#Qol going down I think

[bottombaron]

i think i've hit the limit of my Persian knowledge trying to translate Al Qolindar and it's driven me mad...

[loveydive]

okay. finished veilguard. um. it sure was definitely a game.

[synthetic-sonata]

one day ill post my pokemon games + spinoffs tierlist that im slowly chipping away at and have been since, like, june or july . but i dont think people are ready

[felikatze]

Euphrasie and the End

A Deep Dive into the Head Housemaiden and her symbolic meaning

Introduction

Spoilers for the whole game, and also the prologue, by the way.

Hello everybody. You may know me from that other post about Euphrasie or maybe the ludonarrative essay or the QOL one. No matter the case, today I return to my favorite side character, Euphrasie, the Head Housemaiden.

This all starts with a central thesis you're likely to be familiar with.

Euphrasie represents the end. In the most literal sense, she is where every journey ends. She is the representation of Siffrin's fears. With every repetition, Siffrin grows to dread and fear the sight of her, more than they ever do facing down the King again.

And I want to look at that.

The Damsel

It's a tale as old as time. The big bad has kidnapped the lovely princess! Everyone, we must save her! And so, our epic tale begins, as Mario chases after Peach and Link vows to return and save Zelda -

That, quite obviously, is Euphrasie. Albeit not your traditional princess, she's still a female figure with great importance to our protagonist. (Our protagonist, quite obviously, being Mirabelle.)

Mirabelle's entire journey begins with her fleeing the House and embarking on an adventure with one goal - return home, and free everyone. ISAT invokes many many many stereotypical RPG tropes.

It uses those tropes by going, well, you know how the story goes, let's get right into the meat of it, yeah? Because ISAT is a story that only works on the precipice of an ending. It's the last dungeon! We're back in starter town, transformed by the big bad, and now we gotta take it back. (Like, do I have to invoke Ocarina of Time, or something? You know how it goes, you've seen this story before.)

Siffrin isn't afraid of the journey, the intro makes that blatantly clear all on its own. This entire journey is, quite literally, the happiest Siffrin can ever remember being.

He doesn't want it to end.

The story ends when you save the damsel. She will reward the heroes (usually with a kiss, but this time with a hug), thank them for their efforts, and then the credits roll. If we want to stay here and be pedantic, we can pull examples out of our hats all day for this trope as old as time.

Euphrasie is the end, not just within the context of the game's individual story, but for its type of story. Pretty woman, trapped by the bad guy, last person to be saved, emotional importance to the protagonist, dramatically awaits the rescue by her dashing protagonist after giving her the magic ocarina blessing to give Mirabelle her Special Protagonist Power that makes her super special and immune to the bad guy.

Euphrasie also gets the addition of being the wise mentor, combining tropes a bit, though I don't think it's uncommon for mentor figures to be the kidnappees either, even if the example I'm thinking of first is Eyvel from Thracia 776. (And you see once again, that I am incapable of thinking outside of Fire Emblem comparisons.)

So, simply from her role alone, we expect her to be the story's natural conclusion, but the setting helps that point, too. It's the rooftop of the final dungeon. Very obvious location, yeah?

The game's structure also builds anticipation into meeting her. Here and there, you hear about her from Mirabelle. And, right before facing the King, that's when Mirabelle talks about Euphrasie in-depth, how Euphie should've been the chosen one. We've got a lot of ideas about Euphrasie now, we're thinking about her as we go into the final boss.

And Siffrin dies. Duh.

We're so close to the end, and it's torn away from us. We need to get to it, get to her. Finally get past the King to meet her.

She's the conclusion. And in this moment, she is the goal, too.

Speaking of the King, though --

The True Final Boss

As Siffrin faces the King again and again, they grow less scared. More jaded. If you die to him thrice (or play START AGAIN), you get the option to say "Let's just get right to it", and skip his entire monologue.

After all, you've beaten him once. You can do it again. So who cares about him, yeah? Facing him only gets easier and easier as the game progresses. The King may be scary still in some story aspects, but in gameplay? Not a chance.

ACT 4 doesn't end with him. It ends with her.

As Siffrin faces Euphrasie again and again -

(No, no, no, she could've answered your questions, why?!?)

(Even though you asked for something different at the start of this conversation...)

(WHY IS SHE REPEATING THE EXACT SAME THING?!?)

Siffrin (yelling4): "JUST TALK TO ME!!!

Talking to her again makes her scarier, because Siffrin may have gotten past the King, but he's never gotten past her. For all intents and purposes, Euphrasie is the final boss of the story.

Again, ACT 4 - Siffrin's deepest moment of despair, confirmation of ultimate failure, is her.

Speaking of final bosses...

They both cut a rather striking silhouette, don't they?

Yes, yes, islander theory, white hair. That's an in-universe theory though, but the point is, it does make them look similar. They both have long cascading white hair, they're both extremely tall. They are both similar yet different in appearance.

Euphrasie is rounded where the King is jagged, namely. Soft where he is imposing. But those similarities still remain. Contrasting figures that only enhance the similarities all the more.

(I felt utterly insane for seeing this, but. Do you see it. DO YOU??) (Like. Outside of any theory stuff, her being the only person to have white hair beside King and Siffrin, long white hair to boot, has thematic signifcance as well, yes?)

[Side note: Yes, it is utterly irrelevant here that insertdisc5 said her hair is dyed, because it is STILL a striking resemblance of character design that can be interpreted with symbolic meaning, thank you~)

The trangles.

Though she may overshadow the King as the Endpoint past ACT 2 in ISAT, she does not in START AGAIN.

In START AGAIN, the ending beyond does not exist, for all intents and purposes. The endpoint was pulled forward. Whereas ISAT Siffrin's true dread sets in after beating the King, in SASASAP, it does so in the break room right before facing him.

Or, well, the resignation.

In In Stars and Time:

Siffrin (fake1): "Hi." Siffrin (fake1): "You can start breaking down now." Euphrasie (sorry1): Breaking down...? What do you...

In Start Again:

(You wonder how everyone will die this time.) (Will the King beat them with Craft until they are no more?) (Will he freeze them in time, unable to move or breathe for all eternity?) (How will YOU meet your end?) (In blood and stars maybe... In tears and time perhaps...)

The natural acceptance that, (you can look at the title of this again) this is the end. That there is no getting past this. They are both the last obstacle that can never be overcome, between the games.

Hell, just COMPARE SAP's true ending to like, the end of ACT 4.

Siffrin awakens in the meadow. Everything was in vain. Everything was useless.

Siffrin finally, after a thousand loops or even more, beat the King. This is supposed to be the end, but it's not. So, this proves once and for all that there is no escape. They're trapped here forever.

They built it up for so long in their head that all they have to do is beat the King, and then the suffering's over.

And in ACT 4... Siffrin builds it up for so long in their head... All they have to do is ask the Head Housemaiden about Wish Craft. That's it. That's the answer! After that, it's the end! It'll be over! He just needs to do this one thing...

Loop (away1): ...Is that so? But, didn't you already-- Siffrin (unhinged1): "It is so!" Siffrin (unhinged1): "I might be able to break the loop, somehow!" Loop (away1): ... Siffrin (unhinged1): "You know, it might just be that I need to make everyone's wish come true! And everything will be back to normal!" Siffrin (unhinged1): "If I talk to her, she'll know, she'll be able to tell me what to do..." Siffrin (unhinged4): "If I can just talk to her...!"

And is wrong, of course. They wake up in the meadow and despair. So, this proves once and for all that there is no escape. They're trapped here forever.

Siffrin: "Or, or does it mean-- It means--" Siffrin: "It means I'm stuck here for good, aren't I?" Siffrin: "Forever?" Loop: ... Loop: . . . (. . .) Siffrin: (No.) "You think I'm stuck here forever."

It's the exact same mindset with different characters representing the end point. The parallel becomes even more evident in that Siffrin's very last manic shot at victory is the exact thing that proved Loop's failure - supposing that the King is the true end point.

Yet it's also different, in what these two characters represent.

The King is very much a representation of the past. His fate in ACT 5 ultimately proves what it means to refuse to let go - being frozen in time is both a metaphor and very literal. He's stuck in the past, by choice. He could've lived and chosen to embrace Vaugarde and move on, but he didn't.

Y'know, he's a bad end Siffrin, metaphorically (albeit not literally. Narrative mirrors and all.) He's what Siffrin would end up like if they never learned their lesson. If they keep refusing to let go of the past... and embrace the future.

Euphrasie's Agency and lack thereof

To Siffrin, there is no future. They can't conceive of what happens after this journey. So, the character marking the endpoint of the journey, and the start of a new chapter in Siffrin's life, cannot see a future either.

It's... fascinating, to me. How Euphrasie is a vessel of Siffrin's insecurities by force. Siffrin's Wish has taken hold of her. It's using her as a stop, on purpose.

Odile (worried2): Because... Talking to you... Means our journey to save Vaugarde is really over, isn't it? Odile (gimme1): And for you, Siffrin, it also meant all of us going our separate ways, doesn't it? Isabeau (angry1): The very thing the loops were trying to stop...

(Points at my first point about Euphrasie being the Damsel, and thus the natural endpoint of any given RPG. Hey. Hey do you see how obvious this is yet.)

Euphrasie seems to have some sort of ability to feel Wish Craft, or the Universe, or Change, or whatever. She knows what her role in this play is, most of the time. "I can feel it! We both know this! It's all over when you talk to me!"

(IT'S ALL OVER WHEN YOU TALK TO HER.)

What she says mirrors what Siffrin thinks about her. This becomes most obvious only in retrospect, looking once again at the ACT 4 finale.

Euphrasie always says the same thing, because she is the end and the end can neither change nor ever arrive, but she can only say something new in one circumstance.

Siffrin (angry4): (You just wish she would ANSWER YOU!!!!!!) "Now that you know, now that I know, you can fix it!!!" Euphrasie (ending3): . . . Euphrasie (ending3): Fix it?

When Siffrin wishes for her to. Her capability to act in new ways is directly controlled by Siffrin's desire. Since the entire loops are caused by their subconscious desire to stay with everyone, she fulfills the role of keeping everyone together.

Thinking back on what she says...

"I know you thought your quest was over, but it can't be."

Your quest. Yes, quest is also used in a general story context, especially in fantasy, but Quest has long since become a well-established term in video games of all stripes. Sidequests, Main quest, hey, isn't it weird how ISAT refers to all its storylines as quests?

Friendquests being the obvious example. Fetch Quest, Companion Quest, Tutorial Quest, Really? He doesn't need your help with a quest?

But outside of that... I know I just know these terms because of my script wizard activities, but every storyline is a quest. Kingquest. Loopquest. Friendquest.

There's any number of words that could be chosen ("journey" probably being most prominent) and yet she says quest. By using a term inoxerably tied to video games by this point, she's saying "I know you thought the game was over, but it can't be."

And see how the game uses glitched imagery and static to represent everything breaking down, both at the end of every loop, and in ACT 5. This imagery is just confusing and means nothing to the characters, but is very obvious if you are Playing A Game.

The fuzzy static of an old TV, the bars of screen corruption, random symbols in text, the distorted music like a malfunctioning cassette tape…

If I may be so bold as to harken back to one of my own previous essays... The timeloop is the game.

It all ends when you talk to her. Everything ends when you talk to her. The goddamn game ends when you talk to her for the last time.

I got a bit of track here from the point, which is- her agency.

As we've established, she functions as Siffrin's own stop, on purpose. She can only act independently when Siffrin wishes her to.

And her not doing so is the beginning marker of everything breaking down in ACT 5, as well.

When Mirabelle interrupts her usual greeting speech, Euphrasie reacts differently immediately. She takes a look at Siffrin, diagnoses them with Craft overusage, and says they just need rest.

"But he'll be fine, now that the battle is over."

But, as usual, she can... sense what's happening.

"Every time I've tried to reach out and feel what's happening, I sense... Chaos..." "It feels like something is... Rotting..."

Mirabelle: "...?" Isabeau: "Rotting...?" Euphrasie: "I know you thought your quest was over, but it can't be! Something's broken, something's failing, rotting!"

She even skips back and forwards between all her different lines, everything Siffrin expects of her and has memorized by now, when we've seen that she was acting differently just a moment before.

It's Siffrin's wish kicking in again that marks the final straw once more, their clashing desire to stay in the loop against his desparate will to escape, resulting in Euphrasie being torn between who she actually is (acting new! moving forward!) against what Siffrin needs her to be.

(you're still stuck here) (but isn't it fine?) (eternity is within your grasp)

Mentioning eternity even harkens back both to the King ("I just want eternity.") AND the ACT 4 ending ("To know you'll be trapped for all eternity, Siffrin... I am so sorry!!!").

Again, like, Euphrasie's agency being torn from her, falling back into that old pattern, is what marks Siffrin realizing he's been wishing for eternity this entire time. It's written on the wall all over ACT 4.

Like, literally, textually, if you choose to pray to the intact Change God statue in ACT 4, Siffrin's prayer is "(You wish for eternity.)"

Because in the course of all these loops, Siffrin has been denying everyone's agency. Euphrasie is just the most prominent example. In ACT 5, by wishing for eternity, what Siffrin has (accidentally) forced onto Euphrasie all this time, he is trying to force onto everyone.

Whether or not Euphrasie is allowed to be a person is a direct marker of Siffrin's ability to escape the loop. It's only over when she's allowed to be free.

Euphrasie is the first person in the ending to mention going home.

"Finally, you'll all be able to go home!!!"

But in ACT 6, she doesn't. She doesn't mention going home at all. Instead, she tells everyone a new story. One Siffrin's never heard before.

Allowing Euphrasie to be free turns her back into the symbol of change that she's supposed to be. I'm repeating myself, but it truly is her change that is the definite, 100% sure marker that Siffrin is free, too. That the future is here.

Why are circles a symbol of change, anyway?

In me saying, Euphrasie symbolized stagnation, until Siffrin allows her to stand for the future again, it is irony. It is immense irony that the Head Housemaiden of Change Itself turns into a symbol of endings and stagnation through Siffrin's denial.

And, on the topic of irony, I ask you:

When the hell are circles a symbol of change???

You know. Circles. The things that famously represent cycles (wow, wonder if those words are related), repetition, infinity and eternity.

Isn't that weird. Isn't that ironic. The entire symbology of the House of Change is supposed to represent, well, Change, but just amounts to representing cycles (yknow, THE LOOPS. LITERAL TIME CYCLES.) through the recontextualization of Siffrin's experience with them.

Even the Change God doesn't oppose the time loops, instead being excited for how Siffrin changes as everything else stays the same.

The circle symbol is a witty act of irony from a design standpoint, and one I must only applaud, because why the hell didn't I see that sooner.

No, like, for real. If anybody knows some real life religion or culture where circles represent change and new beginnings instead of revolutions or the turn of seasons or the cycle of life and all that stuff. Please do tell me about it? I'm not omnipotent.

But generally, the irony of Euphrasie carries forward into the irony of the Change religion as in-universe these are symbols of change, but out of universe, to us, the players, they're symbols of repetition. Just like how to everybody else Euphie is a change, but to Siffrin she is stagnation. (Re: my other essay where I compare Siffrin to a video game player and the timeloops to a video game and I go on a whole metanarrative tangent.)

This plays into the metanarrative! Making meaning to the characters and to us incongruent! And it's cool as fuck, what can I say.

To cap off, let's compare what she says in every normal loop, and ACT 6, won't we?

Euphrasie (smiling4): Finally, you'll all be able to go home!!! Euphrasie (smiling3): If there's anything the House of Dormont can do to thank you... Please do not hesitate. Euphrasie (thankyou1): But for now... Bask in the feeling of a job well done!!!

And, in ACT 6….

Euphrasie (smiling2): I'm sure you must have a lot to talk about with everyone. Euphrasie (smiling1): But be sure to talk to me when you're all done! Euphrasie (smiling4): So I can happily bless you and your companions' new journey!!!

A Plain Ol' Euphrasie Character Analysis

Heyo, that finishes my essay on Euphrasie's symbolic meaning about narrative and shit! But...

It feels kind of mean, to write so much about what her agency and lack thereof represent, without actually talking about who she is. I didn't mention that a lot, see, because it's not important. Because that part's not important to Siffrin, because during the timeloops, Siffrin doesn't see her as a person.

So. Let's talk about her! Who is she? What is she like? What does she do?

Personality

The Good and the Funny

She's really funny. I mean it. Generally, she loves to joke around, and she has this ojou-sama style "Ohoho~" laugh that I find utterly delightful.

Siffrin (tired2): "But you might know something about--" Euphrasie (smiling4): Ohohoho! Euphrasie (smiling4): Sorry, I know nothing until you talk to your friends! Euphrasie (smiling3): And quite honestly, it is a little funny to see you get steamed about this, ohoho!

So many things in this bit. This is from when you try to talk to her before all the others in a regular loop. The reason she doesn't talk back first is of course because of the whole Agency thing (see above), but also, it's funny for her to take the piss.

Yet her wanting Siffrin to talk to everyone else first also shows that she's a very considerate person! This is The Saviours' Big Moment, and she is dying to talk to Mirabelle's new friends, but she doesn't want to take away from that. She's gonna give them her moment, and only butt in once all the hugs and tears and cheers have been had.

You can see this in ACT 5, too. She doesn't pass out or anything when Siffrin smacks her away, she just recognizes that her presence is upsetting to Siffrin, she doesn't know them or their problems, so she's gonna step back and let them figure it out themselves.

Euphrasie (smiling4): Ohohoho! Don't worry about me, everyone! Mirabelle (awawa1): H-Head Housemaiden! You're okay!!! Euphrasie (smiling3): I am! I was staying away for a little bit. Euphrasie (thankyou1): You all seemed like you needed to talk, so I was patiently waiting for you all to finish your conversation! Bonnie (serious1): That's very considerate of you. Isabeau (hahaha1): It IS very considerate of you!

She even during the hand holding scene is SO considerate that she doesn't speak up and include herself until Odile asks her to join in. Which might be a bit much, actually.

Odile (lol2): Fine. Let's hold hands, then. (Odile takes Bonnie's hand.) Odile (yeah1): Head Housemaiden? Euphrasie (thankyou1): Oh! Yes, of course!

That lil "Oh!" showing she's surprised to be adressed and included in this conversation.

Anyways, the previous exchange also gives us two OTHER delightful facts about her.

Euphrasie (smiling3): I haven't had this much fun since reading the last issue of "The Cursing of Château Castle"!!!

Meaning:

She's a bit of an adrenaline junkie, and considers getting slapped across the room "fun"

The coveted last issue of Cursing of Chateau Castle in the pottery room is hers.

Delightful woman. I love her.

She's also pretty frank! She talks a lot in snappy phrases and witticisms. She's kind and patient, for one, but really not afraid to mince words.

Euphrasie (smiling4): I thought we all knew that the Change God is a pretty lazy deity! Bonnie (wait1): Wow... Odile (urgh1): Isn't that a sacrilegious thing to say...?

Really makes me like her all the more that secondhand, she comes across as graceful, larger than life, almost, and then she simply doesn't care all that much about propriety and what someone of her station is actually supposed to be like. It really fits in with the Change Belief and the ethos of being true to yourself that she doesn't bend herself like that.

I'll also continue to be delighted that she described the King defeating her as knowing that "[she] was toast", just, she's just so casual.

Guilt and Responsibility

In more serious matters. The guilttttttt.

Yeah, she's casual, but she still obviously puts a lot of focus on her responsibility to the people of the House, of Dormont. We know that she was preparing for the King to arrive. She was studying Wish Craft, she was contemplating counter measures. She was making charts of who wished what to figure out whether this could stop him.

(...The Head Housemaiden...) (She's the one who wrote this. She knows about Wish Craft.) (She knew something was wrong, this whole time.) (She might know... How to...)

There's a degree of paranoia evident that we don't see in any of her time onscreen, but you can wonder what it says about a woman to have a deadly rock trap in front of her office.

AND she doesn't have her key out in the open, she has it taped to the underside of her desk drawer. Not an infallible hiding spot, but still hidden, and not just stored.

The other people in the House were all also revealed to be the ones locking doors in the party's path, hoping that it would stop the King.

Bonnie (sad1): . . .You know, I was wondering... Bonnie (sulk2): Like, the King clearly closed this door, and put the Tears in our way... Bonnie (sad1): But the... But the locked doors, weren't they... Mirabelle (sad2): ... Odile (dotdotdot2): Yes... We were wrong. Odile (dotdotdot1): They were most likely locked by residents of the House.

Speaking of people hoping to stop the King, she has a mountain of notes on him in her office as well.

(Some notes about the King.) (The Head Housemaiden must've been looking for more information about him...)

She hid her key, trapped her door, and before that, gathered information on the King and how to counter him. So, let me ask, do you think she improvised her blessing?

Mirabelle (excited1): She's also a great Crafter! She always creates wonderful items that makes everyone's lives easer! Mirabelle (awkward2): She taught me so much... Most of the Craft skills I know, I learned from her.

She's a skilled Crafter to boot, eh?

Looking at this, I don't really think so. Beneath that jolly front, she is a logical and pragmatic woman. Looking at her ability to specifically counter the King's Curse in context of how much we know she prepared for his arrival, I believe she prepped this blessing beforehand. Whether she actually finished it, I don't know, but she had to pick Mirabelle as a subject for it quickly and under duress.

Mirabelle wasn't the ideal choice. She was the logical choice.

Euphrasie (smiling3): Well, I only had the strength to bless one person, and I was already toast, and you were almost out of the House when the King attacked... Euphrasie (smiling3): So, really, you were the only logical choice!

There are some more emotional reasons for the pick, which I'll go into later when talking about Mira, but, still. She mentions this first, before going into Mirabelle's virtues as a person.

Plus, Claude (who will also get a section later), is the person closest to the King and Euphie. She's got the Secret Ingredient for the bomb on her, and had obviously been working on making a Craft Bomb beforehand, as discovered by the gizmo gadget in her room.

Combined, we can surmise that Euphie and Claude were both making different preparations to counter the King, with Euphie focusing on Craft both by studying Wish Craft and working on a Craft to nullify the King's Curse, whereas Claude just worked on a bomb to blow him the fuck up.

Euphrasie was, simply put, working to protect the people she cared for. It's her responsibility.

And she failed.

LET'S TALK ABOUT HER GUILT!!! WOOOO!!!!

When you talk to the people in Dormont during Loopquest, some of them mention the Head Housemaiden also asking them about their wishes, but none of them know why. This implies that Euphrasie was covert in her research, likely not sharing her information either because she was unsure of its verity, or to not cause undue panic. The only other person we see with less than impromptu countermeasures is, after all, literally just Euphrasie's girlfriend, who would be the number one person Euphie would confide in about this stuff.

Even then, though, there is no concrete evidence that she did confide in Claude, outside of Claude preparing the bomb, which is circumstantial at best. Really, did she not have any issues with Siffrin's treatment of her in ACT 5, or did she just swallow it down out of pragmatism?

Can we be sure that it's sincere, when she brushes off Siffrin's worry for her?

Siffrin (US_guilty2): "You said the things you always say when I come and talk to you." Siffrin (US_guilty2): "About how the world is rotting." Siffrin (US_sad1): "And you can't do anything to help." Euphrasie (sorry3): Hm... Euphrasie (smiling4): Interesting! I don't feel like saying it now, though! Euphrasie (smiling1): Or at all! The wind feels nice and fresh. Euphrasie (smiling4): It just feels like a beautiful day, doesn't it?

After all, in the loops themselves... She's the first to notice it, every time. She knows, deep within her bones, that something's wrong, and that it's her fault.

It's especially potent symbolically, that the phrase she never gets to finish is "I hope you can learn to forgive us."

Which is a phrase that received a slight change from its comic counterpart:

"I hope you can learn to forgive me."

Regardless of the me versus us, she, with the most intimate knowledge of Wish Craft right next to the King, directed the people of Vaugarde's wish, and knows that Siffrin ended up as the Wish's subject. She can't know that this is a side effect of Siffrin's wish being entangled with her own, but she does know her own wish is involved.

She starts crying. She's disraught. She breaks down.

Euphrasie (ending2): I can't fix it on my own, not before it all ends... If only I had noticed sooner!!! Euphrasie (ending1): I should've seen it, prevented it!!!

She says that she should have seen this and prevented it. It was her responsibility to do this, and she failed.

Euphrasie (ending2): It's my fault that you have to suffer like this.

Again, she was the only one who knew, the only one who could have ever possibly had any shot of defeating the King before things got too bad. But she fucked up, he stormed in before she could prepare properly, and she squarely lost whatever confrontation might've occured between her and the King.

Euphrasie: Something goes wrong, every time!!! Euphrasie: If you're here now, asking about Wish Craft, then something must be wrong, isn't it? This isn't the first time you've gotten this far, isn't it?!? Euphrasie: It shouldn't be like this... Why does time loop back, even though the King has been defeated?!? Euphrasie: The only answer I can find... Is it's because we did it wrong.

She's responsible, pragmatic to the point of paranoia, and it wasn't enough. Of course she feels guilt. A lot of it. After all, she believes that she personally has doomed someone to eternal stagnation. That she has caused all of Vaugarde to be trapped, and for one person to suffer for it. That she caused all of Siffrin's suffering.

It's so odd to me that she manages to immediately grasp that Siffrin is in a timeloop. It could be Siffrin's wish using her as a mouthpiece, it could be that weird innate connection to the Universe she seems to have, it could be her own immediate deduction on the logic of Wish Craft, or it could be a combination of all three.

But point is, she recognizes Siffrin's looping without having to ever be told about it. And I do not think that goes away, even in ACT 5 & 6. It's just not the time and place for her to speak on her own struggles right now, not when Siffrin is finally getting the help that she cannot provide. Not when she can recognize that she is the conductor of everything that just occured, which, again, nearly broke the entire work.

Euphrasie: If only... If only we had fought back against the King, instead! If only we didn't wish for such a thing! Euphrasie: If only I knew this would happen, if I had noticed it sooner, I would never have let people wish at all!!! Euphrasie: To know you'll be trapped for all eternity, Siffrin... I am so sorry!!! Euphrasie: It's our fault, all of Vaugarde, that you have to suffer like this!!!

She gathered her intel and made her bet. She just made the wrong one.

(Yet what she never seems to recognize is that this had to happen. That without the timeloops, yeah, the King wouldn't have been defeated! The country would have been frozen!)

(But that doesn't mean anything, does it. When she had to take away Change Itself from some innocent bystander.)

Relationships

Anyways in more cheerful news let's look at the two most important people to Euphrasie we know of.

Mirabelle

Mirabelle!! The Meeble!! Euphrasie is super important to Mirabelle, and Mirabelle, in turn, is super important to Euphrasie.

From the third snack break:

Mirabelle (sad2): The Head Housemaiden... She's such a wonderful person. Mirabelle (sad2): She helped me out so much! I couldn't do anything before I came to the House, I could barely sew my own clothes, and she helped me, she taught me... Mirabelle (sad2): I wouldn't be the person I am without her! Mirabelle (sad2): And when the King attacked...  She protected me. Mirabelle (sad2): Everyone... Everyone was being frozen in time around me... Mirabelle (sad4): And the Head Housemaiden made sure I could escape! Made sure I lived!!! Mirabelle (sad4): She gave me her blessing...!!!

Similarly to some of the other older Housemaidens, Euphrasie had a big part in raising Mirabelle (which does imply some things about Mirabelle's past, but that's not the point right now). We don't know the exact sequence of events for Mirabelle escaping (outside of Mirabelle happening to be closest to the door), but Mirabelle adds some action to Euphrasie during whatever happened, saying Euphrasie "protected her".

From Euphie's office:

Mirabelle (sad2): But the King was too strong, and attacked out of nowhere, and now... I don't know what happened to her. Mirabelle (sad2): When I fled the House... The King might've already... ...

They weren't in the same room, Mirabelle doesn't even know what exactly happened to her, but still says Euphie protected her, and obviously shows great esteem for her all around.

Mirabelle just loves Euphie so much, man!

Euphrasie (sorry3): And, Housemaiden Mirabelle... Euphrasie (smiling1): You have always been the most hardworking Housemaiden in the House. Always striving to learn new things. To better yourself. Euphrasie (smiling2): Always meeting challenges head on, even if you didn't think you'd succeed. Euphrasie (smiling3): You were the only logical choice, yes, but you were also the only RIGHT choice! Mirabelle (sad2): Head Housemaiden... Mirabelle (gentle1): No, Euphrasie... Thank you!!!

Mirabelle credits Euphrasie for the person she is today, but Euphrasie turns that back and gives credit to Mirabelle's own strengths. It's just, very cute. She might have taught Mirabelle her literal skills, but the determination and bravery were all Mirabelle's own.

This scene also demonstrates that the bond goes both ways. Euphie loves Mira right on back, and considers Mira to be "stinking cute!" which even the Change God Themself agrees with. She's so proud of Mira!

I also wanna point to the switch from Mira using Euphie's title, to then using Euphie's name after Euphie reaffirms how proud she is of Mira. Throughout the entire adventure, Mirabelle's unwitting deception (that she had been blessed by the Change God instead of by Euphie) had weighed down on her, and Mirabelle kept questioning why she was the one who had to go on this journey, when Euphrasie would have been so much better at it. Like she stole Euphie's spot.

I think that bled into the relationship, here, that she kept imagining Euphrasie being disappointed in her, so she uses the title to make some distance to that mental image. It shows off how distant and unreachable Euphrasie is.

(It's also just a good show of politeness from Mirabelle. Like, if I'm talking to my mother, I'll call her Mama, but if I am talking about her to someone else, I'll say "my mother", as demonstrated by the first part of this sentence.)

Lastly, really minor thing: apparently, Euphrasie is looking into dual Craft types! That's one of the random papers on her desk.

(It's an essay about the 3.5% of people who are dual Craft types users, like Mirabelle.)

That makes me think she started reading on it because of Mirabelle, which is cute.

Generally, the basis of their relationship is very much mentor-student, yet it goes much deeper than that with Euphrasie's big role in raising Mirabelle. TLDR: they love each other, your honor. Fambly.

Claude

Second on the agenda, Mirabelle's roommate, Claude!

Lookin at Claude. It's obvious they're romantically involved. The first hint is the letter on Euphie's desk, of course, but that could imply this is a recent situation, too.

(It's a lovely, cheesy, mushy love letter from someone named Claude.)

Except, well, no. The letter isn't sealed, otherwise Siffrin wouldn't be able to pick it up and skim it if they had to open it first. It was already open, meaning Euphrasie already read it.

And, in Act 6:

Claude: Okay! We'll come and say hi later, then. I'll need to go and plant a big kiss on Euphie, anyway.

Claude mentions how she has to give Euphie a big kiss, which you wouldn't exactly do with someone you only just confessed to. Meaning the relationship has been ongoing for a while now, and also implying that Claude still writes love letters to Euphie, or that Euphie kept Claude's initial confession on her desk, both options make them big saps, which is really cute.

Also also, Claude's the only one to call Euphie Euphie, an endearing nickname.

I also touched on before how Claude was the only one to also prepare for the King's attack by making the bomb, and...

Mirabelle (sad1): I... used to think she should've become a Defender, because she was always helping people, and trying out weird experiments to solve their problems... Mirabelle (sad2): And she would always, ALWAYS help the Head Housemaiden with hers. Mirabelle (sad2): Always trying new ways to organize her desk... To help her finish tasks... To make sure she'd get some free time... Mirabelle (sad2): She'd do it with a smug smile, saying it wasn't that big of a deal, that she'd do it for anyone, but... Mirabelle (sad2): If she knew that the Head Housemaiden was in danger... She would've ran anywhere, everywhere, so she could help her. Mirabelle (sad2): Not only because the Head Housemaiden would've solved anything, would've beaten the King if she could, but because... Mirabelle (sad3): Because... Mirabelle (sad3): . . . Mirabelle (sad3): If Claude is this far into the House, she must've... tried to stop the King herself, so he wouldn't get to the Head Housemaiden.

Mirabelle trails off on that last "because" concerning Claude's motivation to go rushing to Euphrasie, and I think, considering the love letters, we can guess what that was. It's quite evident from Mirabelle's words that the two are super close. "[t]hat she'd do it for anyone, but... If she knew the Head Housemaiden was in danger... She would've ran anywhere, everywhere, so she could help her."

Mirabelle's framing of it reveals that Claude wouldn't do those things for just anyone. That Euphrasie is special to her.

In both ISAT and SASASAP, Claude is the last frozen NPC you find, the closest to the King. Her bomb wasn't finished, but it's telling that Claude carries the Secret Ingredient on her person. Whatever it is, she probably nabbed it from her room and set out to help Euphrasie in her fight against the King any way she could.

I guess the summary here is more simple, but the devotion on display is amazing. Like, again, the bomb wasn't done, Claude had NO weapons to speak of, but came rushing in anyway, because Euphrasie was in danger. She loves her girlfriend so much!! They're mushy and silly and affectionate, and, if Claude is the one organizing Euphie's desk, did Claude keep her love letter on display just to show off? Again, it's. It's cute! It's a lot of environmental storytelling for an NPC!!

Wah. Clauphie are so cute. We don't see Euphrasie talk about Claude at all (because Euphrasie does have more uhhh pressing things to worry about), but just, from the letter on the desk, it's gotta be reciprocated.

There's just so much to speculate about how things went down when the King "attacked out of nowhere", because Euphrasie is at the top of the House. Even when the King is defeated and the House returns to normal, it's still the roof. So, did she draw him up there on purpose to give everyone else time to escape?

I personally think Euphrasie was probably frozen first, with Claude rushing in second. So she did hold him off as long as she could, and that sacrifice allowed Mirabelle to escape in the first place. Nothing would've been possible without her. Euphie feels so much guilt for what she's done, but Mirabelle and Siffrin would not have suceeded without her, okay. She's instrumental.

Which is less about Claude and more about Euphrasie's importance, but hey, this is my essay, and I can be as uncoordinated as I want.

The Job

Last thing I wanna touch on!! Just a fun lil thing.

What the hell is a Head Housemaiden anyway?

Mirabelle and Isabeau react scandalized at the notion of people sharing shrines, so it seems unlikely that the House functions anything like a church at all. Every Housemaiden has a personalized figure of the Change God that they pray to in private, as we see from Mirabelle talking about them, in addition to basically every room in the House having one, down to people making more in pottery class. So, it's suuuper unlikely that the Head Housemaiden has much of a religious function. Spreading the good word, maybe, but actually leading prayer? No way.

Odile (wonder1): We make shrines for our gods, and everyone shares the shrines. Isabeau (huhwah1): SHARING GODS............

She seems to have a much more logistical function, being more like. The manager of the House. This is a files thing, but the map for her room is actually called "admin". She also has a lot of quote unquote boring administrative papers on her desk that Siffrin doesn't care about. Makes one wonder how the position is selected, whether one is elected into the office, or it's just whoever wants to do the paperwork to keep the House running.

(It looks like boring administrative papers.) (It's a petition to serve more bread at lunch.)

Mirabelle (happy1): She manages the House and makes sure everyone is happy and fulfilled! She organizes a lot of events too!

Among things such as "what to serve at lunch" and "organizing events", she's more like the headmaster of a community college, especially considering how heavy the House just resembles a community center. Less of a religious institution, more just a place to host fun classes and a living space for all who need it.

It's hard to tell whether Euphie demands a lot of respect due to her person and office, or it's just Mirabelle specifically that respects her most, since most of what we know of the House and its people is filtered through Mirabelle's perspective.

Speculation!

It's headcanon time, babey.

Yup, after straying close to actual facts for so long, I wanna get speculative. You're probably already gonna know islander theory. (And if you don't, go read that. This is like, the third time I linked it.)

But I wanna like, talk about how that influences how I read Euphrasie a lot!! I didn't go in-depth with that aspect in the og theory post but you can swear to any god you believe in that I've thought so so much how this enhances other aspects of who she is and stands for and also SHOUTOUT TO OCEAN!!! WHO ALSO THINKS ABOUT THIS SO MUCH!!! And again in fact thought about all of this before I did and is also someone who talk about excessively about this. AND ALSO GOT TO PREVIEW A GOOD CHUNK OF THIS ESSAY and motivated me to finish this eheh.

Anways! I wanna circle back to some points here first!

That whole past vs future thing

You might recall how I compared Euphie and the King a lot, esp between their respective roles in ISAT and SASASAP being pretty identical. And I said the King represents the past, as he is literally frozen in time, choosing to remember what he has lost instead of living in the present, and Euphrasie represents the future, which can only arrive when she is permitted to be her own person!

So yeah, uh, how's that feel when you suppose that they're from the same country, and thus, suffered the same loss.

Reading Euphrasie with this HC in mind opens up a very neat second parallel to Siffrin. King is someone who can't let go of the country, and Siffrin is torn between not wanting to let go and knowing they have to. So to put them up against someone who has let go is just pretty nifty.

Euphrasie is content with her life and the culture she lives in, even being a pillar of the community! Whereas King is a 'bad end' counterpart, Euphie, in her Showing The Future Function, is the 'good end' counterpart for that, showing that someone in Siffrin's situation can overcome their grief and find new fulfillment.

The End

So! That's everything I got on Euphrasie! She represents The End, but just as you gotta break an egg to make an omelette, she represents new beginnings, too. Her agency and freedom are change itself.

Mirabelle (hm3): It's to remind us that before changing, we must stop and think about what will be irreparably destroyed. Mirabelle (hm1): But destruction is just a part of change, and we must accept it... Isabeau (brag1): Yeah! It'd be awful to keep yourself from becoming a person you feel comfortable with just because it would upset someone else. Odile (huh1): Huh... That's a harsher belief than I thought.

In conclusion, I love her. This has been 7.4k words. Good night!

[justeasing]

Is it just me, or has Hoyo kinda given up on Genshin?

Because it honestly feels that way, and it's pretty depressing. Like, I used to really like Genshin Impact— Fontaine, especially! (I still go there to do all my crafting and see Katherine, etc. And if not there, then Mondstadt) But now it just feels... lifeless?

It's like they put their whole-ass pussy into Fontaine – its characters, the lore, and design, even down to mini-games/puzzles, and just lost all steam on Natlan.

Don't get me wrong! It's still gorgeous! But the environment is about all there is for me. Even the Saurians are such a letdown. Like, I heard from Neuvillette, "Natlan is the land of dragons", and I got images in my head of drakes in treetop and crevices, large winged BEASTS flying overhead at a constant rate, the world swirling with wingbeats!

Instead we got... Pokémon. Basically.

And I'm pretty sure everyone and their grandmother didn't imagine the "Nation of War" to look so lush and colorful where – instead of the walls and rockface being covered in BLOOD – everything is covered in graffiti. And, to top it off, none of that graffiti shows depictions of war, but is more just slashes of color.

Now, I know people will be like, "Well, if you set expectations you'll be disappointed," and yes. That's true. The difference here is that we've SEEN dragons in pretty much every region. We've seen Dvalin, the bones and beating heart of Durin, Morax, Orobashi's skull and ribcage, Apep, and even Neuvillette ffs! As players in this world, we hear "dragon" we think "GRANDIOSE! LARGE! MENACING!" not... cute fluffy bats and bouncing lizards. Those aren't dragons. They're dinosaurs. It's different.

Then there's the "war" part... Genshin has shown us areas that are dark and torn apart by combat. We've all BEEN to Inazuma – I do not NEED to elaborate. We've seen battlefields and remnants of destruction in the form of crashed ships, swords and spears jousting from the sand and stone, armor plating discarded and canons – weaponry! – everywhere.

Where is that type of monumental storytelling in Natlan? Where's the bloodied battlefield? Where's the desolate patch of land like Old Vanarana? A place so sullied by death nothing can grow there anymore? Where the Archon's flame has scorched away a thousand droves of Abyssal monstrosities, and yet they keep coming? WHERE IS IT? I WANT BLOOD!

So it's just disappointing, and I'm starting to feel like Hoyo themselves are giving up on Genshin Impact. I think the company's assets are starting to be moved more towards HSR and now ZZZ. I think they're possibly actually trying to KILL Genshin so they can focus on new, "more exciting" titles that have fesher graphics and more of a revenue. And, annoyingly, there's evidence in this in the way they treat their fans of these series...

HSR has had better treatment from Day 1 with higher Resin caps and Free 5☆, which Genshin has only just now received after the competition from Wuthering Waves. It's no coincidence that Wuthering comes out with its 240 Waveplates and – not ONE, but TWO! – Free 5☆ Banners (not to mention a LOT of QoL features that gave players more freedom and fun, like their Echo system VS Genshin's Artifacts, and constant Dev Team mail handouts of Astrite, etc.) and suddenly Genshin is doing the same thing with a free 5☆ Banner and getting Primos in the mail as apologies for "bugs", the new Artifact locking system, and Resin cap increase to 200, etc.

It's just ridiculous... These changes are ones that players had been asking for for FOUR YEARS and it's only now – with Wuthering – that we're getting these changes. Meanwhile, with Wuthering, they've listened to player feedback and made a bajillion positive changes in under 1 year. The playerbase has never been happier! And it shows! But it also backs up what I'm saying towards Hoyo just... giving up.

Hoyo – before Wuthering Waves – has never had to hold itself accountable. Complaints? Didn't matter. There's no bar set, it's that low. It's more like a stick in the middle of the road instead of even a speedbump. They WERE the bar to reach! So they didn't have to comply to customer feedback and never had to care. Because of that, Natlan has fallen into shambles... They don't care about coherent characters in their world backdrop!

Xilonen? The roller-blading DJ cat? That smithies up motorbikes? Yeah... she lives in a hut. In a ditch. And also there are no ocelots in Natlan. And she works with hammer and molten metal with a full mani-pedi. It's just..... what?

Kinich – uses pixels to fight people because of an ancient dragon soul trapped in a Ben 10 watch – and where are the pixels in the ancient dragon ruins, then? Or, if it's just a manifestation coded by Kinich himself, where are the pixilated accents in the Scions camps? Why aren't they blockier, or using holographic screens?

What about Mavuika, herself? Why the flying dragon bollocks does she have a MOTORCYCLE when there are no roads? We see a road in her animation, but no highways in Natlan exist. Why not? Why not make busy roadways where her bike can be used at 2x the speed or something? No..?? WHY NOT?

Because they don't care. Not anymore. Everything made sense in Mondstadt and Liyue... but after that, writing started to slip. Some parts of Inazuma and Sumeru in particular make that obvious, but I'm not gonna go into that, currently. If you want to know, send me an ask. But, right now, Natlan is a total rip-off/failure of a Nation, and I can explain more of that - too - if you want (the "rip-off" part), but now I'm tired and need to just... not.

I genuinely just wish it was better. But, why wish when everything I could ask for is now in Wuthering Waves? So... I'm just gonna play that, haha 😅

Anyways: Rant over! Hope you enjoyed/agree if you got this far! And I wish you all well on your 50/50's! 💕

[norwegika]

Stardew valley rant:

I’ve recently been really getting into the life of spouses after you marry them, because for the majority of them, they kinda just stick at home, occasionally visiting family or friends. And those who do still do stuff, it never changes. Maru always works with Harvey at the clinic, Emily always works for Gus at the saloon, nothing really changes in their lives besides a new, much more sedentary lifestyle. I really would like for the spouses to get new hobbies and stuff when they marry you, so here’s my little ideas/headcannons, bachelorettes first!

Abigail: She begins to work on her adventuring skills in the mines and you’ll find her on every fifth floor, going further and further. She’ll give you gems from her travels, and eventually, when she reaches the bottom of the mines, she’ll start going to the skull caverns where she’ll give you iridium and the occasional prismatic shard. Something cool that could happen would be the addiction of an elevator to the skull caverns as she travels further down, every 25 floors. She would also become a member of the adventurer’s guild and serve as Marlon’s apprentice, taking over the guild on some days or opening a branch in the Calico desert that she mans sometimes.

Maru: Maru never really branches out beyond her personal inventions, so I think there could be a quest where she asks you for a new wing of the house that she could use as a workshop. This wing would be constructed by Robin, would be unlocked at 20 hearts, and would cost 750,000 gold, 250 hardwood, 10 iridium bars and 10 battery packs. Then, you could accept quests from Maru every once in a while and unlock new inventions that she made that would increase qol. Maybe she could give you a crafting recipe for auto-petters, she could make a device that automatically plants grass in meadows for your animals, a machine that can increase the quality of items by using a resource or something, the possibilities are endless!

Penny; Penny is always caring for the children of the valley, and I think it would be great if when you marry her, like Maru, you eventually get a quest that allows you to build a school for the kids, possibly utilizing the space to the left of the community center. Maybe then we could have another mini-festival where you can see the children of stardew valley show off their work, maybe unlock a “Talent Show” cutscene where Jas, Vincent, and Leo show off their skills fr. This idea is more underwhelming than my first two and could definitely be improved.

Emily: I think as you progress your post marital relationship with Emily you could help her convince Sandy to move to the valley and have someone else take over the Oasis, learning Sandy’s real name, unlocking special cutscenes with her, etc. I also feel like Emily would have a little workshop where she makes clothes and you could unlock a system where she takes your gems and a clothing item and combines them, giving your clothes a buff, like combining Topaz with a shirt gave the shirt a +1 defense buff, etc. Emily could even start a clothing line and you could gift these clothes to townspeople and get new sprites and portraits for them :D

Haley: After marriage, Haley does literally nothing but see Emily once a week. This needdsss to change, so I think she could discover her passion for photography again and start a blog about the valley, which would unlock a building to the right side of the Bus Stop: the Tourist Center. You could open a tourist center with Haley and occasionally get tourists that come to the valley, similar to the tourists at the Stardew Valley Fair. These tourists could roam around the town for a bit, and you could unlock new dialogue with the townspeople about the tourists, like “These tourists are really boosting the community economy!”

(Cc specific) Leah: Leah would start hosting art classes in the community center every Wednesday! Every month, the group of people who decided to attend could make a new painting that could be hung up in the community center, orrrr you could unlock a new building between the Blacksmith and the Movie Theater/JojaMart, where you could see the different art pieces and could have a new festival, the stardew valley fine arts conference, where the Famous Painter Lupini could host a talk with the artsy people from the valley and Zuzu City, and you could get new clothing items, a cutscene, dialogue, new paintings and sculptures, etc.

I hope you liked my insane Stardew valley yapping session, I’ll do bachelors tomorrow probably :3

[abirddogmoment]

A lot about Mav's decline and a little about how it makes me look at Rory.

I didn't talk about it very much here, but Mav was really subtle in his signs of pain when he was declining from his spine injury. Some of the things that tipped me off were changes to his gait, lower tailset, slower movement, reluctance/slowness getting on or off furniture, and needing extra cuddling. These things could easily be brushed off as him being tired or him being disinterested, and it really made me doubt what I was seeing.

I was sure Mav had something really wrong with him, but it was so hard to convince the vet of that. She said things like "are you sure you didn't just train him not to jump on the furniture?" and "sometimes dogs slow down as they age", meaning well but ultimately making things a lot harder for me. This, coupled with Mav's happiness at the vet and overall stoic personality, gaslit me into thinking I was imagining things. I googled things like "munchausen by proxy symptoms" because I needed to know if I was the real problem.

When Mav went for his OFA hips and elbow rads, I had them take spine rads as well, hoping it would answer my question and help find out what was wrong with him. When his rads came back normal, I cried. It was partly in relief that it wasn't something structural, but also partly desperation that I couldn't prove something was wrong.

I pushed my vet to refer Mav for a neuro consult. It took four months to get her to agree and then for the neuro clinic to schedule Mav in. In that time, I started tracking his decline with a special quality of life chart I made specifically for him. It showed a degeneration of his QOL, but I still thought maybe I was dramatizing things and imagining it.

When Mav went for his neuro consult, they took him back for tests for ten minutes, then came back and solemnly told me they were certain his problem was neurological. They then asked me if they could take him back and let their vet students do the (non-invasive) tests on him for practice because he was such a happy dog. Of course I said yes.

They told me he wasn't a good candidate for surgery. I could do an MRI, but it would be expensive and wouldn't add much besides a formal diagnosis. They recommended palliative care.

I sobbed while driving home. Part of it was relief that I finally knew I wasn't imagining things. Most of it was heartbreak.

I scrutinized Mav's final decline because I couldn't let him suffer. I had hard lines ("when he can't run" and "when the painkillers stop working") and he reached those, but he was still so happy. He still had so much joy in his life. I made the call anyway.

The day came. He trotted into the vet's office like he was meeting his best friend at a restaurant. The vet carried him back to get a port and he wagged his tail the whole time. He scarfed down an entire fistful of cookies.

It was still, without a single doubt, the right choice for Maverick. I have thought about it from every angle, torn apart every single decision, and there's nothing I would do differently if I could go back and do it all again.

Now Rory came to me with a weird gait. She came to me with occasional dorsal shivers (the skin thing horses do) and extremely occasionally bunny hops while running. Not enough for me to think there's something seriously wrong with her, but enough for me to send videos to her breeder. I tried to believe it was just a symptom of puppy uglies or that she just needed more time to grow gracefully.

I debated it for two months, but I finally took Rory for an assessment at a sports physio vet here in town. When I filled out the intake form, I made it clear that I could be concerned over nothing, that this could be a waste of $85 and an hour of our time.

She scheduled us in, did her hands on assessment, and found a knot in Rory's thigh. She gave us some stretches and we have a few more rechecks, but Rory should be totally fine and her gait should improved within the week. All the symptoms point towards a longterm overcompensation to reduce weight on her one leg.

I felt so stupid going into the sports vet today. I almost cancelled my appointment twice because I was sure I was imagining things. Even when she was examining Rory, I was preparing my apology for wasting her time.

Rory is going to feel better. She's going to get to grow up without the effects caused from an overcompensation from shifting her weight in a weird way. She probably would've been fine even without the appointment, but she's going to be even better now.

It's a whole lot of text to say something cliché like trust your instincts or don't overthink it, but it is what it is.

[mad-hare]

another issue with me and my 20+ year experience and critque of farming genre games is that features that added difficulty/some semblance of realism which I adored didn't seem as widely loved as I would think. things like cows going dry and needing to be rebred in HM: AWL

probably the most convoluted and my most loved feature was the HM: Sunshine Islands sun/water points system. Where each crop needed a certain amount of sun/water points to get to the next stage. (There was a system where you could water once for 1 water point or water twice for 2). And you kinda had to think about what you were doing every day and could lose your crops to too much rain. REALISTIC! But man I feel like people would hate that today.

Points system:

And turnip growth for example (more expensive crops had a more delicate range, the turnip was unkillable):

Yams were "delicate" but also a terrific money farm because you had to spend very little energy watering them so you could mass plant them and ignore them:

Pics from beloved resource fogu.com

This system only existed in one harvest moon generation (islands of happiness, then sunshine isles was the "remake" trying to fix QoL).

To me, this is a genius representation of vegetable farming because some crops like tomatoes and cucumbers are way more water hungry than others. The problem with wanting to do this is I can't figure out how to put my own "twist" on it, most likely I'd just simplify it to remove the double watering ability and tone down the sun requirements to match. (In real life we actually measure crop maturation rates by a unit called crop heat units and growing degree days, so sun is a pretty realistic way to do this in a game without temperatures)!

[wild-magic-oops]

I finally finished DATV!

It takes a lot for a game to make me cry but DATV did that a few times. The writing at times is definitely lacking or cringe but ultimately I don't mind a more fluffy YA type of story, so it doesn't matter to me much. But the main story questline is filled with absolute bangers, especially Act 3. I think the majority of the main story questline was the first thing that got done, so it's the most polished. Then some side quests that pack a punch and some of the companions quests (or at least parts of them). Then the rest, so it shows.

But back to Act 3 - fantastic, especially playing as a Shadow Dragon. DA2 tried really hard to make Hawke care about Kirkwall but ultimately it failed to make me care about it or give me a reason for my Hawke to do so. DATV actually made me care about saving Minrathous. My Rook did it once and then it got blighted anyway at the end, which adds to his frustration and helplessness that's been building during the story.

There were so many moments that I wasn't sure whether everyone possible would make it and I absolutely loved the suspense. At the end everyone except Harding survived so I'm pleased with my results. What I really liked is that the exploration, building relationships with factions and companions, actually plays a role in the end. And it's not boiled down to some extra spells I can use in the final encounter (I'm looking directly at you BG3). Companions and factions are actually woven into the final battle and I love that.

Now about Solas - he was one of the reasons I bought the game. I was really curious how his story would go and I have to say I'm very satisfied in that regard. His interactions with Rook were always intriguing to me, and they're delicious in Act 3.

I expected the ending slides to be a disappointment bc that's something that would be probably done at the very end anyway, so no surprises there. I definitely wish there was more. But tbh, the fact that the game came out at all, with no microtransactions, no day 1 paid dlcs that hide important lore, no major bugs (and barely any for me at least), fun gameplay, amazing qol stuff - it's a surprise. And I feel like people who are very disappointed are so bc they went into it with high expectations, which they should've tempered given what was known about the development hell the game went through and about EA. Despite its flaws, the game offers much to fans to enjoy if they actually want to do that and are not obsessed over what it could've or should've been. And that's only taking into consideration the valid criticism. This is the place to say I actually don't care that the game was a soft reboot and ignored previous choices. Ofc it would've been great if it wasn't like that, but I honestly didn't expect much bc bioware always pushed their own canon and mostly ignored other choices or retconned how your previous character felt about certain things. And not to mention how the Divine choice would've been an absolute hell to implement to begin with, unless they once again made certain choices not matter, which would've been worse imo.

I love Mass Effect much more than Dragon Age. And DATV felt like a fantasy ME game, so I liked it for what it is. I honestly don't miss the "but what if oppression is actually excusable and a valid choice ehehe" type of bs from the previous games, I don't miss the South, and I don't miss slurs and xenophobic remarks thrown in my or companions' faces every second conversation bc the game doesn't trust me to really get that smth is wrong without overdoing it and feeding me like a baby. Yes, Veilguard doesn't stress those topics enough, but that's mostly bc it focuses on bigger problems. But they're still there, often in the main questline. And I want to point out that I do in fact love intriguing political knots set in fantasy lands. But in my book DA has not been great at this, so I don't care that they did away with that and focused on an epic save-the-world story instead for this particular game (which fans should've known was the path bc Tresspasser basically tells you that).

Time for a replay now ofc

[moonlitcomet]

new pokemon fangame in my has-played list thanks to a recommendation from a discord member:

pokemon tectonic

please note this post is very long and very opinionated, but that's out of love for this game! pokemon tectonic has captured my interest and i'd like to see its devs improve in their next project.

my thoughts so far, after 21 hours of gameplay and 4 badges:

it needs a lot of polish, and a lot of QoL changes.

a lot of the choices made for gameplay in tectonic are really great and fun - every single pokemon getting rebalanced at least a little bit, all the new moves, the retypings and what not, that's all fantastic. i have no complaints there.

there are a lot of QoL features - such as easy move relearners and move mentoring - that make swapping your team's movesets around a breeze.

there is also an extremely expansive in-game documentation of everything - gameplay, battles, new moves and abilities, pokemon stats and learnsets, etc. you could make a wiki out of what's in here alone.

they encourage you to catch 'em all and actively reward you for it!

consumable held items will be automatically renewed at the end of a battle. you will never run out of gems or berries.

there are following pokemon, hgss style!

however, it fumbles in a lot of aspects.

gameplay

npc trainers will know your moves, and they will act depending on what moves are in your current pokemon's moveset- before any are made.

in the context of the game, this makes perfect sense. you are given an item that allows you to preview a trainer's pokemon before you battle. species, types, abilities, items, everything. trainers will react based on what they think you will do before have a chance to do anything.

but in the context of playing the game as a normal player, it feels either downright cheap or incredibly unintelligent on their parts. they will give you at least one free turn of setup, then get brutally swept by an attacking pokemon.

it would be a good idea to adjust this npc ai so you can disable use of the trainer x-ray for both battlers. i don't want them to know what i have just by looking at me, and i don't want to know what they have just by looking at them.

removing use of this tool for both sides would keep it fair. having to look at every trainer i fight in detail before i fight them is time consuming and removes a lot of the mystery and the fun of playing pokemon games to me.

trainers in this game will switch their pokemon as often as they can, and tectonic discourages you from doing that too.

a major part of pokemon's gameplay is knowing when to sacrifice a pokemon so you can bring in a waiting, healthy team member. a pokemon hanging on by a sliver of health is better to sack in the moment so your waiting team member doesn't take a strong hit, and has a turn to set up or retaliate.

tectonic actively punishes this style of gameplay.

trainers will constantly switch depending on what they think will counter your active pokemon. usually, this just means switching into a pokemon that resists your next attacking move. this is often at a detriment to them, and sometimes you can get caught in switching loops where you and the enemy trainer will change between pokemon every two turns -

attack, switch.

attack, switch.

attack, switch.

this wastes a lot of time.

an un-toggleable feature of this game is "trainer perfection". when you beat an average route npc trainer without having a single pokemon go down on your side, the trainer will run away and drop exp candy. this is a perfect win. by default, if you do not perfect a battle, the trainer will wait until you come by again to challenge you once more.

this can't be turned off except if you happen to have a special item called a stink bomb, which forces them to run away whether you've defeated them or not.

protip, you can open the debug menu using an application in your installation folder, and give yourself infinite stink bombs.

my suggestion for the perfection system is to allow players to disable it for average npcs, make it optional. or, at least, give us an option to *willingly* talk to npcs to rematch them. like the vs seeker in older games.

the devs intended this feature to not force you to rematch trainers multiple times, and instead plan your routes carefully. this has the unfortunate side effect of discouraging some players from fighting every trainer and exploring the game as they want, because the forced rematches upon coming across them again [unless you perfect them] waste more and more of their time.

also, some of these npc trainers are trainers that completely block your path - difficult ones at that. if you don't perfect or scare them off with a stink bomb, you'll have to go at them again when you come back around.

as of right now, the trainer rematches are as annoying as the pokemon breeders in gen 5. they are incessant unless you sweep them.

IVs, EVs, and natures are completely removed.

to most casual players, this would be a hooray! i'm personally happy about the removal of IVs, but it really starts to kick you in the teeth as you progress in the game. instead, what these things are replaced with are called style points. style points are minimal stat adjustments that allow you to set up different styles of battling for your pokemon.

think of it like skill points in average rpgs.

these are cool in theory. but the way they're set up is limiting and feels unnecessarily strict in application. for some unknown reason, both attacking stats are permanently linked, and you must raise both attacking stats at once. raising two attacking stats only removes one point from your remaining pool, but it feels pointless to have style points invested into a stat you will not use [ie, physical attack on a pure special attacker].

i can't believe i'm saying this, but i genuinely miss EV training over this. EV training feels like it has a much stronger impact on stats than these style points do, and you have far more control [with up to 252 in a given stat rather than 20]. it's a cool idea, just not particularly favorably executed in my opinion.

it is possible to have EVs and make them not a nightmare to deal with!

pokemon reborn has a system where all power items - anklet, lens, weight, etc - will increase its given stat EVs by 32 for every pokemon you knock out, regardless of the EVs the species naturally gives. with this feature in place, EV training becomes a breeze and you can have a fully trained 6 pokemon team in less than 10 minutes, rather than the potential hours it might take the normal way.

reborn's system is, in my opinion, an almost perfect way to do EV training. the only way to make it less hassle would be to turn EVs entirely into a menu, as tectonic has attempted to do.

you cannot use bag items - other than poke balls - in battles.

as a plus, enemy trainers cannot do this either. this is mixed based on how you like to play. i can respect this gameplay decision, as much as it very much isn't my style.

every pokemon is sorted into one or more tribes that have different effects on the battle.

honestly, i don't even use this feature. it's cool for team building i suppose, but feels tacked on and isn't my style. a point in their direction for making tribes a completely optional gameplay mechanic.

story

four out of eight badges in, the story is near nonexistent. you get scraps of it every now and then, teasing you for something large. you are wandering a world that has already been conquered. and honestly, i love that premise. people talk of someone who has already defeated the evil team in the past- you see remnants of what they did to the world around you.

this, to me, is very similar to what it feels like playing b2w2 without playing the original black & white, which i did as a child. i say this positively. traversing remnants of a world that was not yours to conquer is awesome. i'd love to see more of that.

however, halfway through the main story [i assume] and not having any of the story ramping up in any fashion feels slow. there's very little motivation for continuing aside from showing up your brother, which you are told to do before you even get your first pokemon.

everyone is just... so mean to you, for no reason. none of these characters feel particularly likeable, none of them are funny or kind as a motivation to fight for them.

[cain and hardy in reborn are my favorite examples for this, i would commit war crimes for them in spite of everything sucking early on. and it gets better. so much better.]

so you're just... trudging through a world that hates you or doesn't care about you, with no incentive to fix it from anyone you like. everything feels very obligatory, as if you have no choice in the matter, and there's no urgency at all to any situation. i'll reblog this post with an update if or when the story ramps up, but as of right now it's not hooking me too much outside of the initial concept.

final thoughts

Pokemon Tectonic is a somewhat long game with a very strong premise and unpolished execution. It feels like it's too big of a scope for how small it feels, and a lot of the effort in creating this game clearly went into rebalancing every single pokemon up to gen 8 [and some of gen 9].

What it suffers in the most is lack of accessibility and lack of options in terms of gameplay - a good game dev can add features that can modify or disable parts of their game that either make it easier or harder. Tectonic feels like it's trying to strongarm you into playing a nuzlocke or deathless run, with how it punishes you for letting a pokemon faint in battle.

I think this game could be made leagues better if it felt more customizable. As it stands, once I finish this game, I will probably not be revisiting it, as much as I like what it has going for it.

That is all I have for now. My favorite part of this game is that most avatar boss battles can be defeated with Fort Unfuckable.

[gacha-incels]

Any thoughts on Wuthering Waves?

People constantly glaze it and claim it's better than Genshin but recently it's gone into harem stuff.

people hype that game up as better than Genshin because the skimpy dressed female characters tits bounce when they breathe lol. I’m just exaggerating but whenever I see someone saying this it’s the same person saying the fanservice in Genshin is “dead” and they’re all “wearing burqas” which is insane, not to mention offensive of course, that game isn’t like FGO or Snowbreak tier but they have ugly skimpy gacha girl outfits. like come on. but I’ve seen this sentiment down to the exact language used by different people in a lot of places, gachagaming, wuwa & other popular gacha subreddits, instagram comments, YouTube comments, twitter. Enough & with enough frequency to make me consider that as a factor. personally I find the art direction bland and when I tried playing it I wished the fighting didn’t feel so floaty, but they obviously have extremely talented animators working on it, so I can see if you liked that type of combat it would be fun to play and a spectacle to watch. but I think the combat itself is more comparable to HI3 than Genshin. Anyway for real there’s QoL factors and aspects of it being a newly created game that will be better than Genshin, the models & NPCs having more detail, playstyle, the more realistic looking world etc, that people will also like a lot more. i think since the rumored (or confirmed now?) rewrite it was always going to lean hard on the “harem stuff.” they seem to pivot hard and change things majorly based on their main audience (Chinese male) reaction. this isn’t unusual for gacha of course but the extent that they change their own story and content kind of gave me pause when I read about it. like they released a male character on launch but literally cut his banner short for the sexy female character. if you watch the original CBT those girls the MC first meets are extremely wary of him, even pulling a gun on him. It wasn’t anything great but it created some interesting tension for the start of the game. the CN reaction was so extremely negative to this that it was completely changed to all the girls being polite and impressed with your skills. Now every female character is completely obsessed with the MC to an extreme degree, everything in their life actually happened because pre-amnesia MC was a super powerful leader, 10 close ups of the girl’s v-tuber face, 20 of her tits, etc, that’s usually how the character quests go. I saw CN fans have been extremely angry and complaining that Genshin’s MC is just a “camera” watching the story unfold before them, I guess this is WuWa’s answer to that lol. If you want to experience this watch someone play through that character Shorekeeper’s story. imo you could tell the direction this game would go just based on how they designed the female MC compared to the male MC. if this is the audience they want to keep and retain, we’ll see what happens in the coming years 🤔 I didn’t play PGR that much or follow their news so I’m not as familiar with what Kuro’s marketing and publishing style is

[alexanderwales]

Game Review: Factorio: Space Age (pt 1)

Factorio is my favorite game of all time. I played it very early on, then periodically after that. When I started, the graphics were much uglier, there was no nuclear power, biters dropped little purple orbs you needed to use in science, ninety percent of the current QoL was missing, and it was still one of my favorite games.

Before the Space Age expansion, I had ~1200 hours in the game, partly because it was my go-to game when I was a stay-at-home dad and my son was napping beside me on the couch. I've played not only vanilla Factorio, but a lot of overhaul and other mods. These are the overhaul mods that I've finished:

Bobs

Bobs + Angels

128k

Krastorio 2

Space Exploration

Exotic Industries

Freight Forwarding

Additionally, I made it to the terraforming stage of Nullius and py science 2 of Pyanodon's, but didn't finish either of them. This is all for context, where I'm coming from in this review. I have no idea what it's like for a new player, but my guess is that it feels complex as all hell.

The Space Age expansion expands the game by adding in 4.5 new planets (Vulcanus, Fulgora, Gleba, Aquilo, and space itself) as well as a major-but-optional mechanic, quality. I'm dividing up this review along those lines, which is the natural way to do it, but in theory all these things are meant to work in harmony with each other, so I'll be trying to take that into consideration. Spoilers will follow in each section, but the Factoriopedia has everything right from the start, and the devs consider it a game that does not actually have spoilers, so take that as you will.

In my opinion, the real spoilers are the designs for things you build along the way, but there will also be some screenshots of those.

The Same Old Early Game

You start on Nauvis with a crashed ship, a pickaxe, and abundant mineral deposits. If you're new to the game, red science and green science can easily take 20 hours to figure out, particularly if you're playing with biters on. For me, it was about two hours to build designs that I have built maybe dozens of times before. The basic furnace stack that handles incoming iron, copper, and stone has not changed, and will not change.

If I consider the basic gameplay of Factorio to be the design and decision process, then there's no gameplay here. Each entity needs to be placed by hand, and you can make rows of things by running up and down, but still ... it felt like a slog to me, and this is the first ~4 hours of Space Age, assuming you're going moderately fast and making a beeline to bots.

Once you have bots, it gets much less tedious, and you can start slapping down blueprints, expanding the base as rapidly as the machines can turn raw materials into finished buildings. There are a few differences from the base game, including terrain generation, some stuff with trains, science checkpointing ... but it'll all be well familiar to veterans, and in my opinion, is pretty skippable. I set up walls to keep the biters out, trains to supply the variety of turrets on the wall, solar and nuclear, and outposts for as much resources as I would need for the next few dozen hours, then made my first space platform and began the actual expansion stuff.

Space!

Space platforms are created by launching a starter pack up, which you can then send materials to. Bots aren't allowed in space, and your character isn't either, and it seems to me that a lot of the game design was built around wanting the player to grab resources from out of space and do some complicated belting to keep everything organized and prevent it from locking up. There are no chests allowed in space, and the only thing that acts as a container is the central hub of the platform, of which you can have only one. This means that if you want storage, you have to route everything through this big warehouse, and it gets complicated the more you have items going in and out.

I would say that generally I think this works from a gameplay perspective, but there are a few things that are needlessly obtuse or unfriendly, getting in the way of the platform design stuff that's supposed to be the star of the show. One of them is definitely "automatically request materials for construction", which will send up an entire stack of something you only need one of. This is an issue in the early game, assuming you didn't overprepare on Nauvis to have a base with ~20 rockets per minute. Frontloading this difficulty, which becomes less serious later, is bad design, and you end up having to manually go through rocket loading to not waste enormous amounts of resources.

(The easiest way I've found to do this is to make a blueprint of the ship, click "add section" on logistics to make it a logistics group, set a requester chest to that logistics group, then unselect that logistics group once everything is there, then use an inserter to feed that stuff into a rocket and manually launch it every time it's full, and even that sort of sucks, because the blueprint makes a logistics group that will have the hub and extra platform in it, and holy hell is none of this intuitive or friendly, why could they not just have coded it so that rockets would auto-combine things into groups?)

Going slightly out of sequence here, but I'll talk about the space stuff all at once here. Over the course of normal play, I think the intent is that you design approximately five ships:

A space science ship that sits in orbit, collecting materials from asteroids and doing bare minimum processing on them to turn them into space science, which gets sent back down to the labs. I made one very early on and then didn't ever have much cause to touch it again, except to send up some better assemblers and slightly expand it with no major changes.

An inner planets ship with chemical plants, engines, furnaces, and an ammo assembler that feeds turrets to shoot down asteroids, which the grabber arms then take chunks of for the materials to run the chemical plants and be made into ammo. (I dubbed this the Dart-class, pictured below is the SS Christopher Wren.)

An Aquilo ship with rocket turrets to shoot down the larger asteroids that the normal turrets have problems with. This requires advanced asteroid processing to get sulfur and coal synthesis to make coal, which gets made into explosives to make rockets. Probably at the same time you're switching over to advanced fuel processing with calcite. (I dubbed this the Jacknape-class, pictured below is the SS John Napier.)

An outside the system ship with rail guns to shoot down the largest asteroids. This requires making rail gun ammo, which needs steel and copper wire, and to power all that you're probably not going to use solar, which gets much worse out at the edge, so likely you'll be doing nuclear or fusion. (I used a lightly modified Jacknape-class for this, though it would have been better to do a full redesign.)

A shattered planet ship that is capable of harvesting promethium, which I have not actually made yet, but requires scaling up even more.

Overall, I found the increasing complexity of designs to be very pleasing, even if it sometimes felt a little bit forced. Not having bots I can maybe understand, but not having chests felt like a very blatant design decision rather than something that came about naturally from considering space and what it means, especially since the belts still work. Designing the SS John Napier was one of my favorite parts of the entirety of Space Age, partly because it was so constrained, and I knew that my individual decisions were creating individual problems of my own making.

I will say that space is where Factorio shows its limitations far more than elsewhere. In programming terms, Factorio uses something called a "surface", and each planet is its own surface, as is each ship. Surfaces cannot interact with each other, and in the mods I've tried where they do (more than just hooking up inputs and outputs) it's always been a bit jank. Still, this means that there are a lot of things that cannot be done:

Docking one ship to another

Having a ship land on a planet

Having a ship have any verticality to it

The ships also look a little ... well, bad. They look like a bunch of things have been placed on a flat slab, especially when they get larger. This can be helped a little bit by adding walls around the ship, but it doesn't help much, and there's no aerodynamic consideration, so the ideal design is probably a big box of some kind, and the space platform that everything is built on looks even less ship-like than everything else. The exception is the engines, which look awesome, but I don't think having one element look really cool makes up for the rest looking a bit weird.

Funny enough, the Space Exploration mod actually does do some of the things that these ships don't do, like docking, landing on a planet, etc. It was a bit jank there too, but it did kind of sort of work. And those ships needed to take aerodynamics into consideration, though I can't remember what the formula was like, and it was pretty opaque.

I do not need to have the entirety of Kerbal Space Program inside of Factorio, but I do think there are a lot of things that are neat about space that they just decided not to touch. The planets are in static positions, always the same distance from each other, and there's no need to worry about launch windows or delta-V or gravity slingshots or light-speed communication delays any of the other cool rocketry things. Some of that would be a nightmare to implement, other things would probably not be very fun, but it feels like there was a lot left on the floor.

It's interesting that spaceships in this game are self-sufficient by nature, gathering materials from asteroids and never needing resupply. It's also interesting that there are two basic modes for ships, in-flight and in-orbit, with different considerations for defense and production, though I don't think they ended up doing all that much with this distinction. If spaceships could land on planets, you could have three distinctions, and if they could be flying through interstellar asteroid-less space you could have four, and I think that would be cool, but the focus of Space Age is mostly on the new planets, not on the spaceships.

It's at this point that I've realized that this review is going to be very long, so I'm splitting it into parts. The four planets will be the next part, but before I wrap this up, I can talk about one of the other things that came with the expansion: quality.

What Quality is Quality?

I would say that of the 140 hours that Space Age took me, about 30 hours were spent messing around with the "quality" mechanic, and of those, most were "wasted" in the sense that they did not meaningfully make a better factory, even if I enjoyed the process.

Quality divides almost everything in the game into tiers, with higher tiers having better features, which depend on the specific building or product. Resource extractors do less resource drain. Production buildings get better crafting speed. Weapons get better range. Some things get faster and require more power for that speed, while others get speed without needing more power.

There are a few sticking points with quality.

One of them is that machines cannot use a quality product if they're not set for a recipe that requires it, meaning that an "uncommon" gear cannot take the place of a common gear. I assume that this was either an engine limitation or a deliberate challenge for the players, but either way, I don't like it. Quality does kind of make sense, since it's something that exists within real world manufacturing, where parts need to be within certain tolerances, but it wouldn't be the case that a gear that's inside a narrower band couldn't be used for purpose that's in a wider band. Factorio is the wrong game to be making real world comparisons for, but the argument is that an uncommon gear shouldn't be enough to gum up the works.

One of my plans for quality was to "skim" quality parts. The last machines in a stack of assemblers would be given quality modules, and of the thousands that they made, a few would be high enough quality that they could go into a chest, and that chest would be used for making personal equipment and spaceship parts, where they potentially make the most difference. At a certain point, I misconfigured one of these setups, and some quality gears got on the belt, which gummed up the entire factory and required me to clean several lines and restart a bunch of processing. This is a skill issue, yes, but it's an unpleasant complication of quality generally.

Quality comes from quality modules, and in general, the modules are a matter of trade-offs, whether you want more speed, more efficiency, or to make the most of materials. Quality ... well, quality is an enormous complication. You can't simply put in machines. You need entirely new setups for it, and even skimming feels like kind of a weird and gross way of doing things.

Here's how I wish it worked: You put quality modules into machines, and they can make quality things at a set chance. Those products can go down the line and be used in any recipe that requires lower or equal quality. Uncommon gears and chips would get consumed by machines that make normal quality engines or whatever. This would instantly solve at least half of my frustrations, but it would also be simpler, and not so much of a challenge.

How it works now is that you either silo away all qualities from each other, or you engage some kind of recyclotron that attempts a craft and instantly junks it if it's not quality. This is one of my tileabale parameterized recyclotrons:

Blue chests request normal quality materials, machines make the base product, anything not at the desired quality gets recycled, materials go on the belt to be made into more of the desired thing. There are some circuit conditions set up, one to shut down the machines if the desired number of quality machines have been made, and another to set the inserters to only pull from the chest if there are no materials on the sushi belt.

I think this is interesting, but if this is all quality is, then the juice isn't worth the squeeze.

Before building my final ship, I set up full quality on Fulgora, at a place isolated from the main base. It separated out every item at every tier, then used roboports to put things together. It was more interesting than the recyclotron, with better/faster/cheaper results, but still kind of meh, and I kept wondering why I was spending all this time trying to make a chemical plant that was twice as good when I could have built a second chemical plant for half the cost.

My other major gripe with quality is that it makes blueprinting a pain in the butt. First, because the speeds of machines are different, which throws off ratios, but second, because if I want my machines to be of the best quality available, there's no way to easily do that. What I want is to have a tool where I drag across a bunch of machines and say "upgrade these in accordance with the highest quality in the logistics network", but what I have to do instead is count the number of each type of machine, then manually go through and replace them, and if I do this, then I have to manually go upgrade machines as more become available, and this means that I can't just copy sections of the factory to duplicate them, because they'll be at a mishmash of quality on buildings. I spent a lot of time fiddling with the upgrade planner, which I didn't enjoy.

The Fulgora setup, at endgame, is currently making the legendary quality modules necessary to make the legendary quality modules necessary to make legendary quality buildings of all kinds. I think pouring enormous resources into that makes for a megabase, but mixed quality faces lots of usability concerns, and I think of all the approaches (skimming, recyclotron, mass sorting) the recyclotron is the one that I'm most likely to end up actually using in future playthroughs.

Which is to say that I think quality as a mechanic is one or two steps away from being good, as much as the rewards do often feel worthwhile. The puzzle of quality has not, for me, been a highlight.

In the next part of the review: the four planets.

[aotopmha]

I made it up to Sunset Heights in Shadow Generations and this game really is as good as everyone is saying, huh.

The button mapping issues from the Sonic half are still present in Shadow Generations (certain keys simply aren't mappable) and the double jump and slower homing attack in particular really took me off guard at first (partially also because the homing attack only works when the reticle is hitting a target), but the ground/air control is almost perfect and all of the skills (so far) work as intended.

Controls are improved a lot when compared to base Generations (and boost games in general); they're responsive when going fast as well as slow. This is on top of the mechanical QoL added by the newer games: there are no homing attack targeting, rail switching or key mapping overlap issues.

Precision platforming still isn't perfect as it's still somewhat slippery (this time when moving slower), but this is more of a nagging detail rather than a fundamental issue with the controls like with a very large swathe of 3D Sonic games.

(Also, shoutout to retained air momentum, which is a fun minor aspect of the control of base Generations, but more prominent/refined here.)

However, out of all things, I did not expect to be most impressed by the 2D level design and controls (in fact, by the challenge stages in general).

The 2D control is amazing: responsive when slow and fast, but also surprisingly good when making precise jumps.

Kingdom Valley Act 2 might be my favourite level so far because it explores the given setting in such a cool new way, is layered, and flows super well in terms of its design space. There isn't a jarring level section in sight.

A very large chunk of the challenge levels in base Generations had fairly unintuitive and clunky design, but here even these side stages are incredibly satisfying to run/perfect and even have similar layering to the main stages.

This includes the overworld, which I know is a huge part of Frontiers (which I've only seen footage of), but for me is a fantastic point of comparison for the hub worlds in Sonic Adventure because I think the one in this game has pretty much fixed every issue I had with them in Adventure.

It's much more focused in terms of using space: it has its own objectives and much more dense level design (therefore isn't just a mostly empty space to tie levels together).

And all of this together simply makes me wish for a completely original/new game with this as a foundation.

Use this control and make it even better/modify it for Sonic (and potentially other characters).

The faster Homing Attack, Spindash, Light Speed Dash, Bounce Bracelet (and even Drift) combination with this foundation sounds amazing.

(The evolution of the Quick Step in this game is also really cool; you can hold down to button to make a longer movement.)

In fact, Super Sonic with Doom Wing as the foundation sounds amazing.

Give me a similarly substantial overworld with collectables which lead to even cooler rewards than just music or concept art – maybe even new levels or optional skills or skill upgrades like with some of the challenge stages in base Generations (giving that concept a more interesting use).

Give me a new set of completely original stages with similarly layered and strong level design with cool new gameplay elements.

I think if enough effort is put in you could replicate and even improve the Adventure controls with this foundation because it is such a strong fusion of the two 3D Sonic styles.

I really hope they don't just pull a Lost World and just completely veer off course just for the sake of it and finally just modify and/or reiterate on something great to make something even better.

Frontiers was the (intended) base set for the next 10 years and did really well for where Sonic Team was at and this rerelease is Sonic's best critically recieved game since Sonic Adventure 2, so I have much more hope for them to stay the course, but you never know.

So far, though, Sonic X Shadow Generations for one, has definitely been worth every bit of money I spent on it.

[followthebluebell]

How do you decide when a cats QOL has decreased to the extent that it's time to let go?

Asking for your own experience, any decision I make is mine alone, I just want to ensure I amnt waiting too long before making the call for my little old man and hearing other people's experiences might help to reaffirm when the time is right

I'm so sorry you're in a position where this question is necessary. It's incredibly sad and hard when you realize this something you HAVE to ask. Losing a pet is incredibly tough.

My own personal rule is this: I keep a list of the five things my pet loves to do. Once an animal can't do 3 out of 5, it's time to say goodbye. I try not to include things like eating or sleeping, because that's kind of basic, you know? But I often do include 'loves this specific treat' because an animal turning down their favorite treat is in severe distress.

You also can't divorce your OWN quality of life from your pet's quality of life either. When i had to euthanize Skitten a few years back, I was aware that I could have kept her going a few more weeks. Maybe even a couple of months. But it would have represented a severe impact on my OWN quality of life because I would have been acutely aware of the risk of her dying alone somewhere in the house. There was a chance I'd wake up and she would be gone already.

That sort of stress was just... too much for me.

And that's not even covering the MEDICAL stress of handfeeding a pet, expressing their bladder/stimulating them to poop, cleaning them up after accidents, etc. I'm not going to shame people who DO do this, obviously, but I'm also going to stand by the people who realize they can't do this. It's an important part of the quality of life check, because it's not just your pet's quality of life. It's yours too and I think a lot of pet owners kind of gloss that over.

Laps of Love has its own quality of life assessment that may be valuable to you as well.

I hope this helps and wish you both well.

[alillttn]

With how WuWa 2.0 just got revealed, and with how many clickbait videos just got released, I think it's important to remind everyone here with working braincells: PLAY WHATEVER GAME YOU WANT. If you want to play Genshin, go ahead. If you want to play Wuthering Waves, full speed ahead. However, don't throw shit at each other. WuWa has better gameplay and QoL, while Genshin has better lore and music (I legitimately think that it'll be hard to top Fontaine's OST). Each has their own ups and downs. Don't bring up SensorTower either, bc quality does not correlate to popularity/revenue. Goodness... Genshills and WuWa players both need to chill.

(Also sorry I hadn't posted in a while. Had to take a break.)

[apathmakerstale]

Monster Hunter Wilds Beta!

Having played the beta a little bit, and only with two weapons, Switch Axe and Bow, as to not fully spoil myself, and so far I think it's good.

They've focused heavily on QoL changes. Bow's phials being a built in gauge now, claw hook being able to just snatch pods from small monsters and instantly killing the. Plus how mobile everything is.

I don't know how I feel about the pop-up camp system. I really did like finding and setting up camps in their unique, hand-made areas. It does feel like for some of them they just plopped down a marker randomly. Which I guess is what they were going for as there are still hidden-away areas like the camp underground by the river and one up high in a cave.

I am ambivalent towards it so far. I really did like that in World it seemed like you were actually camping and traveling to a location. It feels like here with how you can go directly out from base camp into the world, it feels strange.

Floaty is how I would describe the entire game so far, like your not tethered to just one spot anymore.

Oh and the whole giving them actual names and their being no Monster Hunter Language is still not passing my vibes check. It was small, but it made Monster Hunter feel unique.

Plus so far, I'm not feeling the story. Monster Hunter isn't exactly known for it's story, but I am one of the few who enjoyed World's "taming the wilderness" and the mystery of the Elder Crossing story.

Personal gripe too, but the plains aren't doing it for me too, it's super well made but the entire place does feel desaturated. Wildspire Waste's was a desert, but even it felt alive in terms of colour.