#When their choices and play style have zero impact on you or anyone else

[swaps55]

How to Play a Video Game Correctly:

Are you having fun?

Congratulations, you're playing it correctly!

[shegoesbyjoy]

i've been thinking a lot about why Disco Elysium in particular has touched the core of my being in a way no other piece of media has and i think there are several factors at play here. this is half a review and half me dumping my various thoughts on this game ever since i finished it a couple months ago.

AS A VIDEO GAME ITSELF—i've been trying to identify what exactly it is about certain games that causes them to rise above all the rest that i've played, and i have come to the realization that in all of them, combat is usually one of the least consequential things on that list. i love Hades, have dumped 160+ hrs into it, but despite it being a very combat-heavy game with extremely tight controls that i do find truly satisfying, that is not what kept me playing. it's the characters, the art, the story, the world-building, the music...

similarly, while the combat in Horizon Zero Dawn is really quite fun, what really charmed me about it was its spunky, badass protagonist and fascinating mechanical creature designs, in addition to the story set in a world that captivated me from beginning to end. Night in the Woods took my breath away with its emotional & poignant writing told through a unique & delightful art style. i didn't even finish The Last of Us, but Ellie's moment with the giraffes is ingrained in my brain—and of course i went ahead and watched someone else play through to the end so i could enjoy the rest of the story without having to slog through zombie fights myself. so while i always appreciate well-executed combat in games (and have given up on games that do it too poorly), it's never what keeps my interest.

SO. what happens when you take combat out of a game entirely, and absolutely excel at everything else? you see where this is going.

THE CHOICE OF MEDIUM—the fact that DE's story was told through a video game (as opposed to a book, a show, a movie, etc.) is absolutely crucial, because of your active role in the consumption of said story. i think that's what gives some of its scenes such devastating emotional impact. watching this train wreck of a character that you happen to be playing blurt out the most unhinged responses despite your best attempt to salvage the situation, coming to terms with the awful reality of what's in front of you at the same time Harry does, seeing the immediate results of your choices as well as slowly realizing how your choices affect the story long-term as the pieces start coming together... all of this creates an immersive experience that is unparalleled. the game doesn't take self-insert so seriously that the protagonist ~can be anyone~ (Harry's characterization is, in fact, very strong and well-established) but there's absolutely no way a Disco Elysium book or show would have the same impact as me having to progress the story by fucking around and finding out.

GAME SPOILERS AHEAD—combining these two aspects of DE helps to explain what made the tribunal the MOST TENSE i've ever felt playing a video game. this is essentially as close to combat as you'll get in this game. you've just spent the last 20-30 hours becoming very familiar with the mechanics of the game with regards to the dice rolls. you become accustomed to the fact that most skill checks are white so you can come back to them, and that red checks are comparatively rare. enter the tribunal: suddenly you have several very high stakes red checks in a row. you can't leave. you can't try an individual check again if you fail. the story itself has been alluding to this very moment throughout the game. people are DYING, and the lives of those that remain, including your own, are on the line. your earlier decisions have come to a head.

it was 3 am when i got to this point in the game, and the reality of the situation i found myself in shook off every bit of sleepiness i'd been feeling up to this point—my eyes were wide open and my heart was pounding.

i know many people who play video games derive a lot of satisfaction from perfecting mechanics, learning patterns, or deducing the weaknesses of a difficult boss. for me, this satisfaction gets dwarfed by the frustration of having to spend far too long dealing with it in the first place. triggering a boss battle oddly takes me out of the story, because it feels like a very marked switch from "being the protagonist in the game's world" to "sitting on my couch playing a Video Game", where the same repetitive action of "killing the enemy" becomes my goal, no matter what the game is.

by contrast, the tribunal was very much a continuation of the story with each skill check having immediate results on how that story plays out. no other moment in the game was quite like it, and i had no idea how this sequence of events was going to go, so every action felt extremely fraught. i was on the edge of my seat in a way no other game has gotten me to feel, because the weight of this encounter felt monumental in DE. and of course, this is where you come across an iconic skill check where you find out exactly how much your previous choices matter...

i was so damn nervous during this check i probably would've cried if i failed it lmao

FUCK YOUR EXPECTATIONS—this leads me to the other thing that's got me smitten with this game: the subversion of expectations. dialogue options are never written so transparently as to have a "correct" answer, and trying to stay neutral with my answers got me a well-deserved smack in the head in the form of a brutal burn about the dangers of centrism. we have 3-dimensional characters that make you growl in frustration one moment and your heart swell in the next, descriptions that make you marvel at both the beauty and ugliness of humanity, situations where you feel crushed by sadness and dread then want to cry tears of happiness because despite all of it, there is still magic left in the world. it's also so goddamn funny. this game is fucking hilarious—and what is comedy, what is a punch line but the subversion of an audience's expectations established during the setup?

Disco Elysium is a game that far exceeds the sum of its parts. it excels in its storytelling, its voice acting brings incredible life to said phenomenal writing, its gorgeous painterly art style is visually compelling, its music is flawlessly incorporated to full effect, it's intellectually stimulating and fascinating philosophically, and as a murder mystery (oh yeah that's what this game's premise is, right?) it's just plain fun to reveal clue after clue while pondering theories as to what the heck is going on. these individual components come together to create a multi-dimensional piece of media that's deeply human, yet fantastical and absurd. it's uncomfortably relatable while inspiring empathy for even the most unfamiliar of experiences.

for instance, i have no personal experience with alcoholism or addiction, but boy do i sure know what it's like to have a compulsion to apologize at every opportunity for simply existing—to want to cease existing, period. i don't know what it's like to grow up and live in a post-soviet country yet the experience in-game felt as vivid as ever, inextricable from the story's identity. i felt a pang of pained recognition in Kim's complicated relationship with his race as diaspora, and found myself wishing i had the ability to respond even half as effectively as he did with the Racist Lorry Driver during my own past run-ins with racist assholes. this game has caused me to think more deeply about my own politics, my relationships, the world around me, the power of art, the role of capitalism, beauty, hope... even what it means to be alive.

A CHANGED PERSON—a realization i came to a while ago while talking to a friend was that almost all of the media i had enjoyed up to that point shared a theme of escapism in one way or another. there have been many moments in my life where i wished to be somewhere else. to be someone else. i immersed myself in stories where the fantasy of it seemed so much better than the reality of my own life. this game forced me to reckon with where i am, who i am. and not only that, it encouraged me to be accepting and loving of the here and now, despite every single flaw i seemed to be obsessed with pointing out. it made it abundantly clear that constantly running away was not a viable way of living, and that flaws were not a reason to give up. "something beautiful is going to happen"—i should very damn well let it.

it's not an exaggeration to say this game has changed me irrevocably, and the fact that this impossible piece of art even exists in this world feels like a miracle. i'm so grateful that i got to experience it.

[oh-hush-its-perfect]

Alex Fierro's Introduction Full Breakdown

Okokok so. This is going to go full English-professor mode, where I'm drawing conclusions that are gonna seem a little far-fetched. That's what's fun about media analysis! I can say something is a symbol, and even if I don't have enough faith in RR's competency to know if he meant for it to be a symbol, it's still true! That being said, a lot of these choices I'm sure are intentional, either at a literal or subliminal level. Page numbers are going to be used not to assert a kind of authority or whatever— this is a Tumblr post, not an essay— but to help readers find the pages I'm referencing in case they'd like to do some digging of their own. Also, this is going to be really long. Really sorry to anyone with ADHD; I might make an audiofile of this so you can get the information without having to read the whole thing. With all that, let's get into it!

To kick off, let's talk about Alex being in the form of a cheetah when she first meets Magnus. Of course, there's the obvious impact of him seeing her but only so breifly, as well as introducing the conflict between her and the rest of Hall 19. But that could have easily been accomplished by almost any animal. The choice of a cheetah being implicated implies two qualities of Alex that will be recurrent throughout the two books she's in: 1. She has a tendency to run away, as we'll later learn when she describes how she became homeless, and 2. To Magnus, she's elusive. She can't be caught or held down. The event that shows this so transparently is how Alex refuses to define their relationship at the end of the series, despite it clearly surpassing the normal bounds of friendship.

But the cheetah isn't the animal Alex is in the form of when Magnus first gets a good look at her; she's a weasel. Weasel's bring up all kinds of connotations: ferocity, slickness, a lack of charm. When we want to describe someone as an untrustworthy person, we call them a weasel. RR had Alex take this form to play up her comrades' feeling of distrust towards her. She could be a double-crosser. But paradoxically, the up-front and vicious mannerisms of a weasel also have a transperency. She does not try appealing to her Hallmate's sense of goodwill because she doesn't have anything to gain from it. So even though there is the implication that she might be an antagonist, there's also evidence from her actions and mannerisms that she isn't. The weasel's long and skinny frame also allow for a smooth transition into Alex's actual body, which is convenient.

As Alex transforms into her usual human form, Magnus describes her as "a regular human teen, long and lanky, with a swirl of dyed green hair, black at the roots, like a plug of weeds pulled out of a lawn" (pg. 50). That simile at the end is of particular interest. Let's compare it to another time Magnus describes Alex's hair, in Ship of the Dead: "Her hair had started to grow out, the black roots making her look even more imposing, like a lion with a healthy mane" (pg. 136). By contrasting these two different examples, we can see the development of Magnus and Alex's relationship. The first time he sees her, he thinks of her hair as something nasty— note the word choice "weeds." Later on, though, he becomes more affectionate towards her, more complentary. The immedient negative reaction is less his actual impression, though, and more the reaction he expected to have based on everyone else's reaction to Alex.

Her clothes are equally as interesting; as Magnus describes it, Alex wears "battered rose high-tops, skinny lime green corduroy pants, a pink-and-green argyle sweater-vest over a white tee, and another pink cashmere sweather wrapped around the waist like a kilt" (pg. 50). Aside from the obvious fact that this outfit is a) bizzare, b) fire, and c) Alex's signature colors, which add a layer of style to what can otherwise be a somewhat boring series fashion-wise (excuse me, Blitz), the outfit reveals a crucial facet of Alex's backstory in a kind of subtle way. These are expensive clothes, like the Stella McCartney dress in Alex's room. Note the mention of fabrics (corduroy, cashmere) and patterns (argyle). These indicate wealth and status. Even the high-tops; shoes like that don't come cheap. But I'd like to return to the very first word of the section: "battered." Alex's wardrobe show-cases a proximity to wealth, but also shows that that proximity has been strained and lengthened, maybe for an extended period of time. Alex dresses like a rich person, but she isn't one. Least, not anymore.

The last word of that outfit-introduction is also of interest: "kilt." At the current moment, Magnus thinks that Alex is male. No one has indicated otherwise to him. Everyone has been referring to Alex with he/him pronouns. Samirah called Alex her "brother" (pg. 29). His first thought in seeing what he at first perceives as a guy with a jacket wrapped around the waist is That looks like a kilt. This thought tells us about Magnus: despite being open and accepting, he still has some lingering notions of gender conformity from his years in wider American society.

Magnus also indicates that the outfit "reminded me of a jester's motley, or the coloration of a venomous animal warning the whole world" (pg. 50). This is rather self-explanatory, but it's still worth noting that Magnus sees the outfit as something bizzare, strange, and even perhaps comical. This places Alex at odds with the other people Magnus has met. It also reveals that Magnus has zero fashion sense. But we already knew that.

After finishing up staring at the ensemble, Magnus finally gets around to actually looking Alex in the face. First Magnus says that he "forgot how to breathe" (pg. 50), which, yeah, relatable. This is justifed by saying that Alex has the same face as Loki, but the very same sentence that asserts that that's the case also suggests an alternative reason: Alex has "the same unearthly beauty" as her father. Here we can see the beginnings of Magnus's attraction to Alex, though at this point, he still has a lot of internalized homophobia. Though there's certainly some truth in that Magnus was unnerved by Alex's resemblance to Loki, the idea that Magnus pointed out that Alex was pretty without elaborating on that thought until about a chapter later— after he was informed that Alex was presently a girl— can tell us a lot about how Magnus perceives sex and beauty.

Of course, Alex's eyes are given special attention. She has cool eyes; what can I say? But I'd like to focus in on how Magnus here depicts Alex's heterochromia as "completely unnerving" (pg. 50). Again, let's contrast this with how he describes them after getting to know Alex a little better in Ship of the Dead. In Chapter 3, Magnus describes "[Alex's] dark brown eye and his amber eye like mismatched moons cresting the horizon" (pg. 25). Once again, this shows the development of their relationship— but this time, it's in a much more personal way. Eyes are the windows to the soul; they are culturally important and biologically important in inter-personal connections. In you look into someone's eyes, you're giving them your full attention, and you're implying a kind of closeness. The way that Magnus describes Alex's eyes in the second passage is downright intimate. At this point, he is in love with Alex, and it is clear when contrasting the two descriptions.

As my last point, I'd like to discuss Alex's first words on page: "'Point that rifle somewhere else, or I will wrap it around your neck like a bow tie'" (pg. 51). First of all, Alex saying this with a "perfect white smile" (pg. 51) on his face implies that she is used to being threatened. She is not afraid of being shot; she counters the promise of an attack with a promise of her own. This pleads the question: why is Alex accustomed to violence? What events of her past or qualities of her life have brought her to this point? The threat itself reveals Alex's trauma from being genderfluid in a society with rigid gender norms, as well as her antagonistic relationship with her father. Magnus makes a comment that Alex "might actually know how to tie a bow tie, which was kind scary arcane knowledge" (pg. 51). Like Alex's wardrobe, the idea that she may have experience in high-class fashion also implies her former status as a rich kid.

I could go on. I could break apart Alex saying "'Pleased to meet you all, I guess'" (pg. 51). There is a wealth of information in this short page span that tells us things about Alex Fierro in the present moment, quietly demonstrates things about her past, and characterizes the narrator Magnus Chase. This passage is also effective in hindsight in marking the progress of Magnus and Alex's relationship.

But I'd like to take a step back and look at not the pieces, but the whole picture. Alex Fierro gets a full page of pure description— her outfit, her face— and about a chapter of introduction. This comes after several chapters of build-up. Alex Fierro is an important character you need to keep your eyes on. Alex Fierro is emotionally significant to the main character, Magnus Chase. Alex Fierro is one of the most developed and well-rounded characters that Rick Riordan has ever written— heck, she's one of the best characters in middle-grade books period. The extended emphasis on her and her alone tells us exactly what role she's going to play in this story: she's the star.

[daemonoferror]

I have y'all played Scarlet Hollow bc like- *you should play scarlet hollow, I'm obsessed with it rn*

It's a super cool game and the first episode is free on steam. It's a graphic novel game with a really unique style-

(This, for an example-)

And all the characters are super interesting and unique- like this ^^^ is probably my favorite character, Tabitha, who's your cousin who invited you to town for your aunt's funeral, even though your mom kinda up and abandoned the family before you were born. Tabitha runs the family coal mine, and comes off as really cold and closed off, though she has her quirks- like being obsessed with banana chocolate chip icecream and mac and cheese. And owning a snobby french cat named Frou-Frou.

How do I know the cat's snobby and French?? Because there's a bunch of traits you get to pick from at the start of the game that effect your game play!! You can pick two, and I found out an hour ago that I'm a basic bitch bc I always pick mystic and talk to animals-

bUT STILL YOU CAN TALK TO ANIMALS-

Along with Tabitha, there's also-

Stella, a YouTuber who hunts cryptids and has an elderly pug companion

Avery, a super cool server at their aunt's diner, who's a musician and an outsider in the town. (And they're non-binary! And you can make your character non-binary too!! It's so fucking COOL)

Oscar, a dilf librarian whose house is probably haunted

And more that I don't feel like coming up with fun descriptions for!

I don't want to spoil the story much but it's rad- you go cryptid hunting with Stella to find skunk ape- just for you to NOT find skunk ape-

it's cool though, you find something else instead, and what choices you make impact the story in a *BIG* way- and this is jusy talking about ep. 1. In a lot of choice games, normally your choices are just thrown to the wind by the next episode, or they feel very choppy and weird. This game so smoothly supports my dumbass decision from the end of ep. 1 and I genuinely forgot that there was any other option to make that would've changed my game completely.

You'll also get the opportunity to romance a bunch of characters in later episodes

(This bunch, specificly, left to right: Avery, Stella, Oscar, Keenka, and Reese)

And honestly I have no clue who I'd choose- I'll probably just play the game 5 times lol.

All of the stories and characters are so unique, and you get cool opportunities to customize your character- not exactly clothing ot appearance wise- but besides picking your name, home town, snd traits, there's moments like with Stella where she'll ask you about your occupation and living situation, and it'll make it feel more personal for you-

And while we're talking about it, the humor in this game fuckin' SLAPS sometimes, mkay?

Like I told stella I live with a difficult roommate, one a past roomie left me with, who disrespects my boundaries, goes mental when doors are closed, steals my food, sleeps naked on the couch, and will miss the toilet and pee on the floor-

JUST FOR IT TO BE REVEALED THE ROOMMATE IS A FUCKING CAT-

IT STILL KILLS ME ON MY 6TH PLAY THROUGH-

And if anyone does play the game, PLEASE try to get the patient zero achievement. It's my favorite lmao

In conclusion: I love this game a lot, I wanna draw an OC for it and maybe some fanart.

(I'm sorta convinced Stella and Tabitha used to date, or at least had feelings for each other-)

And if you haven't played this game... you SHOULD.

[felassan]

Zero To Play podcast episode: John Epler, Narrative Director at BioWare

In the most recent episode of Zero To Play podcast the guest was John Epler, Narrative Director on DA4. He talked about narrative games, how they fit inside an industry leaning towards games as a service, his experience being at BioWare for almost 14 years, and advice that he has for aspiring devs who want to create memorable, impactful and transformative moments in games.

The episode summary read as follows:

In this episode John brings his 13+ year experience being at BioWare and working on titles like Mass Effect & Dragon Age: Inquisition to explain how he believes storytelling will evolve and develop through the medium of games.

He shares some of his favorite moments and why he thinks games are the most powerful and interesting medium to be exploring in this generation.

It’s a good and interesting interview, so worth checking out if you can! You can listen to it here or on Spotify.

This post contains some notes on what was talked about in the episode, in case a text format is better for anyone (for example folks that can’t listen to it due to accessibility reasons). It’s under a cut due to length.

A bit of paraphrasing.

The average dev stays with a game company/studio for about 5 years. John joined BioWare right after the EA acquisition happened.

[on going into Trespasser] “Myself and the Lead Writer Patrick Weekes both knew that we needed to wrap up at least this part of the Inquisitor’s story, and set up where we want to go next with the franchise, with the IP. We learned a lot of lessons from DAI itself. DAI was a game with a lot of exploration and open-world content, and while we stand by that (I still think it was the right call for the game), one of the pieces of feedback we got from the fans was that they really wanted some more directed storytelling. Jaws of Hakkon was more of a continuation of open-world, more free-from exploration and free-form design. Trespasser was our opportunity to tell a story in a much more linear and focused way. [this way of telling stories] really does help to be able to create that sense of pacing and emotional escalation. It’s a lot harder to do that when you’re mixing up storybeats with big, wide open-worlds. Trespasser was a project where everyone was kind of in sync, we were all building [towards] the same thing.” 

-

“There were [story]beats [in Trespasser] that I don't think we would have been able to get away with in basegame DAI, one of those being the - quite frankly - incredibly lengthy conversation you have with Solas at the end. Because by this point we knew that if someone is playing this DLC then they are in it - they’ve been in it for the last two DLCs, they’ve played through the entire game, they want something incredibly story-focused. And we were able to really dive deep into that, some of the deep lore, some of the narrative. This was one of the only conversations that I’d worked on which, due to limitations of the engine, we actually had to break into two different conversation styles because it was so massive. We also got opportunities to do some fun callbacks. One of my favorite ones was one Patrick suggested which was, ‘What if I [didn’t like Solas much and] spent the entire basegame telling Solas I didn't want to hear anything he had to say?’ So we had the option that if you never chose ‘Investigate’ or a dialogue option that implied that you wanted to hear him blather on, there was one dialogue option that you could pick which was basically ‘Solas, when have I ever wanted to hear any of the shit you have to say?’ And it just kind of wrapped up the conversation super quickly, and Solas looked exasperated. It was fun because it’s not the kind of thing you can necessarily do in the main game, but in a DLC which is entirely for those core fans, you have a lot more options as to what you can do.”

John has an understanding of games as an interactive medium.

“Choice of combat, choice of mechanics, all of that does have an impact on the storytelling and on the narrative that you’re trying to put through. A lot of storytelling in games is trying to make sure that the - there’s a phrase, ludonarrative dissonance - [for example, say] I’m making a game where I’m trying to make the player feel powerful. How do you [do that?] [...] In games, this is kind of the challenge. Interactivity is so key to it. [...] It’s a lot harder [compared to characters in film] to put the player in a situation that they are going to lose, because as soon as you take away that autonomy, you’re taking away some of that interactivity. [...] If as a player I'm making you feel strong and powerful, and then I pull you into a cutscene and suddenly you’re losing the fight, you’re losing what’s going. That is a much different sensation, that is something movies can get away with that games can’t.”

-

“What are [players/our audience] actually meaning when they say that they ‘want choice’? I think that in a lot of cases we conflate that with ‘Oh, they want to make a big decision that changes the world’. But in a lot of cases what players want is the game to react to what they’re doing and the choices that they’re making in a way that feels organic and natural. I think this is something CD Projekt Red and the Telltale games did really well - of making it clear when the game is actually going to pay attention to what you said or did, so that when you see it later you’re like ‘Oh right yeah, I made that choice, the game said it was going to remember it, and it remembered, this is cool’.

And it doesn't always mean completely changing the course of events. The Telltale writers, as they got on through the games, they realized that the better way to address choice - and something we’ve done too - is, if we make the game have three endings, four or five - like DAO had an absolute massive amount of ways that it could turn out. How do you pay that off if you want to do a sequel? There's basically two choices. One is that you make an incredibly short game because you have to account for these very different branches, OR you collapse them and say ‘Sorry, this is what we’re going with’. And I don't think either of those are necessarily satisfying. For me it’s about making the players feel like their time and the choices they made have been respected. More than anything else that's the key, it comes down to understanding your fanbase, what it is they’re looking for, what it is they’re asking for, because there is that desire for choice, reactivity, consequences. And it’s something that BioWare, that we’re especially sensitive to because it’s always been a big pillar of the games we make. It’s just about understanding what this actually means from a practical standpoint and how you execute on that in a way that makes your fans feel satisfied, while still not writing yourself an impossible check to cash, because, you know, you can react to anything, but if you have a game that ends in three separate ways, you have to go with one of those two options and neither of them is going to be intensely satisfying to the player.”

-

“A phrase I’ve been using is, what I'm describing as - the half life of quantum. ‘Quantum’ is what we say when it could be like, one of six different things. The half life of this is how long before you actually resolve that down to a single point. Like, provide the player with that reactivity, but collapse those into a way that you can proceed forward. This is 100% a lesson learned from Dragon Age, for all the games. ‘Ok, what do we do with this? Holy shit, that is huge, how are we actually going to pay that off?’ Reactivity, but without putting yourself in an impossible-to-win situation [from a story/writing standpoint].”

-

“More than anything else, the advice I would give [to aspiring devs] is, come up with some fundamental pillars of your story and of your design. There's a misunderstanding that we plan out the exact story for years in advance. We know what we want to get to, we kinda know how we’re going to get there, and a lot of it is just making sure that you have those pillars and those razors. So as you go through development and find, ‘Oh this piece is not working, this piece is clunking’, you’ll always have principles that you can go back to. What is important about this story? Does the piece that isn't working satisfy any of those things? If no, then we have to change it or get rid of it.”

-

[more advice] “Don’t be afraid to fail (I say fail here as a good thing). Don't be afraid to put something out there and have it absolutely torn to shreds. Feedback is your best friend, having people that you trust to provide that feedback. If I were building a big epic narrative, a big epic franchise, [I’d advise that you] start with your principles and the core of what you want to do, and then just start putting out ideas. ‘Here’s my idea for this story’. It’s easier for me, I'm inheriting a lot of work that's already been done, a lot of ground that's already laid - I have a Lead Writer that has been doing this longer than I have, PW is fantastic. But for myself, it’s just been a lot of like, okay, taking this stuff that's already been built, and making sure that I know what we want to do with whatever the next project is. It sounds overly reductive and overly simplistic, but it really is about just having a really strong sense of what is important to your franchise, what’s important to your brand. If you’re coming up with a new IP, it’s a little trickier. You need to spend some time thinking: what’s the tone, what’s the setting, what kind of story do we want to tell.”

-

[more advice] Don’t be afraid to heavily reference existing media [as actual razors, internally]. But that's not something you ever want to have go out to the public, because people go like ‘Oh, you’re just being derivative’. It’s like no, we’re just leaning on cultural touchstones that people know, so that when you’re communicating with people outside your discipline, or with people above you like executives, they can at least get a sense like, ‘Oh I kinda get what you’re doing, okay that makes sense’, versus ‘Let me first of all explain the entire history of the world’. My experience with executives is that they don't have time for that and justifiably so. But if I tell them we’re doing X but with Y and Z it’s like, ‘Ok cool, we get that’. [...] It’s a tiered approach. You have levels of detail that you provide to different people based on what they need to know. You yourself may need to know the history of these characters and how they relate to each other and the thousands of years of history for that, but the person building combat probably doesn't need all that detail and just needs to know ‘What am I working with, how do these characters fight.”

-

“A razor is a statement that you use to slice away what doesn't fit. The narrative razor for Trespasser was, I can’t remember exactly, we were basically trying to go for the Avengers meets Indiana Jones, Winter Soldier. Avengers meets Winter Soldier. [a razor is] a statement that you take all the content [by], ‘Okay, does this actually fit this statement? No? Okay, get rid of it’. It’s about focusing your game. Cutting away the ideas that don't really fit is how you avoid scope-loading and people crunching, and how you keep your project focused.

Trespasser was an intensely-focused DLC, in that it focused on basically two main core things, Solas and the fate of the Inquisition. Everything kind of wrapped into those two razors. As we were going through content, we had stuff like - I said this at a GDC presentation in 2016 - the Qunari are farming lyrium to make Qunari templars. And then we looked at it like, how does that apply to either razor? It doesn't, it doesn't fit either one of them. So we simplified it to, ‘Okay, what actually makes this work in the context of what we’re building?’. [a razor is] a statement that you use to slice off what doesn't fit into the game that you’re building. It can be painful, but having strong razors means that it never comes across as a personal thing.”

Narrative does not mean story.

Two of his least favorite mechanics in games [not including Stalker and DayZ] are weight limits and weapon degradation.

On games as a service:

Interviewer/host: “Talking about games as a service, it’s definitely something that is talked about a lot in gaming in terms of the most successful games. With Dragon Age, putting DLCs out is kind of maybe that same influence, but games that are launched and then iterated on and updated and pushed with content every month, like Fortnite, Riot Games, League of Legends, Valorant etc, that's kind of I feel where the trend of games are trying to go and make the most of those interactions between other people, to make replayability possible and easier. How do you see narrative, do you see it being forgotten with this increase of games as a service? [...] Do you see that as a positive part of narrative in games or do you think there’s still work to be done in that space?”

John: “[...] The place we start to see some confusion, a lot of people think it’s one or the other, but to me, it’s another way, another option for telling stories that by their nature have to be different. I think that's where you need to be, again, very cognizant of what you’re building and of the genre you’re working in, because a story that works for a more traditional box product is not necessarily the kind of story that would work for a games as a service product. [...] Games as a service, understanding what the cadence is that you’re planning to deliver to and what kinds of stories best fit that cadence - some games are better at it than others.

One game that did a pretty decent job of it is Destiny 2, through patches. Final Fantasy 14 is another example, they do a lot of their storytelling between the big expansion releases as part of their free patches. They always know that they have - I think, five big patches? - between each expansion, and they’ve structured their stories to fit into that very specific five-act structure. If they tried to do it weekly or bi-weekly it would be a very different experience. I think there’s always room for narrative. It’s about knowing that there are different lessons to learn and not being afraid to learn those lessons, as opposed to trying to fit the traditional box product square-peg narrative into a live service round hole. And that’s why you need to have a strong vision and why you need to have somebody at the Director level who understands and plays the kinds of games that you’re building, so they kind of understand what works and what doesn't - ‘This type of story worked really well for this game, and I'm not saying you should copy it, but you should at least be willing to learn those lessons and not reinvent the wheel every time.’

We’ve been making games for a long time now, there’s lots of lessons to learn, we should be trying to learn from them and not trying to like, change everything every single time.”

-

[on length of narrative] “In a lot of cases you know how long your game should be and the hardest part is sticking to that. [...] There is always a worry that fans are going to see a number and be like ‘That’s not big enough or that’s not long enough.’ I do think that there is sometimes a lack of confidence in what you're building, and a desire to make it shorter or longer, but I think at the core, the people building [a] game know how long it’s going to take to tell this story that they want to tell. I say this specifically for narrative, but even stuff like progression, you know how long you want it to take. For myself, I will always take a short but well-executed game over a long game that feels that it has a lot of [useless/boring] padding. It’s about identifying the kind of game you’re building. Open-world games are always going to be bigger and longer than more linear games. Being confident in that number and recognizing when you’re adding time and space for no other purpose than just to make that number on the back of the box longer [is important]. Fans don’t love that, they can see right through that.”

-

“It was nice to see the amount of hard work that went into DAI rewarded by the press [with the Game of the Year award]. There are definitely parts of it that didn't land that we wish we could have done differently, but it was a project that felt like we were all pulling in the same direction and when we started getting that positive feedback, it was definitely a sense of relief. Especially because a lot of us had been on DA2, and while we were proud of that project, it obviously didn't get the reception that we wanted at that time.

[when they were watching DAI’s release and tracking its reception] We’re keeping a running tally, like ‘Okay, this is really looking like we did something special here’. I’m proud of every project that I’ve worked on but DAI is definitely one that I’m especially proud of.” 

-

“Part of the advantage to being at a company for as long as I have, I've worked with a lot of the other people [responsible for things in other departments like art, writing, audio etc], so while there is that anxiety like ‘I reeeally hope that this works out’, I know it’s going to, because I know that everyone who is doing these roles, like our Animation Director, our Audio Director, Levels, all those other people on the project know what they’re doing and they know their shit better than I could ever hope to. So I’m just kind of standing here like ‘Hey y’all this is what we need’, and it’s coming in. And when it does come in, when you see the pieces together - I think for myself, on DAI, the moment that I first finally started feeling like it was really all coming together was, one of our music designers, going into one of the moments at the end of Redcliffe, doing the music/audio pass, and me finally seeing this scene that I’d been staring at and banging my head against for months - turn into something that actually conveyed emotion, that actually was something that I was excited for our fans to get to see and get to experience. That’s always a special feeling.”

Cinematics is one of the last things to come in, which means that audio is always waiting for them to come in: “They always did an amazing job with very little time, I will never not praise our audio and music designers.”

“Patrick Weekes is the Lead Writer, which means ultimately PW is responsible for the writing side of the game. As Narrative Director, I’m there to offer, to basically take the vision of the project and interpret the part that focuses on narrative and then provide that to my team - because I work with writing, cinematics, level designers and everyone - I’m there to be like ‘Hey this is the narrative we want to achieve’, which sometimes involves getting involved in the story side of things. But a lot of that is PW’s job as Lead Writer, they’ve been doing it for a long time, they’ve been in the industry longer than I have. It’s a really good working relationship. We worked together when I was in cinematics and they were in writing, we worked together on the Iron Bull, then we were both leads on Trespasser, so we have a trust.

I think what’s been really helpful is that they know that if I tell them something’s not working, it’s not coming from ‘I wanna do it my way, you better just do it my way because I’m the boss’, it’s coming from ‘This is something I think we need to do for the project’. And vice versa, if they push back on me about something, I know it’s not coming from ‘Screw you I'm the Lead Writer, I make the decisions’, they’re saying it because this is an actual concern. I do writing, I’m a writer on the project too but I will fully admit PW is a way better writer than I am, so I'm comfortable leaning on them for that stuff, and then I’m the person who can provide that ‘Okay, we know that gameplay is providing this, we know levels is providing this, let’s shift the priorities'.

It’s also about knowing, being able to take that back from any one discipline and say ‘Okay, what is the right decision for the project as a whole’, and sometimes that means telling PW something that they may not think is their favorite thing to do, but they will listen because they trust me and I trust them. I don't know how it works at other studios, there are places where Narrative Director is also the Lead Writer, or where there is Narrative Director and Lead Writer is the highest authority on narrative that exists, but it’s worked for us again because we have that lengthy experience. It would be interesting to see how it would work if we didn’t know each other for a while before this. It’s largely a relationship of trusting each other to know our areas of expertise and also just understanding what’s important to the narrative vision of the project.”

When they did Tevinter Nights it was ‘extracurricular’ work: “It was fun, I got to do some writing, I got published, which was really fun”.

[source]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[hallothere]

I broke down and wrote the essay. No, I did not and will not proofread it. I don’t waaaannaaaa

There’s Only One Winner For Isengard

In a perfect world, in a world with no meta requirements that could bend to the will of the player, we would roll up to Isengard level-capped, no debuffs, with one quest-marker on hand: Ruin Saruman’s day. But this is a pre-written sequence of events in which we are only along for the ride. We, the player, and a Ranger are shipped off to Isengard with only one conceivable goal: survive. On a meta level we know what Saruman is capable of. At level 70 or 80-something at best, even we are aware that we are no match for a wizard with a canon fate. Not to mention our Ranger companion! The Grey Company has been through enough (though we don’t know the half of it yet) and we are reasonably distraught at the possibilities.

This is why we, the player character, will lose the game of Isengard.

Beyond the meta rules of the game, where quest objectives are whatever the devs wanted them to be (looking at you, Mordrambor) the player character can not defeat Saruman in any way that’s meaningful. And (again on a meta level) in order for us to get to experience the action at Helm’s Deep and Rohan at large, we have to get out of Isengard. We’d get bored of waiting for Theoden and Co. We’d hurl insults or slap fish at Saruman and realistically incur wrath. Honestly, with the set of circumstances presented to us, who could survive imprisonment in Nan Curunir?

Only one of the Company ever could: Lothrandir of Suri Kyla. 

To begin with, none of the Rangers we have any real information on could have done it. Anyone who’s spent time in Angmar is at a disadvantage due to the prevailing dread (game mechanic or otherwise) that can be manipulated by Saruman. Any Ranger that has a major traumatic past is at a disadvantage (sorry Mincham) because if nothing else, Saruman has proven to be a master of illusion. Even Halbarad for all his leadership ability has a pretty exploitable weakness: eventually Saruman can crack the code with a vision of Aragorn’s demise, the one end Halbarad must fear above all others. Or what bond could more easily be exploited than that of a leader and his men? Lheu Brenin’s in the gang now after all. All Saruman would have to do was send for a few more incentives. 

But Lothrandir comes built with a few key advantages that make him the only Grey Company Ranger qualified to come out of this battle of wills on top. His specific strengths, mindset, and personality traits combined with the circumstances that the game sets up going into Isengard make him the clear choice of Rangers- if a Ranger you must have- to stay behind in Nan Curunir. 

Lothrandir wins because he changes the game. From ‘go’ our co-prisoner does something that either puzzles the player character or sends them into an anxious fit. Lothrandir declares himself fearless and sprints recklessly into the ring. Any way you figure it, this seems like a poorly calculated move. He doesn’t stop to survey the enemy. He doesn’t gather intel. Heck, he doesn’t even bide his time to see if he’ll be killed before he even reaches the dungeons. Lothrandir sprints right in without so much as a thought or a plan. Saruman doesn’t know it yet, but from that moment on Lothrandir has him on the back foot. 

Consider for a moment Saruman’s MO. He’s a wizard, and he uses a great deal of magic, sure, but time and time again we are reminded of the power of his voice and his words. He calls down a storm on Caradhras (in the movies for darn sure), he via-Wormtongue whispers poison into the ears of King Theoden. He doesn’t lead with any kind of grandiose display when trying to sway Gandalf. No, he leads with a persuasive argument. Later on, he nearly talks Theoden back around, after failing to wipe out all of Rohan. After killing the man’s son for goodness sakes. He nearly talks himself out of that one!

But Lothrandir has already changed this from a game of wits to a game of wills. There will be no vying for favor, or biding time, or compliance, or even giving Saruman a chance to ‘talk it over friendly’ first. He’s already spitting on the shoes of everyone he sees. The accomplishment in this is twofold, and it makes a major impact on the rest of his time in Nan Curunir. 

Firstly, by establishing a new game, Lothrandir sets Saruman up for a whole lot of assumptions. He does not display any signs of diplomatic ability, wisdom, or even common sense. He very intentionally projects an attitude of reckless disobedience. In the player’s own eyes, it seems as if he ‘doesn’t know any better’. This gives Saruman a clear path to take regarding Lothrandir. He assumes you can’t reason the typical way with someone who has shown zero inclination for listening. The player character demonstrates that the Grey Company (or least their associates) are capable of compliance. For all intents and purposes, this Lothrandir doesn’t appear to be. He’s contrary, fool-hardy, and evidently dumb enough to dive in headfirst and get himself killed. You beat that kind of guy into submission… don’t you?

But Lothrandir has changed the rules of the game. Saruman is no longer fighting with his best weapon, but with a tool to be found in any old villain’s arsenal. When he took the approach of reasoning with the player character and disregarding Lothrandir, he set the victor’s foundation on our snow-pilgrim’s greatest strength. 

Secondly, by establishing a new game, Lothrandir makes this a battle of physical endurance. Unbeknownst to Saruman, this is the one thing that makes him stand out from the rest of the Grey Company. He has walked through the frozen north lands and the fiery south lands and come out unscathed. He has mastered the unarmed combat style of the Lossoth by joining in mid-winter wrestling matches in a place that took down many Elves, Angmarim, and notably one King of Arthedain! Lothrandir has conceivably spent his entire life training for this matchup. Any endurance he has built up, any fighting he can do without access to a weapon, all are assets to the kind of game he just made Saruman play. Lothrandir is uniquely built to survive any physical torment Isengard can throw at him, or at least, better equipped than any of the others. 

To say Lothrandir is the best choice, we also have to rule out the others. Corunir was thwarted by the Rammas Deluon and for all he learned from that, it’s a weak spot in his proverbial armor. Golodir too, resisted a fair degree of torture (palantiri based, even!) in Carn Dum, but it won’t be hard for Saruman to suss that one out and make our old man’s life a living nightmare. Even Radanir, serious and seemingly unattached to any social bonds now that his good pal Elweleth has gone sailing, would be a poor choice. He is too serious, (for lack of a better term) too genre-savvy, and even if he is spitting blood and delivering a witty one-liner, that’s Saruman’s foot in the door! ‘I’ll never betray my friends and kin, you kaleidoscope hack’? You’ve just told him your weakness, Radanir! No, he can’t keep his mouth shut to save his (or Saerdan’s) life. Radanir is the wrong choice too.

We don’t know a significant amount about the others (except Ranger death would move Calenglad to tears, we can’t put him through this) in order to pinpoint their fatal flaws in the Isengard encounter. But, the game puts us in the incredible position of having seen Lothrandir’s Achilles’ heel and letting us take that disadvantage away. 

Lothrandir of Suri Kyla is uniquely equipped to survive any physical encounter that Saruman throws his way. Now, who’s to say the wizard won’t change his tune and go back to his old tricks? In an incredible twist of fate, we are. The game sets us, the player, up to play Saruman’s game from the get-go. We keep our pixelated head down, try and fly below the radar, and express just enough concern over the fate of our fool-hardy pal to get Saruman to cement his estimation of Lothrandir as a pawn in the game in stone. By making ourselves the better target for the words of a wily wizard, Saruman decides that the best way to deal with the spare prisoner is by playing right into his hands. As we all know, the player character escapes. While that might seem bad for someone who Saruman has earmarked for corporal punishment only, it covers Lothrandir’s one weakness. 

Aside from being the only significant unarmed fighter, Lothrandir is also never painted as a loner. He spends his time in Suri Kyla, hanging out with the Lossoth and sharing their campfires. In the new questline in Forochel, he jumps at the chance to make a new Dunedain friend and takes to King Arvedui like a duck to water. They’re instant best pals. It’s minutes before Lothrandir is telling him Aragorn’s life story and pledging to go with him on a buddy adventure to seek peace for a regretful shade. And if that’s not enough canon for you, Lothrandir bears the brunt of the Falcon clan aggression on the way to Isengard. He does it for you, his friend and companion in suffering. It’s a bit meta, but we have to assume in the internal universe he knows you a little. You’ve run your merry adventures to a degree where, were this not a video game, Lothrandir would at least consider you an ally if not a friend outright. 

He exposes his weakness unwittingly to the Falcon clan, but he leaves it at the gates of Isengard in an extremely well-timed move. By sprinting through the gates without a care as to what’s going on with you or anyone else, Lothrandir establishes an emotional distance between you both in the eyes of any onlookers. Whatever affection you have for him, it doesn’t seem reciprocated. This isn’t a major weakness for Saruman to exploit, then. You’re not one of his kinsmen. If he did want to pursue that line, he could always send to Tur Morva for one, right?

This is where the game comes back in to shift the tide in Lothrandir’s favor. We escape. We play the game, we nearly lose the game, and had we not been given an out the power scaling makes it difficult to conceive of an outcome where we the player can win Isengard. Sure, we’ve been released from prisons before (Delossad to name one) but this is the climax of Dunland. We make a daring escape, and move south towards the Gap of Rohan and all sorts of bad times. 

Back in Nan Curunir, Lothrandir is getting the daylights beat out of him, and taking a victory lap. He’s cemented his position as ‘the prisoner we’ll break with violence’. The uruks have seen him insubordinate and disorderly. In the Lothrandir interlude, there’s not only the canon (stated outright!) reality of past and present torture. There’s also zero hesitation in Lothrandir taking that one on the chin. There are no other objectives on his mind than making the next few minutes as miserable as possible for everyone around. He has no other goals. And he doesn’t need them. Nobody is surprised that Lothrandir is signing his death warrant within nanoseconds of being presented an offer to comply. He spits on the offer. He tips over the slop bucket. He beats bloody any orc (and gameplay purposes aside there are very few that dare come forward) that actually tries to kill him for it outright. 

He’s built up a non-rapport with Gun Ain. She talks about killing him and he doesn’t say anything. They’re all playing his game and he’s winning. In the conversation with Saruman, we’re not given the opportunity to watch Lothrandir ‘resist’ in the same fashion the player character did. We don’t need to. Saruman has bigger and better things to worry about- killing a prince, wiping out a nation- than one Ranger who he’s just going to order well-flayed again. By setting himself up as the punching bag, Lothrandir has managed to fly beneath Saruman’s priority threshold. He’s been relegated to the responsibility of Gun Ain, and still with somewhat protected status because they haven’t wormed anything useful out of him yet.

All of these moves have culminated to an impasse. Saruman is not winning points in the game like he expected. One ‘meathead Ranger’ has managed to resist all the torments of Isengard, and he’s gained nothing from this. The other prisoner escaped, word had doubtless reached him that the Tur Morva Thirty-Odd are free and raring to be a thorn in his side again. He has no external leverage to apply on Lothrandir and it’s become increasingly obvious that our Ranger friend is not engaging like the player did. But still, Saruman has his pride. It’s his downfall in the end, and it’s his downfall in his fight against the one Ranger who’s already beating him. Lothrandir can’t be killed outright because Saruman hasn’t won yet. And with that guarantee of protection, Lothrandir can coast all the way to the conquest of Isengard. 

He can keep playing the game and stalling for time. It’s morbid, but what better way to waste someone’s time and energy than convincing them slow, drawn-out torture is the way to go? A little extreme, Lothrandir, but it’s still his game to lose. He wastes Saruman’s time. If he is eventually rescued, total victory. If he’s killed in the end, he definitely didn’t give the wizard the satisfaction, so a less resounding victory but one in the win column nonetheless. 

With a little help from our usually Ranger-cidal devs, Lothrandir reprograms Saruman’s game of chess to a boxing match. He takes out all his disadvantages, gets Isengard to attack from a point of... if not weakness then at least neutral ability, and then devotes his every waking breath to violent disobedience.

Sure, you could have taken any of the Grey Company with you to Isengard. Lheu Brenin could have swapped out for Braigar or Amlan or Mithrendan or Culang- but only one of these guys has the brute strength, commitment, and sheer audacity to pull it off. 

You take Lothrandir to Orthanc. There’s a different prisoner of Nan Curunir when he leaves.

[orionsangel86]

“I Think It’s Time For Me To Move On”

...And Other Things That Have Destroyed Me This Weekend...

So there is this common trope within love stories which generally happens at the end of the second act in which everything goes wrong and we all think that the lovers are doomed to failure. Its pretty much standard in every Jane Austen novel, every romantic film every made, every single bloody love story. Go ahead, name one. I guarantee you the break up moment is there.

Within the epic love story of Dean and Cas, there have been many break up moments, and all have had their emotionally devastating impact on the relationship and the show...

But THIS was a different level. 

(For a nice summary of Destiel break up moments and understanding of this trope, @tinkdw​ wrote about it here.)

I didn’t think that there would be another moment within Dean and Cas’s relationship that could hit me this hard. The mixtape in 12x19, the wrapping of Cas’s body in 13x01, and the return of Cas in 13x05 are moments that I consider to be the very top of the scale in making this pairing undeniably romantic. Moments that pushed it beyond a platonic interpretation. These three moments have been the things I cling to when the show has otherwise made me doubt any conclusion to the DeanCas story, and since there hasn’t been another one of those moments since 13x05, until now I have been somewhat nervous that the story was dropped, or being forced back behind a platonic screen. 

15x03 has ripped that screen away. 

Emotional meta under cut...

This entire episode was an emotion fuelled dramatic roller-coaster that killed off three characters including our beloved witch queen in a scene that almost stole the show and practically canonised the SamWitch ship. Rowena’s death should have been by far the most torturous moment for viewers to endure, and it was extremely torturous and had me sobbing on a plane 3 hours into a 7 hour flight. That incredibly heartfelt moment between Sam and Rowena will probably go down as one of the top tear-jerking moments on this show. It was tragic in the best way - the way Supernatural is famous for.

But lets not gloss over the fact that in an episode where THAT should have been the climax, where THAT should have been the emotional highlight and end point, instead we get a further MORE dramatic stand off between Dean and Cas that pulled focus and ripped all of our hearts out just as violently as poor Ketch in the first act (a very clever and smug piece of meta foreshadowing there Mr Berens).

On a meta level, this is HUGE as a writing choice because they MUST know how this looks. This was the climax of the third episode of the finale season. The way Supernatural has always structured itself since Carver era is that the first three mytharc episodes of each season establish the direction of the story and set the foundations for the character level focal points and dramatic key notes to come. 

That the writers have chosen to end the foundation episodes with a DeanCas break up moment that was more dramatic than a Spanish Telenovela has just stunned me and left me reeling because I just can’t see how else this can go. This break up scene absolutely DEMANDS a huge reconciliation of the sort that will be part of the A plot of the season - the FINAL SEASON. Guys. Part of the reason I have been so quiet and so disillusioned with the show during late season 13 and season 14 was because they pushed any Destiel plot into non existent territory - it became kinda irrelevant and Dean and Cas just acted like friends (homoerotic friends yes, and sometimes like an old married couple, but it was mostly played as an afterthought imo), so for this to suddenly be brought to the forefront of the emotional story again is excellent news for us. 

The thing is, like with those huge moments I listed above, the break up scene is basically undeniably romantic when you break it down to its components:

1. It’s only Dean and Cas. 

Once again we have another scene of high stake emotions that excludes Sam. In a platonic reading of the show, it makes zero sense for there to be such a hugely disjointed relationship between Cas and Dean and Cas and Sam given he has known them both for so long now that if they were all “just friends” then surely Sam would also feel the impact of Cas’s choices as heavily as Dean. In a platonic reading, Dean comes across as an asshole, Sam comes across as being weirdly uncaring about his friend of 10 years, and Cas comes across as not even bothering to get Sam’s opinion before leaving. A romantic reading makes sense because quite literally THIS IS A ROMANTIC BREAK UP.

2. The words spoken. 

“Well I don’t think there is anything left to say.”

“I think it’s time for me to move on”

From Cas’s perspective at least, name one time in a piece of media where such language has been used for a platonic breakup sincerely? There have been heartfelt break up songs that use these exact words. (I should know I’ve spent the last 24 hours listening to them all).

That last line in particular is so heavy. It’s the last line of the episode and nothing about it is platonic. This is relationship terminology my dudes. “I need to move on, and get over you.” This is Cas’s bloody Adele song. My heart breaks for him, but if I was his sassy and fabulous best girlfriend right now I’d be sitting him down, sipping a cocktail, flipping my hair and telling him “Babe, you’re too good for him. Good Riddance. Let’s go out, have some cocktails, something pink and fruity. No dive bars for us darling. I’ll take you to Heaven... the fun one in London.”

In all seriousness though, from Cas’s perspective, this was him admitting defeat and giving up the fight for love. How anyone can possibly say Cas isn’t in love with Dean after this, well I just don’t know what show you are watching. This is the face of a heartbroken man who has just accepted that his love is unrequited. 

3. The many faces of Dean Winchester

On the other end of the scale, Dean was mostly silent after his poisonous words “And why does that something always seem to be you?”

Forgive the terrible gif quality I’ve no time for fancy gif work!

Look at his face here. He knows what he said was fucked up and he immediately regrets it. The way he swallows around that regret and then turns away.

and after Cas says that devastating final line and walks away? We get THIS reaction from him:

The jaw clench as he looks down. The sorrow on his face as he realises he has well and truly fucked this up. LOOK

Finally, he looks up, makes himself look up and watch Cas leave. If that isn’t the face of a broken man I dunno what to tell you. Anyone who thinks Dean is totally heartless and uncaring right now needs to reassess because this is NOT the face of someone uncaring. This is the face of someone who has just lost everything. Again. 

4. The FUCKING MUSIC

Seriously. The sweeping heavy drama of the low strings that come in right after Dean says that horrid line, that carry the weight of the look of horror and heartbreak on Cas’s face as they amplify the emotion there. As they blend seamlessly into the slow and subtle version of the Winchester family theme behind Cas’s heartbreaking speech and Dean’s stubborn stoic face hiding a multitude of emotion, until the violin dominates as Cas says “I think it’s time for me to move on” and the Winchester Theme swells to its climax, ripping all our hearts out just like poor Ketch as Dean watches Cas walk out of his life surrounded by darkness. 

I MEAN.

A friend on Twitter reminded us all of this point about the importance of this theme via @justanotheridijiton​ here which is essentially:

“The Winchester theme is not simply an aural marker to let the audience know when and how Sam and Dean love each other (any Supernatural fan knows that is the baseline of their relationship), but to provide narrative information, especially when the image and dialogue are incomplete or inconsistent with the true situation...  Seasoned fans will recognize the theme and its history of being paired with images indicating deep emotional bonding and a desire to do the right thing by the Winchester code. Here we trust our ears over our eyes to reveal the truth.”

So here is yet another key indicator that any surface read that this is actually an ending between Dean and Cas and that Dean really is just an angry asshole is utter bullshit. 

Honestly, this was PAINFUL, but it was painful in the best way. It was 13x01 levels of pain, but this time it was Cas choosing to walk away which makes all the difference. Dean’s greatest fear isn’t his loved ones dying on him after all, but of his loved ones choosing to leave him. This was exactly the kick up the ass Dean needs in order to win Cas back, classic love trope style. 

Hence my excitement at what is to come. Yes we won’t see Cas again until 15x06, but in the meantime I fully expect a good helping of angst and wallowing from a depressed Dean who has to deal with the fact that he has just lost the love of his life and it is all his fault. That he just pushed away the one person who promised they would always stay by his side. That has got to hurt. 

So yeah, this episode emotionally destroyed me, and I’ve only really covered the primary reason, let alone all my feels over SamWitch, Rowena’s death, Belphegor’s taunting of Cas over his deepest fears and then having to suffer through smiting a creature wearing the face of his son until his body was nothing but a burnt corpse... I wonder if Bobo had a bet going in the office over how much he could hurt us all? He was certainly enjoying scrolling through the Supernatural tag on Twitter and liking everyone’s reaction tweets including some brilliant Destiel related ones. I do love Bobo. Our Angst Goblin King. 

If anyone had asked me a few weeks ago what my thoughts were on the chances of getting explicit canon Destiel by series end, I would have said somewhere in the realms of 30-40%, considering it a battle of wills between DabbBerens and CW studio execs who I still feel are against it in general. I would have considered everything that happened after 13x06 as the writers getting a big NO on Destiel from the network and therefore having to pull back on any Destiel related plot points (purely my own speculation on BTS matters of course).

Now I am wondering if Dabb kept fighting the network? If he managed to wear them down into begrudging acceptance? I’m currently up to around an 80% chance of textual canon DeanCas if we continue on this path. If Dean is clearly shown to be mourning and hating himself over Cas next episode, and if this DeanCas dramatic plot line continues to be a focal point of the emotional story arcs... well...

I’m side eyeing 15x07 a lot right now. Only in my wildest dreams would I think that they might actually introduce an old boyfriend for Dean in a “coming out” episode, but the placement, timing, and potential is all there and I’m kind of once again donning the clown mask because I’m just in awe at everything that they are doing. I guess we’ll find out soon enough. In the meantime, I’m gonna paint my face in red and white and wear my rainbow wig and listen to break up songs on Spotify whilst trying to shove my heart back into my chest where Bobo Beren’s gleefully ripped it out with his hands like the demonic angst goblin he is. Wish me luck, I’m not sure I’m gonna get through this season with my emotions intact.

[wonderfulworldofmichaelford]

Michael in the Mainstream - Metal Gear Solid V: The Phantom Pain

Metal Gear games are some of the only video games I really feel like I can talk about in my review style, because these games are about 85% story and 15% gameplay, and even that might be a generous estimate. But what about a Metal Gear game that is infamously criticized for a lack of a story? Or, well, I should say an incomplete story. Metal Gear Solid V is a game composed of the somewhat short epilogue Ground Zeroes and the sprawling main game The Phantom Pain, and together they combine to make quite a divisive package, with many citing the absolutely stellar gameplay as a selling point while condemning the supposedly sloppy and incomplete story as a major downgrade. Some have seen this game as a step down from the lofty heights of Kojima’s previous four games, while others are just as likely to embrace it. I suppose that is the nature of Kojima’s work; it always sparks discussion and debate.

I’m certainly not going to debate on the gameplay here; it’s a very fantastic open world sandbox that gives you a lot to do, from capturing animals to spiriting away guards with the Fulton system to finding the oodles of cassette tapes so that you can blast “Take On Me” while you ride a horse guns blazing into a fortress full of armed Russian soldiers. You can play stealthy or straightforward, pacifist or violent, and you can do it all while Joy Division and Spandau Ballet blare over the speakers of your helicopter. This is easily some of the best gameplay the series has ever had, and there are plenty of little missions and side objectives to do while you scour the maps for things to do. But I’m not here to sell you this game based on its gameplay; any game reviewer worth their salt has done that already. No, I’m  going to make a case for the story and characters, and hopefully convince someone that they’re not nearly as bad as some have claimed.

The centerpiece of this game is Venom Snake. Venom might actually be my favorite Snake of them all; this sounds blasphemous, but his character arc is just so beautifully tragic to me, and how he compares to Big Boss, it just really makes me love him. Venom is a man who was never given much of a choice; it was decided he should be Big Boss’ “Phantom” while he was in a coma. And when he wakes up, while he looks the part and can act the part, he just doesn’t have the wit or talkativeness that Big Boss does, leading to Venom being a bit more quiet than most of the other protagonists in the series. But his silence masks that, unlike Big Boss, to the very end Venom was a truly noble man, never mind he believed himself a demon. Unlike Big Boss, who may or may not have outright brainwashed people into joining his cause and who didn’t break a sweat at training children for war, it never even crosses my mind that Venom used torture and brainwashing, and he never fights to have child soldiers after Kaz tells him no – he drops it without much of an argument. Venom is a good man, one who does some dark things in the name of keeping the world safe, but he never truly sinks into anti-villainy the way the man he’s doubling for does, at least not in this game. Any man who would spare Huey rather than execute him immediately has a bottomless well of compassion in their soul and higher moral fiber than most of us.

Of course, the real reason I love Venom is the two most meaningful arcs: his coming to terms with Paz, and his relationship with Quiet. The former is a hauntingly tragic look at Venom’s psyche, something that shows that even though he doesn’t remember who he was, the memory of his failure to save Paz still follows him like a shadow, and the moment when Paz leaves the phantom tape telling him to let go and live – a sentiment Big Boss himself would eventually echo at the end of his life – is poignant and beautiful. As for his relationship with Quiet… everything about it just really gets to me. It’s such a beautiful friendship they form, from enemies to partners with a mutual respect, one that works even better as both are characters who speak very little or not at all. It gets to the point where, yes, the two seem like they do love each other, with culminates in the most adorable scene in the entire franchise as they splash each other in the rain… but it’s a love that can never be, as despite her respect and admiration of Venom, Quiet has a desire for vengeance that she lets consume her… and it leads to her a demise, though it is a demise of her own choosing that she brings about in a final effort to save Venom. That moment that ends their story together, which has Venom running through the desert only to find the tape with Quiet’s first, last, and only words to the man she loved, is just utterly heartbreaking and the perfect depressing capstone to their partnership.

Venom is not a character that gets happy endings. In fact, after it’s revealed he was turned into the body double of Big Boss, it’s shown that ultimately he would go on to die in Big Boss’ place during the Outer Heaven uprising depicted in the original Metal Gear. The ultimate tragedy and heartbreak that Venom goes through in this story and the others is ultimately what draws me to him and adore him; unlike Solid Snake, he never gets to earn his happy ending, dying for the cause of his commander, loyal to the bitter end, having lost almost everyone he loved and cared for along the way. Unlike Big Boss, he never gets to ultimately realize the fruitlessness of his actions and truly come to terms with the fact that all he lost just wasn’t worth it in the end. He’s just so fascinatingly sad, and it’s a sort of sadness that really draws me in. I wouldn’t say he’s a better protagonist than Solid Snake is, and he lacks some of the finesse and charm that Big Boss does, but there’s just a lot to Venom that makes him an incredibly compelling character in his own right, and all with only the bare minimum of a vocal performance.

Speaking of minimal vocal performances, there is Quiet. Quiet is such an odd character, even for this series; she is blatantly designed to be an over-the-top fanservice character in a series that has tons of gratuitous fanservice in the first place, to the point where it’s kind of weird and uncomfortable. Of course, thankfully, as Kojima is incapable of just leaving a character as one-note and superfluous, he gives Quiet the standard bonkers backstory nearly every character in the franchise gets, and as mentioned before gives her wonderful chemistry with Venom. It’s to the point where I seriously can’t imagine anyone wouldn’t feel a bit misty-eyed at her death scene, or the beautiful song her actress Stefanie Joosten sings over the credits of the episode Quiet dies in. She’s a bit much even for this series, but I think her relationship with Venom and her impact on him as well as how she fits thematically into the story more than makes up for any shortcomings she may have.

One of the MVPs of the game is undoubtedly Kaz, who got ridiculous amounts of characterization and some of the most iconic lines (“They played us like a damn FIDDLE!!!!”). He went from being something of a background character to almost the moral core of the game, the shoulder angel to Venom in contrast to Ocelot’s shoulder devil. Of course, much as everyone else, Kaz is consumed by revenge, which leads to him taking the final reveal of who Venom is and Big Boss’ betrayal of him rather badly, and any fan of the franchise knows how his desire to take down Big Boss goes. Still, his presence goes a long way towards making up for Ocelot’s shocking lack of presence; frankly, Ocelot in this game is a bit of a minor character, which on one hand is understandable as he’s only here to keep up appearances while the real Big Boss kickstarts Outer Heaven, but it’s kind of sad to see the guy who is perhaps the franchise’s greatest character take a backseat for vast chunks of the game, only chiming in now and again to give Venom some info or record a tape.

And then we come to the villains. Skull Face is a rather intriguing villain, who lives up to the hammy nature of past villains in the franchise; just see where he howls as Sahelanthropus is taken control of by Eli’s sheer hatred and, ahem, lust for revenge. Skull Face is just a wonderfully thematic villain, and while he is tragically cut down a bit earlier in the game than he should have been, his impact is still felt, as in a manner of speaking he is the reason for the events that plagued Solid Snake’s life due to his crippling of Zero with parasites. We also have some more minor villains, such as Eli (AKA Liquid Snake), Psycho Mantis as a kid, and the Man on Fire (which is actually the reanimated corpse of Colonel Volgin from Snake Eater. Sort of. It’s complicated). The more minor villains seem a bit excessive, especially seeing as the former two don’t actually get to have their arc in this game pay off in a meaningful way due to the Kingdom of the Flies portion unfortunately being cut, but they still lead to some entertaining and exciting moments, particularly young Mantis. Eli is really the only minor villain who feels like a missed opportunity, since all he really does is act like a haughty little brat and adds very little to the overall story, which is a shame considering who he grows up to become.

Of course, no discussion of evil in Metal Gear Solid V would be complete without mention of Huey, the father of Otacon. Huey is the complete and total antithesis to his son. Where his son took responsibility for things that were not even his fault up to and including his own rape, Huey deflects all blame and throws it onto others to make himself seem an innocent victim; where Otacon had the courage to face up to the horrors of the world, Huey chose to be a sniveling coward who hid behind anyone who offered him some semblance of safety; and where Otacon and Solid Snake were true companions and friends to the end who managed to raise a wonderful child together, Huey was an utter bastard who backstabbed his friends repeatedly and killed his own wife via inaction because she dared to stand up to him and not allow her child to be a battery for a Metal Gear. Huey is one of the most detestable, loathsome, and pathetic characters ever conceived in all of fiction… and I love him for it. He is just so void of any sort of redeeming quality that he becomes the poster child for “love to hate.” There is a beauty to a character like this, and it helps that he does get his comeuppance and he’s never shilled by other characters; in fact, not one of his so-called “friends” likes or even trusts him, and all of them think he’s a pathetic, delusional liar. He’s a nasty, spiteful, egomaniacal hypocrite, and I wouldn’t want him any other way.

Now I saved the story for last, mostly because the story is infamously a bit short and incomplete. Still, I feel a lot of the hate for the story is a bit unjustified; while it is true and incredibly frustrating that nothing involving Eli gets any payoff outside of descriptions of what would have happened, all of the story with Skull Face, Quiet, the parasites, Huey, and the side quest involving Paz are all rather engaging in that crazy Metal Gear way, and the prologue Ground Zeroes definitely helps to round things out. If we’re only counting the Solid games, I’d say this is at least as good story-wise as 2 in its own way; where that one is a much more cerebral story involving metatextual elements and deconstructs a lot of concepts, this game’s story is more of a showcase of the toxicity of revenge. Almost every character in the story – Venom, Kaz, Skull Face, Quiet, Eli, the Man on Fire, and Huey – has some desire for vengeance against those who have wronged them, some need to bring some semblance of closure… but it never comes. As is demonstrated in the scene where Skull Face dies, Kaz and Venom both realize that even if they killed Skull Face then and there, it wouldn’t bring back their dead comrades, it wouldn’t return the time they lost, it wouldn’t bring back their missing limbs. Ultimately, revenge is a bitter, futile waste that will only end up consuming and destroying, as it did to Skull Face, as it did to Huey, as it did to Quiet, and as it would do eventually to Kaz and Big Boss. In the end, all that has been done is that a cycle of violence has been perpetuated, and no one is better off for it.

While it’s obviously not the first story to use these concepts, I do like how it ties into the series. It all feels like it fits. Add in the fact that this game finally resolves some long-standing plot holes, such as how Big Boss survived Outer Heaven to end up in Zanzibar Land and how Kaz went from singing the praises of Big Boss to saying he was a monster who deserved death in Metal Gear 2, and while it is a technically incomplete story, it is most certainly a solid one that gives you just enough to think about that I can’t really see calling it “bad” as a logical statement. Could it have been better? Oh, absolutely. But is it still good on its own merits with a lot of standout moments due to the themes and the wonderful cast of characters? Absolutely.

I think the game’s true strength lies in its moments. This game contains some of the most powerful emotional beats in the entire series, hands down. The conclusion of Paz’s side quest, Quiet’s exit, Venom having to deal with a breakout of the parasite among his own soldiers… even if the overall narrative isn’t as cohesive as the four previous games, it still manages to pack so much emotion and power into some of its scenarios that you will feel something. The tapes too manage to be powerful and emotional, from Paz’s final “phantom” tape to Strangelove’s final moments recorded to Zero’s lament that he couldn’t ever apologize to Big Boss, there’s just so much to love here in terms of writing and emotion that I really don’t care about the main story being cut short a bit. It does suck, but I’m too busy sobbing over Quiet and Paz’s fates to really care about the fact I didn’t get to smack Eli upside the head one last time.

The Phantom Pain and Ground Zeroes are not perfect games, far from it. But they are good games, end even if a small part of the overarching story doesn’t get a satisfying conclusion, Most of the rest does, and there are so many powerful moments in here that it reminds you this series with its roid-raging nanomachine senators and gay vampires who can run on water and giant volcaloid AI robots can actually be poignant, heartfelt, and heartbreaking. It’s a fantastic game, and if you love the series you’ve likely already played it, but I definitely recommend it to anyone who hasn’t, though play through Snake Eater and Peace Walker first. It’s definitely worth your time, and far more rewarding than some have made it out to be.

[easyfella]

plaudite. acta est fabula: thots on my third vlr playthrough

annnnnd done

with all the alt timelines down and all but two secret files obtained, i’m feeling pretty good ending my 3rd (and probably last for at least a long, long time) vlr playthough at a slick 20 hours. i’m pretty excited for my dual phds in metaphysics and philosophy, earned from completing the famed “tripletion” (triple completion), to come in the mail!! anyway, i enjoyed the game, but holy shit, do i have some things to say (spoilers and everything else beneath the cut as always).

i guess i’ll start with the fact that this is a hell of time to pick this game up again, concerned as it is with quarantines and pandemics and plagues and all that. Radical-6 I think hit me harder than it did when I first played this game when i was 15 (context: i turned 21 this last december), for obvious reasons. I remember at one point the game says that 100,000 people died from R6 and it was a huge, global tragedy ... weird to see that so directly mirrored in just the US headlines alone. I don’t have much more to say about the pandemic aspect of the game, but it was a weird thing to start off my playthrough confronting. 

Like I mentioned, my first playthrough was when I was 15, my second I think I was 17, and here I am 4 years later. So why do I keep going back to this game? Well, for one, the plot is dense enough, and my brain is sparse enough, that i find myself surprised by one aspect or another every time. This time, Dio’s blackmailing Sigma to get the Axelever (sp? who cares), how much I liked K, and a lot of the plot after the final puzzle room were surprises for me. That being said, there were also things I dreaded and did not want to revisit: Quark’s and Alice’s suicidality, the part after the first AB game where you go to three different rooms and people info dump on you, most of the puzzle rooms tbh, and good god the part where Luna’s face melts off. I hate it. I hated it at 15, I hate it now. 

And, though my memories are quite fuzzy on ZTD, I’ll say (expanding on Luna’s face melting off) that this is the only game in the series that inspires genuine dread from me. I think, honestly, that it’s 70% how uncanny the models are. K is the only that looks remotely OK, and that’s because he’s a big silly suit of armor in a monk robe. On the flip side, though, this uncanny valley I think works tonally very well for the game. It makes me feel uncomfortable to look at the visuals. Half the environments look like they’re from the original Silent Hill, for God’s sake. It’s not good, but it’s serviceable, and even functional in an accidental sort of way. However, the visuals are the reason I’ve never been able to recommend this game to other people (that and the walls of text, the obscure psuedoscientific rants, the way Alice’s tits are just out ...). 999 is far-and-away the more charming game visually, but I think VLR in its own way has carved out a visual style that works, though it’s jarring initially. Though, I do wonder how approachable the game is in 2020 compared to in 2012, or in 2014 when i played it. I think our need for quality graphics and disdain for poor graphics (especially this sort of ugly, gumby shit) have only increased since. I guess if anyone has any more thoughts on how they feel about the graphics and how approachable it makes the game, pls feel free to dm me. I’d love to talk about how weird this game is.

Changing subjects, I remember liking the music quite a bit more on my earlier playthroughs. Maybe that’s nostalgia talking, or maybe I’ve just grown as a music listener since high school. Probably both. I think it’s really appropriate for the game and great for setting a mood (and I love, love the twist in the credits track), but I think some tracks were overused. “Dun dun .... Dun dun ... Dun dun”  ad nauseam. Uh oh! I know that track! Looks like something deeply horrifying is about to happen! ^_^ I sure hope it’s not that same ugly rendering of Alice being stabbed in the chest :3c (it is. it is the same ugly rendering of Alice being stabbed in the chest.)

Maybe I’ve come across as overly critical, but I do have a deep appreciation for this game. I think that it easily has the best premise I’ve ever, ever come across in a video game, and, no jokes, every game I’ve played since I first came across VLR has failed in comparison to how absolutely genius i think this game is. I’m not exaggerating. The way the plot mirrors the actions of the player, the unique incentivisation of replaying, the way it lets me just be straight up evil occasionally, the twists, the turns, the way i had to cut off my own arm using a warehouse door. the list goes on. The reveal of Zero Sr. is, I think, the most impactful twist in a piece of media i’ve ever experienced. Perhaps I’m a buffoon, but i think this game slam dunks it in terms of pure plot showmanship. that said, i think the exact details of what’s going on where and why (especially at the end irt Kyle, but that’s more of an issue to do with ZTD, and we’ll come to that when we come to that) can get quite murky. 

Admittedly, the game does explain what’s happening; in fact, oftentimes it takes an infuriating amount of time walking through the minutia of what was going on where (the infamous door and map animations are infamous for a reason), but i think that a vague gesture toward the plot is all i need, or really all i get from the game at the end of the day. For me, the plot is more of a vehicle for the scenarios of the nonary games, not the other way around. In a sense, I could care less who’s at what point in time where -- just let me brutally betray this old man in a prisoner’s dilemma situation.  And the game, after pontificating, eventually does. and I fucking love that. God, I adore just smashing that betray button. 

And that’s the fun of the game. Past the over-detailed plot, the predictable music, the gummy looking character models, I love vlr because of how it lets me interact with its world and its characters. I always get to choose either ally or betray, and what happens happens because of that choice that I made. I wish more video games operated like that. Also, I just love Phi. I know this paragraph isn’t about her, but i love rude girls. 

So, I think that’s that. VLR is a mixed bag, but I’m ecstatic that it evens exists, bizarre as it is. 

i’ll be starting my ZTD playthrough probably soon. I don’t remember much about the game besides playing on launch day, finishing it within 48 hours, and being vaguely disappointed, but it’ll be good to move on from all this murdering in VLR to a whole different set of murders.

[pjbehindthesun]

Character Profile: Cora

Hey hi hello. When I asked you how you wanted to celebrate the latest reader milestone, you voted to see Cora's character profile in full. Here it is! Or, here it is, current as of chapter 23 (I had to take some stuff out, you know how it is). So if you're not through chapter 23 yet, there may be some undesired spoilers. And if you’re current up through chapter 23, then maybe some mild desired spoilers, who knows. Enjoy!

Name: Cora Lane Shaw

Age: 22 when the story starts. She’ll be 40 when it ends. (I told you guys, we got a whiiiiile yet to go…)

Nationality: American, with mostly Scottish and Irish ancestry.

Socioeconomic level as a child: Very poor early on, but became more solidly middle class once her mother remarried.

Socioeconomic level as an adult: At the start of the story, she’s able to make ends meet, but she’s pretty much living paycheck to paycheck and sharing living expenses with Alex.

Hometown: The general Asheville, NC area is all she’s ever told anyone. She has not told anyone the actual name of her hometown yet. She’s kind of embarrassed by it.

Current residence: At the beginning of the fic, she lives in Seattle WA.

Occupation: PhD student at UW College of Forest Resources, also a part-time waitress at Cyclops cafe. Her career will obviously change over the course of the fic.

Income: She gets a small stipend from working as a teaching assistant in her department, and picks up a little extra money waitressing.

Talents/Skills: Her biggest skill is being extremely book smart. She has decent wilderness skills. She had to learn some basic thriftiness skills like knitting and sewing, although she hates all that stuff. She does like to cook and bake but only because it appeals to her inner scientist. She also plays guitar (badly) and mandolin (worse).

Birth order: Oldest of two.

Siblings (describe relationship): She has one younger brother, Patrick, who she calls Patch and who is four years younger than her. Patch is 18 at the start of the fic. The two are extremely close, although nothing alike, and Cora is very protective of him. But she also relies heavily on his opinion.

Parents (describe relationship): Her biological parents are Shirley and Paul. Paul left when Cora was 8 years old and she has not seen or heard from him since. She has fond (albeit childlike) memories of him, but of course, his departure had a deep impact on her ability to trust people and her view of what commitment means. She has a terrible relationship with her mother, which has more to do with John, the man her mother remarried, than anything else. Whenever she has to go back to North Carolina, she stays with her childhood best friend's parents instead of her own.

Grandparents (describe relationship): She doesn't know her dad's parents or anything about them. Her mom's father died when her mom was very young, and her maternal grandmother is in a nursing home with dementia after having suffered a stroke a few years ago.

Significant others (describe relationship): At the beginning of the fic, she is dating Alex Henderson. Alex is a year older than her but they were the same year in college and met during the first month of freshman year. They used to have a very relaxed, fun-loving, easy relationship in which neither of them expected much from the other. But moving across the country together has exposed some of the fault lines that they hadn't noticed before. They do not share many worldviews or hobbies, and they never developed good communication skills as a couple. Their sex life used to be great but has dwindled to essentially nothing at all. They don't really fight, they just fall into cycles of ignoring/dismissing one another until one of them feels compelled to put more effort into the relationship to keep it going. Alex is the first boyfriend she’s ever had. She will have other relationships as the story progresses.

In a relationship: She throws herself entirely into everything she does, relationships included. Recently, things with Alex have gotten more distant and complicated, but generally, her relationship style is to be very loving and loyal and committed. She tends to develop huge blind spots, and she has terrible communication skills, preferring to hide from uncomfortable truths and lashing out when she’s called on it. But she’s good at using her sense of humor to diffuse bad situations and get things back to normal. Despite a heavy-handed religious upbringing, she enjoys sex and is... not particularly repressed about it.

Height: 5’3 if she stands up straight

Weight: 125 lbs

Race: Caucasian

Eye color: Very dark brown

Hair color: Bright red

Glasses or contact lenses? She wears glasses when she reads sometimes but not routinely.

Skin color: Very pale, very freckled.

Shape of face: Oval

How does she dress? She’s definitely a tomboy. She wears a lot of jeans and grandpa sweaters. (One pair of jeans in particular has a bunch of raggedy holes from a literal acid wash thanks to a lab accident.) She owns three skirts and zero dresses (with the exception of the Day-Glo orange bridesmaid’s dress). Footwear of choice is either Converse or Doc Martens.

Habits: (smoking, drinking etc.) She will smoke occasionally but only socially, not as a habit. She does drink a lot of bourbon, like, way too much bourbon. Can be a bit of a pothead, although not as much in grad school.

Health: She’s pretty healthy, but it’s almost by accident. She’s a vegetarian, and she likes to ride her bike more than drive (or she did, before she gave away her bike...), but those habits have to do with her environmental convictions, not being a fitness nut. She does not generally sleep well or take great care of herself outside of those activities, although she does periodically go for a run to clear her head.

Hobbies: Reading, running/biking/hiking/anything that gets her outside, cooking and baking. And sometimes playing guitar. Again, badly.

Speech patterns: She speaks very quickly and moves her hands a lot when she talks. She has a faint NC accent despite having tried hard to shed it. Her favorite swears are religious, like “sweet merciful zombie Jesus.”

Greatest flaw: Perfectionism in the unhealthiest way. This applies to her standards for herself (personally and professionally) as well as a rigidity in how she navigates her life. She also has a short temper.

Best quality: Her idealism drives her to make the world better. Not just in her planned career, but in how she deals with other people as well. She’s not an optimist but she wants to make a difference.

Short-term goals in life: On the immediate horizon, pass her prelim exams, get a fellowship, and publish her first paper from her research. In the initial months of the fic, her other primary short-term goal was to keep her relationship with Alex thriving, although she has become less committed to that idea recently.

Long-term goals in life: Finish her PhD, get a tenure-track job at a research university, and use evidence to impact people's decisions for the greater good. She’s always seen that happening through a career in scientific research. She doesn’t have distinct personal goals like “get married, have kids,” because she prizes her independence and has misgivings about some of those life choices, at least as she understands them right now.

How does she see herself? She second-guesses herself constantly, both personally and professionally. She doesn’t have a very high opinion of her looks, but she doesn’t get bent out of shape about it either. She finds other things to have low self-esteem about, like her foot-in-mouth tendencies or her perfectionism in school or her worry of hurting other people.

What would most embarrass her? She hates it when she puts her foot in her mouth and says something rude to a person she really cares about. She would also be very embarrassed to be seen as vulnerable in any way.

Strengths and weaknesses: Strengths are intelligence, altruism, humor, stubbornness, and generosity. Weaknesses are emotional fragility, stubbornness, short temper, inflexibility, anxiety. 

Introvert or Extrovert? Introvert

How does she deal with anger? Her temper flares. She's not good with it at all. 

With loss? Not well. She internalizes it and it sometimes causes her to hold on to people she probably shouldn't. 

What makes her happy? Being in nature, being with her (very few) loved ones, and scientific discovery. 

Rude or polite? Rude for sure.

What motivates her? Fear of failure and loss. Altruism and ideals.

Is she ruled by emotion or logic or some combination thereof? Almost always logic, although there are certain circumstances where she can be swept up in a moment.

Does she believe in God? Absolutely not. She was raised Catholic and still carries a lot of Catholic guilt around in her personality, but she’s pretty dismissive of spirituality in general.

Relationships with others:

1. Alex: They start out dating. They met when she was still a very naive 17 year old, and he’s been her whole world ever since. She’s starting to lose patience with him and doubt how truthful he’s being. And of course, she’s keeping a secret from him too.

2. Lucy: Best friend. Lives downstairs. You haven’t heard how they met yet but it’s a good story and you’ll hear it eventually from one of them. Suffice it to say they hit it off immediately.

3. Chris: Chris is the first member of the “Seattle scene” she met, out on their hike in an undisclosed location in the Northern Cascades. They have a deep friendship but they don’t see each other very often due to their respective schedules.

4. Jeff: Neighbors. They formally meet for the first time at the Off Ramp and don't really hit it off right away. He is annoyed by her sense of humor. Gradually he warms up to her as he understands her relationship with Lucy better. But they are always a little at odds.

4. Stone: She meets Stone at the Off Ramp at the same time as Jeff. They form a friendship very quickly, although Stone has feelings for her from the very start. She realizes slowly that she has feelings for him as well. Then... some things happen. It gets complicated, and not complicated.

4. Eddie: It takes a while for Eddie to stop being “that new guy” to anyone, including Cora. But she initially strikes up a conversation with him because she feels bad for how lonely he looks, and they hit it off well. They have a habit of oversharing with one another.

5. Patch: Little brother. Adores him, thinks the world of him, needs his validation for everything she does, is extremely protective of him.

How she is different at the end of the novel from when the novel began: Obviously much older, and much more flexible in her ideas.

[hephs-thighs]

Djinn

Pairing: Sheith (Shiro/Keith) Warnings: Blood, Blood Loss, Venipuncture, Hallucinations, Self-Worth Issues [ [ AO3 Link ] ]

Summary:

Shiro turned his face from side to side slowly, eyeing his reflection.  What was missing?  Nothing.  Nothing.  This is what his face should look like.

.

Out of the fear and shadows, Shiro could feel himself rising to consciousness.  Just a little more, a little longer… His eyes snapped open.  Quickly, his nightmare faded.  He couldn’t even remember what it was about.  Watching the gauzy silhouette of leaves play through the sunlight on his ceiling, he felt much better.

He was very comfortable, and could have stayed in bed for another hour, but he had something worth getting up for.

.

Once inside the gym, he was stretching when he noticed a nick on his right hand.  He didn’t remember where it came from, but it was tiny - it could have been anything.  He thumbed over the little red dent.  Shrugging, he finished warming up and had begun wrapping his hands when his reason for being here arrived.

Keith beamed at him.  “Hey Shiro.”  He wondered if anyone else ever got to see Keith beam.

Shiro returned the smile.  He once asked Keith how he was able to get into the officer gymnasium without an officer key card, but he’d learned long ago that Keith didn’t really acknowledge locks.  He only respected authority as far as he absolutely had to.  He was likely able to earn his black belt through stubbornness and natural talent alone.

Which is what brought them to this gym twice a week.  Shiro never went beyond the basic hand-to-hand the Garrison required before Keith came along.  Five inches shorter than him and at least fifty pounds lighter, Keith was whipping Shiro into fighting shape.  Shiro had no real reason to need to know how to fight, but it was an excuse to spend time with Keith, and he’d take as many of those as he could get.

It didn’t take Keith long to warm up - less of him needing warming, Shiro thought with a smirk.  Scrawny and sharp.  Instead of wrapping his hands, he put on lightweight gloves - a gift from the taller boy for his birthday.  They practiced forms, then took turns holding the pad for each other for striking drills.  Last but not least, sparring.

The first round went how they usually did - Shiro was getting better every week, but so was Keith.  He was too fast and he used Shiro’s heavier weight against him.  After being thrown three times, “I surrender!”

Keith offered him a hand up, which he accepted.  “Your ambidexterity is cheating,” he huffed.  He’d fallen into that trap just before meeting the mat again.

“I have to cheat.  You’re going to be better than me soon,” Keith said, teasing and earnest at once.

Shiro rolled his eyes, pushing dark bangs off his forehead.  “I don’t think you’re in danger of that happening.”

“I’m serious,” Keith insisted, “I can tell you have the potential to be a great fighter.”

Shiro smiled but turned his eyes to the floor.  Keith could probably still see his blush, but he’d do what he could to hide it.

They got some water, then squared up again.  Shiro took a breath, and focused.

This time, it was over fast.  Shiro had Keith knocked on his back and pinned in under a minute.  He didn’t use enough strength to hurt him, but enough to control him.  Hands on his wrists, crouched on his thighs to keep him from flipping them.  Forearm over his throat, just hovering, showing the ability to force a yield if this were something other than practice.  Keith didn’t even fight the hold, staring up at him in shock.

“Where did that come from?”  Dark eyes, hints of violet, amazed but still not afraid.  Keith trusted him, even when Shiro did something he shouldn’t have been able to.

Shiro took the arm away from his neck, but didn’t completely get off of him.  “I… don’t know,” he answered honestly.  Something other than practice.

He was lost in Keith’s eyes for another moment before snapping out of it.  “I’m sorry!”  He backed off him and stood, helping him up as well.  “Sorry, I’m sorry…”  He wasn’t sure if he was mainly apologizing for sitting on his friend longer than necessary or for doing something so unexpected.  Whichever, it felt like something dark had momentarily encroached on the scene.

Back on his feet, Keith put a hand on Shiro’s shoulder.  “It’s okay,” he assured him.

.

Keith left to catch breakfast in the dining hall while he still could and Shiro headed to the showers.  Unwrapping his hands with automatic movements, he was about to toss the strips away when he glanced down and saw blood.  Not a lot, just a spot.

“Hm.”  He turned his right hand; the cut had gotten bigger.

He rubbed his thumb over it again.  It must have been aggravated by the exercise.  They may have to put his martial arts training on hold for a few days, let it close up completely.  A consideration for later.

In the shower, the running water and soap hurt the little cut.  It didn’t sting the way he would have expected, it just felt… weird.  He opened and closed his hand and for moment it all felt strange.  But it quickly passed and he went back to enjoying the hot water.

.

He made his way to mission training with plenty of time to spare.  He took in the trees, the grass, the sky.  The Sun was warm on his skin and it felt like ages since he’d been able to enjoy that.  He stopped and tilted his face up, closing his eyes.

“Hey, that’s Shiro,” he heard someone say.  It was meant as a whisper but loud with excitement.

He looked over to see a couple of cadets staring at him.  They looked embarrassed to be caught gawking, so he smiled to reassure them.  No offense taken.  They smiled back and gave a slight wave before hurrying off.

He was something of a celebrity - a Garrison favorite who had only just graduated to the rank of Officer, now officially chosen to pilot the deepest manned space mission in human history.  These scientific outings to small rocky objects were relatively commonplace now, but it was still an enormous honor.  For someone so young to go so far was gossip-worthy news.  The two cadets weren’t the only ones to pay Shiro attention that morning, and he found he really didn’t mind.

.

A party was being thrown to celebrate the official Kerberos crew selection.  Shiro had his uniform pressed and ready in advance, but he was taking longer at his mirror than usual.  He ran the comb through his forelock again.  It still didn’t look right.  Maybe it was time to get rid of it?  The style was allowed, and he liked being able to keep his personality in his appearance, but it might benefit him to commit to a more conservative cut.

He shook his head.  Not tonight, anyway.  He was about to meet everyone who could potentially impact his career for the next decade, now was not the time to make a dramatic hair change on impulse.  He made one or two more attempts to make it look right, then forced himself to stop.  It was fine.  It was perfect.

He turned his face from side to side slowly, eyeing his reflection.  He wasn’t broken out - thank goodness - he’d slept plenty, he’d washed… he looked great.  What was missing?  Nothing.  Nothing.  This is what his face should look like.

His hand gave a sharp twinge.

“Shit…”  Examining it, the cut looked even bigger.  How was that possible?  He hadn’t done anything that should have made it worse.  He quickly slapped a flesh-tone bandage over it and tried to ignore it.

.

He found Keith loitering outside the party venue.  He was on the list, but likely didn’t feel comfortable going in on his own.  Shiro was glad he was the first person he saw that night.

“Keith!”  He grabbed his shoulder and took in the suit he’d rented.  “You’re wearing something that actually fits!”

The younger man rolled his eyes at that, then nodded at Shiro’s formal uniform.  “Boss threads, sir.”

Shiro smiled and attempted to tuck Keith’s hair back behind his ears, ignoring the other’s annoyance at his fussing.  “Couldn’t find anything to control this mess?”  He always knew that was a lost cause; Keith knowledge of styling products was equal to his desire to look presentable - functionally zero.

Iverson was the first person they encountered once inside, and Shiro stopped briefly to greet him.  “Commander.”

He didn’t look pleased at Shiro’s choice of + one, but made no comment.  He was Keith’s instructor, and while he agreed the cadet had great talent, he wasn’t the fan of him Shiro was.

This problem of Keith’s was part of the point in bringing him to this event.  Every ranking individual of consideration within the Garrison was in attendance, as well as major donors and civilian contractors.  It was important for Keith to meet people like this and start getting the decision makers on his side.  Shiro had to make him understand that he needed to be liked if he wanted to be the best pilot.  He was already as good or better at flying than Shiro was, but that was only half of what success in the Garrison took.

The other point in bringing Keith was simply that Shiro wanted him here.  This was the high point of his entire life to date; who else would he rather spend it with?

The faces and names and conversations with all those important people seemed to pass in a blur.  They mattered to Shiro because they would help shape his future, and yet somehow they simultaneously didn’t matter to him at all.  A few hours later found him back outside with Keith.  They weren’t leaving yet, just taking a break.

Shiro looked up at the stars.  They looked so bright, better than they should have from within the city’s light pollution.  He glanced over at Keith, expecting him to also be gazing up, but he wasn’t.  He was looking at Shiro and he looked beautiful.  Starlight had always suited him.  He was there just for Shiro and he was happy, just for Shiro.

Shiro was happy too.  He’d only had a single glass of champagne, but he felt a sort of tipsiness from all the pleasant emotions.  Everything here felt good and safe.

“I wish I could stay here forever.”  He looked back to the stars.  Distant as ever, but their cold light seeped into his warm feeling.  The empty space between them felt oppressive, even safely within Earth’s atmosphere.  “I wish I… didn’t have to go.”

“You don’t have to.”

Shiro was surprised to hear him say that.

Keith reached over to take his hand.  “I mean it, Shiro.  You don’t have to go if you don’t want to.  You can stay here.  With me.”

Shiro’s heart beat its wings in his chest, but he didn’t know what to say.

Keith looked down, ashamed of what he had to say next but unable to keep from saying it.  “I think you know, I don’t really want you to go.  I said I did, but only because - SHIRO! - I wanted what was best for you.”

Surprise made Shiro jerk back.  It sounded like Keith had shouted his name in the middle of his sentence.  It didn’t look like he had and it hadn’t been loud, but he could have sworn he heard it.  Keith looked up at him, waiting for his answer.  “Shiro!” echoed again.

The urgency of the phantom call stirred up Shiro’s own urgent feelings.  He had to do this now.  Soon he’d be gone in space, and he wouldn’t see Keith for a year, and everything would be different and wrong.  No, not everything.  Just him.  “Can I kiss you?”

He saw Keith’s intake of breath at the request, followed by a silent nod of assent.  Shiro leaned down and gently tilted the other’s chin up, meeting his lips in a soft kiss.  Brief; it couldn’t have been as good as the real thing, but Shiro had wanted it so badly.

“Tonight was perfect.”

Keith’s grip on his right hand tightened, digging into the cut.  Blood soaked through the bandage.  “You have to snap out of it!”  In an instant, the grip was gone, Keith was holding his hand gently, lovingly.

“I wish I’d told you.  You mean so much to me, Keith.  I wish I’d told you tonight.”

“I know, Shiro.  WAKE UP.  It’s okay.”

“You deserved to know before… before I changed.  Before I stopped being this person.”

“Please, Shiro, please.  I need you to wake up.”

“Keith, I lov-”

.

Back to pain.  Back to the cold hard surface of some stinking planet he couldn’t even recall the name of.

Keith was leaning over him, looking terrified.  There were tears in his eyes.

Shiro raised his right hand - metal, alien - and covered Keith’s cheek.  He opened his mouth to ask him what was wrong, but a short scream came out instead.  Burning agony stabbed through his left arm from elbow to shoulder and he looked down to see a red vine-like thing retracting from his vein.  He reached for it in a panic, but Keith stopped him, holding fast.

“No!  Don’t.  It’s coming out now, but it’ll hurt you if you pull it.”

Shiro grit his teeth and breathed through the pain.  After a minute, it was gone.  As soon as it was out of him, Keith attacked it with his knife, cutting it to pieces before standing and crushing it.  Shiro turned his head and found a large bush of the same vines, all shredded and destroyed.

“What was that?”

“A Djinn plant.  Its thorns have venom that can knock people out, then feeds on them.”  Shiro remembered getting a scratch on his neck as he went through the forest.  “Coran said it’d come out on its own if you woke up, but if I tried to force it out it’d shred your arm.”

“Good call.  I thought I might keep this one.”

As usual, Keith didn’t laugh at Shiro’s dark humor.  He looked pale.

“Are you hurt?” Shiro asked.

“What?  No.”  He sounded upset at Shiro for asking him that in Shiro’s present condition.

The Black Paladin looked back to the smithereens of the Djinn bush.  It was lying in a puddle of red; he wondered if that was its natural fluids or his own stolen blood.  He compared the size of the puddle to how crappy he felt and considered it likely.

“Does it cause dreams?”

“Yeah.  Coran said that once it’s got you, it emits hallucinogens to keep you docile.”

“Hm.”

.

Shiro laid on the floor beside Keith’s pilot seat as Red flew them back to the Castle.  He watched the other paladin from this odd angle and spent the time thinking.  He’d never told him.  Not the night of the party, not before the launch, not since he came back.  He wanted this boy so badly and here he was, right next to him, every day.

They landed in the hangar and Keith tried to help him up again, but moving made Shiro’s world tilt and his vision turn to static.  Keith called the others to bring a stretcher and sat down to wait with him.

“Sorry.  I’m…”  Shiro sighed.  He didn’t entirely know what he was anymore.  “A mess.  I’m kind of messed up all the time now.”

“Shiro…”

“Could you want someone who’s a permanent mess?”  He wasn’t sure if this was real bravery making him ask, or the near-death experience, or residual plant drugs.  He just had to know.

Keith retucked the blankets he’d put around Shiro to keep him warm for the flight.  “You’re the only one I could ever want.”  He spoke quietly, but there he was, exceeding Shiro in bravery too.  “I love you, Shiro.”

Shiro smiled.  He always thought he’d be the first to say it.  It wasn’t too late to say it now though, even after all this time.  “Keith, I love you.”

The younger man leaned down to kiss him.  It was soft, and brief, but so much better than his dream.

[brokenbase]

Horizon: Zero Dawn - BROKEN BASE REVIEWS

That's right - we were lucky enough to score an advanced copy of Horizon: Zero Dawn from Sony! So, what did Steve think about one of the first big console exclusives of the year? Well, go ahead and watch the video! Or, if you wanted to read the review, you’re in luck - the full script is just below the cut!

Horizon: Zero Dawn, the latest game from Killzone developer Guerrilla Games, is already under a lot of pressure. Not only is it one of the first big releases of 2017, but it’s the one of the biggest guns in the PlayStation 4′s exclusive line-up for the year. A new IP, a new heroine, a new engine - even after a fantastic debut and some serious hype, Horizon: Zero Dawn still has a lot left to prove.

There’s a lot to cover when it comes to Horizon. Not only is the game massive in scope, but Guerrilla Games have pulled from a number of other gaming franchises to create one of the most eclectic sandboxes in recent memory. While there’s nothing wrong with pulling inspiration from other, successful franchises, that doesn’t necessarily guarantee success.

Thankfully, Horizon: Zero Dawn manages to blend its different ideas into a cohesive - and more importantly, fun - open-world action game.

Players take on the role of Aloy, a young woman surviving the harsh wild of a post-apocalyptic Earth. Giant robotic animals roam the planet, leaving humankind to fight for its very survival. As one might expect, it doesn’t take long for Aloy to get swept up in a worldwide conspiracy, forcing her to leave home in search of answers.

To put it bluntly, the first few hours of the story are rough. Aloy is enjoyable enough, but the story of an outcast trying to fit into society is downright generic. It’s far too easy to predict exactly what will happen, and it’s not nearly interesting enough to create any sort of emotional attachment.

Once the intro is out of the way, Horizon’s story does get better. The game’s world and the people in it manage to create a setting that’s both far-flung and believably grounded - given that this is a world where giant robot dinosaurs roam the wilderness, that’s saying something. It definitely helps that many of the player’s actions actually make an impact: Seeing decisions and questlines come full circle as the game progresses is a great touch, and does a lot to make Horizon’s side quests feel like more than inconsequential errands.

But it’s the story of the machines and their origins that’s the true star of the show. Horizon’s A.I.-centric plot may be a new take on an established concept, but a number of genuinely surprising twists and a distinct identity keep it from feeling stale. Sadly, the pacing is extremely lopsided: the story becomes an unrelenting deluge of information during its second half, and it can be overwhelming at times.

What’s worse is that Aloy’s personal story doesn’t hold up nearly as well. Her storyline takes a backseat for far too long, and the main villain doesn’t have enough of a presence throughout the game to feel like a real threat. By the time the credits roll, the whole revenge plot feels like more of a sidenote than anything.

As a whole, characterization is flawed: Aloy herself is enjoyable, and some of the side characters are great, but nearly everyone else is either forgettable or entirely unlikable. For whatever reason, Aloy’s closest ally is an absolute prick throughout the entire game, while the central villains are basically nonexistent. It’s completely backwards, and choices like these derail the story on more than one occasion.

Simply put, the narrative of Horizon: Zero Dawn is all over the place: some parts of the story are fantastic, while others drag the experience down. Personal tastes will be a factor in your enjoyment of the story, but once it gets going, the good usually outweighs the bad.

Anyone who’s played an open-world game from the past ten years will know exactly what to expect from Horizon: Zero Dawn. The entirety of the game’s single-player story takes place in a massive seamless map filled to the brim with NPCs, quests and hidden collectibles. Players complete story missions to advance the plot, and side quests to earn optional rewards. Scaling specific machines will reveal large portions of the map, and fast-travel points open up as players explore the world.

At first glance, it might seem like Horizon’s strict adherence to the standard open-world formula wouldn’t leave much room for new ideas...and while that’s true in some respects, it’s also selling the game short. The overall structure may be familiar, but the gameplay itself is an entirely different beast.

With a focus on stealth, ancient weaponry and RPG mechanics, one would be forgiven for assuming that playing through Horizon: Zero Dawn is a slow, methodical experience. In reality, that’s only half-true.

Players will spend the majority of their time playing Horizon doing one of two things: engaging enemy combatants head-on, or sneaking around them. Combat and movement are fast and loose while simultaneously rewarding those who play with precision. It’s possible to let off a slew of arrows quickly, but it’s far more satisfying to pick off enemies one at a time with carefully-placed shots.

Human enemies, for the most part, don’t provide much resistance. Their sheer numbers can be a threat, and more powerful variants are introduced as the game goes on, but they don’t hold a candle to the robotic enemies that players will face.

Without the ability to take out a target with a single shot, combat against the machines becomes far more tactical. Weapon choice, enemy layouts, terrain, available ammo, healing items - everything has to be taken into consideration before taking the first shot. Actual combat is a chess game of positioning, targeting weakpoints and isolating weaker enemies, and it’s a blast from beginning to end. Fights against multiple machines can be a bit too chaotic for their own good, and certain enemy types are overpowered, but these issues are minor in the grand scheme of things.

Of course, combat is more complicated than just bows and arrows. Aloy’s arsenal does a fine job of both encouraging experimentation and allowing players to find a specific style that works for them. Different ammo types and elemental status effects offer even more variety, though the upgrade system isn’t quite as successful. Purchasing or crafting better gear is definitely helpful, but grinding for the specific parts required to do so relies entirely on random chance. Get ready to hunt a lot of rabbits.

Skills points and leveling up are the final piece of the combat puzzle, and it’s exactly what you would expect. More experience means more skills, such as slowing down time while aiming or more powerful melee attacks. It’s another way that players can customize their play style, but it’s nothing new, either.

The rest of the gameplay is fun, if not entirely noteworthy. Puzzles and platforming are basically automatic, and don’t provide any real sense of challenge. Collectibles are fun to find, but the rewards for finding them aren’t anything special. Dialogue trees are an interesting addition, but there are only a few instances where Aloy’s response actually changes anything.

It’s a shame that the smaller aspects of Horizon’s gameplay aren’t as polished as the core mechanics, but it’s clear that Guerrilla Games focused on what matters. Combat feels great, and sneaking through an enemy encampment is extremely satisfying. It would have been nice if everything were as engaging as the combat, but Horizon nails its core gameplay so well that these small missteps are easy to forgive.

From the moment that players press Start, one thing is obvious: Horizon: Zero Dawn is absolutely gorgeous. Nearly everything about the game’s presentation is phenomenal, from the environments to the character models to the sound design to the insane level of detail.

Watching as Aloy or any one of the massive machines move through the environment is a sight to behold, and the sheer number of different animations is staggering. Lighting is another highlight, with the use of color and shadow standing head-and-shoulders above most other games in the industry. Horizon is a game that revels in creating atmosphere.

What pulls everything together is the game’s unparalleled sense of scale. True, there are plenty of games with massive open worlds, but few truly take advantage of their sandboxes. Horizon, on the other hand, is constantly using the scope of its world to amazing effect. It’s huge, in every sense of the word, and it’ll make your jaw drop more than once.

Granted, the presentation isn’t perfect. Facial animation is noticeably limited, and characters don’t really emote. Some of the voice work (typically whenever children are involved) also falls short, and a few minor technical issues pop up from time to time. That being said, a few infrequent hang-ups aren’t nearly enough to derail one of the best-looking games of this generation. Horizon: Zero Dawn is both an artistic and technical marvel, and proof that there’s still plenty of room to grow in the current generation of consoles.

Horizon: Zero Dawn isn’t a perfect game. The story is unfocused, the intro drags on for far too long, and the pacing is ridiculously unbalanced.

But, when you look at the bigger picture, it’s easy to see just how good Horizon really is. The game may draw its mechanics from a number of different series, but everything comes together so well that it’s hard not to be impressed. It’s also a technical marvel, with an unparalleled attention to detail and infinitely impressive scale. The game may stick to some open-world traditions a bit too strictly, but at the end of the day, Horizon is still one of the most polished games in recent memory.

If Horizon: Zero Dawn is just the first piece of Sony’s exclusive line-up in 2017, then PlayStation 4 owners have a lot to look forward to.

[ibloggingkits-blog]

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The way to Abandon Android and Transfer to iOS

Maybe you like the curves of the iPhone 7, Perhaps you just don’t consider Google along with your statistics any extra, or Maybe someone just gave you an iPhone as a birthday gift. Whatever the purpose, here’s The way to get your whole virtual life from Android to iOS with as little head-scratching as possible.

For simplicity’s sake, we’ll expect you’re installation on Android with your records plugged into Google’s offerings (Gmail, Google Calendar and so on). In case you’re using some thing else, like a Microsoft or Yahoo electronic mail deal with, the technique might be comparable, and often just involves installing the relevant Android-analogous app to your new iPhone.

You can automate a whole lot of what we’re approximate to talk approximately with Apple’s reputable Flow to iOS app for Android: it handles email, calendars, contacts, photographs, films (excited about the tool), and even textual content message history.

Loading There are a couple of caveats to doingn’t forget. One, you want to be putting in your iPhone from scratch, so it desires to be trendy or freshly reset, and two, it doesn’t come up with all that a whole lot manage over the manner everything gets switched. It additionally misses out a number of the files and statistics we’re going to cover below, and as you’ll observe in reviews of the app, it is able to be hit and leave out on simply transferring texts.

The Battle Of The Operating Structures, Android Vs iOS: Android is Google’s powered software while iOS is Apple’s powered software. IOS software program can only be in Apple devices while Android is being used in numerous devices by means of exceptional organizations like Samsung, Huawei, Lenovo, etc. IOS software program is stated to be greater consumer-friendly in comparison to Android because of its precise designs and uniform factors.

Each Running Systems convey products to existence. Android was created via Google, and iOS turned into evolved with the aid of Apple. While you’re in a competitive market, you have to be unique, but which is excellent for you? To find out, don’t forget these three critical classes.

Customization Android offers almost limitless access and lets in settings to be adjusted to preference. Apps, lock monitors and shortcuts have unlimited options. IOS isn’t nearly as bendy. Even as because of this a product Running with iOS is much less probable to have its settings broken with the aid of the person, it also means which you have much less freedom to do what you want with it. Android beats iOS in relation to customization.

Usability For iOS customers, being constrained manner, it is difficult to mess up. Android’s freedom comes with complexity. IOS comes uniform throughout all in their products. I can experience confident giving my 71-year-antique grandmother an iPad, and she might likely now not struggle with it. Android works first-rate for folks who are a little more tech savvy, and for folks who want something a bit greater precise. In case you want a person-pleasant interface, then Apple may be the proper preference.

Safety Every other essential determining factor is protection. Due to the fact iOS is uniform throughout all merchandise, this indicates it is lots less complicated to replace the devices and fasten Security patches. Android is used across many ones of a kind product and businesses, meaning that Security patches are slower and often require similarly patching and adjusting, leaving the consumer inclined.

So that’s better? Whilst Android can boast that they’re excellent at customizability and compatibility, iOS can claim higher user interface and Security. do not forget your wishes to determine which type of product high-quality suits your needs and your life-style.

Android As opposed to Anyone Else This weekend, I visited a pal who has now changed his Blackberry Playbook with Android HTC Sense pill. I took the pleasure to mess around with the device, and with an open thoughts. I’ve to mention that I used to be literally blown away by how complete HTC Experience (Android 4.0) felt. It’s far simply amazing. As I browsed via the alternatives, one factor dawned on me, which is – It’s miles simplest a count number a be counted of time earlier than we start seeing Android on Computer Desktops. Such was the natural experience.

The important thing question is; how are other tablet Running Structures (OS) going to compete with Google Android? Honestly, I assume it will be difficult. Specially for Blackberry maker RIM. As RIM maintains begging for more time to launch a reputable completed Operating system for Each their cellphone and tablet gadgets, it seems Android is moving at light speed in viral mode. Even as this article is primarily based on tablet marketplace, I can be the usage of cellphone and pill interchangeably because of the fact that the drift directly into one another.

Android vs Blackberry

This is a no context. As lots as I cherished Blackberry devices, they may be now out of touch with present day demands. As I said earlier, RIM is pushing the subsequent predominant revamp on their smartphones to Q2. That actually would not formidable well for a organization that is already suffering. RIM’s commercial enterprise version is the primary killer. The truth that they manipulate the fully eco-machine of hardware and software program has ended in expectation overload. while, Google can honestly consciousness on getting Android ready Even as manufacturers training session how first-rate to provide it on their hardware. Let’s greater on speedy to the real challengers… IOS and Windows eight tablet.

Android vs iOS

These days, Apple’s iPad which runs iOS is the largest opposition for Google’s Android. IOS became the benchmark when it changed into launched however is going through intense opposition from Android in phrases of uncooked feature capacity and customization. To in addition make matters complex for Apple, they appear to be taking walks along the identical route as RIM’s antique business model of tightly controlling Each the hardware and software program. I do not assume that this could keep up properly within the warm tablet market. It’d be very tough for Apple to be as progressive as Google in that department and history confirms this if we observe the impact Android has had inside the phone space. To in addition quantify the factor that I am seeking to make, Apple dropped from sixty five% to 54% among September and December of 2011. Fundamental beneficiary being Samsung that rose from five% to thirteen% throughout the identical duration.

Android offers so much in phrases of customization of device and flexible eco-system for consumer interaction and that makes Apple’s iPad much less attractive choice. While Apple tries to entrap clients in its eco-gadget, Google’s Android liberates them from being tied into one. This become obvious while my friend’s brother who bought an iPad2 Due to the fact he believed that it became the best he may want to seamlessly use his other iOS related files, became given HTC Experience to play with. His reaction? He changed into left in entire awe. I suppose that his response is indicative of what we’re going to start seeing this year. If Apple fails to completely revamp iOS on iPad3, that is due later this 12 months, I are expecting that could come to be the beginning of the stop of the strong marketplace share that Apple presently enjoys. Fee margin is now additionally coming below excessive pressure.

Oh yeah, to clearly recognize the electricity of innovation based on Android, then test out the video under of Asus Transformer Top. It was made last year and in addition suggests why Apple’s commercial enterprise model on their hardware will no longer preserve up in the innovation branch in opposition to Android-based gadgets. There are surely manner too a lot of them that it makes it an unfair Warfare.

Asus Transformer High going for walks Android 3.zero

Android vs Home windows eight pill

So, onto Home windows eight tablet. Given lack of media interest on Home windows pills whilst as compared to iPad and Android based totally opposite numbers, It is ironic that this Windows eight primarily based drugs would subsequently grow to be the best pill that would be capable of compete with Android. My motive for this prediction is that, unlike Apple, Microsoft’s commercial enterprise model in the pill space is very much like Google’s. They make the Operating machine and depart hardware producer to visit battle with it. The interprets to increasingly more options for purchasers. also, what might certainly electricity Home windows 8 pill is the fact that it runs a whole Home windows Computing device Operating device. Consider that at the Asus Transformer Top inside the video above… It might be extremely good! Quad Center thin pill it truly is thinner than iPad2 and runs complete Home windows eight with metro UI results. Considering it surely blows my mind.