#all of the main quests were very easy to power through because i had free dr ratio and himeko from departure banner

[kavehitecture]

chat lets all b honest here…. should i pick genshin back up

[vivacia-18]

This was getting to long for the tags, hope you don't mind me commenting directly!

asdlkjaada The freaking Dondon quest - I totally did that one by accident, and all of the reveal was totally overshadowed by the fact that I felt equal parts bad and annoyed finding out that they were unkillable NPCs when I just spent the last 10 minutes trying to murder the herd for meat X'D

But yeah, overall while I don't look for much depth in a video game (if I want it I'm cool to come with a shovel myself later) totk really lacked cohesion overall. Certain parts of the story and characters were enjoyable, but it definitely didn't pull itself together very well.

One thing I wanted to see way back in botw, and that I think could have tied in well to this game - and maybe even the Dondon quest! - was having the monsters actually be part of Hyrule. As in like, people that are meant to be there. Its stated multiple times that the blood moon summons lost spirits who are cursed to wander the land and fight and die in eternal cycles of damnation. We also know that dead/undead and transformation into other species is a thing in Zelda (the Stals in OOT anyone?) completely unrelated to Ganondorfs whole deal. What I wanted SO BAD was for post game after getting rid of the blood moon, the curse would be lifted and the monsters would be normal again. So you could barter for stuff (bokoblins, etc), or battle for prestige but not to the death (Lynels), or like sneakily harvest things (Hynox, Talus) but you wouldn't be killing them anymore - because they're among the people you were trying to save, they're a part of Hyrule too. And now the warrior dead can rest in peace once more.

Until we accidentally bring the blood back in totk and they're summoned/cursed again, whoops! But anyways, I felt like that would have been both good gameplay and good depth, and now I kinda like the tie in of the Dondons only being known as they were cursed under the blood moon, and it's only recently that they've shown to be naturally pretty docile, or something along those lines.

I also think that could have tied in well with explaining Gan too, and how the fuck he was still around when the Calamity was supposed to be banished and they made an explicit point of saying he had chosen to forgo the chance of reincarnation, so shouldn't he have been gone forever? Finally broken free of the cycle and allowed to rest?

I haven't thought this part through quite as much, so bear with me. The blood moon reads as a curse to me, but not so much one cast BY Ganondorf, so much as it is the manifestation of the curse UPON him. It truly seems like in this game duo especially Gan is destined to fall to madness, and one headcanon I've gotten rather fond of that ties into the Light and Darkness thing is that its because the power of Light is incompatible with him long term, just as the power of Dark is incompatible to Zelda (if we really want to reach we can link it back to the schism between Hylia and Demise in SS, but that's optional).

Any long term exposure to their opposite will have detrimental mental effects - basically a magical autoimmune reaction. I think he can interact with certain aspects - note that both he and Zelda seem compatible with Sheikah tech/magic, which is fun conceptually as they are a people/Sages of Shadow - but not pure Light. I think Zelda would go equally mad should she ever try to use Dark magics long term.

Fortunately for her and unfortunately for Gan, Light being the magic of the main ruling family makes it much more prominent and easy to find for someone who is naturally driven to seek Power. And when he does his magic becomes... sick, for a lack of better terms. This culminated into terminal illness upon bonding with the soul stone - cruel in the way of tuberculosis, granting a flush of power and vibrancy before death, this created the blood moon - a warped representation of death and rebirth, light and dark, twisted into something foul. And contaminated magic is what we see manifested as the blight/gloom in later years. The Calamity was his spirit, broken free of Rauru's seal, yearning to be reunited with its body. And in totk we see his flesh revived, though his spirit was thought slain and the curse of the blood moon broken. It wasn't though, just briefly contained once more, because the source of the blight - the soul stone - was still bonded to him, and he couldn't rest until it was removed.

...Wow, this got far longer than I was intending, guess I really brought that shovel afterall X'D

tldr; I agree with OP that totk had the potential to be much deeper and more narratively satisfying than it was, even within the realm of what one would generally expect from a mainstream video game (which is not too much). And a big part of that for me would be a tweak to the monster mechanics post-game, and a little more actual backstory to Ganondorfs backstory to they actually make narrative sense.

The Dondon Post (or: the bizarre TotK's side content counterpoints to its main quest's immuable binary morality)

Speaking of strange TotK Choices, I think I have one singe post left in me about this game; and it's about the Dondon quest, "The Beast and the Princess".

(and about other stuff too, you'll see, we'll get to them)

More specifically: about how... strange of a thematic point it feebly attemps to make in the larger context of the storyline, and how it seems to be yet another mark of a world that, perhaps, once tried to be more morally complex that it ended up becoming.

Buckle up: it's a long one, and it gets pretty conceptual.

(good gem boys notwhistanding)

The Princess and the Beast

So, a couple of things about the setup. We are investigating potential Princess sightings; but at this point, either because we have already completed a bunch and know the general gib, because we have met a couple of wild Fake Zelda shenanigans, or through the simple fact that we are completing a side quest, we know there's a good chance it won't lead to an actual Zelda information. So when we ask Penn about what is going on and he replies with the ominous "we saw the Princess riding some kind of beast --a frightening one with huge, brutal tusks-- that the princess seemed to control", we get Ideas. Then the sidequest is registered: "The Princess and the Beast".

So. You know me. And if you don't know me, here's what you should know: my brain immediately flared up with the thought there was no way in hell this wasn't some kind of wink towards Ganondorf's renowned boarish beast form, especially given tusks were given so much focus.

My first assumption was: that's a miniboss right? I will get to fight some small boar-like thing that Fake Zelda rides sometimes. Cool! I didn't hold too hard onto my hope that the relationship of Zelda and/or Ganondorf to the natural world, or to each other would be expanded upon, since I had already been burned before, but my interest was piqued.

You have to understand how starved I was for any hint of complexity or mystery or ambiguity at this point. I was extremely eager for the game to throw anything at me that would surprise me, enlighten something pre-established, make the exploration lead to a meaningful discovery or deepening of characters, world or themes (and not just slightly cooler loot, or a bossfight, or a puzzle devoid of emotional context --cohesion and depth is what motivates my play sessions, especially in an open world game that I want to believe is worth losing oneself into). This was about the most intriguing task on my to do list at the moment, and so I plunged in immediately.

After really REALLY misunderstanding what I was supposed to do (I stalked every corner of every forest surrounding the tropical area at night or during blood moons in hope to see something --which was very much the wrong call), I arrived to the other stable, then was guided to the other side of the river where Cima awaits and explains that these creatures are actually a new species discovered by Zelda; that they are gentle and kind and not at all scary ("Dondons aren't beastly, they're adorable!"), and even somehow digest luminous stones into gemstones. They like the company of people and liked Zelda in particular.

I was... I felt two different ways about this conclusion, and I think it's worth to explore both: disappointment and some sort of... "huh!" Hard to describe this emotion otherwise.

I'll get the disappointment out of the way first, because it's the least interesting of the two. While I think the little emotional arc I was taken on was not devoid of interest --I was indeed taken on by the rumor and intrigued by its implications-- I wanted, well. A little bit more. And if the creatures were to be Zelda's pet project, I would have loved for them to be actually terrifying and feisty, and for her to develop an interest for these creatures in particular regardless. It could have been very interesting characterization that veered out of the perfect princess loving the perfect world floundering around her, always bringing her clear, practical benefits from the interaction.

(I have made another post that speaks of my discomfort that Zelda does everything everywhere and everyone loves her for it --I get what they were trying to go for, but it either lacks conflict for me to buy into that dynamic at the scale of several regions, or they went on too hard for my taste, as she is, at once and in the span of a couple of years at most: a schoolteacher, a gardener, an animal researcher, a scholar, a traveler, a military expert, a knower of landscape, a painter, a horse rider, an infrastructure planner, a [...] princess --at some point it begins to sound made up, "Little Father of the people"-esque to rattle the hornet's nest a little bit, especially if it's not shown as either a clearly godly characteristic or, even more necessary imo, a negative trait; another expression of her killing herself at work to compensate for a perceived flaw she's trying to earn forgiveness for, like she did in BotW. But that's another topic, and the clumsiness of her character arc has been well threaded by basically everybody disappointed in the story already.)

But, if I decide to be a little graceful, I'd like to explore my "huh!" emotion, and take it apart a little bit.

I think there's something interesting to have such strong parallels to setting up a story about the relationship between Zelda and Ganondorf ("The Princess and the Beast", like come on guys that's the conflict of over half the series), or at least Zelda and the concept of Evil since Ganondorf pretty much represents it in this game, and then have it go: actually, there was a horrible monster that everyone was afraid of, but Zelda was wise and patient enough to approach it and realize its potential beyond the tusks, what beauty can be brought upon the world if one makes the effort to look for what exists underneath. It says something a bit deeper about the world and about Zelda in particular. It intrigues, at the very least.

Is it a reach? Probably! Is my first interpretation that the quest is actually about "eww you thought Zelda would be interested in *disgusting vile monsters* and not sweet and gentle and human-loving animals that literally shit jewlery when cared for? jokes on you, she never would feel any ounce of sympathy for anything that isn't Good and Deserving" uhhh definitively truer? Probably! But I also don't want to dismiss that the quest made me think about it. If I had completed it earlier, I might have even felt like it was (very clumsy, not gonna lie) setup about the main conflict.

But that's also a good segway into my next section: the arbitrary limitations between the animal and the creature, the monstrous and the human.

And the fact that TotK points directly at it.

A Monstrous Collection

(these two guys are just. doing So Much and being So Valid despite being massive weirdos the game wants us to be slightly repelled by. I, for one, respect the Monster kinning grind and their general Twilight Princess energy.)

So. These two guys. There is so much to say about these two guys. I don't think I have seen the Trans Perspective on Kolton on tumblr, and I would love to get it because. I feel like it's a worthwhile discussion (just, how gender and identity is handled in TotK overall, I feel like it's a very complicated conversation and I have not seen super deep dives and I'd be very interested in hearing more).

Beyond the throughline of voluntary consumption of magical objects to turn into less human creatures being a weirdly prevalent plot point in TotK (Zelda, Kolton and Ganondorf casually transing their entire species for funsies --Ganondorf being particularly relentless with Fake Zelda, mummy/phantom shenanigans, Demon King and then literal dragon), I want to focus on Kilton a little bit.

Kilton is genuinely the only NPC in the game willing to acknowledge the inherent personhood that monsters have (the game does showcase them picking up fruits, mourning their boss if you kill them, being cutesy and happy to identify you as one of their own if you wear the appropriate mask --and that's not even getting into creatures like the Lynels, who seem to really edge on the limit of being a conscious creature with a system of honor and property and many other things). He does encourage us to think of monsters as more than a species whose only worth lie in how fun it is to eradicate them; even more, gameplay-wise, he does give us a reason to interact with them in other ways than just our sword with his museum. He does encourage us to see that beauty for ourselves and then select what we think is coolest/most intimidating/cutest/eight billion ganondorfs in every pose imaginable

The fact that Ganondorf is considered a monster was a great win for this feature in particular, and is very funny, but it's also... A lot, if we dig at it a little more than warranted. Beyond all of the Implications and all of the things of representation and political conflict and values already discussed ad nauseum: when did he stop being considered a human? What does that mean about the flimsiness of what is a monster and what is a creature and what is an animal and what is a person and what is even a hylian, as sheikahs got absorbed into the definition in this game? Especially with the stones taken into account, how profound changes in nature are a huge part of the plot (even when reversed and ultimately pretty meaningless): how easy it is, to make that slip? Who decides when that slip has been made? What is acceptable to hurt without remorse? What is beautiful and worth preserving? What is both at once? What is neither?

And again, in a classic Zelda conundrum (appreciative(?)): who the fuck gets to decide that, when, and why?

The Bargainers and the Horned God

(major shoutout to these big guys for being the sole and only providers of actual depth to the Depths, and for looking cool as heck)

So. Let's move the conversation to the Depths.

Conceptually: what an interesting idea!! And so well executed (initially)!! A mirror world to the surface, dark and hushed and full of unknown creatures; haunted by gloom and sickness and the unknown. Not a first in the series, far from it: from ALTTP to ALBW, and even taking the Twilight world of TP into account, this idea of a Dark World acting as a deforming mirror to Hyrule and revealing many interesting aspects as we get to explore both is always a very interesting take on corruption and envy and fear/weakness and/or some sense of darkness looming under the perfect exterior. I'd argue even the Lens of Truth of both OoT and MM's serve a similar function, both gameplay-wise, but also in terms of theme: not everything is as it seems. In the world of Light, darkness must hide itself; but darkness also possess its own beauty, its own hardships, and will stare back at you without blinking if you go seek for it. It's, in my opinion, one of the series' most compelling conversation about the cyclical nature of fate, the coldness of godhood, and how small one feels in the face of a universe that is more complicated than it initially appears --which is why Courage must be invoked to push forward regardless.

The Depth's otherworldly ambiance is truy wonderful, whether in the plays of light and shadows, the creatures native to the environment we meet there (wish we met more!), the soundtrack, the strange aquatic/primordial plants, the fact that the dragons visit this place and connect them to the outside --invoking ideas of balance and interconnectivity, that the tree branches look like veins. The coliseums, the mines, the zonai facilities and the prisons do seem to poke at many things about what the relationship to the past was to this place; was it ever truly a place? Did it look like this back then? Why was it buried? Why did it come back? But in spite of it all, I think the Depths struggle overall to question or reveal anything about the surface that we couldn't already assume going in (that the only thing congealing there is Ganondorf's gloom, his lonely domain of Wrongness, only shared by Kohga and the yiga --the only naysayers of Goodness and Light, contemptful and blinded by self-importance and rage). The zonite is mined by gloomy monsters --why, what for?-- so any notion of greed and over-expansion that could have been associated to the zonai is now reabsorbed into Ganondorf's general evilness, since it needs to be reminded he is everything and anything bad with the world: darkness and conquest and greed and capitalism and pollution and bad weather and sickness and darkness and violence and war and death and betrayal and fakeness and lies and patriarchy and exploitation. No matter that he never does a single thing with zonite in the game; rather set up elements of conflict that never go anywhere than, for a second, let the foundations of absolute goodness and absolute evil risk becoming shaky --and you coming to this unwelcoming dark place that hates you, killing the miners and taking their resources for yourself is, on the other holy, royal fur-covered hand, utterly legitimate. The resources were once Rauru's after all, were they not?

And this is what I would say, except... except for the dead. The fallen warriors, the poes, and, most important of all: the Bargainer statues.

The Bargainers are, in-universe, godly creatures guiding the fallen to a place of final respite, regardless of moral alignment. The poes are all, fundamentally, cleansed of judgement: they are lost souls whose past reality does not matter anymore, and all deserve that peace regardless. In spite of the heavy paradise/hell parallels drawn in that game, with Rauru/Zelda/Sonia as the guardians of Light where Ganondorf gets to become a Devil-like figure, it is confirmed here that no such thing exists when you actually die in this universe.

It almost feels as if the fabric of Hyrule itself, in a brief moment that refuses to elaborate on its own point, goes: "yeah, whatever is happening here between Light and Darkness, it doesn't actually matter. This conflict is futile and doesn't understand the real nature of being alive, dead, a god, a person, a monster, an animal. The truth lies elsewhere --but you will never be told what it is."

It's: wild.

One of the game's most striking traits of narrative brilliance in my opinion --to the point where I'm wondering whether it's there on purpose or was effectively an oversight since every other aspect of reality breaks its own back trying to reassure us that everything is at its correct place, receiving the appropriate treatment by the universe in a way that is never to be questioned.

Another case of that ambiguity being allowed to exist without being immediately crushed and repressed is the case of the Horned God (interesting parallel to Ganon's actual horns that he develops in this game in case the hellish parallels weren't clear enough already): a demon Hylia sealed into stone and pushed far from humans in a clear case of questionable behavior since, while the Horned God isn't exactly nice, does propose a different philosophy you are not punished for exploring; and yet, a proposal that has seen itself persecuted in a very real sense by the goddess of absolute goodness, patron of hylians, Zelda, and many more. Pushed away from view.

Interesting.

And Yet, Light Must Prevail

Okay, so, after all of this, we're left to ask... What the fuck is up with morality in Tears of the Kingdom?!

What do we trust? These half-breaths in the occasional sidequests that Light and Darkness is just the wrong frame of reference, that nature cannot be this simple, is ever-shifting and can be recalled or reaffirmed by arbitrary forces, and might even not matter at all in the universe's fabric, despite having so much of its lore soaking in the dychotomy? Or... everything else about the game, this insistence that Good must not only be assumed as whatever tradition the kingdom has passed down for thousands upon thousands of years, but remain utterly unquestioned the entire time? That Bad is without cause, graceless and unworthy of investment?

Are the Bargainer's statues the only thing worth listening to, that morality is a fable the living tells themselves --or should we be moved when Darkness destroys Light, when Light suffers to preserve itself and the world --but not when the Other is rightfully slain?

Was Kilton correct to see beauty in the monstrous? Was Kolton onto something when he let go of his previous form because there is no clear distinction between what should receive an arrow to the face and what shouldn't? Or should we rather focus on Zelda losing her human form as a beautiful and tragic sacrifice --but something that never actually altered her nature as a hylian, the descendant of a lineage of Good Kings meant to rule forever?

Is the Dondon good because it always was, or was it worth Zelda's love in spite of the fear it initially provoked?

Either way, at the end of the game, evil is slain. Ganondorf is, not killed, but --like his angry BotW boar counterpart-- destroyed, as monsters tend to be. He explodes over the lands of Hyrule, freed from Darkness; freed from everything wrong, since the foreign menace that embodied it all was wiped out in one fateful sweep of a holy blade cradled in sacrificial love. Nothing wrong remains. The Sages reaffirm their vows to protect the kingdom forward, and a very human --hylian-- Zelda smiles: Hyrule now forever and ever basked in eternal Light.

[tlbodine]

The Horror Genius of Five Nights At Freddy’s

I’ve been playing FNAF: Help Wanted VR on my Oculus Quest lately (a birthday present to myself -- I know I’m late to that party!) and it’s reignited in me my old love of this series. I know Scott Cawthon’s politics aren’t great, but I don’t think there’s any malice in his heart beyond usual Christian conservative nonsense -- and I think he stepped down as graciously and magnanimously as possible when confronted about it. Time will judge Scott Cawthon’s politics, and that’s not what I’m here to talk about. I want to talk about what makes these games so damn special, from a horror, design, and marketing perspective. I think there’s really SO MUCH to be learned from studying these games and the wider influence they’ve had as intellectual property. 

What Is FNAF? 

In case you’ve somehow been living under a rock for the last seven years, Five Nights At Freddy’s (hereafter, FNAF) is a horror franchise spanning 17 games (10 main games + some spinoffs and troll games, we’ll get to that), 27 books, a movie deal, and a couple live-action attractions. 

But before it exploded into that kind of tremendous IP, it started out as a single indie pont-and-click game created entirely by one dude, Scott Cawthon. Cawthon had developed other games in the past without much fame or success, including some Christian children’s entertainment. He was working as a cashier at Dollar General and making games in his spare time -- and most of those games got panned. 

So he tried making something different. 

After being criticized that the characters in one of his children’s games looked like soulless, creepy animatronics, Cawthon had his lightbulb moment and created a horror game centered on....creepy animatronics! 

The rest, as they say, is history. 

The Genius of FNAF’s Horror Elements

In the first FNAF game, you play as a night security guard at Freddy Fazbear’s Pizza, a sort of ersatz Chuck-E-Cheese establishment. The animatronics are on free-roaming mode at night, but you don’t want to let them find you in your security room so you have to watch them move through the building on security camera monitors. If they get too close, you can slam your security room doors closed. But be careful, because this restaurant operates on a shoestring budget, and the power will go off if you keep the doors closed too long or flicker the lights too often. And once the lights go out, you’re helpless against the animatronics in the dark. 

Guiding you through your gameplay is a fellow employee, Phone Guy, who calls you each night with some helpful advice. Phone Guy is voiced by Cawthon himself, and listening to his tapes gives you some hints of the game’s underlying story as well as telling you how to play. A few newspaper clippings and other bits of scrap material help to fill in more details of the story. 

Over the next set of games, the story would be further developed, with each new game introducing new mechanics and variations on the theme -- in one, you don a mask to slip past the notice of animatronics; in another, you have to play sound cues to lure an animatronic away from you. By the fourth game, the setup was changed completely, now featuring a child with a flashlight hiding from the monsters outside his door -- nightmarish versions of the beloved child-friendly mascots. The mechanics change just enough between variations to keep things fresh while maintaining a consistent brand. 

There are so many things these games do well from a storytelling and horror perspective: 

Jump Scares: It’s easy to shrug these games off for relying heavily on jump scares, and they absolutely do have a lot of them. But they’re used strategically. In most games, the jump scares are a punishment (a controlled shock, if you will) -- if you play the game perfectly, you’ll never be jump-scared. This is an important design choice that a lot of other horror games don’t follow. 

Atmospheric Dread: These games absolutely deliver horror and tension through every element of design -- some more than others, admittedly. But a combination of sound cues, the overall texture and aesthetic of the world, the “things move when you’re not looking at them” mechanic, all of it works together to create a feeling of unease and paranoia. 

Paranoia: As in most survival horror games, you’re at a disadvantage. You can’t move or defend yourself, really -- all you can do is watch. And so watch you do. Except it’s a false sense of security, because flicking lights and checking cameras uses up precious resources, putting you at greater risk. So you have to balance your compulsive need to check, double-check, and make sure...with methodical resource conservation. The best way to survive these games is to remain calm and focused. It’s a brilliant design choice. 

Visceral Horror: The monster design of the animatronics is absolutely delightful, and there’s a whole range of them to choose from. The sheer size and weight of the creatures, the way they move and position themselves, their grunginess, the deadness of their eyes, the quantity and prominence of their teeth. They are simultaneously adorable and horrifying. 

Implicit Horror: One of the greatest strengths to FNAF as a franchise is that it never wears its story on its sleeve. Instead of outright telling you what’s going on, the story is delivered in bits and pieces that you have to put together yourself -- creating a puzzle for an engaged player to think about and theorize over and consider long after the game is done. But more than that, the nature of the horror itself is such that it becomes increasingly upsetting the more you think on it. The implications of what’s going on in the game world -- that there are decaying bodies tucked away inside mascots that continue to perform for children, that a man dressed in a costume is luring kids away into a private room to kill them, and so forth -- are the epitome of fridge horror. 

The FNAF lore does admittedly start to become fairly ridiculous and convoluted as the franchise wears on. But even ret-conned material manages to be pretty interesting in its own right (and there is nothing in the world keeping you from playing the first four games, or even the first six, and pretending none of the rest exist). 

Another thing I really appreciate about the FNAF franchise is that it’s quite funny, in a way that complements and underscores the horror rather than detracting from it. It’s something a lot of other properties utterly fail to do. 

The Genius of Scott Cawthon’s Marketing 

OK, so FNAF utilizes a multi-prong attack for creating horror and implements it well -- big deal. Why did it explode into a massive IP sensation when other indie horror games that are just as well-made barely made a blip on the radar? 

Well! That’s where the real genius comes in. This game was built and marketed in a way to maximize its franchisability. 

First, the story utilizes instantly identifiable, simple but effective character designs, and then generates more and more instantly identifiable unique characters with each iteration. Having a wealth of characters and clever, unique designs basically paves the way for merchandise and fan-works. (That they’re anthropomorphic animal designs also probably helped -- because that taps into the furry fandom as well without completely alienating non-furries). 

Speaking of fan-work, Scott Cawthon has always been very supportive of fandom, only taking action when people would try to profit off knock-off games and that sort of thing -- basically bad-faith copies. But as far as I know he’s always been super chill with fan-created content, even going so far as to engage directly with the fandom. Which brings me to....

These games were practically designed for streaming, and he took care to deliver them into the hands of influential streamers. Because the games are heavy on jump-scares and scale in difficulty (even including extra-challenging modes after the core game is beaten) they are extremely fun to watch people play. They’re short enough to be easily finished over the duration of a long stream, and they’re episodic -- lending themselves perfectly to a YouTube Lets Play format. One Night = One Video, and now the streamer has weeks of content from your game (but viewers can jump in at any time without really missing much). 

The games are kid-friendly but also genuinely frightening. Because the most disturbing parts of the game’s lore are hinted at rather than made explicit, younger players can easily engage with the game on a more basic surface level, and others can go as deep into the lore as they feel comfortable. There is no blood and gore and violence or even any explicitly stated death in the main game; all of the murder and death is portrayed obliquely by way of 8-bit mini games and tangential references. Making this game terrifying but accessible to youngsters, and then marketing it directly to younger viewers through popular streamers (and later, merchandising deals) is genius -- because it creates a very broad potential audience, and kids tend to spend 100% of their money (birthdays, allowances, etc.) and are most likely to tell their friends about this super scary game, etc. etc.

By creating a puzzle box of lore, and then interacting directly with the fandom -- dropping hints, trolling, essentially creating an ARG of his own lore through his website, in-game easter eggs, and tie-in materials -- Cawthon created a mystery for fandom to solve. And fans LOVE endlessly speculating over convoluted theories. 

Cawthon released these games FAST. He dropped FNAF 2 within months of the first game’s release, and kept up a pace of 1-2 games a year ever since. This steady output ensured the games never dropped out of public consciousness -- and introducing new puzzle pieces for the lore-hungry fans to pore over helped keep the discussion going. 

I think MatPat and The Game Theorists owe a tremendous amount of their own huge success to this game. I think Markiplier does, too, and other big streamers and YouTubers. It’s been fascinating watching the symbiotic relationship between these games and the people who make content about these games. Obviously that’s true for a lot of fandom -- but FNAF feels so special because it really did start so small. It’s a true rags-to-riches sleeper hit and luck absolutely played a role in its growth, but skill is a big part too. 

Take-Aways For Creatives 

I want to be very clear here: I do not think that every piece of media needs to be “IP,” franchisable, an extended universe, or a multimedia sensation. I think there is plenty to be said for creating art of all types, and sometimes that means a standalone story with a small audience. 

But if you do want a chance at real break-out, run-away success and forging a media empire of your own, I think there are some take-aways to be learned from the success of FNAF: 

Persistence. Scott Cawthon studied animation and game-design in the 1990s and released his first game in 2002. He released a bunch of stuff afterward. None of it stuck. It took 12 years to hit on the winning formula, and then another several years of incredibly hard work to push out more titles and stoke the fires before it really became a sensation. Wherever you’re at on your creative journey, don’t give up. You never know when your next thing will be The Thing that breaks you out. 

If you want to sell a lot of something, you have to make it widely appealing to a bunch of people. This means keeping your concept simple to understand (”security guard wards off creepy killer animatronics at a pizza parlor”) and appealing to as wide a segment of the market as you can (ie, a horror story that appeals to both kids and adults). The more hyper-specific your audience, the harder it’s gonna be to find them and the fewer copies of your thing you’ll be selling. 

Know your shit and put your best work out there. I think there’s an impulse to feel like “well, nobody reads this anyway, so why does it matter if it’s no good” (I certainly have fallen into that on multiple occasions) but that’s the wrong way to think about it. You never know when and where your break will come. Put your best work out there and keep on polishing your craft with better and better stuff because eventually one of those things you chuck out there is going to be The Thing. 

Figure out where your target audience hangs out, and who influences them, and then get your thing in the hands of those influencers. Streaming and YouTube were the secret to FNAF’s success. Maybe yours will be BookTube, or Instagram, or a secret cabal of free librarians. I don’t know. But you should try your best to figure out who would like the thing that you’re making, and then figure out how to reach those people, and put all of your energy into that instead of shotgun-blasting your marketing all willy nilly. 

You don’t have to put the whole story on the page. Audiences love puzzles. Fans love mysteries. You can actually leave a lot more unanswered than you think. There’s some value in keeping secrets and leaving things for others to fill in. Remember -- your art is only partly yours. The sandbox belongs to others to play in, too, and you have to let them do that. 

If in doubt, appealing to furries never hurts. 

Do I take all of this advice myself? Not by a long shot. But it’s definitely a lot to think about. 

Now if you’ll excuse me, I have to go beat The Curse of Dreadbear. 

[nodickmoved]

Omg poppys ocs? 👁👁

hi hi hi yes I do like to create <3 I'll uhhh I'll summarize the main 4 and maybe it'll make sense!

(btw this is an anthro story. wanted to say that so you didn't think they were just Creatures)

Amelia Oakley — opossum, 25, she/her. so Amelia is a young adult who doesn't know what she wants to do in her life. she's a psychology major at a college but she is currently physically and emotionally invested in a 20 year old cold case regarding this guy she knew when she was a kid. this is what the entire plot is essentially about. she's uhhh an idiot, pretty naive about the world. no regard for her own safety. but optimistic!

Quinn (still debating on last name) — raccoon, 23, they/them. Quinn is Amelia's bestie! in fact, you could say that they're really each other's ONLY friend. while Amelia talks constantly and does way too much all the time, Quinn is easy-going and just likes to support from the background. they LOVE computers and technology and they help amelia with the tech side of her search into the case and whatnot. a good friend.

Hop — (charcoal) bengal cat, 25, she/her. the frontman of a band a little ways out of town. I'm really struggling to describe her because she's my favorite and is one of the more complex characters but uhhh in personality she is reserved yet powerful in her words and opinions. she isn't swayed easily by others and despite her tendency to be blunt and rude she has a enigmatic charm about her. Quinn knew Hop when they were children and after being introduced to Amelia in the beginning of the story she finds an interest in helping her on her "quest".

Beck (also still working on names) — coyote, 24, he/him. drummer in Hop's band. actually it's his band, but after Hop joined she just had an effect on people. he's free-spirited and yearns for freedom and adventure, and hopes to reach that through a career in music. despite being confident in himself and especially in his hobbies, he struggles with his mental health and is known to be a bit unpredictable at times. very loyal to his friends, particularly Hop. he comes along on the mission to back her up (he doesn't really trust Amelia).

[sapphic-scylla]

@the-one-and-only-blake-llewell so this is that OC I was talking about. It’s fairly detailed because I’m a writer but there may be inconsistencies. TW for blood, horror, and mentions of abuse.

Name: Petra Naverrian

Real Name: Anezi Diasea

Nickname: The Heretic

Race: Protector Aasimar

Class: Cleric

Subclass: Blood Domain

Proficiencies: Medicine, Insight

Patron: Nytoria, Goddess of Judgment and Free Will

Alignment: True Neutral

Domain: Life, Balance

Symbol: Four hexagons, top and bottom two with arrows pointing up and down respectively, the other two with stars

Story: A goddess whose power is used to protect or take away mortality’s privilege to control one’s own fate and make choices while punishing those who seek to undermine others and subjugate or mislead the population. The power she grants her chosen are the abilities to elevate and protect others and manipulate, control, and punish the deserving. Believes in balance and that neither good nor evil should rule a generation and that each is required to fuel the destinies and desires of each individual, but those seeking power through greed or control or subjugation will be dealt with in the same manner and will suffer the loss of their own free will. Encourages her followers to protect the weaknesses of those you are loyal to and exploit the weaknesses of those they defy.

Age: 21

Height: 5’6”

Weight: 100 lbs.

Hair: Blonde with a blood red streak, tied in a ponytail

Skin: Pale

Eyes: Heterochromia, one green eye (L), one blood red eye (R)

Fashion: Trench Duster with one sleeve torn above the wrist on the right side, leather armor over a gauze wrap across the breasts and tight black pants, a belt across the waist and a three corner hat

Appearance: Right hand is wrapped in gauze with a blood red tattooed sigil on her wrist, which marks her as a follower of Nytoria and channels her abilities. Under the gauze is a massive slash through her hand that, while she can heal herself, doesn’t go away due to the amount of times she’s used it to fuel her blood magic.

Weapons of Choice: A Saber and her divine gifts

Personality:

The most brutal show-off in the world. Actively loves dueling and can have a bit of an ego. Enjoys her work as a bounty hunter and is a thrill seeker to the bitter end. Has a sense of honor and will always respect a disciplined combatant, but is more than capable of fighting dirty if her enemies don’t fight fair. Has spilled more than her fair share of blood and has no qualms in taking a life unless it's with her blood magic, which invokes her PTSD. Prefers to carefully assess a situation before killing someone and will exhaust every avenue before slitting someone’s throat. Learned from a young age to study and deconstruct people physically and emotionally, so has a very good eye for reading people and emotions as well as knowing the human body very well. Tries to act civil and mature, but has a hard time concealing the childlike persona she carries.

Backstory: Petra was gifted from a young age, blessed with the favor of Nytoria. Nytoria, as the protector goddess of free will, presented her with a small fraction of her divine power in the hopes that Petra would one day protect her friends, loved ones, and perhaps herself from disaster, knowing that this child’s life would not be a happy one.

From the second she could walk, Petra experienced trauma and hate. Her village worshipped Helm, god of protection, believing that he would shield them from suffering. Mistaking Nytoria’s act of patronage and blood red brand on Petra as mistrust and lack of respect from the deity, her parents and the town, stirred up by the High Priest, Morvarian, ordered her death. Petra, being only 5, was defended solely by her older sister, Neraia, who grabbed her and managed to barely escape with their lives into the wilderness.

Neraia, 17 at the time, being a combat specialist due to her time as a soldier taught her how to wield a sword and, as time went on, Petra became an extremely adept duelist. Neraia also was a combat medic, so she also taught Petra about the important parts of the human body and where to heal as well as where to strike. She and Petra came to rely on each other very heavily while continuing to avoid and dodge mercenaries and followers and acolytes sent by the High Priest, mad with this ideal that killing them would lead to favor from Helm.

During her 15th year, Petra and Neraia were separated in a surprise attack by an assassin’s guild. After days of searching, Petra found her sister being held as bait. With a knife to her throat, the main leader slashed Neraia’s throat. Feeling the divine magic well up inside her from seeing her sister’s blood, she channeled Mystra’s gift into puppeting all 3 assassin’s into killing each other through their own blood, her brand glowing a malevolent red. Able to barely save her sister from an agonizing death, Petra healed her and took her to the nearest town, making sure the infirmary nursed her back to health.

Feeling unbelievable remorse and terror at her own power, she ran before her sister came to consciousness. Running into the forest, she took her knife and tried to carve it her own brand only to have it perfectly healed. Trying several times as she cried and blood continued to spill from her arm only to have it healed, Nytoria appeared to her in her usual way, appearing to be a traveler of unknown origin.

“Child, why do you deny your gifts? I have given you strength.”

“I never wanted this. I almost got my sister killed. I killed those people. I put people in danger with this magic. I will pay any price to make this stop, even if it’s with my own blood.”

“My dearest Petra, there is a reason I entrusted you with this magic and why I became your patron. Your path was never meant to be easy. Helm knew of your fate and chose to let it be, so I stepped in. You are capable of great things. Blood is not a product of violence, it symbolizes life and passion. So instead of spilling your own blood, use it to make this world better than you found it.”

Instilled with an odd sense of peace, she returned to the infirmary to find her sister had left in search of her. After looking for days, neither Neraia or Petra could find each other. Using her instincts, Petra started to craft a persona as a mercenary, donning the name that hounded her as a child, the Heretic. Embarking on a quest to come to terms with and become comfortable with her abilities before being able to face her sister again.

After several years and continued harrying by the same High Priest, she continues on her journey, still harrowed by the horror her divine gifts can inflict, but slowly becoming accustomed to it, she continues to gather reputation among the continent while searching for her sister.

[daggryet]

my thoughts on the characters right now, seen from their perspectives (5/01)

tommy:

his main priority is his discs, from the beginning till now he’s wanted the discs back

we have to remember what tommy has been through with dream during his exile - he had given the discs up for l’manberg to have its independence in the first place, making it very clear when they took l’manberg back that he wanted the discs back now - he started his quest to get the discs back and was, in his mind, betrayed by his best friend for doing what he always said he wanted to do - he was secluded, isolated, which he very clearly did not handle well. he thrives off company, and now he was alone, alone and betrayed - dream manipulated and gaslit him into believing he had no one but dream, and that dream’s lovebombing was him being a good friend - he was almost driven to suicide due to touch starvation and emotional neglect - he believed the punishments dream gave him were warranted, were normal - even after he escaped from dream, he had difficulty figuring out what the truth was, if dream was a friend or not, if techno was an enemy or not

tommy has had his world split apart and put together again, and when it was put together again, nothing was the same except for one thing:

the discs

the discs he gave up for l’manberg, the dream he and wilbur had of a country emancipated from the tyranny of their rulers, is the only goal that has stayed the same through everything

going through the trauma tommy has, has definitely made it harder for him to keep himself tethered and feel empathy to see where the lines between what is okay and what is not okay is

the discs are his goal, tubbo (and l’manberg as an idea) is his tether, his anchor, to who he was - and maybe even his empathy. when he doesn’t remember tubbo and the l’manberg he helped build, he doesn’t think of how much his actions hurt the people around him

prediction:

he said it himself: he’s not gonna actually join techno in destroying l’manberg - even though we as viewers, from an outside perspective, can see that he’s already been well on his way to do that - he has one goal right now: retrieving the discs, in that quest the goal justifies the means

he’ll use techno, once more, as a way to get his discs - the difference is, this time he’s 100% aware that he’s using techno. they don’t have shared goals

techno isn’t stopping just because tommy breaks loose from him, and technoblade was very clear in what he wanted: he wanted l’manberg gone forever - and as tubbo reiterated, l’manberg isn’t a physical place, it’s the people.

if/when technoblade does harm to tubbo, tommy will turn against technoblade completely

dream isn’t done with tommy: he’ll do what he can to get him back under his control - a disillusioned tommy who is betrayed by both techno and tubbo (more in tubbo’s section) is an easy target to manipulate into believing he truly has no one but dream

tubbo:

tubbo was a spy during the schlatt administration and got executed publicly for it, by technoblade

even though he ‘forgave’ technoblade for it - despite tommy not being willing to let it go, he’s obviously not forgotten

he was put in as president by wilbur and promised that he was going to have his term defined by peace and open borders, he wanted unity even if people were still split into dream smp and l’manberg

tubbo’s term was immediately kicked off with l’manberg being blown up by wilbur, and it being revealed dream had orchestrated it all, no matter the outcome of the actual war - essentially, that all their sacrifices had been nothing as they’d been pawns in dream’s chess gam

technoblade, the man who executed tubbo even though he’d been reassured technoblade wouldn’t hurt him, also ‘betrayed’ l’manberg and spawned withers into the already blown up l’manberg

he rebuilt an entire country, making l’manberg flourish for the first time since it’d originally been trying to get emancipated

his vice president commits essentially foreign terrorism and because of his status, he also drags l’manberg as a country into the fight - had tommy been a regular citizen, it’d have been the work of a rogue man, and the matter could have been dealt with as such - a vice president is the stand-in for the president, what he says should be an echo of what the president says and does, what he stands for

without warning, his country had been encased in obsidian walls, built as a punishment by the very god-like player who’d planned out l’manbergs explosion

tubbo tries, through what is l’manberg’s original idea: fighting through words, and actually makes a deal with dream where he gets to keep both a free-ish l’manberg and tommy at home

tommy, without tubbo’s knowledge - again, rebels against dream, crushing all hopes of a peaceful treat - he is subsequently given the dilemma: either exile your best friend or i will build the walls as high as they can go, and if any of your citizens think of even going close to the walls - they will be slaughtered

he chooses, with the help of the viewers, to exile tommy - his cabinet protests this, says he’s acting like schlatt by not communicating his decision to them - ignoring that they, with tommy, changed their attitudes and the entire plan the night before, planned to team up with the very anarchist who had murdered tubbo and attempted to remove the government forever - while also not even knowing whether or not techno would even want to help them, and he couldn’t sacrifice his country on the whim that techno maybe would want to help protect the government against someone he has a neutral relationship to

was manipulated by dream to think tommy hated him and that he shouldn’t visit him, that dream - the one who had made wilbur blow l’manberg up - was his friend

his own cabinet is scheming behind his back, his closest ally - ranboo - has betrayed him in secret by helping technoblade and philza

thought for a long time that the decision he had made to exile his friend had driven him to suicide

the friend he thought was dead, has now teamed up with technoblade (killed tubbo, betrayed l’manberg) and committed not one but several acts of terrorism and torture

through no means of his own, tubbo’s presidency has been defined by violence

predictions:

ranboo lost them their only leverage over technoblade they had left, either unwittingly or on purpose - but tubbo has one very big thing to leverage: tommy’s disc

he could 1) bargain with dream, give him the disc in exchange for help against technoblade and tommy, 2) bargain personally with tommy, threaten to burn the disc if he doesn’t give himself up

the festival, or the aftermath of it, could also be a set up for a quackity coup

technoblade:

helped pogtopia retake l’manberg, did lie by omission by not making it completely clear that he did not support them reinstalling themselves as part of the new government

for as much as he was clear in that he was an anarchist, pogtopia was also clear in that they wanted to overthrow schlatt and take back (l’)manberg - it was 1+1=2 to put together they wanted to return to the position they’d held before the election

after his failed attempt at removing the government, he went into self-imposed retirement under the guise he has steppped down from his violent ways - reveals to tommy that he has secretly prepared his revenge on l’manberg, showing him tens of wither skulls, making it very clear he’s not done wanting to destroy all governments

wants revenge over l’manberg for what they did to philza (either his dad or his long time friend through the wars, depending) and to him (attempted to execute him, would have succeeded if he hadn’t had a totem of the undying)

took tommy in and helped him through a lot of his trauma, recognised his anxiety and tried his best to accomodate - rephrased his “give me your armour, tommy” - reminds tommy what dream did to him - makes him focus when he panics so techno can find him and help him through his panic attack - continues to make clear that when he asks for something back, it’s only because he wants his things - not because he doesn’t want tommy to have it at all

used tommy in the beginning only as a useful tool, not as a valuable ally: cared for him, wanted him to be better (if, very cynically, it was only because a traumatised child soldier isn’t much help), but changed his outlook

as opposed to last time: when he decided tommy wasn’t just a tool, but an ally, he made it clear to tommy what he wanted, what his goal was. no sugar coating, no metaphors that could be misinterpreted

mirrored wilbur’s demand: join me or don’t, no matter what you choose, you’ll lose somehow, because i’m blowing l’manberg up with or without you at my side - either unwittingly or on purpose, to compliment tommy’s own wilbur-saying “l’manberg is my unfinished symphony”

predictions:

he’s going to attack tomorrow at the festival, possibly kill quackity (i don’t think so), tubbo (maybe, not kill, but definitely injure), or fundy (more likely)

he still owes dream a favour, and dream has been building the prison secretly with room for a lot of prisoners but mainly one, powerful player - the favour could be that he was asked to step into the main cell, where he’ll never get out - the favour is a genie’s wish: it might not turn out as dream wants it, even if what happens technically fulfills his wish

dream:

has one goal: wants the entire server to unite under dream smp as one biog happy family - ie. he wants them all as puppets that follow his directions and strings without resisting, a happy family just as he wishes they act

has the power of a god (*cough* creative) and is possibly also an immortal being - possibly a being along the lines of pennywise, the nogitsune (teen wolf), immortal beings who feed on something other people produce. be it fear, chaos - lack of free will

he knows he is the puppetmaster, ie. his speeches to king eret -  “just remember what it is that gives you power, it’s no pretty little crown. i’m the reason you have power.” - as long as everyone dances to his tune, they can pretend to possess whatever titles. he’s the one with the power.

had never met resistance before tommy joined the server and started war and war again against him, and he even helped in ruining dream’s illusion of the united family by building l’manberg and asking for independence

l’manberg was a dream of wilbur and tommy’s, but the discs were still tommy’s most prized possession - which is why he allowed l’manberg “unofficial” independence from dream smp in exchange for both the discs

after the great l’manberg war and blowing everything up, something he’d planned, l’manberg had a president that wanted peace above anything else, even official independence - with no borders, no official recognition of the independence, dream could still pretend his happy family dream had come true

tommy then destroys the new king, george’s, house, making it clear that even though everyone else has fallen back into the ranks, tommy still rebels, ruins his picture perfect smp

getting tommy under control is top priority: - this includes getting control over his most prized possessions, the discs. that’s top priority. if you have the discs, you have tommy - and he wants tommy. he wants tommy to be the perfect puppet, as all the other people on the smp are

in exile, he does what he can to isolate tommy geographically, mentally, and gaslights him into believing he has no one but dream

gets tommy used to a routine where the prize, if he is good, is lovebombing, so he gets used to thinking that what dream wants him to do is good - and doing anything else, literally anything else but the routine, is bad

you can win the war even after losing a few battles, if you can get complete and utter control over your enemy: - either by having enough leverage over him to ensure he’d never go against dream - or by having him so dependent on dream as if he was a pet

he wants tommy back under his power

is in possession of knowledge that will make the entire smp hate him - possibly from the book schlatt left him? - will stage a fight with punz to ensure that he still has a spy within l’manberg to keep an eye on them

has commissioned awesamdude to build him an inescapable prison for someone whose power or influence or whatever is too important or big for dream to be able to kill this person, even with his godlike powers - this could be technoblade

technoblade owes dream a favour, a one wish for everything your heart desires wish

predictions:

dream will be going into hiding as everyone on the server will be against him, either because of him revealing a secret or he does something to someone (maybe puts them in prison)

he wants power over tommy again, this means he has to get both discs (he might have one? or he was bluffing), one from skeppy, the other from tubbo - and it also means he has to separate him from technoblade (even though that might solve itself)

captainpuffy built him a house very, very far away where no one knows where he is - when he gets his hands on tommy, he might somehow bring Tommy with him all the way out there, while he hides from the rest of the SMP’s anger

[snowfianna]

Fable IV rant:

I'm so pumped up for the 23rd because everything has led me to believe that Fable 4 will be announced this year and the game's existence has been confirmed for a while anyway it's just a matter of time of when will Fable 4 show itself. It's a badly kept secret tbh.

So to those who don't mind a big rant or wish to add on to my rant- here we go!

Can you imagine how good the graphics would be for this game, we've all seen modern games, surely, and they're all bloody fantastic looking. Fable Legends is technically the most recent Fable game despite it being a free to play online game

and that it's cancelled

but it also had a gorgeous look to it all! And the character models did great justice to the concept art and honestly that has my hopes real high because I love the concept art of Fable, specifically from Mike McCarthy, so exaggerated and recognisable- yet in all the games I can confidently say they did not do justice to his character design, specifically for Reaver. Sure, he looks stunning in the third game, but not quite what he looks like in his concept art sadly.

But also, since Fable was made in Unreal Engine (I'm pretty sure at least) we've seen examples of what can be done in Unreal Engine now and it's absolutely breath taking!

If you haven't seen here are some examples and they're so life-like.

Moving on from graphics!

Since Playground Games is behind the development of Fable 4, they would be spectacular at an open spaced world, judging from the Forza games.

I always loved the open world feature added to Fable, it made things more adventurous and you could do so many things that weren't at all related to the main quest to progress the story and it was just thrilling to see there were other things going on! I'd love to just have my dog companion running through fields, fighting enemies left and right and finding buried treasure or forgotten chests.

Run into strangers who request aid in something silly or rather serious and it would be up to you with how you go about the quest or if you even accept it to get renown or gold. Cause a massacre in towns and villages, running off with low morality and plentiful loot- oh one could fantasise of this all day.

Story, characters, writing and voices.

Fable has always had a fun environment of fantasy and a rather good story (despite the curse of mundane or pathetic boss fights in which I hope Fable 4 breaks this cycle) but the one thing that's always kept me on my feet in the games is the writing and the characters. It always just tried not to take itself too seriously, throwing in absurd quests that probably requires cheese or a really weird-looking outfit. It always kept my attention rather than just pure edge and seriousness of life or death.

The characters are a given, the writing done for them all is perfect in my eyes, I love hearing the variations of how characters of NPCs interacted (enough so that I even bought two of the Fable books written by Peter David). Despite Fable 3 not being the greatest at it's time, I found myself absolutely enjoy the characters for how they were- I even cried over Walter's death because it genuinely felt like I lost somebody pretty close (RIP Walter🙏). The writing and the chosen voice actors were superb and I'd love more of it.

I hope this time we can receive a full story instead of how Fable 2 and 3 were where plenty of plot points and such were cut out due to time constraints- thanks Microsoft, very cool. I'm still in anguish when listening to the Developer's Diary 3 of Fable 3 hearing lines that were just never said in the final product and it was definitely not just additional lines that weren't required as it seemed to mention entirely different things that weren't in the game; i.e. Reaver talks about his pirates in Bloodstone and how he misses them- in the final product he never mentions it and it's even shown that he's tried to completely bury his pirate past for whatever reason.

The pacing in Fable 3 was rather strange too, it felt like the revolution should've lasted longer.

Another hope of mine is to have choices that aren't so painfully black-and-white because it's very obvious which is the good or bad option to a scenario- personally for me I'd like to be morally grey rather than pure good or pure evil.

They better have kept the mechanic of your actions affecting your appearance too to the point where you grow horns and get cracked magma-like skin or this slight glow and aura around you and this flawless skin. It kind of died down in Fable 3, only looking more tired or have completely black eyes and the good- eh yeah not much I can say for when you're good. Purity and corruption seemed to also vanish in Fable 3 (at least I think) since you couldn't really change prices of the homes you were renting out, unless I've been a big goof who didn't arrange the rent prices in the game because I didn't know how.

Combat

Combat in all the games was rather straight forward, especially in Fable 2 and 3 where everything was just easy to beat or you could get overpowered around the start of the game. I'd hope the combat improves greatly this time and even bring back real consequences to dying instead of immediate revival with some lost experience and a scar. We need more serious consequences to your actions (this can be applied to all decisions rather than just if you die in a battle) even if it's just having to reload the last checkpoint. Makes things more challenging this way.

Another thing is to make boss fights less repetitive and simple- sure I can forgive it if the boss is from around the start but if they had phases you had to keep ontop of and didn't rely on summoning a bajillion other enemies to strike you, I'd be ever so grateful.

And if there's other characters fighting along side you, I'd hope they'd genuinely be helpful and keep up to speed with the player. I'm sure the AI in the past was the problem for this as AI wasn't at its best during that time so characters fighting by you didn't do too much or just did whatever that wasn't helpful. Now though, AI has improved immensely (I mean look at The Last Of Us 2, the AI is👌) and due to this, I'm sure characters would make battles more fun and the characters be more involved with the fight and even story.

Mana should be brought back as well, in Fable 2 and 3 mana just ceased to exist so you could just endlessly and repeatedly use the same spells and it just gave you too much power and the enemies barely stood a chance.

We need challenges people- CHALLENGES!

Medieval times? Yes.

I love Medieval fantasy and as much as I like the Victorian era too, I didn't think it quite suited Fable, as fascinating as it was to see fantasy turn industrial, it kind of took away from the Fable feel that I so crave. If they have indeed brought the game back to medieval times it means more creatures and enemies are back rather than driven away or limited to the same handful of enemies.

We can all also agree the guns were overpowered, though I did like receiving the Red Dragon late in Fable 2 to absolutely mow down enemies, it was satisfying to say the least. However, guns were far too powerful for the game, so I demand the bows and crossbows back thank you very much- or even throwing knives- I'll take what I'm given.

I'd love to see more of the natural landscape rather than towns or buildings that took over once entirely natural areas (Millfields/Bowerlake). However, I won't object to ruins of old buildings taken over by nature.

Skeptical with Playground Games? Don't be.

Are you worried that Playground Games wouldn't do justice to Fable since it's not Lionhead Studios? Don't be, it's been noted that Playground Games has hired several ex-lionhead workers and plenty other skillful workers to ensure we get the best product. I have high hopes and expectations for Fable 4 even if it's developed under a different studio, I've seen great things from them and I will believe they'll deliver us only the best.

Side note to all this

I will crash and burn if I don't see a crumb of Reaver or Jack of Blades in Fable 4- I don't know how true any rumours are of Fable 4 with time travelling and Jack returning, but we'll just have to see. Reaver still remains as my absolute favourite character of all time and I'd love to see more of him, even see him before he was 'Reaver'.

Jack too, more of his lore is stated elsewhere rather than in the game itself and I'd love to see it all be brought into light and really expand on his lore and make it known- rather than have ever-loving Fable fans like me dig around for these rather delicious bits of canon information.

That's my big rant, feel free to share your thoughts and what you'd look forward to!

Have some accidental art leaks from a Playground Game concept artist- believed to be for Fable 4👀

[a-second-chance-su-au]

How did you decide which episodes would be impacted and had scenes that were significant enough to include? I’m working on a canon divergent fanfic for another series that’s pretty much just the story with one more character. I want to know how necessary these things would be.

That is an excellent question!

I am on mobile and don’t have a page splitter at the moment, so WARNING: LONG POST AHEAD.

When rewriting canon, I like to stick to 5 hard-and-fast rules, being: 1) know your character’s arc before going in, 2) know the episode’s overall message, 3) don’t take away from other characters, 4) adding original content must be done as-needed, and 5) DON’T BE AFRAID TO CHANGE THE WHOLE STORY. This can either be exceedingly easy or extremely hard.

1) Know your character’s arc before going in. This one seems obvious, but it can be very easy to get distracted. What would happen if this character was present for this scene? What if she/he/they followed this character around? Stuff like that. The whole thing on this particular blog with Spinel being present for the climax of Maximum Capacity is certainly tempting, and fun to think about, but does it do anything for Spinel’s arc in this AU? In my case, no. So she will not be present. You want to make sure you have some kind of roadmap either on paper or in your head of when and where things should happen, keeping in mind that character’s relationships, mental space, and goals. If Spinel wanted to fuse with Amethyst, she’d have to do it when the two have a good relationship, and something like that takes time to develop. She cannot fuse with Ames in the beginning of the series, absolutely not, but she will later on. Knowing facts like that on when things can and/or SHOULD happen is essential. So episodes like “Giant Woman,” “Horror Club,” “Crack the Whip,” or “Keystone Motel” will not be included in the list.

2) Know the episode’s overall message, and who is in the spotlight. You’d think that on a show like SU, that’d be easy, but often, it can be hard to pinpoint exactly who we should be focusing on. Fun fact: it usually isn’t Steven, which is why when Steven lets us into his head a little, it’s always such a huge, emotional bomb drop. I will keep using Maximum Capacity as an example. That episode was focused on Greg’s and Amethyst’s relationship with each other, their past friendship, and how each of them handles the stress of the past differently. Amethyst wants to loose herself in “Little Butler,” but Greg wants to do other things, too, causing them to come to a crossroads. It’s a coming-to-terms story for the both of them, and with this AU, I don’t want to disturb that. “Giant Woman” was about Amethyst and Pearl. “Joyride” was about Steven. “Keystone Motel” was about Ruby and Sapphire. “Steven the Sword-Fighter” is an example that can be shifted, because the purpose of that ep was to teach the viewer about poofing. It was less about Pearl and more about Gems in general, making it okay to try and change a few things around (so long as the poofing of... a gem still happens). Knowing when an episode is about a character, a relationship, or world building is really important, and helps to try and decide which to alter.

3) Do not take away from the other characters. Know their arcs, too, and why certain choices were important. Example being “Crack the Whip,” where Amethyst hits her lowest low and her quest to be stronger begins. That one, if you want to change it, you can, but if it were me, I would leave in Amethyst getting poofed and Jasper getting defeated without her, as it begins a huge moment for her character. By changing up that scene, she doesn’t have the chance to confide in Steven, they don’t fight, she doesn’t hit her lowest low (which all or most characters need to hit at some point), and then Smokey Quartz cannot exist. They exist because she trusted Steven and the two of them felt equal to each other, and trusting, and loving. THAT allowed them to fuse, and if “Crack the Whip” never happened or was altered too much, that all that goes out the window. So I am not going to have Spinel grab Amethyst and pull her out of the way or anything, or have her fuse to beat Jasper, because that undermines the whole point. However, I CAN say that Amethyst’s arc affects Spinel’s. Not saying this is canon, as this is just an example, but maybe Spinel becomes more attached to Amethyst after that, trying to protect her from being poofed again because she feels guilty for not being there to stop it. Then that affects Amethyst, makes her feel like Spinel is her bodyguard, which Amethyst doesn’t want and feels she doesn’t need. It’d serve to make her angrier, and could lead to she and Spinel getting into an argument or a fight. In this scenario, would I replace “Steven vs Amethyst” with “Spinel vs Amethyst”? No. But something similar COULD happen. It’s all about where you want to go, and what works best for these characters.

4) Adding original content must be done as needed, not whenever you feel like it. Does this mean do it sparingly? Depends on the story you want to tell. For me and my AU, that means I need to pay attention to Spinel’s arc and when she needs to learn/do things. Take “Man of the Mountain” for example. It takes place directly after “Bubble Buddies,” and is the result of Spinel being jealous of Connie eating up Steven’s time and friendship. So, she seeks to strengthen their bond as reassurance to herself that Connie is an inconvenience at worst, and at best, she’ll fade away eventually. She and Steven are still best friends, and she’s gonna prove it, darn it! Then the events of that episode may or may not affect what happens next, or later down the line. For this AU, Season 1 is mostly going to build things that are yet to come, and the episodes don’t directly feed into each other, meaning I am using original content sparingly. 5 originals compared to 52 actual episodes? I think I did good on that front. xD But, don’t be afraid to add an episode for an information dump, or to come to a conclusion. That can’t be the only thing IN the episode, of course, but if that’s the pure reason the episode exists, then fine. Do it. Whatever makes your story flow and make sense. But by making every other episode about Spinel, suddenly it’s only about her and not the other characters. Might as well rename the show at that point. The other characters get the spotlight they need/deserve, with Spinel getting her time to shine as well.

5) DON’T BE AFRAID TO CHANGE THE WHOLE STORY. This is one I’m struggling with, but I feel it worthy to mention anyway. If your character is psychic, then have them use their powers when it’s a good character choice and makes sense logically. If that throws off the entire tale, then roll with it. Get stuff back on track. Or maybe you need to take out that character for a bit. Formulate a way to do that. But if your character had a chance to shoot a blow dart at the main villain and take them out, perfect for capturing them and dismantling their army, wouldn’t they take it? If not, there had better be a good, in-character choice. Maybe the villain’s entire plan changes to account for the character’s psychic powers, creating a decoy or sending out a squad to trap/kill them specifically. If it’s in-character and it makes sense, heckin’ DO IT. Get creative! Get weird! Stories write themselves; you just need a beginning and a good grasp on the characters. Then the characters will take your story and run with it. Your job then becomes keeping up. I wish I was joking. I’ve had characters completely derail my stories before because they just couldn’t make that one character choice that was the lynchpin for the whole next scene, and it made me mad, and no I’m not mad about it two years later! You have the map, they steer the ship. You just gotta trust them.

This version of Spinel was left alone for 625 years, then cast away like a worthless toy. She’s been through war, lost almost all her friends, and had her #1 idol taken away and replaced with a smaller, weaker, half-human male version of her. She’s been through the ringer on emotions, and although she values herself as a friend first and foremost, that doesn’t mean I- and by extension, the other characters- can’t challenge that point of view. Make the character struggle. Know how they interact with others. How do certain events change them? Will they change every episode, or only some? Which are important to their arc? And most importantly, what is the point? By changing this thing here, what are you doing for that/those characters and/or the story? Is it a quick, harmless, funny moment, or is it to show a darker side to a character we’re familiar with, and to see them change now that there’s a new presence beside them? These are questions only you can answer as you chose which episodes to pick.

I hope any part of this was helpful. Feel free to ignore any of these points, or add your own. Again, every story is different, and each story should be treated as such. No creator is experienced equally, and we all have different interpretations of characters. Nothing is right or wrong, so long as you, the author, can justify it, even if it’s just “I thought it’d be cool.” It’s your AU. Go for it!

Thanks for listening to me ramble. Scene.

[sazorak]

Every Game I Played in 2020, Ranked

2020. Boy, what a garbo year huh? Didn't actually play that many games this year all-in-all. Happens! My backlog is getting pretty big, but I just find it hard to focus on games when I could be working on something. Or put off working on something, as it may happen to be at times.

My arbitrary decision from years ago to only attach a numbered ranking to same-year releases is getting increasingly silly, especially given my propensity to wait on playing games until I’m in the right mood, but whatever. That order matters than the dumb numerical numbering anyway.

2015 | 2016 | 2017 | 2018 | 2019

Later Alligator – 2019 – Steam – ★★

The style of this game is very cute, and the jokes are funny enough. But… ok, look, I’m not one to be precious about what is or isn’t a game. But this really isn’t a game. It’s a series of disconnected, unrelated challenges clipped from Atari Free Mini Game Collection 100, wrapped in a very non-interactive adventure-game. It’s cute, it’s kind of sweet, but it’s dull. Dull dull dull. There’s a pointless, mandatory sliding block puzzle early on that infuriated me by its mere existence. Them giving the ability to skip it because “wow you’re bad at this huh”, which, while accurate, also just sold the whole point meaningless of the “““interactive experience”””.

Also: when a huge part of your game is WOW WE ANIMATED EVERYONE REALLY GOOD, text boxes that reveal word-by-word, far away from the animations that occur when said characters talk? Kind of stinks!

8. Carrion – 2020 – Steam – ★★

What Carrion does well— the whole “You’re controlling The Thing and just rippin’ people apart!” shtick— is really neat. They made that bootleg The Thing animate real-ass good.

The actual game as a whole though? Kind of garbage. Imagine a Metroidvania with zero actual exploration, where every opportunity you have to venture off the path instead results in immediate railroading with constant, utterly inexplicable one-way pipes. It’s not that it’s linear, it’s that it actively slaps you when you attempt to explore. It’s very frustrating! Add the fact that the tentacle-monster-shtick makes challenging to actually, y’know, move around and control all your bits…  the only reason I finished the game was due to foreknowledge of its extreme brevity.

I think if the game were more open and less obsessed with constantly handing out upgrades, as well as having less of a focus on pure combat, I think I’d have enjoyed it more.

SD Gundam G Generation Cross Rays – 2019 – Steam – ★★

It is well documented at this point that I am both an active Gundam fan, and as well as an on-again-off-again tactical RPG aficionado. A SD Gundam game appearing on Steam with a good English translation and localization is… exciting, to say the least. That said, I have never had much context for this game series beyond the basic facts that the combat tended to be pretty well animated CG, and that it’s vaguely similar to Super Robot Wars. Turns out… it’s really different from SRW? I dunno how the rest of the series fairs, but Cross Rays is weird as hell.

For one, there’s zero tutorialization at all. None. Almost all of what I’m going to explain here is me figuring stuff out by trial and error, or by reading junk online. Gundam is insanely popular, you’d think they’d be interested in explaining how it all works, but… nope. Even Super Robot Wars has multi-level introductory bits for new folks to show them the rope these days.

So: Cross Rays is a tactical RPG where you can playthrough the storyline of various Gundam AUs. You can play through them in any order. These playthroughs are fairly literal translations of the stories. You take control of the lead mecha from those series, fight enemy mobile suits that show up in SRW-like tactical RPG combat, until all reinforcements cease. Pretty straight forward. There are occasionally mission variants like “prevent enemies from reaching X” or “prevent enemies from destroying Y”, but even those can be just reduced to “kill everything very quickly please.”

But here’s the thing: while there is a story progression, the characters in the story itself actually have no character progression. These characters and mecha are actually considered guests, despite it being ostensibly their story. Instead, you are able to field “permanent” mecha and pilots of your own choosing, which do have progressions. There is no plot justification for this or anything like it. The game does not recognize that it’s weird that during Iron-Blooded Orphans intro where nobody knows what a Gundam even is, you can have 25 Gundams show up at once and just fire lasers at everything. That’s because this game is actually about repeatedly grinding the same set of missions over and over.

Pilots are recruited by completing certain in-mission requirements. Mecha are acquired by either by getting enough kills with the progression-less “guest” mecha, combining mecha you already have gashopon-style, completing certain quests, or by leveling up mecha and then “evolving them”. This is the actual core of the game.

SD Gundam G Generation Cross Rays is basically Disgaea, it turns out? You’re grinding story missions at various difficulty levels in order to complete missions, try to recruit specific pilots, equip them with stats and levels to make them stronger, and then hitting mecha together in a sort of quasi-SMT fusion system until you get all the powerful mobile suits you desire.

The combat itself is kind of… bland? There’s a lot of systems, but they mostly seem in service of making an already easy game easier, or burning through tedium. There are four different difficulty modes, because there’s not actually that many different missions you can play through. The expectation is you’ll just work your way through every story beat while ramping the difficulty up over time to where the “guest” mecha would not be able to handle on their own. In fact, letting the story mecha act out the story beats is actually bad after a point, unless you’re still trying to get those lead mobile suits, or if you’re trying to complete some mission requirement in order to recruit Named Wing Grunt Pilot #246.

There is something to the notion of “I want to get N and N and N and N on a team, piloting weird but powerful mobile suits, and just solo every Gundam AU in a row,” but the whole premise seems kind of against purpose. Why bother recreating story beats at all, then? It’s not like the game even acknowledges any of that going on.

If the point is that I’m supposed to be, like in other grind-heavy tactical RPGs, breaking the systems to my own end in order to proceed… why not make the missions you play challenges focused towards that? The story progression literally only exists to facilitate the mission-based unlock conditions, which makes all the energy put into making them JUST LIKE THE ANIME really damn pointless.  

I like tactical RPGs, I like breaking RPG systems so as to beat hard challenges (I beat all the insanely hard extra bosses in FFXII for crying out loud), I looooove Gundam. I should like this. But I don’t really have the “god, I NEED TO FILL THIS LIST” gene that some folks have… except as an excuse to continue to engage in gameplay I enjoy. The gameplay here seems in service of the collection, rather than the way around.

7. Pokemon Sword: The Isle of Armor – 2020 – ★★★

Pokemon’s first foray into actually doing DLC is… a mixed bag. As a positive, they’ve improved the Wild Area concept I liked from the main game, and even brought back buddy Pokemon walking behind you. That’s neat. On the other hand: the actual progression in it is completable in like an hour, it doesn’t scale with you, so you’re bound to be over leveled for it, and all the raid stuff, while still conceptually neat, is just as flawed as in the base game. And so, you’re just left with even more new Pokemon to RNG grind on to continue to catch-them-all. Nah, I’m good.

Astral Chain – 2019 – Switch – ★★★

Platinum knows how to make good character action games. They’ve made a bunch of them. Bayonetta, Nier: Automata, Metal Gear Rising: Revengeance. They also know how to make some kind of mediocre character action games. Transformers: Devastation, Wonderful 101, their various shovelware character action games like Korra. Astral Chain falls somewhere in the middle, I guess?

Astral Chain has all the production of their good games. It has some stylish, cool action. It has a neat core mechanical idea, in that it’s essentially a two-character action game where you control both characters at once. It has a lot of the old mechanics from some of their best games brought in; witch-time last second dodging from Bayonetta, Nier’s shooting-and-slashing combination, the Zandatsu mechanic from Metal Gear Rising, even Wonderful 101’s multi-unit shenanigans. The setting is different, and there’s some neat world flavor all in all.

But, of all games I’ve played over the past few years, Astral Chain made me more vividly angry than any other. It’s not that it’s too hard— far from it, really, I found its combat incredibly mashy. No, the problem is that it has so many shitty mechanics slathered on that it become a chore to get to the “good bits”.

Why would you put forced stealth sequences in your character action game, especially when your movement controls are not suited for it?

Why the HELL would you put platforming sections in your character action game, constantly, especially when your stupid ghost buddy can accidentally yank you off the edge, your auto-combos can just throw you off the edge, or literally anything can knock you off the edge and make you lose life?

Why would you put so many constant excuses into the world to force me use the digital sensor in the game, that also makes it miserable to walk around while using it?

WHO THE LIVING FUCK THINKS THESE SHITTY BOX BALANCING MINI-GAMES ARE FUN???

These games are supposed to encourage me to perfect everything, right? Why keep putting fucking fights you need to complete in order to get an S rank behind backtracking, or Legions I don’t have yet? That isn’t adding replayability, that’s just wasting my time. There are even in-level missions that have fail conditions that you never even know about. Surprise!!! A lot of them involve chasing after guys and catching them with your chain, which is really obnoxious to do!!!! SURPRISE!!!!!!!!!!!!!!

The story is just Bad Evangelion, straight up. Every story beat from Evangelion is here, executed worse. They also make your character have a twin just so they can have a character who can talk and feel emotions, because your boring-ass protagonist is stuck being an emotionless audience cipher. Cool!!!

Tetris Effect – 2018 – Origin – ★★★

It’s drugs Tetris. I personally don’t use, or have synesthesia for that matter. I imagine this game is better if you do. It’s an enjoyable enough experience but it feels incredibly slight for what I was expecting from it, or even compared to something like Lumines, which has tons of replayability by way of its difficulty. Tetris just isn’t that hard, unless you’re forcing yourself to do weird shit to get points. I WILL NEVER LEARN HOW TO T-SPIN. Never.

Castlevania Anniversary Collection – 2019 – Steam – ★★★

Kind of an unremarkable Castlevania collection. Neat that it has an official translation of Kid Dracula in there, but also… look, I prefer Metroidvania Castlevanias, OK?

6. Spelunky 2 – 2020 – Steam – ★★★

I’m not entirely sure why this doesn’t click for me where Spelunky 1 did. More annoying intro levels? Too many fiddly requirements for different ending-progression? Gameplay additions that just make things more annoying? Spelunky 1 was hard, but there was a kind straight-forwardness to it, even with its weird secrets, that made it much easier to grok and continue banging your head against. I’m just not having as much fun with this. Difficulty should be challenging, not a hassle.

5. Stellaris: Federations – 2020 – Steam – ★★★

This is the year that Stellaris just broke for me.

Federations itself is a good DLC; it adds some really interesting mechanics tied to various types of multi-national unions (the titular federations, as well as the Space UN), as well as the addition of unique “origins” that allow you to further specialize your gameplay. The origins in particular are a great addition that allows more specialization and roleplay.

I’m just tired of the sheer amount of busywork Stellaris forces you to do. Every DLC adds more junk you need to keep an eye on, and the fact that the AI doesn’t even bother with it (compensating with copious economy boosts in order to keep up) makes the whole thing frustrating. It’s like playing fetch with yourself; you just get tired of chasing after your own ball after a point.

I have to wonder if they’re pivoting towards a notional Stellaris 2 at this point? Might not be a bad idea for them, though it is weird with all they talked up adding more origins when Federations came out.  

4. GranBlue Fantasy Versus – 2020 – Steam – ★★★★

This is probably the fighting game I got most into over the past few years. There’s just this nice, almost Street Fighter-esque ease of execution to the controls, and that Arc Systems Works 3D-as-2D style continues to just do work. I don’t give a single shit about GranBlue Fantasy (frankly, I think I’d enjoy this game more if it wasn’t attached to a property) but the characters are fun enough to play and look at.

The big problem here is two things: no crossplay, and no rollback netcode. In the span of a month, this game became a total ghost town on PC, and it doesn’t sound like PS4 faired that much better. 

Ring Fit Adventure – 2019 – Switch – ★★★★

I’ve fallen on-and-off this game all year. At its heart: it works, it’s a fun exercise game. I don’t think it really feels like a “game” (in the sense that I’m not really coming to it for riveting gameplay or anything) as much as just a guided exercise experience, but… that’s fine? The in-game story is kind of flat, but funny in the fact of it existing at all. Buff Nicol Bolas and all.

XCOM 2: War of the Chosen – 2017 – Steam – ★★★★

XCOM2: War of the Chosen is a great answer to what XCOM2 struggled with. As I discussed back in 2016 (Jesus Christ), XCOM2 tried to push against player’s worst instincts by incentivizing them to keep being aggressive through a whole bunch of timers— which, kind of just weren’t fun given how much accidentally walking into an ambush could “ruin” dozens of hours of play. War of the Chosen dials that back in some intelligent ways, by instead making the encounter designs themselves, as well as much more grab-and-bail mission types, encourage players to push ahead instead. Smart!

The addition of the Chosen makes the game feel more alive, and they really do make missions harder— particularly early on. But they’ve somehow accidentally fell into the hole, where XCOM just… isn’t that hard? Early on it’s challenging, particularly with the resource restrictions and all. But they keep giving you more and more options (that aren’t especially meaningful choices) that make your team more and more powerful, without increasing the strength of the enemy as time goes on. By the five-hour mark, you basically know if you’re going to steam roll the game or not.

The amount of additional character and variety in the gameplay is great, I just wish it had a more challenging difficulty curve. Maybe make the meta-layer of when enemies show up more targeted to where players are at. If a player is doing well, ramp up the difficulty, if they’re struggling, pull it back a bit. I should always feel like I’m just barely keeping ahead with XCOM, not like I’m bored. And by the end of War of the Chosen, I was kind of getting bored, really. Oh well.

3. Animal Crossing: New Horizons – 2020 – Switch – ★★★★

This is probably the video game that I spent the most time with hours-wise this year. I’m not entirely sure why? It’s a nice evolution of New Leaf, in that the crafting, environment shaping, and general quality-of-life improvements made are quite nice. There’s clearly been some thought on how people play these games, and ways to make the experience less frustrating.

… and yet, they kept so much tedium in the game. Like yes, the schedule stretching is the point, I get it. As someone who for some reason decided not to play with the clock, I only just recently finished the fish, fossils, and insects for the museum. But there’s just so many weird, little things that just make it hard to keep coming back to it. It’s like… to what end? When I’ve unlocked everything, and basically seen the entirety of the item list at this point, and the holiday events all being the game meaningless collectathons…. Why? I’m not going to try completing the collection; the museum stuff is about my limit, really (and even the paintings I can probably pass on).

I guess even an idealized, digital representation of a quasi-domestic life has the spiritual emptiness of consumerism-for-consumerism sake. Thanks???

Hypnospace Outlaw – 2019 – Steam – ★★★★

I grew up on the internet of the early 00s. I had an AngelFire website, mostly consisting of shitty sprite webcomics and hosted Gundam pics. I remember when Google wasn’t really a thing and you would heavily rely on website compilation sites like the Anime Web Turnpike in order to find anything of value online. It was weird, it was wild. It was exciting!

The internet seemed so different back then. There was a ton of garbage online, but also, like… there was a sense of optimism to it. Folks were shitty, there was plenty of bad stuff online, but it felt so disconnected from the fabric of the physicality of real-life that it was at the same time a perfect escape.

I was young when I first got “online”, something like 12. I remember having this notion that the internet was going to be this great equalizer, that it had infinite potential to change how people behave and interact. Boy, huh.

Hypnospace Outlaw is essentially a splendid alternate universe GeoCities recreation, where you’re a volunteer moderator of a grouping of websites on HypnOS, an internet-analog you access while you are sleep. At the surface level, it’s mostly about poking around the weird alternate-historical version of the internet they created, full of kids feuding, bizarre historical divergences, and plenty of amazing bespoke weirdness. All of this is great; there’s an incredible amount of content that’s just great to poke at, listen to, and explore.

Below the surface, there’s also a rolling plotline about the ethics of this industry-owned platform, those who run it, and the way corporations handle new technology, new platforms, and emerging digital societies. There’s a late game turn that’s pretty damn affecting. And as someone who has moderator his share of internet forums in his time, trying to balance ‘do it for the community’ and what your ostensible ‘bosses’ require of you, it was kind of a weird throwback in more ways than one.

Minecraft – 2011 – PC – ★★★★★

Turns out, Minecraft is really as good still who knew??? Started playing a bunch more of it this year due to Giant Bomb deciding to do so, and yeah: still good!

2. Hades – 2020 – Steam – ★★★★★

I’ve said it before, and I’ll say it again— Supergiant makes damn good games. I’d been holding off on checking out Hades until its full release due to my tendency to burn out on games easily, and I’m glad I waited. Hades is a fantastic rogue-lite experience. The way it makes narrative progression part of the reiterative, randomized rogue-lite structure is just perfect.

It’s got all the usual Supergiant bullet points. Great characters, voice acting, narration, and music. In terms of gameplay, it’s probably their least ambitious game— playing something like a cousin to their original game, Bastion— but it’s also been polished to a mirror sheen. It just feels really damn good to play, over and over and over.

That being said, the second (final?) ending feels kind of…. Tacked on? It’s fine as a goal to go for while continuing to do the game’s relationship mechanics for additional story bits, but it ends up feeling kind of unfulfilling compared to the payoff of the first one.

1. Crusader Kings III – 2020 – Steam – ★★★★★

I never could get into Crusader Kings II. Despite my interest, the sheer mechanical heft and unintuitive interface made the game a wall that I just couldn’t get over. I’m sure if I’d dedicated myself I probably could have learned it, but… ehhhhhh.

Crusader Kings III, on the other hand, has a good tutorial, a cleaned-up UI, and a very helpful highlight and tooltip system that make it much easier to understand how to actually play the game through resources inside the game itself. And, as it turns out: I rather love this game.

I mean, conceptually it’s an easy sell, isn’t it? Historical politics is something I enjoy broadly. I liked Stellaris but wish it had more narrative, roleplaying elements. They outright say that “winning” isn’t really the point of the game. Instead, it’s more about emergent storytelling and playing with the different systems and seeing what you can do with it.

My current game has had me taking the Haesteinn dynasty from its Viking origins into England, forming a London-seated Northern Sea Empire that encompasses all of Britannia, Iceland, Holland, Norway, and Denmark. I am currently working on hegemonizing Norse religious control over enough Asatru holy sites to finally reform the religion, such that more unified feudalization can occur. To that end, my current ruler’s predecessor invaded West Francia and conquered the whole of its territory, substantially reducing the foothold of Catholicism in mainland Europe… which seems to have kicked the hornet’s nest, given the Crusade I’m going to need to contend with next time I boot up the game.

Of course, a complicating matter is that my current ruler— the Emperor of the North Sea, King of Ireland and the Danelaw, liege of the King of Denmark, was elected from the extended Haesteinn family via Thing, the Scandinavian council of his erstwhile vassals. Where the previous emperor, the one who manufactured the invasion of Francia, was quite religious and beloved for his adherence to the old ways, I discovered as I took over as his successor that he really, really is into just boning down across Europe. We’re talking constantly attempting to seduce neighboring Queens and Princesses. His vassals are not thrilled with this. They also don’t care for his propensity for torturing people to death, constantly.

I had no real say in this; attempting to stay on top of a dynasty is kind of like riding a bucking-bronco, so many things are only tenuously under your control that some weird shit can happen. This is especially true when you use the systems that make it easier to maintain the coherency of your domain. The Norse religion encouraging concubinage results in you having a lot of kids, which means there’s a lot of domain partition going on (someday, primogeniture, someday). Naturally, using Thing election reduces that, but also makes you sometimes end up having to play Emperor Stabbo-Fucko because they thought he was the best candidate at the time. Hell, I thought he was the best candidate at the time until I discovered just how many people he’d be laying with on the low. But you just have to roll with it.

The way the game forces you to play ball with character traits is great. Doing things that match with the character’s traits makes them lose stress. Doing things against their character increases stress. Too much stress can force you to make the character take up vices (which can make them suffer health or opinion maluses, as well as altering their aptitudes), or even die outright. And sometimes those vices and attitudes can be boons, given they open up opportunities for different character interactions.

Emperor Stab-and-Fuck-Kingdom is perhaps the most relaxed person alive, it turns out, because his sadism makes him really enjoy sacrificing infidels, which makes the gods happy. It also freaks the fuck out of all of his vassals, so they’re a good supplicant mix of both appreciative of my religious sentiments and also utterly terrified of my skull piles. Some especially brave vassals occasionally try to assassinate me, but my lovers keep jumping in front of the knife and saving my life mid-coitus. Iiiiiit happens! :D  

The game can be incredibly fun to just watch, as it becomes emergently weird. Georgia right now is incredibly Jewish in game. I’m not sure how that happened; I guess someone made a random Jewish guy into a vassal, who somehow moved up enough in the world to make it a movement? The Byzantine princes elected a Coptic as Emperor, which over the course of the decade resulted in very accelerated balkanization as Byzantium just lost its shit. The Middle East and notional HRE haven’t really unified in a meaningful way, so I’m curious how things are going to go if/when the Mongols unify and roll-on in.

It’s one of those “Just one more thing” games that can completely devour time. I have more than a few times checked the clock mid-game to see that it’s 4AM and that I’ve totally ruined my sleep schedule in the process of play. Oooooops.

I highly recommend checking it out if you’re curious; the introductory, pre-release video series Paradox put out showing off the game does a pretty good job of showing the core gameplay loop and also how weird it can get.

[aerithagainstabusers]

So I saw Greg’s review of the Final Fantasy 7 Remake and it was so dumb I had to pick it apart so here we go. Spoilers for the remake below

This starts off bad. Immediately Greg is whining that the game isn’t what he wants. He complains about knowing the characters too well which is an absolutely insane thing to complain about. The deaths of the AVALANCHE don’t mean much in the original. You meet them a few times then they die. You have no connection to them

By getting to know them more - like Wedges love for the Sector Seven cats and how Jessie was an actress before her dad became gravely Ill after working for Shinra, they become more human. You can relate to them more and there’s more investment there. So when the fall of that plate comes? Losing them is more impactful than in the original

The battle system can be set to the same as the original in classic mode except you can’t physically attack (that is automatically done for you) so Greg can’t really complain about that. Sounds like he’s mad he died at bosses he didn’t die to in the original

His complaint about Sephiroth is weird. He’s the main bad guy. He needs to show up. With Sephiroth in the OG, you only hear about him a few times while in Midgar, where the remake is set. They need to bring him In much earlier and show Cloud suffering PTSD to understand this guy is a threat.

He also complains about not having a lot to do. And yeah while it’s not as open you have way more to do. The side quests are actually side quests - with the original, the only side quests you really have before leaving Midgar is dressing Cloud up and getting the perfume, tiara, and underwear. Otherwise? You’re stuck doing what the game tells you to do

You might ask “why are you always saying ‘in the original when you’re in Midgar’and I’ll explain that now

This. Is. Not. A. Spoiler.

The creators said from the start it would only be in Midgar and it would be an episodic game. All the promotional materials showed the game only in Midgar. It was obvious that IT WAS ONLY IN MIDGAR. Greg has no right to complain.

Now yes. You don’t have the same free travel but there is more to travel and there’s so much more content to make up for the fact you can’t leave the city. And by doing so, Midgar comes alive. So when you leave? It feels more of a loss and like you are leaving somewhere you have a connection to. Now this was disappointing because I was definitely wanting more. Like I wanted to keep playing in because it was dragging me in. But it was clear from the start and they were transparent with this. Greg clearly wasn’t looking all the things that were coming out about the game since you knew what was going on.

It even says on the back of the box it’s going to be the story in Midgar and that it’s the first game of the remake “project” and would go deeper into the city

Why is Greg surprised and acting like he’s being cheated out?

His next complaint is.... very worrying

Nanaki in the original never acted like a pervert with Aerith. He acted like he was aggressive to lower Hojos guard but that’s a nitpick. But the rest? Holy fuck Greg, STAY AWAY FROM WOMEN

in the remake, Hojo does not have plans to crossbreed Aerith and Nanaki. Instead? He wants to have SOLIDERS repeatedly rape her so she can “breed” and laughs in her face as he tells her all about how he ripped her mother’s corpse to shreds so he can continue to investigate her. There’s only molecules left of Iflana. He also tries to kill Cloud, Tifa, and Barret so he can show aerith their corpses to kill her hope she’ll be saved

But more importantly, Hojo's proposal in the remake is far more horrifying than in the original. He wants her to be raped over and over. Why the fuck doesn’t Greg see this as being bad an as a “P.C. culture” addition? What is wrong with you, dude. How do these things not show how insane he is

The cross-dressing is a stupid complaint. So you don’t get to go to a brothel and watch a small cutscene. Who cares? You get to see Cloud perform on stage at a cabaret and he is dressed up while on stage while you do a mini game. And that isn’t fun? Okay, Greg.

The events he’s talking about by the way? You fight in a Colosseum, you can choose to help Johnny, and/or you can do the iconic squatting game. Then you go to the Honeybee Inn, do a dancing minigame, and perform on stage. 

As opposed to the original where you talk to a man and tell him what dress you want. Do the most squats, Buy some wine at an inn, have a bath with a bunch of men, and give a woman some medicine. The amount of time you spend doing that will take you the same amount of time to do one side quest in the remake. Of course, the original had it’s restrictions because of the platform it’s on, but the remake definitely did go out of its way to expand that and make it feel like you were doing more.

This is a bit more valid. Like I get having nostalgia for the OG game and preferring it and that’s okay! But the Harry Potter comparison ruins it. Also Greg doesn’t seem to realise the difference between a remake and a remaster. The game is being remade. Of course the gameplay is going to change. Turn based games aren’t viable anymore and considering how good the graphics are, it would ruin the immersion. They had to change things like this to make it more modern. Remember, they aren’t just making this for fans. They’re wanting to bring in new people. 

MAJOR SPOILERS BELOW FOR THE REMAKE

SO PLEASE

IF YOU HAVEN’T FINISHED IT

READ THIS NEXT PART WITH ABSOLUTE CAUTION OKAY?

OKAY

SPOILER

WARNING

OVER

I really hope this is just a joke that Zack wasn’t mentioned before he appeared. But considering this is Greg, and how he really doesn’t seem to understand this game, I wouldn’t be surprised if he doesn’t know the significance of this scene. He says later in this article that it took him 24-40 hours to finish the game. Which, if you actually complete it (by doing all side quests, unlocking all limit breaks for everyone, getting master materia etc) it should take you ninety hours. Which makes me think he never went to Nibleheim and saw the cutscene of what happened to Zack and Cloud. Because FF7 is a very quick game if you just focus on the main quests. If you actually dig down deep? You can go way past the timer and have it frozen at 99:99:99. I don’t think he did anything in the original game and just did whatever the game told him to do without looking at anything else.

I really hope this is just a stupid edgy joke because Zack is a well-loved character but you never fucking know with this moron.

I understand his complaints about Nanaki. Nanaki is always in my party in the original so I was bummed you couldn’t play him, but he appears in the penultimate chapter. The writers probably didn’t feel it was worth their while to add him as a party member, and instead, make him a guest who helps.

The Sephiroth complaint is stupid because he’s missed the point. Up until he appears in the Shinra building, he isn’t actually there. Cloud is hallucinating. He is shown as being mysterious and unreachable as Cloud tries to get to him or freaks out whenever he sees an image of him.

Honestly this just sounds like Greg is mad it’s not the exact same as the original.

Which would just be boring, in my opinion.

Y’know what I said about Greg doing what the game told him to do and nothing else? Yeah this is proof. You have an All materia. It’s called ‘magnify’. And unless you didn’t look for treasure or looked at the new materia when you collected it? You would know this is the all materia. The summons in this game aren’t what they are in the original. You can’t use them in every battle and they only come in boss battles or otherwise difficult encounters because in the remake, it’s made clear that they are incredibly powerful. They come to you maxed out. Which he would know if he paid attention.

I will agree with him to an extent about the maxed out materia. Materia is easy to obtain in the remake (Cloud says this to Aerith when she playfully brags about having it), so if Greg had critical thinking, it would be clear that they don’t sell well is because .... well, it’s easy to max out. Everyone is doing it. But I will agree with him that the game is ‘too short’ in a sense, since having Firaga in only Midgar can be problematic for later games. I do have to wonder what they’ll do in the next episodes. Will you have to level up the magic power after upgrading it so Firaga does the same damage in later dungeons as it did in the sewers of Midgar? It would also be neat to physically ride the chocobos through Midgar to make life easier but I also understand why they had the carriages  as it makes it less weird when Tifa suddenly appears in one when she’s going to Don Corneo’s only to never see a carriage in Midgar again, and the loading screen when they ake you from place to place does make it quicker for you to get places.

Still, it would be nice to ride them at some point so I will give Greg this complaint.

Like I said above, if you do everything in the original it should take you 90 hours. If it took Greg 2 days cumulatively at his highest estimate, he’s not completing the game, and he’s not achieving anything.

For comparison, here’s my latest game

As you can see, it’s at 44 hours. I have done all the sidequests (excluding the one mandatory Fort Condor which would add more time on to it but I didn’t want to do that this time around). I have reached the bottom of the crater, however, I have not done anything further and am now focusing on doing the rest I need to do. Like getting to level 99 on everyone, maxing out my command, summon, and magic materia to get the master materia for those three. Or maxing out all four enemy skill materia. Or getting everyone's limit breaks, or beating the weapons. Because these things take time. I could easily run and kill Sephiroth in that run right now. I could finish the game. But as I’m wanting to complete it as much as I can, then I can’t do that. And that’s not me doing a perfect game where you need to get 99 of each item you can (excluding things like the battery where you can only get three of). If you’re doing a perfect game, it takes even longer but honestly, that’s not something I’d say you’d need to do to ‘finish’ the game. That’s only if you want to challenge yourself.

Also might I add, the remake? It takes about 40 hours to finish it (I don’t know if that includes sidequests). This means in one part of a game  is the same length as the original if you don’t do any sidequests in the OG. I don’t know what Greg is talking about by ‘achieving less’. Yeah you don’t go to as many places, but considering this will be in different parts like the original, you do way more in the remake than you do in the original while in Midgar. 

The random encounters are definitely less in the remake. They don’t happen every a certain number of steps. Instead, you stumble across them in a realistic way rather than have a screen transition. It is way more immersive and again, is something that makes the game feel alive. It feels like an obstacle to overcome to get to the next place rather than an interruption like the original game random encounters (which I do love by the way, but it is very much a product of it’s time)

The next part also makes me laugh. He seems to think that because the other game has things finish ‘faster’ means it’s more productive. Which really shows he thinks his channel is great because he does more videos in a short period of time. Which, yeah, on a surface level it is more “productive”, but it’s not exactly exciting game play, is it? 

For comparison. Aerith says in the original that Sector Six is dangerous so she’ll help him out... but it takes about two minutes to go through and the random encounters are incredibly easy. It’s also not explained why the place is in ruins.

In the remake however, Aerith leads Cloud through it as Cloud is unfamiliar with it, and it is more of a challenge to get through, and he actually needs her help to get through the rubble. She explains part of the plate collapsed the tunnel and that’s why it’s such a mess. You get attacked by bandits on the way there and you spend an entire chapter trying to get through sector six, as it becomes the threat and the difficult path Aerith describes in the original. Rather than a place you just pass through with no issue, making you wonder “why the hell is Aerith insisting she goes with me?” outside of her having a crush. 

It’s small details like that which make the game come alive and actually makes you feel like you did something rather than it being a place you just passed through. It takes you longer, but it feels more like an achievement.

No one feels like they achieved something when you leave Sector Six and go to the park outside Sector Seven’s gates. Because it’s just a road to get to where you need to go. Your next challenge is trying to get Cloud chosen as the girl for Corneo but that is optional. I mean, if you prefer that it’s easier to get through as you like just seeing the story than solving dungeons, that’s fine! But this just shows Greg’s ‘quantity is quality” mindset. 

Also, when you climb up the plate to get to the Shinra building? IN the original, you climb up some pipes. The hardest part is the swinging pipe, which is incredibly easy when you time your jump to the squeaking of the pipe. They tell you it’ll be difficult to get to the Shinra building... when it takes you all of five minutes.

The remake has you climbing up the plate and broken buildings, using a grappling gun to get to higher ground when your walking path is done, while you get attacked by Shinra soliders trying to stop you from getting to higher ground when they recognise you as AVALANCHE. While it’s not hard it definitely feels more of a challenge than “climb up this pipe. jump onto that pipe, now climb up another pipe” in the original. And with the Shinra soliders while you can stop them easily, it does make you feel that getting there is going to be a struggle, or at least something that’s inconvenient and it’ll be ‘hard’ because people will try and stop you along the way.

Although I do wish that when you were in the Shinra building, you had to do more sneaking in the higher floors like you did in the original, but at least the game does give you a reason why you don’t need to sneak around. The mayor’s off hand comment about hating Shinra as he gives you a keycard in the original is expanded to the Mayor being a member of AVALANCHE who is actively helping you.

 I also think it's funny he complains about “mundane tasks” when the original game is full of that, too. All JRPGs have it

Basically, this entire review of Greg’s can be “WAHHH IT’S NOT THE ORIGINAL WHY IS IT MAKING ME WORK HARD!” and it’s hilarious

[guerilla935]

Modern Role Playing Games For People That Want To Get Into RPG‘s

You may have heard of a little game that’s come out recently called Final Fantasy VII Remake. There has been a lot of talk about this game having inspired a lot of people to play a game that they skipped back in the day or inspired them to pick up another RPG because they were so engaged in it. Final Fantasy VII Remake isn’t going to make it into this article because I haven’t had a chance to play it yet. But if you’ve always been curious about the RPG genre or maybe you have just finished Final Fantasy VII Remake and are hungry for more, I have a pretty good selection of RPG’s that could offer you the chance to get into a genre of games that maybe you hadn’t considered before. The games on the list are primarily “modern” and what I mean by that is the games will not be SNES era games but rather games that are probably more accessible and easier on the eyes. The games are (as always) limited to what I have had the chance to play. And the games that have been selected were chosen based on the following criteria: low complexity of combat, world building, leveling curve (lack of grinding), and visual appeal. Some of you may want to dive straight into the deep end and download some anime RPG on Steam or find a copy of Chrono Trigger or some certain PS1/NES era RPG and if you can do that then you are an absolute trooper but this post will focus on newer titles rather than the classics. Also if you want me to spotlight a game that you want to recommend put it in the notes because I love getting suggested games! And if you have any questions my messages are always open and I have all the free time to answer them. Now that I’ve gotten that out of the way here are games that I recommend as good starting places if you want to get into RPG’s.

Kingdom Hearts

(PS2/PS3/PS4/XBOne)

Kingdom Hearts is a cross over series that blended the worlds of Final Fantasy with Disney. What makes this game attractive to new players is the Disney half and what hooks them in is the Final Fantasy half. The game is easy to pick up and keeps you consistently engaged in enough story and new locations to keep you wanting more after the credits role. The combat is easy, only requiring a few buttons and allows the player to advance effortlessly without having to worry about their gear or level. The platforming sections help form a cohesive world that is small enough to allow its player to mentally map the whole game easily. The game still tosses around complex themes and sullen moments so it is still very viable to play for adults even though it may take you a good while to start seeing the fruits of that. This is an easy pickup for anyone that is thinking that just maybe they want to try a role playing game that tells a large story in a manageable amount of time that doesn’t require a huge amount of your brain power to get through.

The Elder Scrolls V: Skyrim

(PC/PS4/PS3/XB360/XBOne/Switch/PSVR)

Skyrim is an open ended role playing game where you create a character and exist in a fantasy world full of dragons and wizards. It’s exactly what most people associate with when they think about fantasy and most of the time it is where people go when they want that sort of experience. If you are trying to play an RPG that tells bite sized stories but includes enough world building to have you reading Skyrim history books until 4 in the morning then perhaps Skyrim is a good game to try. The controls are similar to any other first person game so if you are not familiar with that then there is a learning curve attached to it, other than that there is a wide range of difficulties that allow just about anyone to be able to play through the game. The snowy vistas make this game a beautiful option and the way that the scope of the world reaches miles in front of you gives a really liberating sense of freedom. Skyrim has the potential to become a hardcore obsession but also allows a lighter and more casual experience for people who just want to see main stories.

Ni No Kuni II: Revenant Kingdom

(PS4/PC)

Ni No Kuni II is a fun game that applies big ideas into digestible pieces. The combat is very simple to learn and fun to exploit. The game adds a strategy mode where you command troops that isn’t awesome but also introduces a town building mechanic that is easy to understand and gives you a visual sense of progression. The story is awesome and keeps the world of Ni No Kuni grounded into its fantastical fantasy setting that borrows a lot from everyday life. The game borrows from the art of Studio Ghibli and is heavily inspired by movies like Spirited Away and My Neighbor Totoro. If any of that sounds like it is interesting to you then this is easily a fun opportunity to bring a unique RPG into your gaming library.

Pokemon Sword and Shield

(Switch)

I’m willing to admit two things. The first being that I truly believe that Diamond, Pearl, and Platinum were the best Pokemon games and that normally I would recommend that someone just play that game instead. However, the second is that Pokemon Sword and Shield are the definitive versions of Pokemon that rid the game of the dated mechanics of previous titles. Pokemon is the monster taming game, the game is a celebration of being able to constantly change who you are playing as and it feels endlessly personal. Pokemon is a great intro to turn based combat that does a great job teaching things like elemental weaknesses and speed stats. This is definitely the easiest, most customizable, and cute, way to enter the RPG genre.

Persona 5 Royal

(PS4)

Persona 5 Royal is the definitive version of Persona 5 which is the latest installment in the Shin Megami Tensei spinoff series called Persona. The game is about balancing daily high school life with traveling into another dimension to fight shadows. The game has a lot of things in it, a day to day manager, a dating sim, turn based RPG, fishing, darts, batting cage, etc. Persona 5 also drips with style, from the amazing art to the fantastic soundtrack. The combat takes some learning but if you set the difficulty all the way down it becomes an accessible experience at no cost to the gripping story. You are guaranteed to fall in love with this game if you end up playing it and it’s bound to create an obsession that has you playing Persona 4 as well as Persona 3. This is an intimidating game to start but with the difficulty set low you really can’t mess up the other portions of the game so there is always a good way to make sure you can experience one of the best games on the PS4.

Dragon Quest XI: Echoes Of An Elusive Age

(Switch/PS4/3DS/PC)

Dragon Quest XI is the funniest game on this list. The writing also ironically follows plot lines from other media like Marvel Cinematic Universe or Dragon Ball. You’ll also notice that the game looks a lot like Dragon Ball so if you ever wanted a Dragon Ball fantasy RPG then you might be in luck. The story is driven home by its amazing cast and continues to supply the player with things to do way after the credits have rolled. The turn based combat is very traditional so maybe try this game if you don’t mind learning an older style of game play presented in a fun and easy to understand setting. Dragon Quest XI is guaranteed to hook you in with its likeable characters and grand story telling, if you are at all attracted by the promises of dumb humor, excellent writing, and incomparable character development you should plan on purchasing this game.

Final Fantasy XIV Online: A Realm Reborn

(PS4/PC)

An MMO is an RPG too. And as I’m writing this the current best place to live a virtual life is in Final Fantasy XIV. As someone who has tried almost every free to play MMO on the market I can say with absolute certainty that you get what you pay for and the subscription to FFXIV is worth every cent if you want to get into an MMO. The game is large and intimidating and complex, however, the game is also home to one of the friendliest communities I’ve ever had the pleasure of playing with and they make the game as special as it is. This is why people that don’t even like video games are drawn to FFXIV because it is an amazing social experience that also happens to be an amazing MMO experience. The story is the best in terms of MMO story lines and the combat is vast boasting 18 completely unique combat classes. I can’t recommend this game enough and if you have ever considered an MMO then I can guarantee you that this is the one that you want to be playing.

Fantasy Life

(3DS)

Fantasy Life is a game about grinding professions. It looks like Animal Crossing and kind of plays like Animal Crossing would if you could also slay beasts and smith armor in that game. If you are familiar with Life Sim games then this is just the fantasy RPG version of that. The game gives you a job and makes it insanely fun to do that job with fun mini games and a rewarding economy system. This is the “relaxing” game on the list so if you like games like Animal Crossing and Harvest Moon and you may want to try more combat heavy games then this is a great Segway into that genre of game.

Diablo III

(PC/Mac/PS3/PS4/XB360/XBOne/Switch)

Diablo III is probably the most famous ARPG which just means that you are looking down from an isometric point of view and are typically facing hordes of monsters to achieve hordes of loot. I would say that Path of Exile might be catching up fast to Diablo but if you want to ease into an ARPG then Diablo III is much more forgiving. The game is instantly rewarding and gives you a lot of customization with your skills and appearance. This game tells an epic story but has too much game in between story beats to make it worth playing for. Although I would recommend this game to a new player that only wants to play an RPG for its gear management and game play versatility without having to sit through endless cut scenes.

Fire Emblem: Three Houses

(Switch)

In Fire Emblem: Three Houses you play as the combat teacher of one of three groups of kids. You decide what they learn and how well they get at it. The game is a strategy RPG so you are using your brain a bit more to assess situations than the other games on this list. However, Fire Emblem streamlines the system into something easy to understand that is accessible to most new players. While I don’t recommend this game to every new RPG player I’d say that if you really want a game that makes you think rather than hit buttons randomly than you might enjoy the deeper engagement that this game offers. Note that the Fire Emblem series is known for using a very evil emotional weapon called “party member perma-death” which you can absolutely turn off if you would like a less stressful experience. Or live for the thrill, I won’t tell you what to do.

Final Fantasy XV

(PS4/XBOne/PC)

Final Fantasy XV isn’t a normal Final Fantasy game. It is a road trip that you can’t truly appreciate unless you get distracted. Over the years RPG’s have been known for putting a large amount of side activities in their games, Final Fantasy XV takes its story and encases it in casual game play that involves long drive and lots of fishing and camping. This game is not for everyone but its more casual approach will appeal to a newer audience than a hardened veteran of the Final Fantasy series. People looking for their first RPG won’t be totally swayed by the story here but they will have seen that the journey can be fun if you let it.

So You Wanna Start An RPG

Take it from someone who has played the opening hours of a lot of games and then quit that sometimes you just can’t get yourself to like a game. You owe it to yourself to find in entertainment something that you like. I consider myself more of a casual RPG player, I’ve never beaten any of the classics and I can hardly finish a lot of the RPG’s that I own now. But I think that fickleness makes me a good source to recommend a good RPG for people that may not have the patience to play through a Final Fantasy IV or a Golden Sun. Also remember not to rule out experiences just because people say that they are “bad” because opinions are subjective to you personally. RPG’s have the power to tell moving and important stories, and as a player of them I hope I’ve given anyone reading this some incentive to experience a larger than life story.

[themattress]

OUAT AND ME: IN WONDERLAND

Story - Because this spin-off series only lasted for one season's worth of 13 episodes, its story is simply the Wonderland Saga and nothing else beyond that, which is for the best given that the story reaches far too complete an ending for anything beyond it to make any sense. The story is about Alice and what transpired after she returned from her original journey through Wonderland as a little girl, leading up to her romance with a young genie named Cyrus as a teenager, their tragic separation, her commitment to a mental institution, and her return to Wonderland in order to reunite with her lost love alongside her friend the Knave of Hearts, all while facing threats from the Red Queen and Jafar who seek to use Cyrus’ genie powers to break the laws of magic in order to accomplish their own secret goals.

The Wonderland Saga is as tight as tight can be, with one chief setting (Wonderland), a relatively small cast of characters, and a 4-episode beginning, 4-episode middle, and 5-episode end. Of course, this wouldn't matter if it wasn't an engaging story with enjoyable characters, but thankfully it very much is. This series is the brainchild of not just Adam Horowitz and Edward Kitsis, but also of Jane Espenson and Zack Estrin, and because of this fact combined with its limited length, it actually surpasses the original Once Upon a Time when you stack the two completed shows up against each other. Sometimes, less is more.

As I said, the story is divided into a clear-cut beginning, middle, and end. The beginning focuses on the early part of Alice and the Knave's journey and establishing who they are and what their deal is, while Jafar and the Red Queen's goals and motivations are kept enigmatic and Cyrus is trapped in a cage for the whole duration of the time. The middle lets Cyrus escape, sheds light on Jafar and the Red Queen's goals and motivations, and explores the darker sides of Alice and the Knave as we see just how badly their past traumas have affected them. And the end is all about the alliance of Alice, Cyrus, the Knave and the Red Queen as they fight Jafar and his new ally the Jabberwocky to decide the fate of Wonderland. It's here that all lingering questions are answered and all character arcs are fully completed.

As far as stories go, this is top tier OUAT. I think I like the Dark Curse and Neverland Sagas slightly more, but the Wonderland Saga comes in at an incredibly close third place.

Characters - There are less of them than in the main show, so this will be easy.

* We start with Alice, played by Sophie Lowe as a teenager and by pre-Stranger Things Millie Bobby Brown as a child. She is a wonderfully multi-faceted heroine, capable of great love and great hate, great kindness and great cruelty, great ingenuity and great gullibility, and always treading the line between holding to hope and giving into despair. While her romance with Cyrus is the focal point of the story, I love that it's not the only important aspect to her character. We also delve into her fractured relationship with her father; her initially unsteady but eventually rock solid friendship with Will; her hate, fear and distrust of Anastasia up until she finally sees the girl behind the queenly mask and how very much alike they truly are; and even her internal mental and emotional conflicts with herself on various matters that sometimes go external due to how Wonderland works. And no offense to Emma Swan, who is great in her prime, but I feel like Alice is ultimately the stronger and more likable lead.

* Cyrus really impresses me, because being the romantic male object of the heroine's attention and a guy who spends the entire first third of the story stuck in a cage, he could have very easily been a boring character. But very quickly, he shows that good looks and magic powers aren't all there is to him - this guy is smart. His cleverness and ingenuity that allows him to affect the plot even when inside his cage is something to behold, and he only gets better once he's free from his prison and gets to play off other characters with more frequency. Add to this a backstory where we see he used to be a selfish con artist, and it being his love for Alice that changed the selfish part while repurposing the con artist part for the cause of good, and you have a character you can enjoy and a couple you can root for.

* The show's breakout character, for better or for worse (no, it's definitely for worse, as we'll see in the next post) is the Knave of Hearts / Will Scarlet. Played excellently by Michael Socha, Will was formerly one of Robin Hood's Merry Men but is now an outlaw all to himself in Wonderland. He's sardonic and quippy, selfish and yet reliable at the same time, eerily muted in his emotions due to having his heart removed from his chest and yet clearly possessing deep feelings within his soul that occasionally bubble to the surface. We watch him go from an untrustworthy, cowardly cad who refuses to accept responsibility for anything to a brave and loyal friend who will sacrifice his own well-being for those he cares about. And his love story with Anastasia honestly steals the show from Alice and Cyrus', as it's full of betrayal and heartbreak and fights and truces and reconciliations before its happy ending, and that honestly feels more human than Alice and Cyrus' entirely plot-based separation.

* Speaking of the Red Queen / Anastasia, she is the female villain with a redemption arc that Regina (and Zelena, to a lesser extent) wishes she was. When she first appears, the Red Queen seems to be a chillingly calm and poised sociopath without moral scruples, but she quickly starts displaying vulnerability, and kudos must be given to Emma Rigby for conveying this through her amazing performance. Her cool, haughty face is like a mask, with more and more cracks beginning to show until we see who she really is - Anastasia, a peasant girl who was misled into a life that was full of power and privilege but that was also lonely and way over her capability to endure in the long run, and who desperately wants to take it all back and return to who she used to be. Once she realizes that she won't be getting the magic shortcut she seeks and that in the process of seeking it she'd wrought even more damage to Wonderland, Anastasia fully commits herself to doing better by everyone that she'd hurt. Even horrific torture, temporary death and mind control doesn't stop her from aiding in the cause to save Wonderland! She's amazing and more than earns her happy ending with Will.

* I could gush about Jafar, the Big Bad of the story, all day long. Jafar has always been my favorite Disney Villain, but he's the villain of an animated musical comedy, so I guess I've always had the question in the back of my mind as to what he'd be like if applied to something with a more serious tone? Well, this version of the character, played to chilling perfection by Naveen Andrews, answers that question. Stripped of most of his caricatured and humorous elements, Jafar is a psychotic, power-hungry madman who will stop at nothing to get what he desires. There is no-one he won't manipulate or torture or murder in his quest to become all-powerful. And the show also gives him a feasible, compelling and incredibly dark backstory (he's the bastard child of an Agrabahn sultan who rejected him to the point of trying to murder him) that explains why he is the way he is but is never used to excuse him or entertain the slightest notion that he might be redeemable.  This version of Jafar perfectly embodies what Roy Disney and Jeffrey Katzenberg said about the original: “Jafar is just pure evil. He wants to take over the kingdom and kill everybody in sight or enslave them, or whatever suits his fancy." "This is the guy that wants it all. You know right from the start that he is a desperate character, capable of doing anything and everything to get what he wants".

* The White Rabbit / Percy is a purely CGI character, and you'd fear that this wouldn't work, but the show embraces how cartoony he is and so it actually works perfectly. He's a very appealing character as well: very neurotic and cowardly, but also a family man whose heart is in the right place and who can be very brave when push comes to shove. A lot of his likability also comes from the fact that John Lithgow (yes, I'm surprised they were able to get him too!) does his voice, and I can't think of anyone else who could voice such a character better.

* In terms of side characters, we have many Wonderland staples reimagined for this show, such as the Cheshire Cat who is now a feral beast voiced by Keith David, the Caterpillar who is now a Jabba the Hutt-esque crime boss voiced by Iggy Pop (who sounds nothing like the voice from the main show, but I digress), Tweedledee and Tweedledum who are the Red Queen's manservants (one being undyingly loyal while the other is a spy for Jafar), the sleazy Red King who tempts Anastasia into becoming his bride, the Carpenter who is trapped in a drug-like haze in the Boro Grove, the White Knight who stands guard over an important pair of doorways, and the Jabberwocky, a monster in the form of a humanoid woman whose power is being able to see a person's greatest fear and use it to psychologically torture them.

There is also mention of Alice having met Jefferson the Mad Hatter when she was a child, and Cora the Queen of Hearts herself appears in the flashback that shows how she manipulated events so that Will became the Knave of Hearts and ensure that Anastasia remained the Red Queen, whom she taught magic and villainy to and treated like a daughter. Regina, Zelena, Anastasia...is there no young woman that Cora won’t attempt to ruin?

Other side characters from other realms include Alice's highly flawed yet ultimately repentant father Edwin, his bitch of a new wife Sarah and her precocious young daughter Millie, and the cold-hearted Dr. Lydgate all from Alice's Victorian world; Robin Hood, Maleficent (voice-over only) and Anastasia's mother Lady Tremaine all from the Enchanted Forest; Nyx the guardian of a sacred well, Cyrus' mother and Jafar's teacher Amara, Cyrus' brothers Taj and Rafi, and Jafar's father the Sultan and half-brother Mirza all from Agrabah. The Sultan, by the way, is a particularly interesting character, as he's introduced as Cyrus' kindly old cellmate and you really get to thinking of him as a good guy, only to then learn who he really is and just what an utterly horrible person he was in the past. His tale is a tragic one, as while he sincerely commits to repenting, it’s not good enough and thus he cannot escape fatal poetic justice.

And then there's one side character that just really gets my goat: Elizabeth aka the Lizard, a cute young thief who has a crush on Will. She appears in the 4th episode and doesn't really do much of anything, then disappears for a while. I thought maybe she was going to end up paired with that "Mr. Darcy" suitor of Alice's from her world and it was going to be a big Pride and Prejudice reference...but instead, she reappears in the 9th episode, becomes the now genified Will's master, and makes a wish that accidentally kills her in order to give Will man-pain. And then she isn't really spoken of again afterward. What was even the point of her!? You could cut all of her scenes and actions from this story and miss absolutely nothing!

Atmosphere - I would describe this show's atmosphere as light and dark, back to back. When it's light, it is much lighter than Once Upon a Time, being very whimsical and romantic and fluffy and hopeful to an even higher degree than its parent show at its best. However, this kind of lightness helps to make the dark elements come off as that much darker as a result. And while there's certainly some dark stuff where Alice in concerned, from an intended lobotomy in the premiere episode to the intense clashing she has with her father, and in the troubled pasts of Will and Anastasia, nothing comes close to the darkness of everything Jafar-related. It's a guarantee that he will do something horrible to someone at least once per episode, although it's usually more than once. The nature of his backstory as a bastard child whose father attempts to drown him plus the intensity of his depraved power-lust also make him a particularly dark character, as is his eventual partner, the terrifying Jabberwocky. Personally, I have always appreciated stories that can balance light and dark in this way and am able to handle both of them, so this show's atmosphere is very appealing to me.

Episode Quality - All I can say here is that there is only one dud in this series, and it's not hard to spot which episode it is. Like I said, while the beginning and middle portions of the show are 4 episodes each, the end is 5 episodes...and the first of those 5, "Nothing to Fear", is incredibly awkward and poorly executed. On top of being where the aforementioned death of the Lizard occurs, the plotline with Alice, Cyrus and Anastasia is also botched. Alice clinginess to Cyrus out of worry that he might become separated from her again and she wants to savor the time she has with him now doesn't really work in the context of needing to find where the freshly genified Will went ASAP, and it makes Alice look bad - Will went through "Bloody Hell" to help her reunite with Cyrus, and now that she's been reunited with him at the direct expense of Will, she doesn't give a fuck? She feels no urgent desire to pay her friend back and be as dedicated to helping him as he was to helping her? Also, the way she verbalizes her issues sounds too ripped off of Emma Swan from the similarly clumsy episode "The New Neverland", and what works for Emma doesn't really work for Alice.

Alice's distrust of Anastasia and dislike of working with her is also badly written, in literally every other episode the tense dynamic between these two has been handled with more care and nuance, but here Alice just comes off as a bratty child. Again, Will is missing and you need to find him quickly, so being able to put aside your differences with Anastasia maturely would go a long way in helping make that happen, Alice! Also, there's a sequence with angry peasants tying Anastasia, Alice and Cyrus to stakes to be eaten by nocturnal wolf-like creatures, and it's so thoroughly mishandled to the point of coming across as comical (Anastasia really can't fight back or escape her binding despite the skills we've seen her have before? Cyrus really thought an eloquent speech was going to instantly convince the peasants to do what he wants of them? The peasants act like they're righteous people who are getting justice against their oppressor and yet then tie two completely innocent people up for daring to go against the grain on the matter? And oh my God, those wolves look awful!)

The only good parts of the episode are the very last scene between Alice, Cyrus, Anastasia and (finally!) Will, plus all of the scenes with Jafar which lead up to the Jabberwocky's debut. Otherwise, this was a transitional episode that needed a lot of fine-tuning from its makers.

Overall - Once Upon a Time in Wonderland is now on Disney+, so if you have that streaming service and haven't watched it, please do so. It's a very well-made limited series that features a great story and great characters played by great actors, and is a definite part of OUAT in its prime. And again, when both completed shows are compared, this one wins hands-down.

[spectraspecs-writes]

Leviathan - Chapter 100

Link to the masterpost. Chapter 99. Chapter 101.

@averruncusho @ceruleanrainblues @chubbsmomma @strangepostmiracle thank you for reading, you get a tag. @skelelexiunderlord thank you for support, you get a tag.

———–

Harder than I thought, it would seem. I haven’t had so many cuts on my hands since I did field work in a prairie full of razor grass. You know, that tall grass that cuts you when you walk thought it? You never bleed from it but it hurts for a long time afterwards. But several cuts and a couple hours later, I manage to get Shaela Nur’s crystal into my blue lightsaber. I started with my purple lightsaber but for the life of my I could not get the crystal into the fitting. And when I went to my blue one, the first time, when I activated the lightsaber the crystal flew out and ricocheted off Davik’s swoop bike and hit me in the head. I guess I’m just not having a good day today. But I think I’ve got it in there nice and tight. I swing my lightsaber around, making sure the crystal won’t fly out and hit somebody else in the head. That would be hilarious but not very easy to fix when I’m away from a workbench. I spin my lightsaber with a flourish.

And I hit something.

Shit, shit, please don’t be a person. I turn around to T3’s panicked beeping. Oh, shit, that’s even worse than a person. “Oh, God, T3, I’m so sorry, are you okay? I had no idea you were in here!” He chirrups and whirs, very discombobulated. “I can fix that, I promise! I am so sorry. Can you still move okay?” He beeps in the affirmative. “Okay, good.” I dig into my pockets for my droid tool kit before I remember I gave it to Carth to hold on to. “Damn it,” I say softly, then look back at T3, “I’m going to grab some parts from the cargo hold. Go to the cockpit, I’ll be right there.” He chirps and whirs off, sparking where I hit him. I hit the secondary power coupling - it’s fixable but it means he’ll have diminished functioning until I can fix it. Which I can do no problem, this isn’t the first time I’ve done it, but I’ve never had to do it because I hit it. I am really not having a good day.

Thankfully, the cargo hold has the parts I need, so I take them into the cockpit. Carth is in there, we’re in hyperspace. “Hey,” he says, “What’s wrong with Teethree?”

“Secondary power coupling, can I have my tool kit back?”

He reaches into his pocket and hands it to me. “Kept it safe, just like you asked,” he says, “What happened? He just rolled in here, sparking.”

T3 turns his head and beeps. I scoff a bit. “Thank you for trying to spare my feelings, T3, but HK had nothing to do with it, it was all me,” I say, “I’m rerouting all functions to your primary coupling, it might tickle a little. No, this was all me, I accidentally hit him with my lightsaber.”

“Anything you can’t fix?” 

“Thankfully, no, I just need to replace the coupling, I’ve done it before.” I gently pry the coupling out with my spanner. “I’ve never had the problem be my fault before, but…” I sigh. “I’m almost done, I just have to fasten this into place.”

“Why don’t you stick around when you’re done?” Carth says, “I could use a copilot.”

I smile at him. “I appreciate the invitation but I’m not sure you’d want me,” I say, “I’m not having a very good day, I might really do something wrong.”

“I still want you here,” he says.

I chuckle a bit, tightening the coupling into place. “You might regret that. Rerouting power back through the secondary coupling.” As power flows back through, there’s a small spark, which is normal, and T3’s eye lights up as he runs a diagnostic. “All good?” T3 beeps, and I release a sigh of relief. “Good. I am so sorry I did that.” T3 beeps again, forgiving me. “Thank you. I’ll be more careful next time.” T3 chirps and rolls off. I roll up my toolkit and sit down in the copilot’s chair with a heavy sigh. “I really hope my day starts picking up from here.”

He glances at me, starting to say something, but does a double take. “What happened to your head?”

I raise my hand to where he’s looking. There’s a scar there, still bleeding just a little. Didn’t realize there was a mark there. “I got hit in the head by a lightsaber crystal,” I say, running my hand over it to heal it.

“And your hands - Gods, Rena, what were you doing?”

“Turns out, modifying your lightsaber is harder than it sounds,” I say, “For those of you keeping track, today has had two terentateks, fighting a Sith master, getting betrayed by his apprentice, the political collapse of the Sith Academy on Korriban, cutting my hands, getting hit in the head by a lightsaber crystal, and knocking out a droid’s power coupling.” I say. “I could really use something good right about now.”

Carth tosses his head. “Well,” he says, “I’m about to change hyperspace routes. Once I do that it’s almost a straight shot to Manaan.”

“I’ll keep my hands to myself, then,” I say, “The way my day’s going, I might knock us off course.”

Carth smiles, and he gently pulls us out of hyper speed. Brings the ship around to change routes. Another ship in the intersection - I wonder where they’re going.

“DAMN IT - hold on!” Carth shouts suddenly, and I grab onto the seat. He spins the ship around quickly, and I hear T3 down the corridor spinning out.

“What? What is it?”

“Sith!” he says quickly, “I’m gonna try to lose them!” He pushes the controls as far forward as they’ll go, to go as fast as we can, but we aren’t moving forward. “Damn it, come on, I know you can get out of this…”

“Can’t we just go to hyperspace?”

“If I just jump to lightspeed now, we won’t be on any route, we could hit an asteroid belt or a rogue planetoid and end up dead in space.” He punches a few controls, but it’s no good. The ship slowly spins around again, and we face the huge Sith vessel. Carth keeps frantically pressing controls, but it doesn’t look like it’s doing any good.

Bastila rushes into the cockpit with Canderous behind her. “What happened? What's going on?”

“Sith Interdictor ship,” Carth says, “They were waiting for us on the hyperspace route. We're caught in their tractor beam.” Finally, he slams his hand on the control panel. There’s nothing he can do.

“Do you recognize the ship?” she asks.

“It's the Leviathan,” Carth says with a sigh, “Saul Karath's vessel. My old mentor.”

This day just doesn’t seem to be getting any better. “I have no idea how we’re going to get out of this,” I say, “but gather everyone into the main hold. We need to figure this out.”

A minute later everyone is gathered into the main hold. Carth tells everyone what’s going on, then says, “Admiral Karath taught me everything I know about being a soldier. He was a legend in the Republic fleet, and a hero to me. Until he betrayed us. When the Sith attacked my home world, the Leviathan - Saul Karath's flagship - was at the head of the fleet. My family was destroyed that day and my wife died in the Sith bombardment.” Nothing I can say will comfort Carth, and I know that. So silently I take his hand. Remind him that I’m here. “I know, I know,” he says, talking mostly to me, “I'm not going to do anything stupid. I won't throw our lives away in some mad quest for vengeance.” And then he looks at everybody. “But if I get a chance to kill Saul during our escape, nobody better get in my way.”

I should try to stop him, I know. Vengeance can lead to the Dark Side. But at the end of the day, Saul’s done terrible things, not the least of which is a massacre, and he should die for his crimes. If killing him helps Carth heal, I can’t stop him. But Bastila feels differently. “Talk of an escape is somewhat premature, don't you think?” she says, “We don't even have a plan to get out of this mess yet!”

“I'll admit it won't be easy,” Carth says, “Saul's no fool and he won't underestimate us either. You can count on plenty of guards watching every move we make.”

Bastila thinks for a second. Then she says, “Maybe Admiral Karath doesn't know how many of us there are on board. We all have special talents; talents we could exploit so that one of us could stage a rescue. We just have to figure out who has the best chance to avoid capture so that they can come and rescue us later. It's a long shot, but it's our only hope.” She looks at me and Carth. “He will probably be watching the three of us far too closely for any plot involving you, me or Carth to succeed. It's going to be up to one of the others to get us out of this.”

“Well, if we're going to pick someone to save our skins we better do it quick,” Carth says, “In another minute we're going to have Sith troops marching up our loading ramp!”

My mind rushes through a half-dozen plots - HK could come out firing, T3 could pretend to be deactivated, Jolee could use the Force, we could throw gizka at them - but then I see MIssion frantically waving her hand in the air. “Ooh! Ooh!” she says excitedly. So I look at her. “I can break out of anything! Maybe I can goad the guards into making a mistake!”

“What sort of mistake?”

“If I get them mad enough, they might put me in a separate cell to punish me. With them focusing so much on you three I might be able to sneak out of my cell and come rescue the rest of you!”

Zaalbar loudly objects. “No, it’s too dangerous!”

“It’s a risk we have to take, Big Z!” she insists, “I can slice my way free from any security cell! Don’t worry, I can pull this off!”

“Mission, are you sure?” I ask. It’s a solid plan - the Sith could kill her, but that’s a risk we take with any plan, and I doubt they will kill her. Not so soon after her capture.

“Yeah, Rena,” she says, looking at me solemnly, “I want to do this.”

The ship shudders. “Hold on!” Carth says, “They're dragging us into the docking bridge!”

I move quickly over to her. “Get to the starboard quarters,” I say, “Make them come to you, fight on your own turf.”

She nods. “Got it.”

“Fight dirty, curse, piss him off. Insult his mother, if you run out of ideas.”

“Absolutely.”

I hug her quickly. “Good luck.” She nods and starts to move off, but I stop her one last time. “Hey,” I say, and I place a hand on her shoulder, “Go get ‘em.” She smiles, and runs off to her place in the starboard quarters.

This is certainly in the running for the worst day of my life.

[skittymon]

Finally finished Tales of Eternia!! 

And that makes 11th tales games finished and 15th overall played in some degree (Phantasia, Legendia, Innocence, and DotNW being the ones I havent finished yet).

Once I started again in December I decided that instead of liveblogging I’d make a review at the end instead.

So here we go! I will keep this spoiler free as possible!

I’m pretty scatterbrained but I’ll try to divide this into: combat, story, characters, and other game mechanics.

Combat: So obviously, the combat is above Phantasia and Destiny’s, being made after them. I honestly have grown fond of the 2d linear style format. There’s so many different boss fights in this game that can only work in a 2d field rather than 3d. 

On the flip side, that’s not always a good thing. I count bosses like the wild dog thing in Vesperia, and Fodra Queen of Graces to be among the hardest mandatory boss fights in tales. Welp, Eternia added one to the ranks. Rem (aka Aska the light spirit) is one of the most frustrating boss fights I’ve done. Apart from constantly slowing healing itself, on the field it brings a shiny ball with it. You cannot destoy the orb, it’s there all fight, and if you touch it it hurts you. And of course it blocks the way to Rem. There is a way past it, it moves up and down so you just have to wait until its up to move past. BUT GUESS WHAT THE AI DOESNT DO. So your party will probably either be dying or constantly in pain. AND REM CAN MOVE THE ORD ANYWHERE. Also you cant physically hit Rem while its casting a spell only far away skills. So if you ever play this game just cheese it and spam variations of Sonic Blade.

Of course, on the flip side it’s every easy for you to cheese boss fights and just back them up into a corner unable to move or do anything until they die, so it evens out.

The sprite animations for the artes are gorgeous. Reid moves so fluidly in his artes, he’s honestly my third favorite protag to play as behind Yuri and Ludger because of this. The caster animations are great as well, granted it can become cluttered and hard to see in when artes like blizzard and earth shaker are used. BUT GOD DAMN I CAN WATCH MEREDY USE METEOR ALL DAY IT LOOKS SO COOL.

Nitpicks about the combat system are, Life, the reviving spell Farah has, takes to long to charge, and for Meredy and Keele to use healing artes you have to mix and match who has what craymel (spirit). There might be a guide but I didnt look beyond reddit so Life was the only resurrection spell I had. 

Last nitpick comes from the Aurora Artes. Aurora Artes are skills only Reid can use, but in order to use them you have to have health below 15% and press circle, square, and x at the same time, so it’s very easy to mess up and die. Then to use more Aurora Artes you press the same buttons repeatedly, and after you use them Reid is left with 1 hp. AND the final boss has an automatic kill skill, you have to press the buttons at the right time to activate it and keep everyone alive, or you can cheese it like I did and have Farah hold a reverse doll to revive her after she dies. Did I also mention this skill happens in phase 2 of the fight when the bosses health is less than 20,000 after starting from 300,000? If you fuck up thats like 10mins of redoing.

But to end on a better note for this section, I love the way artes are learned. You have to use certain artes a number of times before you can unlock it (I THINK abyss and vesperia and many others are like this but this is the first time I found it rewarding). I grinded like hell to get the best artes for Reid AND YOU BET IT WAS WORTH IT. Omega Demon Chaos I love you,,,,

Story: Like countless other Tales titles, the conflict comes from two worlds being at odds with each other. However this game does something that none of the other games have done with this story beat. Language barriers! It’s super cool in the first couple of hours theyre just trying to figure out how to talk with Meredy. Of course by the end this point is nearly dropped entirely, everyone else just getting the special ear ring I spent 3 hours to get so the plot can move on.

Like most tales, theres a moment you thought the story would end but BOOM the twist. I wasn’t shocked by it, but that’s because I knew who the final antagonist of the game was prior to playing it, but still it was executed well. 

Something that makes this Tales stand out is how they deal with backstory. So the main fours backstory is vital to the story and their characters but they don’t show it till like 20 hours in. It’s like if Graces you start off in main arc and learn about the childhood arc 2/3 of the way through and went “ohhhh that’s why they were distant with each other.” And other stuff about it but I won’t spoil it.

Overall a good story, though I do feel like I’m missing things either from missing some side quests, or because of no skits.

Characters: The main ones to shine are the four main characters (Reid, Farah, Keele, and Meredy), everyone else literally is either one dungeon and/or optionable. Chat does still feel like a character being the owner of the Van Elita aka means of transportation for half the game. Max and Ras tho rip. ESPECIALLY MAX. Ya know how every tales there’s the mandatory Talk Before The Final Battle? Yea well they all get one except Max. You see him, but he doesnt talk, YET THEY CRAYMELS DO.

Another odd, yet charming, thing is that there’s no big moment of character development for anyone like Luke cutting his hair, Magilou keeping the portal open, or punch in the face like Alvin. They just. Slowly change. And its really weird cause for all of disc 1 Keele is basically an unbearable asshole and he just? Learns to be a better person from everything he sees? There’s no callout or moment of realization, he just slowly learns and it’s super refreshing. 

Reid is probably one of the most relatable protagonists up there with Jude. I’m sure most of you know the “he doesn’t want to do shit lol” persona he has BUT GOD WHY HE’S LIKE THAT BABY I LOVE YOU. Farah’s personality is also explained in the backstory, so for any of you crestoria players that Farah’s backstory is really different like how Emil’s is, but the sentiment of why she’s like that is the same and stem for a similar event.

Meredy’s also great. I thought I’d get annoyed of her and her “You bet!” but god when she says it the last time at the end of the game, I was pretty moved. I wish I knew more about her backstory but I’m pretty sure a certain section of her life info was left to skits and ya know we didn’t get those till Symphonia :)))

As antagonists go, besides the Craymels who are there to test you before you get their power, there’s just two. Main boss and their lackey. The lackey is eh. You see him once at the beginning of the game, then see him destroy a  city, then one last time where you kill him. You do get his backstory and stuff but eh I’m usually not fond of tales mini villains minus Chimerad, God Generals, and Artorius’s lackeys

The main antagonist tho, I really don’t wanna spoil it but it’s hard to talk about why I’m conflicted on it without spoiling. So it’s like Destiny’s final boss but written better in some part and worse in others. So at one point it’s super emotional and pretty powerful with the message eternia wants to send but at the same points its a jrpg where you gotta kill god cause he doesn’t think humans are worth it. 

Oh one more thing thats honestly hilarious, there’s literally SINGLE animated cutscene by Production I.G in this entire game minus the op. 

Other things: the amount of mini games in this game is insane, but the amount you have to do IN JUST THE SECOND DISC to continue the plot is more than any other tales game I can recall. Some of them are fun like the card game, others like the bomb one I want to throw in a fire. 

There’s also so much Destiny pandering in this game. There’s portraits of the characters, you can collect lens, I’m 95% sure the way a certain character is done is because they wanted another Leon, you can SUMMON THE SWORDIAN USERS ARE AS AN ACTUAL SUMMON. While all Phantasia gets is the cameo battle and the Eternal Sword. I mean I didn’t mind cause I’ve finished Destiny and it’s one of my fav tales games but damn it was pretty obvious. 

EXPLORATION IS SO FUN IN THIS GAME. Mainly near the end when you have free reigns. YOU CAN DIVE UNDERWAY AND EXPLORE THE BOTTOM OF THE SEA WHAT OTHER TALES GAME LETS YOU DO THAT??? 

In conclusion: A fun game! I don’t think it was worth 133 dollars tho consider my play file was 35 hours and thats with a good chuck of side quests and ex bosses. Probably in my top 5 combat systems of tales and final villains, but not in terms of story or characters. A really hope it gets remastered soon I’d love for more people to play it.

[nickburn]

Thoughts on the Oculus Quest and VR after One Week

Last week, I obtained an Oculus Quest, fulfilling a goal I had for this year of buying my first VR headset. I’ve been really interested in VR for years, and now feels like a great time to get into it, if you have the dough. Since I’m still fairly uncomfortable with traveling, I figured a headset would allow me to escape to faraway lands from the comfort of my studio apartment. The Quest in particular was enticing because, unlike most powered headsets, it doesn’t require a tether to an expensive PC or console. Now that I’ve had some time with it to explore the headset and some apps, I’d like to talk through my first impressions here.

The Oculus Quest

I got the 64 GB Oculus Quest through Amazon for $400, and I feel like it’s important to say that upfront. I recognize it’s a privilege just to be able to afford something like this right now, let alone have a decent job that allows for it. VR is not as cheap as it should be yet, but I think it will be within the next five years or so. 

64 GB is plenty so far, and I can’t see the size limit becoming a problem for a while. Maybe once more premium apps like Half-Life Alyx hit the Quest I’ll regret it, but for now I’m totally happy with the smaller hard drive. The controllers are super comfortable and responsive, though figuring out left from right takes some getting used to, especially with something blocking your vision. But it’s easy enough once you realize that the second trigger is on the inside of the controller, so the wrong orientation will feel awkward. The device and controllers are very portable, if awkward to transport because of their shape and fragility. I expect I’ll have to purchase a carrying case for them sooner or later, but for now a backpack has sufficed.

The headset itself is truly a wonder. The four cameras on the front can create a live black and white feed of your surroundings so you don’t bump into things if you walk with it on, and they can even track just your hands for additional control options (currently in beta). The straps allow for easy size adjustments, and they’re tough enough that I don’t feel like they’ll wear down any time soon. There’s a slider for the lenses to adjust your viewing angle if things still look blurry, and the lenses themselves blend nicely into your vision, so you truly feel like you’re in another place with the headset on and running. The built-in speakers only heighten this effect, providing a surround sound experience in a small package. There are headphone jacks on the sides of the headset as well, but I haven’t had cause to use them yet.

The hub interface experience is fairly smooth, and you can choose your background environment for it from several thematic choices. Getting around the menus is easy enough, but it can be hard to know what to look for or even where to start. There are a few free demos, but after that you’re on your own to discover what’s best for you. Since VR is still so new to most people, I would like a little more guidance there, but I’m enjoying the process of discovering things for myself too. One nice thing is every game is listed with a comfort rating, so you know which are likely to give you motion sickness and which are basically 3D movies.

Beat Saber

It’s no secret Beat Saber is one of the most successful VR games so far, and it lives up to the hype. It’s a rhythm game where you have to slash at different colored blocks with the corresponding saber, in time with the music and in the right direction. You also dodge obstacles on occasion, either by leaning or ducking. This sounds simple, but it allows for a ton of different patterns and complexity. The best levels have really satisfying sequences to perform, and it does almost feel like conducting or drumming along with the music. The main campaign is surprisingly lengthy and difficult. At one point, it starts to require you to go against your instincts and mess up songs on purpose in order to not let your combo go above a certain number or to hit a required number of misses. I’m sure they were added to give the game some more mechanical depth, but I’m not sure they’re necessary. Fortunately, there’s also a solo mode and leaderboard where you can play any song you have access to on any difficulty you like. I haven’t bought more songs yet, but I suspect I will before long. Overall, this is an easy game to recommend and a must-play for anyone with access to VR.

The Climb

I’m a novice rock climber who hasn’t been able to go to a gym since March, so this game caught my eye. It gives you the experience of free soloing (climbing tall, long routes without a harness or other people) and bouldering (climbing very short but difficult routes, which is the style I prefer in real life). So far, I’ve only tried the tutorial, and I’m still working up the courage to go back. The game gives me a lot of vertigo and kind of freaks me out, as your character screams for their life whenever you fall (which, in the tutorial at least, will happen often as you learn the controls). Falling is a very real part of climbing, but if you’re doing it right, you should never get hurt. Free soloing is only really attempted by the most expert climbers, and even many of them die in their attempts. A better way to experience it though is through the Free Solo 360 VR documentary by National Geographic, which is free on the app store and thrilling to watch, just like the regular doc. I’m sure I’ll go back to this game soon, but I’m not sure how long it’ll take me to get used to falling in VR.

National Geographic VR

This game is very cute and allows you to play the part of a National Geographic photographer in Machu Picchu and Antarctica. So far I’ve only started the Machu Picchu route, but I really like it. Your producers tasks you with getting different shots, and you have several locations to choose from in each area. Not very deep, but the views are great.

Job Simulator

In Job Simulator, you play a boring, everyday employee for sentient, floating robot TV’s in a few different roles, and it’s awesome. There’s tons of physics objects to play with, which is definitely one of my favorite parts of VR. The writing is clever, the world is cartoon-like and inviting, and it’s much better than actual work. This is another game I’d strongly recommend for VR beginners like myself.

Netflix VR

As weird as it sounds, I like Netflix in VR. The TV in the environment seems much larger than the one I own in real life, so it feels bigger even though it’s virtual. I like the cabin setting and atmosphere, and it beats staring at my apartment walls. I was able to watch several episodes of Death Note in a row pretty easily, although the headset does start to feel heavy after a while. I wouldn’t say this is the ideal way to stream TV by any means, but it’s worth a try as a fun distraction.

Other Odds and Ends

I’ve dabbled with various other apps and games so far, as one does when one acquires a new electronic toy. I started the tutorial of Vader Immortal Episode 1, and it has you deflecting lasers and slashing robots just like a Jedi, so I’m excited to start that game properly. I was able to hook up my headset to my PC in order to try Google Earth, and it’s great. I don’t think my PC will be able to handle much else, however, so I’m thinking about upgrading it relatively soon. It is nice to know, though, that all you need to make the connection now is a USB 2.0/3.0 to USB-C cable. Until May, you had to buy a special $80 cable directly from Oculus, so I’m glad they removed that barrier. I still feel weird about Superhot in VR. I’ve tried it once before, and the demo still felt awkward to me this time. You have to be so precise in Superhot that dodging bullets while attacking and moving becomes really strenuous, and I don’t think the game really accommodates that well. 

Next Steps

All that said, I’m looking forward to digging into all the games I’ve only touched the surface on as well as exploring new things. I’ll try to continue to document my thoughts here so you can all share in my journey with me. I’m coming to realize that VR time is separate from my regular gaming time, in that the experience is totally different. It’s not a replacement for the games I own already; it’s an expansion on a medium and still very new. But there’s something very freeing and magical about VR that comes with the masking of the senses and trickery that the headset provides. Very soon, within the next three to five years even, I think it’ll be much more commonplace.

Thank you for reading if you got this far! And let me know what comments or questions you have here or on Twitter. :)

[blarfkey]

director’s cut, director’s choice of ⭐️Dear Fen’Harel⭐️? (Though generally speaking, I’m intensely curious as to how you develop characters because everyone you write is so brilliantly layered)

So um, this exploded. And I apologize. I am very much a character-driven writer versus a plot-driver writer. Also, how I develop characters is not a process I think about, it just happens, so this is also me finding out for myself how my own brain works, haha. If you want the full fucking three page essay this turned into, there’s more under the cut.

If not, and I don’t blame you, TLDR: I break a canon character down to their parts based on what I see in-game, I look at how their personal quest affects them, and I try to find a modern day equivalent to that. Each character has an issue they need to get past and I create situations to challenge those issues. And Ellana was created to be a foil for Solas and I dumped all my negative traits into her because neither she nor I can afford therapy so this is our best bet.

First of all, developing characters in fanfic is different than OC characters because I have a pre-set personality to work with rather than making someone from scratch. So for this, Ellana’s development is different from the rest of the cast.

For fanfic characters, obviously I look at the source material and see how they’ve reacted to certain situations and what they have canonically expressed about themselves in both deed and word. Honestly, I pay more attention to what they have DONE versus what they have SAID because a lot of characters tend to fool themselves into thinking they’re one way when they’re not (here’s looking at you, Solas).

Because DF is a modern AU, I take what I have seen in Canon (which is a lot because Bioware is very good at giving so much material to work with having all those different dialogue trees) and I apply it to the Modern Day. Some characters fit very easily – Dorian was made for Academia. Krem seems a more modern character anyway with how he constantly roasts Iron Bull. Josephine’s prowess in DA:I translates very easily to political science. Varric kind of has a modern writer’s career anyway.

Some are not easy – Solas is actually super hard for me to write in DF than he is in Thick as Thieves because so much of his characterization, his world views, his prejudices, are rooted in the fact that he is an ancient being out of time – which is impossible to have in this AU. I have crafted a sort of back story for him that might explain some things later, but it’s flimsy at best, haha.

So I’ve had to really look at what Solas is like in Inquisition when he’s pretending to be a “normal” hedge mage hermit from nowhere and how he behaves in his romance and extract from that. Solas is a nerd, he’s socially awkward from self-imposed isolation, he constantly struggles with what he wants and what is the morally correct thing to do and the temptation to be loved usually wins out over his convictions until the last second when he gets his common sense back and ruins everything.

It helps that in both DA and DF Solas is keeping a massive, massive secret from the Inquisitor about his identity that will shift the power balance between the two, so I’ve used that to guide me when I’m unsure. He still feels off to me, but it’s whatever at this point, lol. I did my best.

Once I’ve boiled a character down to their usual traits, I figure out how I’m going to have them grow throughout the fic and use their growth to help Ellana’s growth. I try to pull from their personal quests as much as I can, when I can get it to fit.

Some people, like Iron Bull, are static because they’ve already gone through their journey and have reached acceptance. I didn’t really know how to work his Leaving the Qun story line in the modern day, since it is tied so closely with war and potentially killing the Chargers, so by the time Ellana meets him, he has already left the Qun and made his peace with it. I use his static nature to help guide Ellana when she’s conflicted about her identity.

Some people, like Josephine, have personal quests that don’t fit with a modern era but I want to show them grow anyway, so I create something else for them. Right now, Josephine is mired in family drama and trying to figure out how to balance shouldering the weight of her responsibilities to her family with being her own person. That I drew from my own personal experience with being the only sane person in my family with their shit together, haha.

Or Cassandra, who is definitely NOT going to be Divine here, lol. So instead she gets to struggle with her art and how she can express herself in a way that leaves her vulnerable to scrutiny and yet can be so freeing.

Some people, like Krem, get a character arc that I think should have been explored but never was. Krem being trans is something that’s mentioned and talked about a little and never explored. I mean, he’s not a main character, so I get it. And I liked that Being Trans wasn’t his entire character. But there was no way to put him in the modern AU without his trans identity impacting some of his story and growth, even if he had already made his peace with it.

Now, I will say this upfront: I am not trans, and I haven’t had the opportunity to be close friends with a trans person, but I have done a lot of research on what trans people have said about their own experiences, and combined this with other research I’ve done over the years with other minorities and tried to put together what could be lingering insecurities for him and how he could overcome them.

I’m  definitely not saying that I’ve done this perfectly and I’m always open to any trans reader who would give me correction, but being trans was not an aspect of Krem’s character that I wanted to ignore just because I wasn’t familiar with it.

I will say that his romance with Josephine was Not Planned. It just kinda happened and I happily ran with it, haha.

Varric’s arc with Bianca is just wishful thinking because I hate her so so much and Bioware just dropped that bomb in Varric’s lap and then just lets him keep holding on to it and it’s bullshit.

The other character journeys are just ways to explore vulnerability in them that I didn’t think got enough attention in the game or I think they could realistically have even if it wasn’t in canon. Like Dorian dealing with his father. Now, in the game, Halward doesn’t have a disease and he dies unexpectedly. But I wanted Dorian to have a realistic reason why he would reach other to his estranged father in this AU and a ticking countdown to an inevitable death seemed right.

Now we get to see Dorian really struggle with this new-found connection with his father that he always wanted to have and now it’s temporary and heartbreak is inevitable and is it still worth it to him? I think Dorian has similar feelings in Trespasser when he found out his father was murdered because he still invested himself to rebuild a lost connection, only to lose it so soon after.

Zevran’s past with the Crows is also something that I really wanted to explore because in the game he is sad for a hot second and then moves on with the Warden and his newfound goal of destroying the entire Crow organization. So I wanted to see Zevran struggle with his inner worth, the fact that he can’t hide forever and his past puts his loved ones in danger, the fact that he can even HAVE loved ones and how it scares the shit out of him.  I wanted to have a character who puts on such a good front about not giving a shit about anything to hide how very deeply afraid he is. We are going to see more of this also before the story is over, lol.

Now, Ellana. Like all original characters, Ellana has a lot my personal experiences tied in her. But I originally created Ellana to fill a need for a type of character that I wanted to see with Solas and don’t really get to. I mean, I have not scourged the corners of the internet to find it so I’m sure there are other characters like her, but I haven’t found very many.

I see a lot of very beautiful, very delicate and feminine, very kind and gentle Disney Princess kind of Lavellans. I see a LOT of them. And I don’t hate that necessarily. I mean, Josephine is all of those things and more and I adore her and I sort of crack ship her with Solas anyway, in the secret recesses of my heart. And I love seeing a female character who is the epitome of a “weak” female use those “weak” traits to succeed.

But I am also not very beautiful, I am NOT delicate at all, I’m not gentle. I am not anywhere close to a Disney Princess or a Josephine. And it was disheartening to see Solas romance all these Ocs that were nothing like me after a while because it kind of gave me the message that someone like Solas, a character that I admire and def have a fictional crush on, would never want someone who looks like me or acts like me. That even with unlimited freedom in creating a romantic counterpart for him, I saw so much of what society already reinforces as an ideal that I will never match up to. It doesn’t help that Bioware’s body diversity for elves ranges is nonexistent.

So I made Ellana for me. Not because I want to hate on other Ocs or prove that mine is superior, but so that I would have something that I connected to. And I wanted to explore a dynamic with Solas that I didn’t get to see very often.

So when I first imagined Ellana, I wanted her to be strong and tall and muscular and powerful in a way that makes a lot of unenlightened men uncomfortable. I wanted somebody used to manual labor and dirt and the outdoors and solving problems with their fists and just totally unrefined because I wanted her to be the complete opposite of Solas. (So like Cassandra but in elf form, haha).

I did not want her to be soft or conventionally attractive at all. Ellana doesn’t shun femininity, because I don’t think femininity is inherently wrong, but she is uncomfortable with it and she doesn’t indulge in it.

(Just FYI I am NOT built like Ellana at all either, haha. This is the wish fulfillment part of the OC. I greatly resemble the dwarves, which is why I love them so much.)

But I also needed her to have a reason to leave home, and to have some points of commonality with Solas, so I made her a nerd. A jocky nerd who is insatiably curious and stubbornly independent. And then because I wanted Ellana to feel like a real person instead just a wish fulfillment fantasy, I needed her to grow. So I gave her all my complicated anger issues, my bluntness, my struggles with homesickness, the way I compartmentalize negative events in my life so I don’t have to deal with them just so they can bite me in the ass later, my experiences of going from a lifestyle where all my needs were met and I was oblivious to how great I had it to living with serious poverty for the first time.

And then I devised situations with her life and the other characters where Ellana has to confront these issues and learn to accept them and either move past them or learn to control them. Sometime she gains wisdom and imparts it to people like Sera or Dorian when their struggles come up. And her biggest challenge has yet to arrive, so she’s still cooking, so to speak. Ellana still has a long way to go before she really reaches maturity.

As far as her relationship with Solas goes, I wanted her to challenge him and give him a total upheaval everything he thought he knew about his own culture and his own self. And I wanted him to do the same for her. And then when all the pieces are done falling, they have grown into two people who can handle being together.

So that’s basically it. If there is any character in particular you want to know more about or why I made certain decisions, always feel free to ask!