#VideoGameDiscussion

[tmarshconnors]

100 questions to ask a gamer.

Now a few weeks back I did "100 questions Q&A about me" well I thought why not do a 100 questions to ask a gamer. Since I am a gamer I thought why not? So here we go. Here is the last part 4

72) What game(s) have you played that you consider disappointing? Assassin's Creed Odyssey (Xbox Series X 2018) The Crew (2014 Xbox One)

73) Have you ever attended a midnight release for a highly anticipated game? Grand Theft Auto V,

74) Do you enjoy playing games with a focus on character customisation? Yes. I try and make it like my real self as much as I can.

75) What is your opinion on virtual reality (VR) gaming? I never really got into it.

76) Have you ever played a game solely for the multiplayer aspect, ignoring the single-player campaign? Yes.

77) What game(s) have you played that you consider ahead of their time? Grand Theft Auto V

78) Do you enjoy playing games with a strong emphasis on narrative and storytelling? Yes

79) What is your favourite video game console controller? Hmmm I don't know I would have to say the Xbox Elite Series 2

80) Have you ever participated in a game jam or game development competition? No

81) Do you enjoy playing games with a retro or nostalgic feel? Yes, mostly the 80s like in the 2002 Grand Theft Auto Vice City.

82) What game(s) have you played that you consider having the best world-building? I don't really understand the question.

83) Have you ever played a game that made you rethink your perspective on life? I am sure I have but I don't know which ones.

84) Do you enjoy playing games with a focus on cooperative gameplay? Rarely.

85) What is your opinion on the inclusion of politics and social issues in video games? Doesn't bother me. It makes it more interesting.

86) Have you ever played a game that you were initially skeptical about but ended up loving? Yes. Minecraft.

87) Do you enjoy playing games with a strong focus on character development? Yes.

88) What game(s) have you played that you consider having the best voice acting? I don't know.

89) Have you ever backed a video game project on crowdfunding platforms like Kickstarter? No.

90) Do you enjoy playing games that require quick reflexes and fast-paced action? At times.

91) What is your favourite video game-related YouTube channel or content creator? I don't follow any.

92) Have you ever played a game that made you feel immersed in its world? Yes, Microsoft Flight Simulator (2020)

93) Do you enjoy playing games with a focus on historical accuracy or realism? Yes.

94) What game(s) have you played that you consider having the best level design? I don't know. I don't really think like that.

95) Have you ever participated in a gaming marathon for charity (e.g., Extra Life)? No.

96) Do you enjoy playing games with a focus on moral choices and consequences? Yes.

97) What is your opinion on video game censorship and content ratings? It is what it is.

98) Have you ever played a game that had a significant impact on your personal life? No.

99) Do you enjoy playing games that offer a cooperative multiplayer experience? At times yes.

100) What game(s) have you played that you consider have the best gameplay mechanics? No clue.

[rinskar]

I think this is my favorite game from this year. One of the things I really like about this game is your ship, The Unreliable. It reminds a lot of Serenity from Firefly or the Millenium Falcon from Star Wars, leaning more towards Serenity. The Unreliable is a good hero ship, I like the VTOL engines on the side and that you can explore her interior. Next we have the lower deck, which includes the bridge, cargo bay, air lock, and engine room. The bridge is located on the front of the ship below the captain's quarters. The airlock is located behind the bridge, along with the cargo bay and engine room. The layout of the cargo bay really reminds me of the Serenity's cargo bay, even though the hatch faces the back of the ship rather than the front. The engine room is accessible via a ladder in the cargo bay. The upper deck includes the restroom, crew quarters, and kitchen. I like how the developers included the restroom, especially in a ship that is supposed to serve as home to your character and his crew. The kitchen, again, adds a little more realism to a ship that is supposed to be a home. The crew quarters line a corridor that leads to the stairs that go down to the captain's quarters and the lower deck. The captain's quarters are located between the upper and lower decks, and has about what you would expect. From the outside it looks like the captain's quarters would be the bridge instead. As you progress in the game decoratins are added to areas of the ship, first more noticable in the captain's quarters. Anyway this ship is one of the many things I love about this game, and I will be making more posts on The Outer Worlds. #theouterworlds #videogame #rpg #videogamediscussion #spaceship #spaceshipdiscussion https://www.instagram.com/p/B4xnlv5A9EA/?igshid=qqdf246iq01g

[rigelwrites-blog]

Finding Paradise: Analysis

This was an utterly beautiful game to experience, and though I found the fight sequence between Faye and Watts to be a bit drawn out and interruptive, overall Colin’s story was incredible and capable of conveying sentiments that were extremely resonant with me.

Faye, in my interpretation, seems to be a creation resulting from Colin’s loneliness, intended to fill the emptiness left by the bird following its departure. Colin’s parents were shown to be frequently absent throughout his childhood and, with the bird no longer in his life, he retreated within the comforting recesses of his vivid imagination and constructed a new friend so he wouldn’t have to face his tribulations alone. As his situation improved through the years, and he experienced success in his career and the affection of Sofia, Colin saw Faye fading from his mind until he finally realized that he could move forward without her. Relinquishing Faye made Colin feel more present and less aloof, as Sofia professes when Asher was born, though the vastness and wonder of his dreams never quite dissipated alongside his imagined friend, and the lucidity required to fully appreciate the beauty of the time he had alive was unfortunately compromised. Sofia’s mentality exhibited the opposite, and she states that she is contented with her life even knowing that alternative paths and perhaps a happier reality could have been possible for her. This is likely one of the reasons why she cannot understand Colin’s desire to hire SigCorp. Even without Faye, Colin is an escapist, an individual who employs the brilliance of their imagination to numb the pain of confronting problems directly. From my own experiences, I’ve learned that while it is sometimes curative and almost necessary to be occasionally dissonant from the contemplation of life’s callousness, ceding your awareness of reality and welcoming the immersion of fantasy compromises the potency of your ability to be present and cognizant of the happiness you do encounter. No matter the extent of the joys you face, they will inevitably seem diminutive against the backdrop of the limitless potential accessible only within the confines of your imagined, constructed reality. Impossibly high expectations corrode the enjoyment of tangible experiences, leaving nothing but a residual, inexplicable feeling that true satisfaction and contentment are inexorably elusive. I think this vague emptiness was perhaps what Colin was subjected to, which predicated his desire to seek the services of SigCorp despite his uncertainty and inability to articulate exactly what should be changed in order to finally attain this ideal. Yet, all he needed was Faye to cull the memory of SigCorp, as his choice to pursue their program was an immutable representation of his discontent, and [instead] help him to accept his life for what it was—imperfect, flawed, and categorized by the normal oscillations of highs and lows familiar to everyone.

Colin didn’t need SigCorp to show him what his reality could have been; he needed to be told that his reality was enough.

[maxemole]

Mass Effect Andromeda Reception + More Daily Gaming News | Hotfix – 3/20/17

Hey, gamers. Max here, and welcome back to another episode of Hotfix.

Hotfix is a daily gaming news show that focuses on bringing YOU unfiltered opinions on gaming news. Tons of stories come out every day, but the most prominent days are Monday-Thursday. That's why the show runs from Tuesday to Friday, to catch the big stuff yet still allow me to have a life and create other content for the channel.

If you enjoy this content be sure to leave a like and let me know what you like about it in the comments below. Inversely, let me know what I can do better in the comments, as well as share your own opinions on gaming news.

Be sure to subscribe for updates straight to your inbox each time a video comes out.

Music: http://bit.ly/2mfNjSn

3/20/17:

#MassEffectAndromeda Reviews.

#Pokemon dev hiring for new game.

#DeadRising 4 DLC.

#GoatSimulator DLC.

#Xbox Live Down.

The Legend of #Zelda Breath of the Wild New Game Overwrites.

Thanks to GameInformer and Polygon for the news.

(via https://www.youtube.com/watch?v=8UDRTkML0QE)

[tmarshconnors]

100 questions to ask a gamer.

Now a few weeks back I did "100 questions Q&A about me" well I thought why not do a 100 questions to ask a gamer. Since I am a gamer I thought why not? So here we go. Here is part 3

52) What is your opinion on microtransactions in video games? Be careful you can lose a lot of money that way.

53) Have you ever written reviews or articles about video games? Yes

54) What is your favourite video game developer/publisher? Rockstar Games.

55) Have you ever speedrun a game or watched speedruns? No

56) Do you prefer playing games with a well-defined protagonist or a customisable character? It all depends on the games.

57) What game(s) have you been eagerly anticipating? Grand Theft Auto VI and Tekken 8

58) Have you ever had a memorable encounter or interaction with another player in an online game? Yes many.

59) Do you enjoy playing games with puzzle-solving elements? Yes

60) What game(s) have you played that you consider a hidden gem? Time Crisis (PS1 1995) Metal Slug X (1999) Street Racer (1994) There is a few more I'd say but I am far to lazy to name them all.

61) Have you ever taken a break from gaming, and if so, why? No I haven't. I only stop gaming when I am on vacation etc

62) Do you enjoy playing games with horror or suspenseful elements? No not really.

63) What is your opinion on video game remakes and remasters? DO IT RIGHT!

64) Have you ever attended a video game-themed event or convention? No

65) Do you enjoy playing games with a strong emphasis on exploration? Yes

66) What is your favourite video game mechanic or gameplay feature? Driving around.

67) Have you ever created video game content, such as Let's Play videos or fan art? Yes I have. In fact I shall uploaded in in a different post later in the year.

68) What game(s) have you played that you consider a masterpiece? Grand Theft Auto V (Xbox 360 2013) Hitman 2: Silent Assassin (PS2 2002)

69) Do you enjoy playing games with a strong multiplayer community? It all depends in the type of game.

70) Have you ever had a gaming-related injury (e.g., repetitive strain injury)? I wouldn't say it was a injury but I have suffered with Vertigo when I was playing the remastered version of Spyro.

71) Do you prefer games with a linear progression or non-linear sandbox gameplay? Sandbox game.

[tmarshconnors]

100 questions to ask a gamer.

Now a few weeks back I did "100 questions Q&A about me" well I thought why not do a 100 questions to ask a gamer. Since I am a gamer I thought why not? So here we go. Here is part 2

28) Have you ever played a game that exceeded your expectations? Yes. Microsoft Flight Simulator (Xbox Series X 2020)

29) Do you prefer first-person or third-person perspective in games? Third person.

30) What game(s) do you think are overrated? Overwatch 2, Fortnite, Roblox. To name a few

31) Have you ever played a video game that inspired you in some way? I am not sure.

32) Do you prefer games with a heavy focus on gameplay or narrative? Both.

33) What game(s) have you spent the most hours playing? Grand Theft Auto V (Xbox Series X 2013) Have you ever met any game developers or industry professionals? No

34) Do you enjoy playing games with a challenging difficulty level? Yes

35) What is your favourite video game console of all time? I am gonna say…. The Playstation 2 as I have so many memories with it.

36) Have you ever created your own video game levels or maps? No

37) Do you follow any professional eSports teams or players? No

38) What is your favourite aspect of gaming (e.g., storytelling, competition, exploration)? I don't have a favourite it's all great!

39) Have you ever played a game that changed your perspective on a particular topic? No

40) Do you prefer games with open-ended choices or a linear narrative? Open-ended choices

41) Have you ever played a game before its official release date? Yes

What is your favourite video game franchise? Grand Theft Auto or Hitman

42) Are there any video game genres you wish you were better at playing? Rocket League

43) Do you enjoy playing games with friends or prefer solo experiences? Solo

44) What game(s) have you recommended to others the most? None I don't recommend games.

45) Have you ever been part of a beta testing or early access program? Yes

46) Do you enjoy playing games that require strategic thinking? Yes Have you ever had a gaming marathon, playing for hours non-stop? No

47) What game(s) have you played that you consider underrated? Blur (Xbox 360 2010) Heavy Rain (PS3 2010) I am sure there is more but that's the first two I thought of.

48) Do you prefer games with realistic graphics or stylized/cartoonish visuals? Realistic graphics 49) What is your opinion on microtransactions in video games? Be careful you can lose a lot of money that way.

50) Have you ever written reviews or articles about video games? Yes

51) What is your favourite video game developer/publisher? Rockstar Games.

[tmarshconnors]

100 questions to ask a gamer.

Now a few weeks back I did "100 questions Q&A about me" well I thought why not do a 100 questions to ask a gamer. Since I am a gamer I thought why not? So here we go. Here is part 1

1) What is your favourite video game of all time? Tricky but the first one that comes to mind is Grand Theft Auto Vice City (2002)

2) What is the first video game you ever played? Now that is a tricky one it is either Super Mario 64 (1996) or Tomb Raider (1996)

3) Are you more into single-player or multiplayer games? It all depends on the game but when I was younger it was definitely multiplayer. As I have gotten older it's single player.

4) What gaming platform do you prefer (e.g., PC, console, mobile)? Console.

5) Do you have a favourite gaming genre? If so, what is it? Third person or RPG

6) What is the most challenging game you've ever played? You know I don't know.

7) Have you ever completed a game 100%? Yes.

8) What game do you think has the best storyline? I don't know

9) Are you a competitive gamer or more of a casual player? I am extremely competitive.

10) What is your preferred control scheme (keyboard and mouse, controller, etc.)? Controller

11) Have you ever participated in any gaming tournaments or events? Yes.

12) Do you prefer cooperative or competitive multiplayer games? Competitive.

13) What game(s) are you currently playing? Currently I am playing World of Warships Legends (Xbox Series X), Mario Kart 8 (Nintendo Switch)

14) Have you ever cosplayed as a video game character? No

15) What video game character do you identify with the most? I don't identify with any of them.

16) Have you ever streamed your gameplay on platforms like Twitch or YouTube? Yes

17) Are there any video game franchises you collect merchandise from? None currently but I did collect Assassin Creed busts for a while.

18) Have you ever played a game that made you emotional or cry? First one came to mind was Halo 3 ODST (Xbox 360 2009) Something about the music made me feel a emotional.

19) What is your opinion on DLCs and expansions? They shouldn't be so highly priced.

20) Do you prefer open-world games or linear story-driven games? Depends on the game if you can mix the two then you have got a great game.

21) Have you ever been part of a gaming community or guild? Yes

22) What is your favourite video game soundtrack? Don't have one.

23) Have you ever made your own video game mods or custom content? No.

24) Are you a completionist, trying to collect all achievements or trophies? Use to be not any more.

25) Have you ever attended a gaming convention or expo? No

26) What game do you think has the best graphics? Right now of time of typing this blog. I would have to say Forza Horizon 5

27) Are there any video game genres you don't enjoy playing? First person shooters. I find them boring.

[rigelwrites-blog]

Lorelai: Discussion and Review

The Cat Lady, from the basis of my personal perspective, was a brilliantly haunting, poignant experience that tactfully and cleverly explored grim, deeply philosophical concepts such as death, grief, self-harm, depression, and suicide. It adroitly cultivated its atmosphere to effectively and realistically convey the overhanging bleakness of Susan’s life while avoiding miring the narrative in unnecessary, ostentatious darkness. In many ways, it seems Lorelai has managed to emulate the harrowing realism of its predecessor, while similarly employing abstract imagery to establish and amplify the palpable emotional tone. The expression of this profound pathos and visual symbolism was augmented through variation in both the color palette between settings and the intensity or saturation of certain hues, particularly red. More specifically, I appreciated the implementation of softer, warmer tones to embellish the wistful filter overlaying Lorelai’s joyous memories with her father, which contrasted the harsher colors and shadows denoting her stark reality. Additionally, it was devastating to see Miranda’s death even though it had been unfortunately rather likely, considering that, when someone’s thoughts are as despairing and volatile as hers were, it’s exceptionally dangerous to be left alone with them.

Beyond the seemingly implied, deeper connection between The Queen of Maggots and Lorelei, I wonder if the Queen selected Lorelei in particular as the executor of her will as a result of Lorelei’s tenacity and her embodiment of a true “survivor”. In a sense, an individual with an indomitable spirit, who essentially represents the refusal to capitulate even amidst confrontation with the vilest of circumstances, would harbor the insatiable desire to protract their life and quell any lingering regrets, thereby rendering them susceptible to the tantalizing bargain offered by the Queen. Lorelei cannot expunge the compulsion to protect her sister from the maleficent hands of John and finally secure freedom for them both, and, consequently, she acquiesces to the Queen, just as the demonic woman likely anticipated she would.

Concerning the characterization of Lorelei and Zack, I personally found them to be just a bit too calm when conversing in Zack’s apartment in consideration of the traumatic, ineffably disturbing situations they recently endured and witnessed. Perhaps their somewhat relaxed and even flirtatious attitudes at this particular moment could be attributable to difficulties in processing the reality of what transpired, as well as the immediate need for the distraction and comfort of each other’s company and congenial, flippant conversation. Regardless, I still would have preferred some additional development for these characters during their quiet scene together, particularly through the presentation of their respective emotional responses to the profound stimuli of facing death and irredeemable wickedness. Further intimate moments between the two could have sufficed to augment the audience’s personal connection and understanding of these characters and the true depth of their personalities.

In a way, the chapter with Al was rather reflective of the anxiety mini-game from The Cat Lady, which externalized the precarious balance of Susan’s mental stability by demonstrating the pronounced repercussions incurred from her cumulative experiences of various stressors. For Al’s circumstance, it seems that the nature of Lorelai’s sudden influence over him serves as the sole determinant of the fragility of his resolve and represents the dangerous tenuity of the line existing between redemption and regression. Essentially, Lorelai was imbued with the ability to either inspire Al to surmount his depressive state and become a survivor like her, or, shatter his attempts at remediation and force him to submit to his pernicious tendencies, just as her stepfather and mother did. Though Lorelai is supernaturally capable in this situation and can affect both Al’s surroundings and his mind, I consider some of her whispered sentiments to be rather emulative of intrusive thoughts that, in their injuriousness and pessimistic cruelty, oft hinder the path towards sustained progress.  

In addition to their literal meaning as a method of transportation and escape, trains have also been rather metaphoric in this game, seemingly representing a more symbolic journey or liberation from the debilitating circumstances and mentalities that have entrapped both Al and Lorelai. Lorelai is impeded in the forward momentum of her life by her corrosive home environment, and, as potentially implied through the imagery of a train battering through her apartment building as it speeds along, she is a survivor who fights for her future, regardless of what she must do or destroy to progress. Conversely, it seems in Al’s negative route that he himself was an obstacle in the track towards betterment and, in his inability to move forward, he was left behind, his journey coming to an abrupt end.

In general, the quiet moments and honest discussions on the intricacies of depression in The Cat Lady were more resonant with me personally than the situations that Lorelai is subjected to. That being said, the conveyance of the harrowing events of this game and their emotional undertones was beautifully accomplished. Additionally, the lingering possibility of redemption or progression for these characters certainly contributes much appreciated instances of warmth and hope to an otherwise rather dismal, grave story.

In consideration of the dialogue and visual representation of the Queen, it seems certain interpretations of The Queen of Maggots and her symbolic significance can be discerned. Essentially, imagery appertaining to mirrors or facing one’s reflection, prevalent in the final confrontation between the two Lorelais, appears to infer that the Queen herself is a physical manifestation of the darker, pernicious, yet oft concealed inclinations that all of humanity experiences to variable degrees. In a sense, the Queen and her machinations are also rather representative of the external or environmental stressors which trigger the emergence and outward expression of these negative attributes. In the context of the game’s universe, the “thorns” of the Queen’s corruptive influence ensnare the frail, suggestible minds of her victims, translate their desperation into capitulation, and, eventually, induce dire, grim consequences. These ramifications often involve considerable anguish for the individuals trapped in the vicinity of someone else’s destruction, thus, the cycle of trauma, mental devolution, and death exists in perpetuity, thereby fulfilling the monstrous Queen’s insatiable need to consume, like a true maggot, the corpses of the pained, lost, or damned. Lorelai can perhaps be interpreted as a symbol for the transcendence of these tribulations, as it appears she ultimately overcomes both her stepfather and the Queen herself regardless of the route, though the lingering grasp of the Queen and the regression she represents restrains Lorelai and somewhat limits the extent of her personal progression in the “bad” endings.

With respect to the overall impression Lorelai imparted upon me, I suppose I feel rather ambivalent, as certain scenes and elements were beautifully portrayed while others seemed to be a bit lacking in substance and depth. There are indubitably positive attributes to be enumerated, particularly the depiction of alcoholism and the generally inspiring message underlying the narrative and its culmination. It’s certainly quite appreciated and somewhat aberrant for a game to conclude with an accurate presentation of the mundanities and natural oscillations of highs and lows which define the course of an average life. As explored thematically throughout the extent of this game, grief, devastation, and turbulence are immutable inevitabilities of human experience that necessitate solidity of the will and persistence to healthily overcome. Though the path towards self-betterment, redemption, and contentment is sinuous and occasionally regressive, the cumbrous journey is undoubtedly worth the tribulations and set-backs we endure along the way.

As I’ve already expatiated on my interpretation of Lorelai’s purpose as a representation of resilience and pertinacity in spite of horrific circumstances, I’ll instead delve into a few of the aspects and sections of the game that I consider to be a tad weak. I mentioned earlier on that certain conversations seemed somewhat out of place and irreverent in contrast to the depravity and disillusionment the characters had recently experienced. The tonal shift was quite rapid, and, consequently, these individuals were deprived of the opportunity to emotionally respond or effectively contend with the actualities and implications of their harrowing situations. Overall, it seemed there was some misappropriation of time and focus throughout the game, as certain characters such as Maria, Zoe, and the other nursing home residents were granted comparatively considerable portions of the narrative despite, ultimately, having little significance to the overarching plot or Lorelai’s personal development. In general, ancillary characters and sections are beneficially employed to showcase facets of the protagonist’s personality and facilitate their growth, or, further the conveyance and clarity of the main theme. Outside of Al, Chapter 2’s characters were essentially forgotten about and devoid of greater purpose and detailed exploration, retrospectively rendering this chapter slightly hollow and empty. I was anticipating the replication of Lorelai’s experiences with Al in future chapters where these discarded side characters would be more effectively anatomized.

Concerning Zack and Lorelai, I still somewhat maintain my aforementioned perspective on the extent of the development and depth provided for them individually and as a couple. To me, it seemed their interactions were a tad flat and shallow with respect to the subject matter discussed and the depicted intimacy of their personal, emotional connection. Zack, himself, appears to have no demonstrable or notable personality arc beyond the rather commonplace, archetypal neighbor who finally acquires the ability to articulate his love when faced with the prospect of imminent death.

I’m a bit more equivocal when analyzing Lorelai herself and, by extension, the overarching structure and flow of the narrative itself. I suppose the greatest issue I encountered when recollecting the events of the game is the limited internal elasticity and growth that Lorelai seems to experience between the beginning and end of her journey. Though her circumstances and surrounding environment are improved substantially, her inner personality, beliefs, inclinations, and desires remain rather immutable and unchallenged by her experiences with the Queen. Regardless of your choices in actions and dialogue, Lorelai is generally the same person and an uncompromising “survivor” in the end, varying only in the amount of regrets and lingering difficulties she faces. However, Lorelai can potentially express wildly variable opinions throughout her time in the afterlife on the basis of your direction, for instance, she can harbor little sympathy for the frustrated mother in the AA group and the alcoholic Al, resolutely deciding that his life is irredeemable and should be sacrificed for the sake of her own desires. Alternatively, she can help him and defy the Queen, though the significance of this choice is rather undermined considering Lorelai suffers no evident consequences from her insubordination. I suppose I would have preferred greater divergence in the endings to reflect the pronounced dissimilarity in her perspectives and submission to the Queen’s will. Even in the positive, “golden” route, I believe Lorelai’s characterization and progression would have been a bit more realistic and dimensional had she initially lacked empathy and compassion for others who cannot as easily combat or surmount their debilitating situations. Lorelai’s unwavering strength and tenacity are not ubiquitous traits, and it would have been interesting to explore her process of recognizing and accepting the innate heterogeneity of human resolve and mental stability. Perhaps she could have accomplished this through her experiences delving into the specific circumstances of her assigned “parasites” and witnessing the true fragility of the boundary between recovery and capitulation.  Conversely, the negative route would demonstrate the ramifications of austerity and the unwillingness to understand or forgive the flaws and injurious behaviors of others, instead electing to acrimoniously judge and consequently punish the people she gains influence over.

An evocative experience, nonetheless.

[rigelwrites-blog]

Yuppie Psycho: Discussion and Review

The implementation of such quirky, grotesque imagery to symbolically convey commentary on corporate hierarchy and function is certainly clever, comical, and yet, effective.

I find it quite impressive how such a witty game with exaggerated, supernatural elements and dark humor could generate an undercurrent of intriguing commentary through its various quirky imagery and symbolism. In particular, beginning from the early moments of the game, its characters seem to imply that opportunity and respect in this world are afforded on the basis of inherent social strata. Upward mobility to better economic gradations is quite literally represented through ascension of Sintracorp’s building, as higher floors apparently correlate to positions of greater repute and importance in the company. Since Brian can cheat in order to influence the elevation of Chapman, and Hugo can permanently eliminate his potential competition, this system might not be the most meritocratic. Additionally, as made more evident in this episode, the vast majority of workers are indistinguishable from one another and never allowed any personalized designations or identity beyond classification as meager, low-status “employees”. As random NPCs, they have a functional purpose to work and die in service to the overarching narrative while receiving no personal recognition and generally getting overshadowed by individuals of greater significance to the plot. I suppose, therefore, it’s rather possible to see a connection between the role these unnamed characters fill as both NPCs in a game and employees of a large corporation. I had previously wondered if any organization or regulatory body existed to impose health and safety standards onto the company’s… lackadaisical efforts in this regard, and it’s certainly quite interesting to see how such a group is depicted to be rather socialistic, in dichotomous contrast to the oligarchical, intensely capitalistic Sintracorp.

This game was particularly well orchestrated, as the rather simplistic nature of the writing and overarching narrative allowed the bizarre visual metaphors and commentary about corporate environments to take precedence without being muddled beneath layers of intricate plot developments or frequent implementations of misdirection and twists. The fluidity of the pacing, stylistic design of the various settings, and cast of unique, quirky characters were sufficient to maintain persistent interest despite this general straightforwardness to the arcs of each individual and the story overall. For instance, the personalities of Hugo, Kate, Marta, and the other co-workers (except for Tony who actually did experience the most significant growth) were retained without subversion, as were certain plot elements introduced relatively early on, such as Sintra serving as a recreation of Rei and the witch’s identity being a member of the Sintra family. Concerning the symbolism and cultivated atmosphere, the conveyance of the main thematic discussion was accomplished subtly and implicitly, and effectively navigated the delicate balance between indecipherable abstraction or surrealism and overt repetition of the obviously intended message.

With respect to the representative imagery, I suppose I already mentioned the less explicit instances of commentary that I interpreted from sequences in the game about the interrelations between corporate operations, social strata, and employees. In addition, the employment of serpentine imagery to depict the seductive promises of greed, ambition, and sin, as well as the viperous exploitation of the expendable, was more evident in its presentation throughout the final moments of the game, though still somewhat nuanced enough to avoid becoming overbearing. A few questions do remain pertaining to the role of Mr. Devil, Mr. Slader, and the USSR, but I suspect the apparently upcoming DLC will further address these lingering matters.

Lastly, I find it a bit odd, though perhaps intentionally ironic, that Tony’s journey culminates with his realization of the importance of dedication and humility to honest economic advancement, in opposition to reliance on extant personal or familial status, and yet, Rei Sintra inherits the position of CEO on the merits of her blood alone. I suppose this, too, could be perceived of as potential commentary, considering that Sintracorp can either be helmed by a ruthlessly ambitious man desirous of power and willing to consent to the brutal elimination of his competition, or, a young girl with family connections and questionable qualifications.

A witty and compelling experience overall.

[rigelwrites-blog]

Devotion: Discussion and Review

Detention was a beautiful, touching game as well as deeply informative, and, similarly, this developer succeeded with this title in their particular implementation of intricately-designed imagery and clever mechanics to convey a narrative entrenched in themes of a difficult or personal nature. The traversal of this family’s story as it transitions through time is accomplished quite fluidly as you physically move between detailed environments. Paralleling detention, aspects of the gameplay and visuals effectively translate into elucidation of the story and its underlying emotional tone. Player action, movement, and sightline seem fairly well-directed throughout its entirety.

The fecundity of this development team’s imagination will never cease to impress me. Their methods of storytelling and establishing a heavy, melancholic atmosphere are diverse, effective, and continually surprising. In particular, the depiction of what appears to be Mei Shin’s panic attack, with her rapid breathing, palpitating heart beating loudly in her ears, attempts to calm herself, and the inevitable exacerbation of her symptoms due to the stress of her familial situation was rather accurate and a little harrowing to witness from her perspective. In accordance with my personal interpretation, there seems to be a bit of a theme expressing the interaction and contention between the ideals of traditionalism and modernity, represented in the father and mother respectively. The father appears intent on enforcing rigid adherence to certain familial roles, preventing the mother from working despite their dire financial circumstance and painfully internalizing his inability to solely provide for his family. Additionally, as implied throughout the game thus far, especially evidenced within the contents of the storybook, the father believes in the curative powers of belief and devotion. The mother appears to offer an antithetical perspective, berating the father for wasting money on what she perceives to be inefficacious and regretting sacrificing her career and financial independence to adopt a traditional role as a housewife. From my personal upbringing, it would seem that the fault predominantly lies with the father, as allowing the mother to work while the father sorts out his situation appears to be a tenable decision, however, I understand how entrenchment within a certain set of ideals and expectations can render a person obstinate against what they perceive to be an improper and demeaning choice. Truly, their relationship was likely loving early on, yet their incompatible and opposing perspectives on their mounting tribulations have, apparently, proven irreconcilable and insurmountable.

There’s certainly an element of miscommunication existing between the mother and father, with the couple clearly unable to discuss the variances in their opinions without devolving into a bitter argument over unresolved regrets and resentments. As the father truly seems to love his daughter, perhaps the mother could have successfully convinced him to let her work, even just temporarily, by calmly addressing the urgency of their situation and rationality of her stance. I do wonder, though, how effective a purely logical discussion would be, considering some people are more heavily influenced by emotional stimuli than reasonable, perspicuous arguments. For the father in particular, his rationale and justifications appear to be deeply rooted in his sense of personal identity and the ideological framework which supports it. His ability to provide for his family, the quality and reception of his writing, and his religiosity are all of exceptional importance to him, and are quite foundational to his conception of himself and his status in life. Consequently, agreeing to the stipulations of his wife’s proposal would be equivalent in his mind to accepting his failure as a father and husband, writer, and adherent to his religion. In avoidance of this potentially debilitating reality, he becomes defensive and rejects this offer presumably on the basis of its impropriety. He might have then succumbed to his own dissonance, deluding himself into believing that he can still financially support his family with his screenwriting and that his daughter’s condition will be ameliorated through devotion and practices of faith alone. Additionally, in augmentation and support of this quixotic perspective, he has anecdotal evidence of his daughter supposedly feeling better following religious experiences. Overall, though it might seem obvious from an outsider’s viewpoint what the most effective option may be, from the inside there are likely multiple complex factors and complications which incline people to believe and act upon only what they want to accept as best, instead of what actually is.

In general, the writing in this game is truly exceptional in its ability to accurately recreate the ambiguities and difficult decisions that are debilitating for people to navigate in real life.

To avoid sounding repetitious, in consideration of my prior comments on the ingenuity and brilliance of the imagery, direction, set-pieces, and methods of story-telling executed throughout the game, I suppose I’ll conclude with a discussion on the narrative itself. Firstly, it was rather difficult for me to hear the denial and stigmatization of anxiety and other psychological issues, specifically from a parent towards their child. This sort of flawed and misguided conceptualization of mental health issues is immensely pernicious, though, unfortunately, rather pervasive, as is the tendency to misconstrue these matters as evidence of either irredeemable insanity, personal failure or laziness, moral depravity, or corruption of the soul.

Additionally, I appreciated how this game subverted the anticipated role of a young girl in a horror game and, instead, inspired an overwhelming sympathy for the stressful burden of her fracturing family’s worsening financial situation which exacerbated, and perhaps even initially caused, her anxiety. The prevalence of the tulip image was also particularly powerful, especially in its symbolic significance to the relationship between Mei Shin, almost always depicted in yellow, and her father. It was also rather striking to me how the gentle act of folding these tulips alongside her beloved father provided such a pronounced reprieve from her symptoms, demonstrating how, like a fragile flower, tenderness, affection, care, and proper consideration of her surrounding environment were all necessary to her healthy, normal growth. Being deprived of this sensitive cultivation and placed under extreme pressure, she withered. I’m not certain if the father lived or died in the end, however, it seems as though he is truly gone either way.

Utterly devastating and beautifully constructed game overall. As anticipated, this game has truly delved into immensely grounded and devastatingly real subject matter, with an ending that is certainly not as perfect and happy as the one shown in Mei Shin’s storybook.

[rigelwrites-blog]

Pippi: Discussion

I find it a little ironic, perhaps intentionally, that the ending where Phillip and Anna escape the planet unscathed necessitates brutality, murder, selfishness, and arguably vile or “filthy” actions to achieve, while the more pacifistic route culminates in the characters imminently succumbing to the infection and decaying into actual garbage. As this implies, the game certainly seems to be discussing the subjectivity of who or what constitutes “garbage”. Is survival a defense of depravity, or is turpitude even worse than physically rotting into literal refuse? It’s a simple game, but the ethical ambiguities were still effective nonetheless. The music was also lovely, especially, as morbid as it sounds, during the death of Pippi. I do prefer Patty and Mr. Miles, but I’m glad to see any additional work this creator has put forth.

The discussion concerning Philip’s decision is an exceedingly nuanced and difficult one, as it necessitates entertaining the morality of temporarily rescinding autonomy and allowing a person the right to make a decision on another’s behalf. This is an innately complicated conversation, and with respect to Anna, it’s subject to personal interpretation whether she should or shouldn't be allowed to assert her own authority in the situation presented. Phillip is a childhood friend, yet she feels nothing for him, does this grant him the ability to enforce the subjugation of her will to his demands, no matter how logical or well-intentioned they might be? It can be considered both exasperating and degrading for someone with mental illness to have another person disrespect their wishes or automatically assume an impairment in judgement simply because of it. If Anna is naturally a misanthropic person who prioritizes living happily with Pippi while harboring no fear of impending death, then the choice, despite its callousness towards Phillip, is still hers alone to make. In this argument, she has the clarity to decide her own fate. Or, is Anna’s decision comparable to suicide impelled by her refusal to be parted from Pippi, in which case Phillip’s exertion of control over her to save her life is slightly more explicable, even though Anna becomes traumatized and numb as a result? Are his actions justified in this precarious circumstance, or should he have just let her be and left without her? I’m also lacking knowledge as to what the future of the escaped people will be like, and whether perhaps some alleviation would be eventually feasible to redress her apathy. Since their departure on the ship appears to be tied to a negative route, I would suspect that this possibility is unlikely. It seems to be the writer’s intention that the ending with Pippi is preferable, though obviously bittersweet.

Overall, it’s truly a testament to the quality and equivocal nature of the writing that such profoundly interesting discourse can be born from it.

[maxemole]

Xbox Shows Netflix-Like Gaming Service + More Daily Gaming News | Yesterday's Games Today – 2/28/17

Hey, gamers. Max here, and welcome back to another episode of Yesterday’s Games Today. The show that scours the news so you don’t have to!

Yesterday's Games Today is a daily gaming news show that focuses on bringing YOU unfiltered opinions on gaming news. Tons of stories come out every day, but the most prominent days are Monday-Thursday. That's why the show runs from Tuesday to Friday, to catch the big stuff yet still allow me to have a life and create other content for the channel.

If you enjoy this content be sure to leave a like and let me know what you like about it in the comments below. Inversely, let me know what I can do better in the comments, as well as share your own opinions on gaming news. 👊

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(via https://www.youtube.com/watch?v=H6uvbX3ZNAc)

[rigelwrites-blog]

My Beautiful Paper Smile (Chapter 1) Discussion and Review

From my experience, mask imagery, particularly that of the perpetual, unnatural smile, is frequently employed as a metaphor for the falsity of the performative happiness that a society often expects from its populace, and the consequential suppression or discouragement of true, diverse emotional expression. It appears this game, thus far, is using the image of a flimsy “paper” smile to demonstrate how an authoritarian system enforces the adoption of blissful ignorance, uniformity, and mental dissociation in order to quell potential dissension and solidify their control. I’ve certainly seen this concept explored before, though it’s always fascinating to delve into the irony of how the seemingly laudable goal of attaining “perfect”, ubiquitous happiness necessitates torture, emotional manipulation and abuse, the cessation of freedom, and the revocation of individualism. Additionally, the monochromatic color palette was an effective choice atmospherically and thematically, as the duality of “black and white”, “light and dark”, and “positive and negative emotions” seems to be a rather prevalent discussion. Overall, I would be interested in seeing the future direction and developments this narrative will undertake, and I hope it manages to retain intrigue, uniqueness, and compelling gameplay moving forward.

[rigelwrites-blog]

Charon’s Garden of Judgement: Discussion and Review

Given the religious references and numerous insinuations, such as mentions of heaven and hell, the absolution of sins, gardens, judgement, the name Lilith, forgotten memories of past sins, Blanco’s recollection of escaping, the spreading sterility of the garden’s flowers, and the prevalence of light and dark imagery, the narrative overall does appear to be suggesting a purgatory scenario where sins in life are potentially expiated before transference to either Heaven or Hell.

Admittedly, the straightforwardness and tragic realism of Sima’s self-denigrating mentality and traumatic experiences were rather difficult for me to witness. The grounded, brutally uncompromising lens through which her characterization and tribulations were presented seemed, from my personal perspective, to be quite accurate in its portrayal of a mind encumbered with insuperable loneliness, feelings of worthlessness, and pernicious desperation. I understand the propensity as a creative person to seek external sources of affirmation, whereby the reception of your work is the fulcrum on which your happiness and self-esteem are precariously balanced. In general, I consider the pace and structure of Sima’s arc to be rather effective in the intricate, gradual establishment of her character and the dismal context which predicated her apparent “sin”.

Paralleling the seemingly inevitable wilting and sterility of the flowers representing Heaven, efforts towards cultivating this limbo into a replication of Paradise will perhaps always be impotent. The suppression of corrosive, debilitating memories creates an environment of peaceful dissonance, yet, this state appears unsustainable and fragile, given Sima’s sudden, violent reaction to Blanco’s comments and the painful reemergence of her past. With respect to residual queries and oddities in the plot, it’s a bit interesting to me that Sima’s awareness of her past contraventions and acceptance of her fate were deemed inevitable eventualities incurred from her choices alone and supposedly independent of Blanco’s influence. However, if the first bad ending implies that Blanco’s forgiveness can ensure the perpetuation of this delicate peace, so long as he carefully avoids any slight provocation and refuses to delve further into his companions’ pasts as advised, then it almost seems as though Sima’s disappearance was directly instigated by Blanco’s actions and judgement. Blanco himself questions why his presence was apparently so interruptive to the relatively pleasant and agreeable daily structure the women had imposed upon themselves. Additionally, Vanilla professes that sins committed in the garden will be absolved and any behavior, regardless of its brutality, is acceptable, and yet, Sima’s murderous intentions against Blanco immediately result in her transcending the interminable cycles of purgatory and attaining some permanent state. Whether this change can be considered redemptive and liberating due to her self-awareness and self-forgiveness or, conversely, interpreted as condemnation and personalized punishment in the form of fading into obscurity and utter worthlessness, I can’t exactly say.

Concerning Lilith’s characterization, I would consider her prioritization of obtaining purely sexual gratification, without the need for exclusivity or a more profound emotional and intellectual connection with her partner, to be a rather common inclination, especially for her age. Though she certainly should have discussed her intentions beforehand with each man to ensure the individual expectations for their nascent relationship are unified, her lasciviousness and masturbatory behaviors are not particularly demonstrative of moral depravity from a modern perspective. Lust has been categorized and condemned as sinful historically, especially in the expression of female sexuality and pleasure, however, it seems the flaws and grief that Lilith must accept in this purgatory are not her sexual profligacy and callousness, but rather the tormented mentality that these proclivities had manifested from. Essentially, it seems Lilith adopted this external austerity and suppressed her vulnerability as a protective mechanism to prevent the potential pain of injudiciously appropriating her care and affections. Distance, aloofness, and indifference seem safer to maintain and rely on than dedicated investment in people or pursuits that may fail and, consequently, prove emotionally destructive, which Lilith seems to admit before she is purged of her color and transcends her current state.

Therefore, perhaps this garden is intended to elicit retrospection and showcase the complex interiority of its residents’ minds and personalities, instead of offering forgiveness and absolution from some single, definitive “sin”. For instance, Lilith is not necessarily repentant for her sexual desires specifically, rather, she apologizes to Sima for her tendency to deride those with profound, vested interests and cares. Lilith attains a sort of enlightenment, whereby the mentalities and perspectives that she once excoriated suddenly become explicable and worthwhile, while the faults of her own mind are elucidated for her to recognize and accept. True forgiveness appears to be unobtainable, as their judgement might have been ordained prior to residence within the garden, however, illumination and self-awareness are still possible, even if they happen to come too late.

While forgiveness and self-awareness are evidently of paramount significance to the narrative and its underlying themes, I suppose it can be argued, in consideration of the rather grim and depressing situation which precipitated Soyo’s suicide, that the concept personal fulfillment is also quite prevalent in each woman’s backstory. Evaluated from this perspective, Sima, Lilith, and Soyo all seem to be encumbered with profound feelings of emptiness and desperation, born from the persistent deprivation of internal confidence and self-worth. The emotional suffering experienced by these women and their injurious attempts to redress this pain are intimately explored through their relationships with the men that preyed on these weaknesses and, directly or indirectly, caused their deaths. As I expatiated upon earlier on, Sima is wracked with self-castigating tendencies and the insuppressible need for external affirmation, which renders her susceptible to the predation of an obsessive man who appeared to offer her the confirmatory assurances she so coveted. Lilith, despite desiring the fulfillment derived from the true acceptance and understanding of another, relies on the transient enjoyment of shallow sexual encounters and relationships to satiate her physical needs while avoiding the potential pain of emotional investment. Her wanton disregard for her partners’ expectations and feelings eventually subjected her to the wrath of a vengeful, unhinged lover. Soyo is categorically denied, for quite the extended period of time, the respect and affection that she craves from her husband, which allows her to be easily manipulated and entirely dependent on a man who was attentive to her sexual needs, but never truly loved her. Soyo’s conceptualization of personal happiness entailed devoting herself towards rearing a child in a loving, sexual, and mutually satisfying relationship, yet, she succumbs to the persuasive promises of ignominious physical gratification. To build upon an earlier analysis of mine, the requirements of transcendence from this perpetual limbo appear to be the realization of the insalubrious and ultimately destructive means through which they each sought reprieve from the flawed, damaging perceptions of their own potential and worth.

Additionally, it's of interest to me how relations with dangerous men predicated the downfall of these women, which somewhat parallels their experiences in limbo whereby only through interactions with a potentially violent man can they instigate the adoption of self-awareness and the ability to finally “move on”.

With respect to the direction of the ending, I appreciate its avoidance of incorporating some bizarre twist or granting validity to the seeming insinuations of a murderous, sanguinary past for Blanco. I had wondered at the beginning if there existed a prior romantic connection between Blanco and Vanilla, and the confirmation of this profoundly loving relationship shown through their brief reunion was beautifully composed and rather touching. Concerning the exceptionally dark subject matter and themes explored throughout the narrative, there was indubitable variability in the quality, accuracy, and tact of their presentation. Respect and intimate knowledge of the topics to be expounded upon are always of paramount importance when intending to examine and depict, with brutal, explicit, and uncompromising honesty, real-life tribulations of disturbingly grave and harrowing natures. This care is especially necessary given the format of this visual novel, whereby the corrosive, destructive thoughts and traumatic situations are represented through the intricately detailed first-hand experiences of these tortured women. From my personal perspective, certain scenes were effective, through their harsh realism, in eliciting resonance with the complex mentalities and circumstances these women endured, for instance, Sima’s pernicious means of deriving her self-worth. Conversely, Charon’s lingering propensity for relying on sudden violence or other shocking outcomes seems to result in the interruption of the grim, heavy atmosphere with somewhat absurd, out-of-place flippancy or unfounded brutality. I suppose it can therefore be argued that this visual novel could have benefited from the proper modulation and establishment of tonal consistency throughout the arc of its narrative to avoid the issue of these occasional, yet arguably a tad disrespectful, incongruities in both tone and character writing. Overall, I enjoyed many elements of the story as well as the simplicity and straightforwardness in the structure of its plot.

Concerning the symbolism and themes that I’m capable of discerning through the lens of my personal perspective and experiences, I suppose it’s worth reiterating the prevalence of sexual violence and abuse Sima, Lilith, Soyo, and Vanilla were each subjected to at the hands of specific men in their lives, as well as the connection between these dangerous men and the reasons for their residence in purgatory. In relation to this thread of commonality between them, it may be somewhat possible to infer why legitimate intimacy and trust in a man like Blanco, in conjunction with his subsequent actions, judgement, or direct punishment, were supposedly responsible for allowing atonement of their past mistakes, inducing self-awareness and absolution, and finally granting transcendence from this perpetual limbo. Generally, I can’t really see another definitive, intended reason why Blanco’s interactions with these three women were so immediately disruptive and significant to them in their journeys through the afterlife. Additionally, Blanco’s vicious attack on Soyo and his belief in the righteousness of his ability to judge and punish her are still a bit questionable to me, as it seems these feelings were a contrivance intended to cause a momentous end to Soyo’s route, yet, were never shown to have any lasting repercussions for Blanco and his mental state or given further explication as to their source.

In general, I consider this game an improvement in some aspects over Cradle of Ruin.

[rigelwrites-blog]

Charon’s Menherafflesia: Discussion and Review

Well, it certainly seems that, even if our protagonist isn’t residing in a construct of purgatory in this particular Charon title, he still cannot avoid enduring punishment of some sort. With respect to Anemone’s route, the rapidity of the overall pace and the somewhat prosaic nature of the writing were not quite conducive to establishing emotional investment in the supposedly profound, loving relationship between the characters or, by consequence, their eventual demise. However, in comparison to the melancholic gravity of Cradle of Ruin’s subject matter and themes, the arguably lighter tone underlying this experience was better suited and consistent with the overly dramatic conclusions these stories predictably employ.

If I were to attempt to derive some deeper meaning from the depicted imagery and inferences in the text, I suppose it’s possible to perceive a potential discussion on the impurity or “distortion” of love, which appears to occur rather commonly in Charon’s stories. Essentially, the love experienced by these particular characters seems to be a shallow veneer, an infatuation born from necessity instead of a more evident connection or compatibility. Both individuals, who are presumably rather young and impetuous, suffer the encumbrance of desperation and loneliness as well as the deprivation of company or, in Anemone’s case, the loving family structure she once enjoyed. Obsessive and oft destructive relationships can be precipitated from these circumstances, which perhaps could be demonstrated through Anemone’s maliciously protective tendencies and the sanguinary events of her good ending. Additionally, the transmogrification of her love for Itarou into a love of murdering also apparently evidences the hollowness and alterable nature of her prior devotion to him. In general, the innate “irrationality”, insidiousness, and corruption of Charon’s worlds renders them seemingly incompatible with experiences of true, reciprocal, and salubrious love.

It certainly appears that Itarou, in the particular incarnation of him shown during Ivy’s route, harbors a bit of an exaggerated Madonna—Whore complex which consequentially influences his perception and treatment of women. Through the lens of his distorted, disturbed mentality, women are classified in dichotomous terms representing either angelic purity or dirty, blemished corruption, with such designations contingent upon the gradation of his sexual attraction towards the particular woman. For instance, a beautiful, fetishized woman like Kurara can demonstrate certain interests or behaviors, such as a fascination with anime and video games, which are beloved and praised in her, while hypocritically, the same traits presented in a comparatively less attractive woman are regarded derisively. Concerning Moeko and the internal tribulations and destructive thoughts that burden her tempestuous mind, it seems her natural tendency is to escape from the mundanity of her existence and hostile self-perception through the fabrication of a perfect, fantastical persona. Questions of her true self and identity plague her beleaguered mind as she contends with the blissful delusions which have begun to permeate and alter her reality. Her understanding of Itarou is essentially a manifestation of her warped, dangerous propensities, as she projects an ideal characterization onto him, despite its evident falsity, while simultaneously justifying or trivializing his reprehensible, abusive behaviors towards her. The conclusions of her route appear, in my particular interpretation, to represent her broken mind suddenly succumbing to an amplification of her delusional tendencies, instigated by the profound emotional stimuli of Itarou’s acceptance or denial of her fantasies. Forgive me if this is incorrect, but it seems she kills Itarou in both endings to solidify their relationship through “poetic” means, and in the good route she potentially lives with his corpse after having lost the ability to discern reality and accept his death. Regardless, Ivy’s story was undoubtedly rather interesting to say the least.

There is also viability in interpreting Ivy as a woman with magical capabilities, as Charon’s endings have occasionally felt a bit disjointed and jarring with respect to the tone and nature of the writing which precedes them. Since Charon seems to often include psychological angles to their work, and because of my personal preferences in the sorts of stories and themes I enjoy, I tried to create a somewhat cohesive theory for the events of Ivy’s route on the assumption of a more grounded narrative devoid of supernatural elements. I could be entirely incorrect, though, and Charon’s worlds may simply be a tad bizarre and illogical by nature, defying concerted attempts to provide a definitive, comprehensive explanation.

Despite how disturbing and painful it was to endure, I consider it rather fitting that Jasmine, whose mind is wracked with the agony of depression and self-hatred, directed her violent tendencies inwardly and blamed herself for invoking Itarou’s disdain, instead of brutally punishing the target of her affections. Concerning the fragility of Jasmine’s mental state, it seems she had been precariously situated on a precipitous ledge overlooking the dark, inescapable abyss of utter despair and death, never able to solidify the resolve to take the final step on her own. Jasmine’s last monologue, in its honest simplicity, was devastatingly accurate, at least from the standpoint of my personal experiences, as a portrayal of an individual struggling to contend with the actualities of depression and concealing her torment by donning a plastered mask of cheerfulness. As someone with a rather dry sense of humor, I’ve always adored eliciting irrepressible fits of laughter in others and, even amongst the bleakest of depressive episodes, I would never waver in this desire or ability. I suppose I understood the significance of creating a few moments of levity as a temporary reprieve from stress or sadness, like a meek flame lurid in unrelenting gloom, and all I sought was to bring others the happiness and support that I desperately craved. It’s quite difficult while mired in that mentality to admit the need for help and seek actual means of remediation, and, though a bit unreasonable, there exists the constant, underlying hope and longing for someone to finally peer through the hollow shell of joviality and notice the true self slowly withering away inside. In accordance with this interpretation of Jasmine’s behaviors, it appears she was stifled by hidden apathy and stagnated in her current state while lacking the internal compulsion to impel her to either pursue betterment or succumb to her latent suicidal considerations. Through her profound trust and love of Itarou, she relinquishes control over her conflicted situation and relies on him to be the sole determinant of her fate. His rejection proves confirmatory to her feelings of worthlessness and loneliness, and consequently acts as the necessary stimulus to finally cement her conviction to commit suicide. Alternatively, the affirmation of his devotion allows her to convey her intentions and implore Itarou to assent to ending her life. Itarou’s initial, alacritous compliance is a tad interesting, considering Jasmine’s perception of love is immensely warped, and the supposed derivation of happiness from being “broken” by the one you love seems terribly antithetical to what a supportive, healthy relationship should entail. Apparently, Itarou’s refusal to offer her the option to get help and his choice to kill her instead were attributable to a momentary bout of madness which, though arguably a bit of a contrivance, is somewhat explicable as all iterations of Itarou seem to have evident personality flaws and misconceptions concerning the salubrious pursuit and expression of love. Overall, this route was certainly rather poignant and comparatively grounded.

Despite the rather pronounced incongruity in tone and characterization across Mihomi’s endings, ranging from the adoption of a deranged persona to a quite touching, poignant final moment between close friends, her underlying personality and motivations were arguably explicable and decently established. Essentially, the puerility and impetuousness of her youth translates into an inability to properly or salubriously contend with the agonizing trauma of her circumstance. Consequently, she desperately clings to Itarou, developing a pernicious dependence and possessiveness towards him, and perceives of him as her sole source of safety, happiness, and escape from the torturous reminder of her home life. In the bad ending, Itarou’s supposedly “insensitive” or callous dismissal of her pain elicited a realization of her abject loneliness and grief, which proved too prodigious a burden and shattered her fracturing façade of cheerfulness and innocence. Itarou’s actions were incendiary to her, and, in a sense, the burning of his home could be interpreted as a symbolic destruction of the one remaining place where she felt secure and loved, which she suddenly felt deprived of as well. With respect to additional imagery, the hydrangea, as a flower “well suited to the rain”, was beautifully represented in the melancholic downpour of rain which, almost poetically, characterized the dismal conditions surrounding the beginning and end of Mihomi and Itarou’s time together.

Though personality-wise I do prefer either Daffodil or Anemone, the added emotional depth and perspicuous rationale to Hydrangea’s story were certainly rather effective and appreciated.

I suppose at the very least there’s some consistency with respect to Ayume’s characterization and her malicious proclivities, which somewhat unifies her two, quite histrionic endings. What is rather fascinating to me about Charon’s work is that, through the dramatic absurdity and oft grotesque, sanguinary atmospheres, some rather genuinely erudite sentiments and reflections often precipitate. Concerning this particular route, it’s certainly possible to perceive discussions pertaining to the concept of mediocrity and the ardent pursuit of distinction and purpose. Ayume and Itarou harbor somewhat parallel mentalities in this respect, as they both fixate on the protracted monotony of an ordinary existence and feel that true self-satisfaction and worth are inexorably elusive without the acquisition of some definitive, external means of gratification. For instance, Itarou is evidently depressed and stagnated by the repetitious regularity of his life, and in his susceptible state of desperation, he foolishly conflates his love for a wise, kind TV character with the actual personality of the actress who portrays her. He assumes that his persistent efforts to secure her attention and interest will somehow alleviate his sorrow and grant him the “specialness” he craves. Ayume’s intentions are a bit more… gory, and she elects to deviate from delineated path of an average life through the realization of her true talent and passionate “hobby”—murder. Mentions of “conceit” during this route are also a tad interesting, as the desire to transcend the common trajectory of life and follow a path towards happiness and fulfillment of your own designation are foundationally laudable aspirations, yet, can become corrupted and dangerous when taken to extremes by a tumultuous, unstable mind such as Ayume’s. Additionally, the topic of one's purpose is innately rather nebulous and complex, as, while having goals is oft beneficial, the conviction that satisfaction can only be derived from the attainment of some single, irrational, quixotic accomplishment or status can potentially render true contentment in life an impossibility. Itarou, in his pining for the person he assumes Ayume to be, is essentially a victim of this mentality.

The “good” ending was a bit oblique when addressing the specific events which predicated Ayume’s… peculiar interactions with Itarou, and it seems a few disparate interpretations are possible. It remains unknown whether she successfully encountered the murderer of her family but persisted in her violent behaviors due to an emergent talent in killing, or if she stalks the same bar with the resolution of eventually obtaining vengeance while preying on random, "sinful" men like Itarou who are enticed by both her beauty and certain misconceptions about her personality. I do wonder if her selection of Itarou in particular and her chastisement of his childish naivety and worthlessness in the “bad” ending are perhaps attributable to survivor’s guilt and the desire to punish her child-self for neglecting to come home on time and, consequently, avoiding the same fate as her family. I can’t be certain, however. Nonetheless, Ayume surely had potential as a character, and it was rather unfortunate, of course, how her route inevitably culminated.

It seems that each woman deserved more time dedicated towards their development, considering the rather archetypical outlines their characterizations adhere to and the vague, tenuously established backstories and mentalities which are arguably a bit insufficient to illuminate the inscrutable motivations for their bizarre, murderous actions. I’ve certainly tried to flesh out the somewhat skeletal constructs of their individual identities and unify the given pieces of information into an overarching understanding of who these women truly are. I can’t say if I’ve succeeded in doing so at all, as it’s possible that I projected too many of my own assumptions and interpretations onto these stories, which perhaps deviate from what Charon actually intended.

The pronounced lack of homogeneity in the tone and realism employed throughout the experience creates an “emotional rollercoaster” which consequently renders these narratives a bit difficult to comprehensively evaluate. The slower moments of character development which served to augment your understanding of the personalities and perspectives that defined and motivated these individuals were often rather simple, yet occasionally striking in the depth and erudition of the sentiments expressed and discussed. Additionally, these instances of profundity were often effective in subverting expectations, as the sudden reveal of greater complexities and facets to these women succeeded in elevating their characterizations beyond the anticipated archetypal roles. Jasmine’s route in particular was demonstrative of this, and, following her endings, the internal rationale and compulsion for her startling behaviors were retrospectively embellished and explicated. Alternatively, certain segments adhered more rigidly to the categorical yandere tropes and the predictable proclivity of Charon to culminate plots with sanguinary events. These gory occurrences are seemingly contrivances for the sake of entertainment that are rather tenuously explained, built-up, and congruent with previously established personality traits and inclinations. Separately, I enjoy stories entrenched in poignant, intricately detailed psychological elements as well as farcical tales with exaggerated stereotypes, however, the amalgamation of these two disparate focuses will necessitate assiduous care on the part of the writer in order to create a cohesive narrative with a consistent, palatable tone. Otherwise, the grounded, emotional scenes contrast jarringly with the shockingly fantastical, illogical, and inexplicably brutal moments, and the experience in its entirety feels quite disjointed and capricious. Obtaining an effective, precise balance of features, characters, and plotlines of variable gravity, realism, and tone is truly a tad difficult to achieve, though certainly far from impossible.

Since I had been noting and expounding upon some of the themes that I considered to be interwoven into the narrative thread of each woman’s route, I suppose I should finish my analysis with a similar discussion of the sort. With respect to the ending, it’s possible to interpret the meaning as expressing the likelihood that cultivation in such an innately “irrational” society results in the absorption or internalization of its corruption or “rotten” attributes, thereby contributing in perpetuity to the establishment of this world as a fecund ground for breeding “sin” and sorrow. I can’t be definitively sure, however, the text appears to imply that transcendence from this cycle and the attainment of internal strength and contentment are impossible, at least for these women. To extrapolate a bit from this theme, it seems as though, due to the dating sim structure of the visual novel, that the concept of inevitable pain and grief is specifically explored through the conduit of romantic relationships. Consequently, most characters, including Itarou himself, demonstrate a rather naïve, flawed conceptualization of love, based on the injurious assumption that romance is the sole determinant of happiness and success, or the only means through which they may obtain salvation from their current torturous situations. As I described earlier on, this exaggerated desperation translates into misguided obsession and amplifies the torment of rejection, culminating in many of the various destructive, violent endings. I suppose the message that could feasibly be distilled from this thread of commonality between routes is that amelioration of one’s dismal circumstances and the pursuit of self-betterment are not immutably linked nor necessarily contingent upon relationship status, and extreme dependence on a single person, especially someone you don’t know very well, might not be such a fantastic idea.

Overall, I’m thoroughly entertained by Charon’s works despite their occasional narrative faults.

[rigelwrites-blog]

HypnoSpace Outlaw: Discussion and Review

The immensity of content and intricate details to sift through in this game was truly laudable and much appreciated. It seems the developers crafted their emulation of the 90’s internet from quite a reverential standpoint, and consequently, the overall design and aesthetics were wonderfully nostalgic and enjoyable to view as an accurate replication of the past. As mentioned, the breadth of personalized pages and unique characters created a rather explorative experience ancillary to the underlying plot and mystery of the game. Concerning the primary narrative thread, I found it a bit interesting how assiduously the enforcers are intended to police the content on the internet for infractions that range from harassment to comparatively innocuous copyright infringements. Despite the arguable necessity of such scrutiny in enforcement, the attention given to Merchantsoft’s own internal activities was, conversely, quite scant and dangerously insufficient. It was only after internet users revealed the suppressed, incriminating medical studies that Merchantsoft was eventually felled. Essentially, the company demanding strict compliance from its users was willfully, and ironically, incapable of ensuring its own behaviors were in accordance with safety regulations. In a sense, it’s a bit of a “who watches the watchmen” type of situation. I suppose it’s also possible to perceive a sort of theme discussing the inequities in the policing and enforcement of rules and stipulations, whereby scrutiny is levied independently of the potential danger or severity of the consequences of circumvention.

Lovely game, and a tad somber, as well.