build with odd numbers in minecraft. i usually do it myself, to not run into problems like double doors or two-wide pointed roofs or frustrating spacing/symmetry between decorative elements. however. to not even out the design of something so unequivocally done in every other example of columns and pillars…. fascinating implications…

every other example guys. every other building with columns like this has an even number of them.

doing so sets the line of symmetry at an invisible point between two pillars, an even number on each side. but an odd total number of pillars makes the central pillar itself the line of symmetry. this does a couple things.

one, it upends the sense of community and equality. which i know sounds crazy, but really, a group of columns are all put there to hold up a structure. there’s no focus on one because they are all are working as supports.

symbolically, at least when first used in ancient greece, pillars represented people. and it makes sense for courthouses, especially, to want to show an even, fair, equal number of people on each side. no focus on any one, no inherent bias right off the bat just looking at it.

with an odd number of pillars, though, one will always be placed front and center.

and THEN. and then you walk in the courtroom itself (also odd-numbered blocks) and you are immediately opposite the judge, bdubs, located exactly centrally. and true, courtrooms are often set up like this anyway. but bdubs ups the ante and reaffirms that no, focus is on him by staging it all as a daytime court show, boom mic just over his head, cameras pointed in, spotlights on him.

literally by design, it was not built for justice. it’s built for show, for entertainment. and just look at the credits to know exactly what sort of message you’re supposed to be getting from this show.

the biblical story he used, with king solomon. it’s about king solomon. isn’t really about the trial itself, or the babies, or the women. it’s about showing (off) how wise and just he is. that’s the point. hm. interesting.

now, getting to the second point that etho also picked up on: it feels like a prison.

it’s not just the color palette. when your eyes naturally draw to the center point, you aren’t seeing an open space. instead of feeling like an arch or gateway or otherwise some kind of opening, the pillar there makes it feel closed off. the overall effect is that of prison bars. not pillars lining the entrance to a place of order or a temple. bars of a cage, a cell.

imagine the lincoln memorial were set up with 11 or 13 pillars. he’d look so much more trapped in there.

having a central pillar blocks the entrance. it’s not welcoming. you have to go around it; it’s immediately inconveniencing you. and when you go to leave, it’s there blocking you again.

this courthouse was not designed and built to be fair, nor accomodating, nor equitable, on any terms. even if unintentional, i wouldn’t call it so much coincidental as i would… subconscious.

after all, y’know. form follows function.