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scoutception · 4 years ago

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Dragon Quest III: The Seeds of Salvation review

The original Dragon Quest was an extremely important and influential game that built the foundations to the Japanese role playing game genre, but was an extremely basic game that would end up outclassed by nearly any other RPG on the NES released afterwards that wasn’t completely incompetent, and while Dragon Quest II improved upon the foundation of the original, namely in terms of party progression, it was also a rushed, unbalanced, overly difficult and overall tedious experience. Despite its importance, Dragon Quest’s third installment would have to be a significant step up, and as luck would have it, it was, becoming another of the most legendary and important RPGs ever made, and firmly cementing Dragon Quest as a series that would stay around even to the present day, and how exactly this came to be is what we’ll be looking at today. The version I played was the SNES remake with a fan made English patch, so many of the names in the screenshots won’t match up with official translations. Other options are the Game Boy Color version, which was officially released in English, and even has a bit more exclusive content, namely a very time consuming sidequest and a bonus dungeon related to it, the Ice Cave, and much more recently, the mobile/Switch version, which is also available in English, and is based on the SNES version, minus some of its exclusive content. Be warned, there will be spoilers.

Story: In an unnamed land, geographically similar to the real world, the archfiend Baramos has appeared and unleashed monsters to plague the land, with its people’s woes ranging from groups of bandits robbing kings and kidnapping citizens, to monsters impersonating rulers, to entire towns being wiped out by the forces of Baramos, who ultimately plots to destroy the entire world. A hero from Aliahan, Ortega, once set out on a journey to slay the archfiend, only to fall in combat with a dragon over a volcano. The child of Ortega is thus given the task of slaying Baramos themselves on their 16th birthday, with the help of a group of adventurers recruited from Aliahan’s tavern.

On the surface, it’s still not much more of a plot than the first two games, and for the most part, that is true, but it’s still much more interesting simply because there’s much more going on. Many of the towns you visit are facing some sort of crisis, or have some sort of interesting circumstances around them, such as the immigrant town that slowly changes and expands as the game goes on, making them a lot more fun to discover and explore compared to the towns of the first two games. Additionally, there’s the famous and influential late game twist that strikes after defeating Baramos, namely the reveal of Zoma, Baramos’ superior, and the second world map of Alefgard, the setting of the first Dragon Quest. These two twists are a large part of what made Dragon Quest III so impactful when it came out in 1988, and considering the game presents itself as unrelated to the previous games, and that by the time you defeat Baramos, you’ll have explored the entire world, barring two small locations at most, they hold up fairly well even today. There’s not much more for me to add besides this, however, so it’s time to hop straight to the gameplay.

Gameplay: Dragon Quest III uses the same turn based battle system as the first two games, and besides things like new types of spells and weapons, not too much is changed with the combat itself. The biggest change DQ3 provides is to the party progression system. Instead of the Hero being completely alone like the first game, or gaining two fixed party members in the second, DQ3 allows you to build a party from the ground up, besides the Hero, who’s always required to be in the party, and has the exclusive Hero class, with well balanced stats and unique and useful spells. The party size has been increased to four at a time, and party members can be created and exchanged in Aliahan, with a total of 8 different classes they can be: warriors, slow, yet well equipped physical fighters that act has tanks and heavy hitters, priests, who specialize in healing and support spells and, contrary to most healers in RPGs, actually have decent equipment and offensive options, mages, typical magic attackers with great offensive spells, yet bad physical stats, martial artists, physical attackers with great agility who forgo most equipment and have a higher chance of landing critical hits, merchants, average at best fighters who have supporting abilities like being able to earn extra gold after battle, gadabouts, odd and clownish characters with bad stats besides luck, and a fixed chance to simply goof off and take random actions instead of doing as commanded, thieves, a class exclusive to the remakes, with great agility and several abilities that mainly help with exploration, and sages, who learn nearly every spell in the game, and have a wide selection of equipment options, yet cannot be put in the party to start.

Compared to Final Fantasy I, which had a similar class based party system, and came out only a few months before DQ3, this system actually has quite a few advancements. Most importantly, you’re never simply stuck with the party you start with. As long as you can make it to Aliahan, you can simply make new characters and swap out whoever you’re currently using. Obviously, doing this too much isn’t very practical, considering new members will be behind on EXP, but not being able to permanently lock yourself into an awful party combination is a big improvement alone. Party members who have reached level 20 can also change classes at Alltrades Abbey, resetting their level to 1, and cutting their stats in half, but keeping any learned abilities, meaning, if you were so inclined, you could make a mage with the physical stats of a warrior, a warrior with the speed of a thief, and so forth. Changing classes like this is also the only way to get sages into the party, and even then, only with the use of a Words of Wisdom book, of which only two exist in the game. This lends itself to a lot of creativity, and while I personally didn’t use this mechanic much, only turning my priest into a sage, it’s still an impressive level of complexity for a game this old.

The class balance is also fairly interesting, as beyond the upsides and downsides already listed, classes also level at different rates. Warriors are expensive to equip and very slow, but level the fastest out of the main offensive classes. Martial artists are, by contrast, very cheap, but have the third slowest leveling rate in the game, and the little equipment they do have is usually pretty difficult to get, especially their weapons. Merchants are guaranteed to eventually fall behind if you try to use them, but actually have quite a bit of exclusive, and good, equipment early on, and level the fastest out of everyone. Gadabouts are liabilities, but level second fastest, and can become sages for free once they reach level 20, making them an investment class. Despite how several classes are very obviously inferior in the long run, you actually can get away with some pretty unorthodox party combinations, at least earlier on. Take my party of hero, warrior, martial artist, and priest: very strong physically, but expensive to upkeep, despite the martial artist somewhat balancing it out, and lacking in offensive magic. While switching the priest to sage later on mostly fixed the latter issue, I was still left wishing I had taken a mage with me from the start several times, and yet I was still more than capable of finishing the game. While the difficulty has definitely been lowered compared to the first two games, that’s still a sign of ultimately successful balancing.

For some more combat related changes and improvements, some stats have been added or changed since the first two games. Resilience now determines how many hit points a character can gain when leveling up along with being added to physical defense as before, Wisdom determines a character’s potential magic points, as well as how soon they learn spells, with spells being delayed or expedited by up to three levels, and Luck determines how well a character can avoid debuffs and status ailments inflicted by monsters. Related to these stats, exclusive to the remakes is the personality system, which affects the stat growth of each character, with each party member gaining a personality during character creation or, in the case of the Hero, through a personality quiz given at the start of the game. While this generally doesn’t matter too much for casual play, assuming you aren’t unlucky enough to get the worst personalities on all your party members, it still adds an even greater deal of complexity, either allowing you to try to compensate for a character’s weaknesses, or add to their strengths. You could, for example, give a female warrior the Amazon personality, raising their strength growth, but lowering their agility, wisdom, and luck growth, stats they don’t care about much anyway. You can also change personalities during the course of the game, either temporarily by equipping certain accessories, or permanently by reading certain books scattered throughout the game, which further adds to the depth. It’s a bit overwhelming, but still pretty interesting to see.

Beyond the combat and classes, there’s still a lot of nice things to see. The bag from DQ6, which can hold an unlimited amount of items which can be taken out at any time, has been added, allowing easy inventory management on the spot. The Zoom spell now lets you return to towns of your choice, rather than the last place you saved your game, and while not every town can be warped to, it’s still a massive time saver. There’s a day night cycle, which gradually changes when traversing the world map and affects the state of the towns, and while it isn’t super prominent, there are a few towns pretty heavily affected by it, and you actually get a few ways to manipulate it later on. There’s also a few minigames added, once again exclusive to the remakes, those being the monster arena, where you can bet on computer controlled monster fights for the chance of winning money, and Treasures n' Trapdoors, which is basically a giant board game one of your party members can traverse, with several very valuable prizes available, both from winning and from landing on certain spots on the boards. Despite being very luck based, it’s creative and rewarding enough that the boards are actually a lot of fun to play, and the Switch version lacking this minigame entirely is a big shame. The remakes also added the Cloudsgate Citadel, a bonus dungeon accessible after defeating the final boss, with a superboss, Xenlon, waiting at the end. Defeating Xenlon within a certain number of turns allows you one wish, such as opening up a new Treasures n’ Trapdoors track, or resurrecting a certain character, and thankfully, you don’t actually need to traverse the entire dungeon again to refight Xenlon for more wishes, as a Zoom location is added only a few rooms away.

The biggest improvement DQ3 makes, however, is just how well the game flows. There’s still grinding to be found, yes, but generally, the game goes by much faster. Characters move quickly, the difficulty, as mentioned before, is much lowered, so you don’t need to grind 5 levels just to walk a bit north, and there’s just a lot of variety that keeps the game fresh all the way through, instead of becoming monotonous like DQ2. The dungeons are also much more reasonably designed compared to the giant, nightmarish mazes of DQ2, and while you do get a ship like in DQ2, it comes quite a bit later, keeping the amount of areas now available to explore from being as overwhelming. The obligatory key item fetch quest, this time collecting the six orbs to hatch the phoenix Ramia, is also much more reasonable to complete, with the orbs either being in locations that NPCs directly talk about, or being acquired by fighting bosses. Speaking of which, there’s also many more bosses than in previous games, and while they’re not as frequent as in most RPGs, they still add a nice bit of variety, along with actually being pretty challenging, in a good way. Overall, Dragon Quest III’s gameplay actually holds up very well, and just makes it a lot of fun to play. Even considering this is a remake with a lot of quality of life improvements, I was amazed that this was originally an NES game.

Graphics: DQ3′s visuals are quite nice, as the SNES version was made with DQ6′s engine. To give a comparison, whereas the games using DQ5′s engine were about comparable to the visuals of Final Fantasy IV and V, the visuals here are comparable to Final Fantasy VI, and considering that’s one of the best looking SNES games out there, that’s a pretty big leap. The character designs come out quite well, and many locations have unique looks to them, both towns and dungeons, with the Pyramid and Baramos’ ghastly castle sticking out the most to me. The enemy battle sprites are still great, and are actually animated whenever they attack, adding a lot of life to them.

Sound: As with the rest of the series, DQ3′s soundtrack was done by Koichi Sugiyama, and it’s once again a great soundtrack, even better than the soundtracks of the previous games. From the peaceful Small Shrine, to the iconic Overture, to the peaceful Heavenly Flight, to the world map theme Adventure, to the great final boss theme, Hero’s Challenge, it’s a soundtrack that’s a joy to listen to. It also gives towns different themes for both day and night, which is one of my favorite things to see in games.

Conclusion: Overall, I would give Dragon Quest III a recommended. It’s aged very, very well, and genuinely feels like it could have been on the SNES to start. Between the much deeper, yet ultimately accessible mechanics that give quite a bit of replay value, to much better overall design gameplay, graphical, and sound design, it makes a fantastic entry point for the series, if you have a liking for classic RPGs. Till next time. -Scout

#dragon quest #snes #game review #long post #rpg #square enix #dragon quest iii #jrpg

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theavengerfairy · 4 years ago

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One Step Closer - Chapter 4

Previously known as “Gravity”

Aaravos adored games, especially when those games involved real risks and consequences. Every sparkling fiber of his being would vibrate with excitement as he carefully ushered each pawn into place to create a grand masterpiece that he alone could see unfolding. At times, one of those pawns might start to shift out of alignment, operating of its own accord instead of by the will of its master, but it never took more than a few polished half-truths to lure the insurgent back into place. Patience was the key to success, and if being imprisoned for longer than he cared to calculate had taught him anything, it was patience.

Things may have seemed placid in Viren's cell, but as his grub-like vassal clung to the shell of the mage's ear, Aaravos sensed that the castle was still abuzz even at this late hour. He could feel the reverberations of marching feet through the stone floor and walls, and he could faintly hear the whispering of a gentle wind overtop of Viren's muffled snores. Most importantly, however, he could sense the baleful nip tainting the air as something wicked steadily closed in on the dungeon where it sensed its master's presence.

"It would seem that your phantoms have returned." he crooned smoothly, fully aware that Viren could not hear him from the realm of dreams. "Do not fret. I will take care of everything."

Peeling itself off of Viren's ear, the little caterpillar inched its way across the mage's cot and then up the cell wall until he reached the grate in the ceiling. After wiggling through with ease, it only had to wait a moment or so in the deserted courtyard above before being blanketed in shadow as four pairs of blank, glowing, purple-tinged eyes peered down at it from within towers of churning smoke that vaguely resembled the shape of elves. To anyone else, these creatures of shadow would've been terrifying, but the little caterpillar raised itself up and stared right back at them with an air of haughtiness.

"Your master is resting, but it is not yet time for you to do the same. You still have work to do." Aaravos crooned without a hint of hesitance even though the phantoms could easily trample the caterpillar beneath their heels if they wished too. Why? Even though they could, he knew that they wouldn't, for just like the mage who had summoned them, they were also drawn to the power emanating off of him.

"Your master's possessions have been scattered across the land in an attempt to control him, and one of these relics could be your and his undoing. Bring back the coin in which your leader is imprisoned, the leader who in his pride led you all to your deaths, and you will soon have your rest."

Though their faces showed no expression as the shadows continued to listlessly sway back and forth in the wind, Aaravos could sense their reluctance. It seemed even as phantoms, traces of past loyalties and autonomous thought still lived on inside them; this, however, was not a major problem for him.

"Why do you hesitate? Does it not anger you that the one responsible for your demise now has a chance to return home to the open arms of his family while yours grieve your loss? He made the call to move forward with your mission knowing full well that your chances of survival were slim, and now he simply gets to walk away from that while your blood, the blood of those who trusted him, stains the floors of this palace? Should he not suffer a fate worse than death?"

One by one, a change swept over each ghost, their eyes glowing brighter as their previous uncertainty was burned up by the flames of bitterness; it was a light and a heat that Aaravos never grew tired off as he drank it in again and again.

"Go. Find your leader's coin and its brothers. Justice will not be denied."

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"Can I skewer him?"

"No."

"What about mildly maim him?"

"No."

"...Can I at least give him a bad enough gash that he'll need stitches?"

"No! The last thing we need to do is draw attention to ourselves by being petty and starting a fight."

"He kidnapped Callum and Maddie!"

"And we are going to discreetly get them back. We fight only as a last resort."

"Ugh, fine!"

It wasn't that Anora couldn't understand Rayla's desire for payback, but retribution never just ended once the scores were even. Having to worry about a vengeful party pursuing them would only further complicate their already complex quest, so for now retaliation, though tempting, was not an option.

It hadn't exactly taken the two elves long to realize that something was wrong, but true to the stories Madeleine had told Anora about Midan, the blacksmith's son indeed proved to be a slippery serpent to catch. Despite managing to procure adequate disguises and sneak into town fairly quickly, Midan was already gone by the time they found the shop and discovered the note that Madeleine had managed to tuck amongst the tools in the back room without getting caught. The fact that they had to ask around about the location of the artisans' fair before finding someone that actually knew only added further to Midan's head start, and while Anora and Rayla probably could have caught up with him if they were on their own, Zym's restlessness meant making occasional stops during their journey, thus allowing the scoundrel to remain one step ahead of them.

By the time they arrived at the fairgrounds, the festivities were already in full swing with more humans crowding around exhibits and mingling between stalls than either elf had seen in her whole life. From this resulted their current situation of hiding in a dense thicket of shrubs not too far off from the line of tents, Rayla keeping watch while Anora attempted to coax Zym into a basket that the younger elf had "borrowed" from the back of an unwatched cart.

"It's only for a little bit, cutie, I promise. Come on! You want another treat?" Grabbing one of the fresh figs from the rations in her bag, Anora placed it inside the basket. "There, now you've got a fig, an apple, some berries, and some milkfruit, a feast fit for a prince. What do ya say, Zym?"

After a moment of thinking as critically as a baby dragon could, Zym tentatively sniffed the mouth of the basket before apparently being won over as he hoped inside with a happy trill. Once she had secured the lid of the basket in place and carefully shrugged the case onto her back, Anora fixed her hood and cloak and stuffed her hands into her gloves, Rayla following suit.

"I still don't see why we can't just split up and meet back here. We'll cover more ground that way." Rayla grumbled as she fiddled with the pink finger of her gloves that had been stuffed with leaves and a twig to mimic a fifth finger. A surprised sputter sprayed from her lips when Anora suddenly appeared in front of her and began smudging dirt over her markings to complete her disguise.

"Midan is smart. If he notices the same two hooded figures frequenting his booth, he might become suspicious, and the longer we're here, the higher our chances of getting caught become. We need to find them, come up with a plan, execute it, and then leave as quickly and quietly as possible." With her and Rayla's tattoos concealed beneath a layer of grime, Anora briskly exited the safety of the shrubs and beckoned Rayla to follow her with a small jerk of her head. "Come on!"

Zym thankfully stayed contently quiet in the basket as the girls crept past the outermost tents and into the fray, heads down and senses alert. After passing several stalls from all of which the heavenly smell of baked goods wafted, it dawned on them that the booths were probably arranged according to trade, meaning they would not have to scour the entire grounds so long as they found the designated area for the blacksmiths. The density of the crowds and the scarcity of maps or directional signs to promote more sales as s wandered aimlessly about ensured that their task remained somewhat difficult, but the smell of burning timber and the ringing of many mallets hammering away at different metals eventually drew them to the right place. As the fourth stall on their left came into view, Rayla was the first to catch a glimpse of those familiar green eyes beneath that mop of fluffy, brown hair, and it didn't take long for them to lock back onto her.

Callum pretended not to notice the two elves until they had crossed over to the stall, and he bit down hard on the inside of his cheek to keep himself from smiling as he made his way over to the booth's counter as casually as he could. Casting an apprehensive glance back at Midan, who was busy chatting with two reasonably attractive dames at the other end of the stand, he made sure to grab a few odd bits and baubles as he went.

"Hi ladies! What can I help you with?!" he announced quite loudly, depositing the knickknacks onto the counter with a harsh clamor, and to his relief, Midan didn't even spare him a look of disdain. Picking up one of the miscellaneous trinkets scattered in front of him, he held it out as if showing it to the two elves, his voice dropped to a whisper as he leaned over the countertop. "I can't talk long without Midan becoming suspicious. Where's Zym?"

Rayla jerked her head toward the basket while Anora took the trinket from Callum and turned it over in her palm. "Are you alright? Where's Maddie?"

"She's in the back and we're both fine other than being a little tired. In fact, she's been tinkering with something since our arrival last night that she believes will distract Midan long enough for us to slip away."

Pride dressed Anora's lips with a lustrous shimmer like the most beautiful of rouges. "Why am I not surprised? Is there anything that we can do to help?"

"There's one more thing that we need but haven't been able to get since we're constantly being watched."

"What do you need?"

"Wildflowers. Lots of 'em."

Rayla's nose wrinkled at the absurd request. "Flowers? What are flowers going to do?"

"He's allergic." Anora muttered, nodding at Midan as theories about Maddie's plan began to take form in her mind. "He obviously can't see us giving them to you."

"Bring them to the back of the tent and toss a rock through the back entrance to let Maddie know that you've made the dropoff. She'll tell you the rest of the plan, and I'll do what I can to keep Midan busy in the meantime."

Rayla groaned under her breath. "Don't do anything stupid."

"Why do you always assume that I'm going to do something stupid?"

"Because you usually do something stupid!"

"You two are cute, but let's save the flirting for a less precarious time, yeah?" Out of the corner of her eye, Anora noticed the two maidens who had been preoccupying Midan's attention were departing, meaning that the louse would be on them in moments if she and Rayla stuck around for too much longer. Setting the trinket that she was still holding back down on the counter, she extended her hand to Callum, who shook it as soon as he realized what she was doing.

"Don't push yourself too hard. You'll need whatever energy you have left for hightailing out of here."

Callum's eyes remained locked with Rayla's until she and Anora were swallowed up by the throng of festival patrons. Gathering up the samples that he had brought out, he spun on his heels and beelined for the curtains separating the front of the tent from the workspace in back. However, just before he could cross the threshold and disappear, he was yanked to a stop by Midan's hand firmly clamping down on his shoulder.

"Don't tell me you spent all that time talking to those two clients and didn't sell anything?"

Callum swallowed thickly to push down the anxious butterflies fluttering in the back of his throat. "They...They said that they had some other errands to run first and would come back if they had the money."

"Let me handle the transaction when they return. I want to make sure that the payment is...authentic given their haggard appearance. Business is going to slow down as the crowds congregate at the indoor attractions to escape the heat of the day, so go wash off and polish those samples. I trust the cleanliness of those bums as much as their money."

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The sun hung just above the tops of the tents on the far west side of the festival grounds, painting everything with a golden glow.

"Blasted sun. No matter where I stand, it's shining in my eyes." Midan grumbled sourly, shielding his face with his hand as he stumbled about half-blind. "Clem!"

"Um, it's Callum."

"Whatever. Go scrounge around in the back and see if you can find anything to block out that darn sun!"

"Uh, you got it!"

As Callum slipped through the curtains in the back room, Madeleine raised her head from the two small metal tubes sitting in her lap and locked eyes with him. At his nod, she rose, handing him one of the cylinders and held the other to her chest as she left her comrade to gather both their things.

"Midan?" She winced as she poked her head through the doorway right into a particularly bright ray of sunlight.

"Why aren't you working?"

"I'm waiting for the last order to cool down enough so I can polish it." Raising one hand to shield her face while blinking rapidly to quell the tears that welled to defend her eyes from the bright assault, Maddie just barely made out the Midan's silhouette and strode over to him. "I just wanted to talk to you about an idea I had for a new product."

"You're being unusually considerate. You heatsick or something?"

"No. You and I may not like each other, but your dad is still my business partner. He's going to need all the extra cash that he can get for his medical expenses, right?"

"Touché. Tell me what you've got."

"I can do better than that. I built a prototype during my lunch break!" Tucking the braided cord attached to the bottom of the tube beneath her thumb to hide it from sight, Maddie held out the gadget for Midan to see. "I haven't decided on an official name yet, but for now I'm calling them celebration starters!"

Midan squinted at the cylinder. "...It's an embellished pipe."

"Wrong! It's much more than that!"

"Is that so? How does it work then, little genius?"

"Like this!"

Without missing a beat, Madeleine pulled the string attached to the celebration starter as far as it would go and then released it, aiming the barrel directly at Midan's face. Wildflowers of all colors shot into the air with a pop, and the noise was soon followed by three others just like it as more flowers filled the air. The festival-goers all gasped in delight as the fragrant petals rained down on them, but Midan's reddening eyes had bugged out in horror.

"You little-" His exclamation was cut off by a thunderous sneeze, Madeleine springing just beyond the reach of his fingers when he made a mad grab from her.

As much as she would've liked to stick around and relish over her fine work, Maddie speedily vaulted herself over the counter and sprinted into the crowd. Catching a flicker of Callum's scarlet scarf in the evening light somewhere off to her right, she veered off in that direction, focusing all of her strength into her legs until she had caught up with him, and together they ran towards the chosen meeting place: the eastern entrance of the grounds. Their feet had already begun to burn like they were running over a bed of hot coals by the time the pillars decorated with many colorful banners and other ornaments rose into few, and just as they flung themselves down at the base of the one columns in order to catch their breath, Anora and Rayla burst forth from the sea of people, panting heavily as they refused to slow even slightly.

"Get up! We gotta go!" the latter shouted, eyes wide and frantic.

Before Callum could ask what was wrong, the crowd parted for a portly man with a crimson face marred by an angry scowl as he charged after the two elves with his son and daughter flanking him.

"Thieves! Thieves!" he bellowed.

Anora grabbed Callum and Maddie by their arms and more or less dragged them to their feet while Rayla continued to run, her fist pressed against her chest as something glittered inside. The prince's mouth hung agape, his eyes darting from his friends to their pursuers.

"What did you guys do?!"

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Moments earlier...

It was a beautiful sight that Anora would've liked to enjoy, the flower petals dancing through the air like snow after being launched from Madeleine's invention, but she and Rayla dutifully slipped the now empty gadgets into their belts and ducked behind a wall of stalls. Keeping their heads down and bodies low to the ground, they zipped along their predetermined course completely unnoticed aside from catching the attention of the occasional small child who was quickly shushed by a preoccupied parent, and the steady sinking of the sun created many long shadows that stretched out to offer them additional cover. However, it soon became apparent that they had forgotten to consider one particular detail when it came to their seemingly seamless plan: Zym.

Having been startled out of a deep nap by the loud pops of the celebration starters, Zym clawed quite furiously at the lid of the basket, and with a few good swipes, he managed to tear a hole just large enough for him to wiggle out of. His little feet scarcely touched Anora's back before he unfurled his wings and sprang into the air, giving neither elf much time to react as he glided through the air and scampered through the back entryway of a large, deep indigo tent as soon as he touched the ground.

When their minds finally processed what had just happened, Rayla and Anora dug their heels into the dirt and swerved in the direction of the tent, halting just a few inches shy of the opening in the wall of cloth.

"Zym! Come back here! You can't be in there!" Rayla called as she peered into the darkness, searching for any sign of white down or icy blue scales that should've stuck out like a sore thumb against the shadows of the tent. All she was met with was a soft, anxious whine from the dragonling, the origin of which she couldn't quite pinpoint.

"I don't think he's coming out on his own," Anora muttered, sliding the basket off of her back. Taking the lavender scarf that hung around her waist and laying it out flat on the ground, she placed the busted lid on top of it and wrapped it in the soft but fairly sturdy material, tightly tying the ends to ensure that it didn't come loose. Tucking the lid under her arm, she handed the barrel of the basket to Rayla. "I'll try herding him back towards you, but you'll need to be completely silent if we don't want him to bolt. Think you can do that, Moondrop?"

"...You're kidding, right?"

"I know, I know. I'm just trying to lighten the mood."

Hearts hammering against their ribs, they slunk into the belly of the pavilion, their soft, careful footsteps sounding more like the stomping of elephants to their own ears. When their eyes adjusted to the dimness, they found that the inside was mostly filled with an array of colorful tapestries decorated with what had to be the most degrading depictions of different kinds of elves that either girl had ever seen. Towards the center of the room stood three ornately carved, wooden pedestals topped with soft pillows, and above each one hung a series of banners that could just barely be read from where they stood if they squinted.

"...Haunted Coins from Xadia?" Rayla scoffed with blatant disgust, "Are you serious?! We don't even have haunted coins! Who would actually believe this nonsense?!"

"You'd be surprised," Anora remarked absent-mindedly, having already dismissed the laughable exhibit and resumed her scouring for the baby dragon. As soon as she noticed a pale shape crouching behind the base of pillar closest to them, she pointed it out to Rayla followed by drawing two arcs in the air that eventually met at a point in front of her. Rayla immediately understood and began to close in on the pillar from the left while Anora took to the right.

"Zym," she called when she was close enough to see the tip of the dragonling's nose poking out from behind the pillar. "I know you're a bit spooked right now, but we have to go before we get caught. There will be no more loud, scary noises, I promise."

Zym's answer was a shrill, suspicious yip, nostrils flaring slightly when Anora entered his line of sight. Slowly dropping down into a crouch, the elf held her hand out to him as she inched closer, not daring to glance at Rayla to ensure she was ready and risk Zym realizing what they were up to. Fortunately, Zym's attention remained fixated on Anora as he shuffled his feet uncertainly while Rayla tiptoed up behind him, basket held out in front of her. They had him cornered, and when Anora lunged forward, Zym spun on his heels and fled straight towards the mouth of the basket. At the last moment, however, he spread his wings and splayed out his little limbs, his front claws grabbing onto the rim, and using the edge as a foothold, he propelled himself upward at a slight angle. Anora leaped into the air before he could get very high, wrapping her arms around the prince's middle and pulling him to her chest. Unfortunately, she hadn't paid much thought to her trajectory in her haste, and thus she came crashing down on top of the pedestal, which proved to be much flimsier than it looked as it crumbled beneath her weight.

"Yep, that's definitely going to leave a mark." she groaned, rolling onto her side and then up into a sitting position all while Zym flailed in her arms. Rayla was by her side in the blink of an eye where she held the basket steady so Anora could place Zym inside.

"He's a little fighter; I suppose that's a good thing though." the Oceancry elf remarked as she secured the lid once more and slipped her arm through one of the vessel's straps, hoisting it up onto her back again. Shifting onto her knees so she could stand back up, she jerked to a stop when something resting on the bed of splinters beneath her snagged her eye.

"Rayla...you said Xadia doesn't have any haunted coins, right? Then why does that one have a moving face on it?"

"You mean your reflection? Besides, that isn't even a Xadian coin..."

"Rayla?"

The color drained from Rayla's already pale face and her eyes widened to the size of two full moons as she stooped down, unable to believe what she saw. Staring back at her was a face she knew all too well despite being clouded with a fear that she had never seen adorning those features before, and as she gently scooped the coin into her trembling hand, she watched the terror melt away and sheer relief rise up in its place.

"Runaan..." she whimpered, hand clamped over her mouth as she fought back the urge to break into tears. Suddenly, it felt very hard to breathe, as if the weight of the entire world was pressing down on her lungs. "...how did you...what...who did this to you?"

"Hey! What are you doing?!"

Anora's head snapped up to behold a middle-aged man and four children of varying maturities looming in the main entrance of the tent. The man, obviously the owner of the tent, glared at them with two small, beady eyes that peered out from behind bushy brown brows and bulging cheeks, grinding his feet into the dirt as he prepared to charge. Snatching up the pillow from the remains of the pedestal, she hurled it at the man, nailing him in the face.

"Rayla, run!"

With their father momentarily disoriented, the two eldest children, a boy and a girl, rushed at them. Glancing upwards, Anora noticed how the weight of the numerous tapestries was causing the roof of the tent to sag, so she grabbed the closest one and yanked it as hard as she could. This proved to be just enough strain as the center of the tent caved inward, cutting them off from their assailants. Brought back to her wits by Anora's shout, the commotion, or a combination of the two, Rayla closed her fist tightly around the coin and barreled back out into the open with Anora close behind her.

#tdp #THE DRAGON PRINCE #tdp oc #tdp fanfic #tdp fanfiction #tdp runaan #runaan #runaan x oc #tdp callum #tdp rayla #tdp zym #tdp aaravos #Runaan

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nottheripperjack · 5 years ago

Photo

Still rising towards the dark, don't care what's down below 'Cause no one can see me and no one has to know The atmosphere is lonely and beautiful I don't miss a thing I used to know, I used to know

TASK 001 FOUND BELOW CUT....

~~JACK’S STORY~~

MANNERISMS:

What words or phrases do they overuse?

Jack fucking uses ellipses in texts like her life depends on it. She also swears a lot. Probably too much.

Are they more optimistic or pessimistic?

Jack is pessimistic by nature after her sister’s death. She’s striving to get better but that’s a bitter pill to swallow.

What bad habits do they have?

What bad habits DON’T they have? She drinks a lot, or rather, she used to. She’s trying to overcome her alcohol addiction but that will... Take a lot of heavy lifting.

What makes them laugh out loud?

Honestly? It could be literally anything. Whatever it is, it has to be her type of humor. Which, let’s be real honest, is all over the place. Just like her.

How do they display affection?

Jack is a very touchy-feely person. She calls people ‘babe’ no matter who they are. She’ll hold your hand or hug you. Hell, she’ll even snuggle her friends.

Do they make snap judgments or take time to consider?

Snap judgments only happen when its matters of herself or the lack of self-worth she believes she has. When it comes to anyone else? Hell no, you better sit down and think about all the pros and cons.

How do they react to praise?

Cockily on the outside, not believing it on the inside.

How do they react to criticism?

Taking it to heart and working on how to irradiate that behavior or thing that is being critiqued.

What is their philosophy of life?

Life’s short, go fuck someone. (This has since changed).

When was the last time they cried?

When they realized their addiction had gotten the better of them.

If they could change one thing about themselves, what would it be?

Ask her on a good day, Jack would say something about her addictive behaviors. Ask her on a bad day? Jack would say that she wishes she could have taken Vic’s place.

What is their obsession?

At the current moment? Animal Crossing.

What are their pet peeves?

Snoring, loud chewing, people butting into the conversation, the list could go on. She has a lot.

FRIENDS & FAMILY:

Is their family big or small? Who does it consist of?

Her family is that stereotypical American family. Consisting of her mom, dad, younger adopted brother, and herself. Extended family is all on the east coast so she doesn’t see them much. Her father is Adrian Novak, a well-known author for his mystery crime novels. Her mother is Katrina Novak, a high-school English teacher.

What is their perception of family?

She maintains constant communication with her parents and brother. Unfortunately, she doesn’t talk about her sister much at all. Jack sadly thinks her family blame her for her sister’s death but in reality, its just been her blaming herself for all these years.

Do they have siblings? Older or younger?

Her late sister, Victoria, was her best friend growing up until she died in a car accident when Jack was fifteen and Victoria was seventeen. She has a younger adopted brother named Bryan, who is just now entering the fifth grade. He has CP.

Describe their best friend.

Jack has several best friends but the one she considers to be her closest confidante just so happens to be Tara Chapman. She’s her kindred spirit, her better half, and someone that she looks up to in all of the ways that she still wishes she could do with Victoria. She’s not a replacement for her late sister by any means but... She means a lot more to her than Tara probably fully realizes.

Do they have any pets?

No but they want to get a corgi and name it Bread Loaf.

PAST & FUTURE:

What was your character like as a teen?

Before shit hit the fan? Jack was in sports. Volleyball and martial arts took up the majority of her time when she wasn’t trying to focus on school. And she really, really hated school.

Did they grow up rich or poor?

Due to her father being on the New York Times Best Seller’s list... She grew up in a pretty good financially stable home.

Did they grow up nurtured or neglected?

Jack definitely came from a nurturing and loving home. After Victoria she disconnected with her family more than she’d admit. She mentally distanced herself from them and shut down.

What is their greatest achievement?

Becoming a paramedic.

What was their first kiss like?

Jack was kissed by a boy named Stephen in seventh grade. Let’s just say that the second his lips landed on hers, she slapped him so hard he fell into her parent’s swimming pool.

What is the worst thing they did to someone they loved?

Jack believes that it’s her being responsible for Victoria’s death since it was her volleyball game that she was driving towards. However, the worst thing they’ve probably done to someone they loved was let their own shit get in the way of their happiness. It happened with Ben when she didn’t believe her about the drunken kiss. And it almost happened with Riley when she chose to ignore her feelings and pretend like she didn’t care about her more than that for four years.

What are their ambitions?

Be a mom one day. Own a corgi. Build her own home.

What advice would they give their younger self?

Don’t go to that damned volleyball game.

What smells remind them of their childhood?

Campfire smoke, cinnamon, and Japanese Cherry Blossom perfume.

What was their childhood ambition?

They wanted to own a video game store.

What does their five-year plan look like?

They don’t have one. Other than don’t be dead from a work-related incident.

LOVE:

Do they believe in love at first sight?

No. Jack’s far too cynical for that. She believes in lust at first sight. Or rather, she did.

Are they in a relationship? Are they in love?

Yes, to both. Jack is in a committed relationship with Riley Sawyer, a highway patrol cop. They’d been friends for four years and finally decided to bite the bullet they’ve been dodging for that whole time.

How do they behave in a relationship?

Previously? Not well. She didn’t do relationships and the one that she had in high school wasn’t remotely healthy. Now, Jack is learning how to relationship.

When did your character last have sex?

Last night.

Has your character ever been in love?

Twice. Once with Ben, her first love. Second time is now with Riley.

Have they ever had their heart broken?

Three times. First was Victoria, second was Ben, and third was by herself.

Are they crushing on anyone now?

I mean. Hey boo @sonderbound

WORK & LIFE:

What is their current job?

Paramedic at Los Angeles Fire Department

What do they think about their current job?

They love it. They are currently on suspension from March 27th to April 27th due to alcohol abuse.

What are some of their past jobs?

Barista, pizza delivery girl, EMT.

What are their hobbies?

Dungeons and Dragons, video games, playing guitar and singing, sketching out her future home.

Educational background?

Associates Degree. Jack tried college but it wasn’t for her.

Do they have a natural talent for something?

Helping others.

Do they play a sport? Are they any good?

Volleyball. Yeah they went to state four years in a row and won.

MISC:

What is in their fridge?

Well, used to be alcohol. Now it’s full of food and coca cola.

What is on their bedside table?

Alarm clock, watch, iPhone charger, change.

What kinda car do they drive, and is their car messy or clean?

Her name is Lyla and she’s a Kawasaki Ninja Crotch Rocket. So uh... She keeps that motorcycle very clean.

Do they carry a purse? What is in their purse or wallet?

They carry a wallet. It’s a tyvek Mighty Wallet that’s got a bisexual colored symbol of Wonder Woman on it.

What is in their pockets?

iPhone, gum, keys.

What is their most treasured possession?

Her sister’s silver snowflake necklace.

~~Jack’s Jams~~ FOUND HERE

In A Nutshell

Work Out, Sweat It Out

Time to Feel Like Shit

Good Times Gonna Come

#tlawtask1

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theartofmedia · 6 years ago

Text

The Art of Review: YIIK: A Postmodern RPG

I have been sitting here for about two hours with this tab open, trying to find out how to properly introduce this. At the time of writing this (May 7, 2019, 10:02 PM), I have just finished watching YIIK several hours ago. However, I have been doing just about everything to avoid actually writing about it, because I have no idea how to ease the reader into this.

YIIK is so reprehensible that I created this segment--”The Art of Review”--because I needed to talk about this game. I needed to explain just why this game fails on every single account, and is so blatantly offensive. Initially, I was going to do a piece on something creator Andrew Allanson had said about games and his protagonist, Alex. It had to do with character development, and a common criticism was Alex’s sheer lack of it; naturally, I decided to watch a walkthrough online in order to see this for myself first-hand.

I was not prepared for what I saw. I have never had to take as many breaks from any media before due to sheer anger at what I was witnessing. I have never seen a game that fails in every single sense, that is regarded as such high art by its developers. Except maybe David Cage, but he’s a topic for another day.

YIIK: A Postmodern RPG is one of the worst pieces of media I have ever had the displeasure of viewing... probably in my entire life. I wish I was exaggerating.

Before I go any further, I would like give immense credit to GrandmaParty and the others at the Something Awful forums for doing an LP of the game with commentary and cutting out the fights. GrandmaParty graciously linked the thread to me--which is full of sources that I will also be linking to throughout this piece--and made the entire game tolerable enough for me to power through. It wouldn’t have happened without you guys, so thank you very much for extending a hand to a small creator trying to get her footing in the world. <3

I will also be linking to the various episodes of GrandmaParty’s LP with timestamped links to show particular scenes or dialogue. I’ve heard that one Andrew Allanson likes to say that people doctored screenshots of his game to make him look bad. Sorry, but I don’t like being accused of forgery, so I’m going to just preemptively strike that claim down.

Now then. This is going to be a big, long review. Allow me to tell you how we’ll be separating this.

We’re going to have two main sections: a non-spoiler review, and a spoiler review. This is mainly due to the fact that a lot of the game’s issues come from its mess of a story, one that can only be understood fully if you’ve seen it through to the end (and its multiple endings).

But let me be clear here.

DO NOT BUY THIS GAME.

Don’t buy it for a laugh. Don’t buy it to see how bad it is. It’s broken, it’s offensive, and the creators and proven themselves time and time again to be genuinely awful and prejudiced people. Do not give these people money.

The non-spoiler and spoiler sections will be divided into subsections, which may also have subsections of their own.

With that said... let’s begin my review of YIIK: A Postmodern RPG.

Non-Spoiler Review

Plot:

The plot of YIIK (it’s pronounced like Y2K, but I’m going to pronounce it as ‘yick’ personally) follows Alex, a freshly-graduated college student, and the strange events that begin to occur once he returns to his hometown of Frankton. He follows a cat to an old factory/hotel, where he meets Sammy, a young woman who appears to live there. When she is taken by some mysterious creatures in front of Alex, he begins a journey to try and find out what happened to her, and begins to make discoveries that could endanger the very fabric of the universe. In theory, at least. In reality, the story is an absolute clusterfuck of vague metaphysics, and the rules of the world were never clearly established, so everything just becomes an incoherent mess.

Characters:

The characters are bare-bones at best and absolutely insufferable at worst. Alex especially is infamous among critics and detractors of the game for his arrogance, ignorance, underlying racism/sexism we’ll get to that, and lack of properly-written development. I’m not going to go into full detail with Alex just yet--there will be an entirely separate post on him. Something also to keep in mind that general consensus appears to be that Alex is an author-insert for Andrew Allanson. Whether that is or isn’t true is frankly up to the viewer, but there’s no definitive proof of it.

(Oh!!! Quick thing!! This image here keeps circulating around--this person is not Andrew! That is someone named Cr33pyDude on both Twitter and Reddit! He just so happens to look like the main character. Don’t rag on this guy, everyone, he doesn’t have anything to do with this shitshow. <3)

Most of the other characters are bland and underdeveloped, but all have potential to be better (Rory especially, in my personal opinion) if they were in the hands of a better writer. The female characters, though... either they are fawning over Alex, being written as nagging and overbearing, or having so little significance that taking them out entirely would change nothing. Don’t worry, we’ll get to that. Other NPCs are forgettable, and enemies are out-of-place monsters that hold no consequence to the story.

Writing:

And the writing--dear god the writing. The writers don’t know the phrase “show, don’t tell.” So frequently would Alex monologue about nothing. Upon coming back from seeing a woman get taken by supernatural creatures, he goes home and reflects--only to go on a tangent about his mother. Immediately after that, he goes on a rant about p/o/r/n/ when sent an email and how girls that he used to go to school with wouldn’t be doing “particularly unladylike” things. And the entire game is like this. Alex will go on pseudo-philosophical rants to himself, and they reveal nothing about his character except that he thinks he’s better than everyone else. He’ll also frequently describe things as though talking to someone--while this does get explained later, it still is completely frustrating when the narrative says “I said this and she said that” instead of just having dialogue or actions between characters. A lot of the dialogue doesn’t exactly... sound like anything a human would say. It’s stilted and unnatural.

Graphics:

The graphics are... bad. Really bad. The style is supposed to be a throwback to old-school, very polygonal games, but environments lack any and all actual texture, making them incredibly flat and uninteresting at best and painful for the eyes at worst. Everything is extremely colorful, but in the sense of neon colors. Everything is so bright and vibrant, and there is barely a place where someone’s eyes can rest--it’s balance in art. Brightness like this needs to be contrasted with darker, more muted shades, or else it just hurts to look at. The viewer’s eyes need places to rest, and the muted shades allow them that reprieve. You don’t get that with YIIK. It’s just a constant bombardment of colors and lights, to the point where if you are sensitive to these kinds of things, you may not want to look even at game footage unless you’re prepared. The character portraits are fine, even if some expressions are odd, but the in-game chibi-esque models are... bad. Really bad. They’re so uncanny and unsettling, and their expressions almost never change. (Also Alex has detailed teeth and it’s just as horrifying as you might think.)

Music/Audio:

The music is. Awful? It’s awful. It’s genuinely really bad. Case in point: one of the boss battle themes. You can hear this poor guy trying so hard to put power behind his voice, but it just sounds unnatural and strained. (Also he clips the mic at some points, and the balancing in general is. Bad.) He’s out-of-tune and occasionally off-beat, and it just makes for a very unpleasant listening experience. And a lot of the music is like this, being just an assault on the ears. The one real exception to this is the track “Into the Mind” made by one Toby Fox, presumably before he made Undertale and was doing freelance work. (He has since deleted his tweet promoting it. Screenshot of the tweet here, courtesy of @GameTheoryRejects.) The audio in general is poor, with irritating sound effects, occasional distorted audio that’s supposed to be scary but is so poorly done that it just hurts to listen to, and voice acting that’s lackluster at best and utterly emotionless at worst.

Gameplay:

Full disclosure: I did not personally play the game. But just looking at it shows how irritating, slow, clunky, and repetitive it is. Each character has a minigame that you play in order to attack, defend, use special attacks, and even run away. These minigames, unlike in something like the Mario & Luigi series, are slow, drawn-out, and completely break up the flow of the fight. And none of the other characters matter then anyway, because turns out if you max out your LUK stat, you can use a particular move that hits all enemies and completely one-shot them from critical damage. (And this move can even glitch out the game in some cases!) The menus are crowded and visually uninteresting, making everything sort of meld together. (Another minor criticism: YIIK has a tendency to put the player in unwinnable fights. You are never aware of what fights are winnable and which fights are designed to kill you. More on this later.)

Speaking of gameplay, the leveling system is... bizarre and tedious. You get EXP, but you don’t gain the ability to level up (yes that is an ability you have to gain) until a couple hours into the game. Leveling up is done in the Mind Dungeon, which you access from save points, and you have to go through doors that increase the stats you assign it. There are four doors per floor, and when you go to the next floor, you and all of your teammates (even if you haven’t met them in-game) level up. Sounds simple, right? Well. It’s slow and repetitive, and NOTHING HAPPENS. You walk in a door. You walk out the door. Rinse and repeat for 70 floors. (280 doors, by the way.) Here’s GrandmaParty doing this for an hour to get an idea of the tedium that this induces. You get to play a minigame when you banish certain enemies, but that serves less as ‘spicing up the gameplay’ and more of ‘adding more steps to this already-boring section.’

So to recap: Flat characters, word-salad plot, painful prose flat-out ugly graphics, backwards gameplay and leveling system.

Tl;dr: Game bad. Don’t buy it.

... This ends the non-spoiler portion of the review. And also the section where we start to talk about some... sensitive topics.

As such, I am going to issue a legitimate trigger warning: the following pieces talk about suicide/depression in detail, as well as physical & domestic abuse situations.

And a small content warning for those who aren’t legitimately triggered by these subjects but still feel uncomfortable reading about the following: homophobia/transphobia; sexism; racism; and the actual use of a real-life woman’s death as a plot device. No I am not fucking kidding about that last one.

So. Let’s get into the real shit about YIIK.

Spoiler Review

Plot:

Let’s start with the plot. There isn’t really a driving force for this plot; initially, it’s finding Semi “Sammy” Pak (well, everyone except Rory says “Park,” even though all of the written lines say “Pak,” so that’s great) after she is taken by mysterious figures. However, as the game progresses, the search becomes less about finding Sammy until she’s just a footnote, and becomes more about... meandering around the world going from one goal to another while fighting things. (The game points this out, but self-awareness doesn’t excuse the fact that it happens. Especially considering the upcoming plot points...)

Then the metaphysics start--people have been trying to decipher this world’s rules for a while with little success, so bear with me, I’m going to try to make as much sense of what we’re given as possible.

There exists a “place between places“ known as the Soul Space. It exists between parallel realities. A person can actually will themself into the Soul Space via... depression? One character, Vella, says that another character, Rory, left his body when he “surrendered himself to his misery” following the death of his younger sister, and explained herself that she fell into a deep depression as well before entering the Soul Space... but it’s not dying? Or it can be? Here Rory asks The Essentia 2000 oh we’ll get to her don’t you worry if dying means you enter the Soul Space. She says that it’s complicated. Her explanation boils down to, “if you care only about material goods and not about your bonds, when you die, you will cease to exist. If you don’t care about materialistic goods when you die, then ehhhhh???”

Also, if your reality is destroyed but you go into the Soul Space, you can become a Soul Survivor (aka the not-Starmen, seen in the cutscene with Vella and Rory linked above) and get stuck in other’s realities as you try to find a physical body. Also, people share a Soul across parallel realities--meaning, parallel versions of yourself would share the same Soul. But they’re not the same people. They have different lives, races, genders, names, but they share the same “Soul.” Only one person with that “Soul” can exist in a reality at a time, hence the form that the Soul Survivors take if they enter a reality where another person with that “Soul” lives. If, however, that person with your “Soul” is no longer in that reality, you can retake physical form and essentially take their place--though not as them, but as you.

And if you go into the Soul Space you apparently understand the secrets of the universe and are beyond normal human follies.

Confused yet? Me too, and I wrote this damn thing. The worldbuilding is so vague, and the players aren’t given set rules that the world plays by. Even when the more surrealist elements of the game start to appear, there should still be rules. Perhaps nonsensical rules, but rules nonetheless. Instead we get talk about Souls and parallel realities, scenes of bright colors and strange imagery that never gets explained or really acknowledged (other than a mention of them being “breaks in reality” like, once), and some plot twists that imply... a lot.

Let’s talk about the characters before we get to the ending.

Characters

Besides Alex, there are five major characters in YIIK:

Michael, who is Alex’s childhood friend and who doesn’t really have much relevance between the beginning and the end of the game. No, really, for the middle portion of the game, he doesn’t really do anything. He hangs around, that’s about it. He gains relevance again during the end of the game where he goes into the Soul Space and becomes Proto-Michael, and that... happens, I guess. I think it contributes to the revelation later on about reality breaking.

Vella is... a strange character. A strange character forced to contradict herself because the plot demands it. She’s shown to be a character who takes no shit, but also bends at the first flimsy apology Alex gives her. She is compassionate to someone like Rory, but spends most of her time calling out Alex. (And yet, somehow, they fall in love???) These notes I took previously on Vella’s first appearance show how what kind of walking contradiction that Vella is as a character:

”Stop creeping on me while i’m at work”

”Okay I’ll go to the house of two strangers who i just accused of perving on me, in the middle of my work shift, to look at these pictures of me on this website i’ve never heard of that can’t go wrong”

”So let me tell you about this traumatizing experience i had with a supernatural creature, saying how emotional and painful it was without any emotion in my voice”

”also i’m not going to tell you how I got to where the supernatural creature was because it’s very personal and I don’t know you and revealing that would make me vulnerable”

”By the way I’m going to give you my number as well as this other number for a training dungeon basically because I like you two”

... yeah,

Rory is probably my favorite character out of this dreck, and he deserves so, so much better than being in this shit. He’s a quiet scene kid who initially gets roped into the plot with the disappearance of his 12-year-old sister--turns out, however, that she killed herself, and Rory struggles with the resulting grief, trauma, and depression that follows. He’s a sweet kid who’s a pacifist, is teaching himself how to make games, knows a lot of random bits of information about many things, and overall deserves so much better than this game. Sorry Allansons you’ve lost your Rory privileges he is My son now

Claudio and Chondra... are just kind of there? Claudio’s a stereotypical weeb. Chondra is the “sassy black girl”/little sister type (which is later revealed to be even stranger, because she’s apparently a graduate student). They don’t have much outside of that, and that’s a shame, since they had a lot of potential to be really good. However, they also seem a bit... tacked on and included for diversity’s sake, as both of them mention racism at some point, and... yeah. The game isn’t very graceful with that topic, as I’ll soon get into.

There is also the character of Panda, who appears out of nowhere in the factory/hotel and is never questioned. It becomes very clear that he’s a figment of Alex’s imagination, and is Alex personifying him as his sort of “conscious“ when he is, in reality, only a stuffed bear. He only talks when Alex is alone. A lot of people really don’t like him, but I will admit that I got mildly emotional when he drifted away in space near the end--but only because I myself make stuffed animals and dolls, so nearly any stuffed animal holds a place in my heart. However, I can very much see why people wouldn’t like him at all.

Anyway.

The Fucking Ending:

So everyone just kind of meanders around for the middle portion of the game until surprise! On New Years’ Eve the world is going to be destroyed. Not just the world--the entire reality. And it’s going to be Alex’s fault, somehow. Also Sammy--who Alex becomes obsessed with--Vella--who is an explicit love interest for Alex--and an android--the previously-mentioned The Essentia 2000, who Alex has a dream about and immediately becomes infatuated--with all turn out to be the same person! Why pick between love interests when they can all just turn out to be the same person?! Also, Sammy was taken by apparent demons because her Soul was in the process of going into the Soul Space, and the creatures the took her were actually the other 2/3rds of her Soul that had already gone into the Soul Space and they were just collecting the last piece. I think.

The game turns into a watered-down version of Persona 3, where you have about a month--from Thanksgiving until New Years’ Eve--to train and get strong enough to stop whatever is going to destroy reality. (The actual Y2K thing is mentioned about halfway through and serves little relevance other than to mark when the end of the world is, since Y2K isn’t actually the cause of the world ending). Then there are some weird plot twists about how reality has been breaking for a long while (this was briefly foreshadowed in Alex going to Michael’s house only to be told that Michael doesn’t live there, and then going to another house where Michael is) and it makes a lot of things really confusing?? And then New Years’ Eve comes where everything is really breaking. Turns out the end of this reality is caused by a meteor with Alex’s face on it a la the moon from Majora’s Mask, no I am not fucking kidding. And it moves around like an inflatable arm-flailing tube man, no I am not fucking kidding.

And then everyone dies. No, really, this is an unwinnable fight. You die. Your entire party dies. Their reality is destroyed.

Alex wanders around the Soul Space for a while until he finds other versions of himself, and various “dark versions” merge together to create the Proto-Comet (’proto’ being the suffix to describe the end product of parallel selves merging together to form one entity). Alex follows the comet around as it destroys reality after reality until...

He finds one that hasn’t been attacked.

And gueeeeeeess what?

You, the player, are a parallel version of Alex. So he enlists you and another party of parallels (using the names you were supposed to input in the beginning) to destroy Proto-Alex. Here, you meet a spectre who is very obviously Sammy Pak, and she says that she’s sorry that Essentia “used her to get to you,” and you hug her.

Eventually you do get to Proto-Alex, as well as a different form of Essentia. Turns out that Essentia lied to you about Sammy and Vella--turns out, Essentia IS you. Well, Essentia is part of Alex, and she tricked Alex into destroying Proto-Alex in order to free herself from the “Soul” that they share. So you can choose to fight Proto-Alex, and if you do, you lose. Again. The boss fight in unwinnable.

And then this... really weird section happens with the character of Roy from Two Brothers, Ackk Studios’ previous game that got pulled from Steam due to bugginess and crashing. Roy basically says that people were “trying to stop his quest” (aka critics) and that Alex shouldn’t give up. (Note that this is a complete non-sequitur to anyone who doesn’t know who Roy is, where he came from, or the story behind the game being pulled.)

After that, you control both the player avatar given and Alex in order to “unplug” Proto-Alex and Essentia, which will make them “whole”? It basically means that all the versions of Alex will merge together into you, the player.

Then the game ends.

At least. Kind of. There’s more than one ending.

But... we’ll get back to that in a bit.

There are many questions the game raises without answers. Why was Sammy bleeding and screaming for the Soul Survivors not to take her because “you promised you wouldn’t move me again!”? Who actually is Vella? Why did no one question Essentia and Vella being in the same space if it was already said that they couldn’t be? Who actually is Sammy? Why is she a ghost and not a Soul Survivor? Why were Proto-Alex and the other “dark Alex”-es trying to destroy realities? Why does Proto-Alex look different than the other Alex-es, who look relatively similar? Who actually was the voice on the phone--it was implied to be Proto-Michael, but he didn’t exist when those phone calls were made? Is Claudio and Chondra’s missing younger brother actually a version of Alex, as this clip implies (esp. w/ the anime shirt)?

Good luck getting answers, because we sure as hell don’t get any.

Also--glad to know that the entire month of training that you spent the latter half of the game doing was all for naught, since the last two major fights you’re in are unwinnable. There are four minibosses to fight, so it isn’t all for nothing, but still. You don’t even get the satisfaction of killing the final boss. You pull a lever and he and Essentia get weirdly electrocuted.

One more thing: the twist of “Essentia lied to you” made a metric fuckton of exposition in her Mind Dungeon utterly pointless, and also feels like a flimsy excuse to absolve Alex of blame for the shitty actions of his parallel selves--more on that later.

So let’s touch on some controversy now that we have gone over the rest of this incoherent mess of a plot.

Elisa Lam

One of the most famous controversies of YIIK is the use of Elisa Lam’s death to propel the story. This is true--the creator admits that he “was very moved” by Lam’s death.

For those not in the know, let me give you a brief summary of the case of Elisa Lam. (Yes this is going to be primarily from Wikipedia but it also has news sources cited for it.) Elisa Lam was a 21-year-old Chinese-Canadian student who was reported missing at the beginning of February 2013. On February 17th, the workers at the Cecil Hotel in Los Angeles (where Lam was visiting) discovered her nude body in one of the hotel’s water tanks after guests complained about the taste of the water. The police released footage of Lam, from the day of her disappearance, acting strangely in an elevator, appearing to be hiding from something, pressing elevator buttons, and gesturing and talking to no one. There was controversy surrounding her death, as people wondered how she could have locked herself in the water tank, and how the police could rule her death as accidental. People have suspected that it was due to paranormal activity that she was acting like that, or others said that she could have been having hallucinations (as Lam was diagnosed with bipolar and depression). Her death was quickly spread through internet circles as some paranormal myth.

YIIK incorporates this as a huge part of its starting plot.

Semi “Sammy” Pak is very clearly inspired by Elisa Lam. The two bear striking resemblance to one another, being young Asian women in their early twenties with straight black hair (even parted in the same place)--and this photo from the LA Times shows that Lam wore rounded glasses, like the ones Sammy wears. (Lam is Chinese-Canadian, while Sammy is stated to be Koren-American. Sammy is also 23 when Lam was 21.)

This photoset from JamJamJamJamuel shows the biggest criticism of YIIK: the recreation of the elevator video. It’s obvious by the angle and some of Sammy’s movements that this was, in fact, meant to emulate the elevator video of Lam. The game also shows that people are less concerned about Sammy as a person and more about the mystery of the elevator, like the internet stopped caring about Lam as a person and more of a supernatural myth.

However, there’s more than just this.

There’s a weird... almost fetishistic nature when the in-game protagonist talks about Sammy. Alex describes his meeting with her as “intimate” (they met for like. an hour), calls her “my Sammy” when comparing his story to the story of the news, says that he “misse[s] her. I didn’t know her really, but I felt like I did.” And the very next line is uh. “In the unreal twilight hours, in-between sleep and waking, she slipped into my dreams, got tangled in my thoughts, like the blankets tangled between my legs, her brain melting with mine.”

... Gross, to say the least.

And yes, by the way, Sammy basically becomes a love interest. That’s not completely disrespectful and disgusting to the actual human woman that the devs never met or anything at aaaaaaaall.

BUT WAIT, THERE’S MORE.

Rory basically goes on to describe a “creepy urban myth” about the water tower near his town. You can imagine what that leads to. It’s a beat-by-beat retelling of the finding of Elisa Lam’s body, except they make it a “nameless girl,” and the writers basically insert their opinions of how it was definitely a murder and the police called it an accident.

More tasteless than a fucking saltine.

OH BUT WAIT THERE’S EVEN MORE.

Near the end of the game, you find the ghost of Sammy Pak. Since she’s not a part of Essentia, it seems that Essentia used her form to get to Alex. She says that she’s sorry and that she’s going to go back ‘home’ now, and you hug her.

But that’s not even the worst of it.

Allow me to tell you about the second ending.

Second Ending:

YIIK has more than one ending--both are considered canon. Ending 1 is the one described above.

Ending 2, however...

Just before leaving the house for the last time, in order to get this second ending, you have to look at the computer in Alex’s house and read this post. It implies that you need to go find Sammy. (It also has some things to say about postmodernism but that’s for another day.)

You go outside... and she’s hiding behind a tree outside your house. No I’m not kidding. (Granted, this is the part of the game where reality is beginning to break apart, so.) She also says “I love you” which, given her “inspiration” by Elisa Lam... yeah. That’s not creepy and tasteless at all. And it also doesn’t make any FUCKING SENSE BECAUSE ALEX KNEW HER FOR AN HOUR AND NEVER SAW HER AGAIN.

Okay, okay, anyway, if you go back into the house and leave through the back entrance, you’ll be taken to the world map. Your destination is the KNN--the Korean News Network, where Sammy had been employed before she vanished. The faceless NPCs only refer to Alex as the name you put in at the beginning of the game, so presumably, everyone from this point forward is now talking to you, the player. (Also everything is pink. Really pink. For no real reason unless it’s “””symbolic””” of something?) You wander around for a bit, doing menial tasks, until you finally get to a pink version of the room you first met Sammy in. She calls you on a phone and tells you that she’s sorry for dragging you into this mess (because Alex/the player went looking for Sammy in the first place), and that she “has a solution” to prevent Essentia from using Alex any more.

You find yourself in front of an elevator, the same elevator that you rode with Sammy when she disappeared. She calls you on the phone again and says that if you go through the elevator doors, there’s no turning back. If you step through, you see the spectre of Sammy again, and she wants to show you where she’s been. You hug her, and she says that she’s so glad that she met you, “even if it was just a game. We’ll be together in your waking reality one day, I’m sure of it. For all I know, we may already be.”

... Roll credits!

No. Seriously. That’s the second ending. You, the player, (presumably) go into the Soul Space with Sammy for eternity, and Sammy basically gives you a love confession (after all she says “I love you” before anyway).

Need I remind you all that she is based off of a REAL-LIFE WOMAN WHO DIED THAT NEITHER OF THE ALLANSONS KNEW?!

Hi, yes, sorry, I’m fucking livid about this. Not just because of the disgusting use of a real-life woman’s death in your game, not just because they fetishized her and turned her into a love interest, not just one of the endings--which is a canon ending--had her telling you she loves you and having you go off with her...

... but because this game has been in development since 2013.

Elisa Lam wasn’t even dead for a fucking year.

Yes, other media has cropped up about Lam’s death, and I think it’s just as tacky and tasteless as this. But these guys had so much time to change it, to have someone say “hey maybe you shouldn’t do that,” and it happened anyway. The sheer lack of respect that the Allansons have for not just Lam but also her still-grieving family is astonishing, and it genuinely makes me sick. My thoughts and condolences to the family of Elisa Lam, having to deal with the press, internet conspirators, and people like this. I hope that they all can still find some sense of peace, even with all of this going on.

Racism:

So this game can be really, really fucking racist sometimes. Let’s start with the more explicit dialogue.

In the very beginning, Sammy calls Alex a ginger, and he says “that’s our word.” He’s equating “ginger” to a derogatory slur.

Here’s the next instance, with Alex referring to Vella--an Asian woman--as “vaguely ethnic” and “exotic.” (He doesn’t face consequences for this, either. Just a slap on the wrist of “don’t talk about race.”)

Later on, Chondra talks about race in an actually not that bad rant about how “I bet if [my brother] had been a beautiful white woman, everyone would have cared that he vanished.” This actually is somewhat insightful, as... well, it’s rather true. POC, when it comes to investigations, are often pushed aside, ignored, or given the least amount of effort. And then Chondra also calls out Alex’s lowkey racist fantasy of “being the white knight swooping in and saving the exotic Korean girl.” However... that’s it. Alex doesn’t get any insight from that, or rethink his reasons on why he wants to save Sammy.

And that’s where we get into Claudio and Chondra and the more implicit racism in the game. Neither of them have much in terms of personality--Claudio likes anime, Chondra is there for quips. Neither of them have any significant arcs, nor do they serve much story purpose beyond being extra party members and talking about race--which feels racist in and of itself, just to have characters of color there to talk about race. (Claudio even goes into an extensive rant about how it’d be racist to think that he knows how to pick locks, but he does know how to pick locks, just not the type that they need open. It comes out of nowhere, is utterly unwarranted, and is completely against the rather chill persona that Claudio has had up until then.) Their characters had a lot of potential to be good! However, much like every other character, they’re very underdeveloped.

(Also, if you have either Claudio or Chondra in your party when you get attacked by cop enemies, they will only shoot at either of them, you know, the only black characters in the main party, and my god I wish I was kidding.)

And then... the love interests.

Sammy is a Korean woman. Vella is an Asian woman of unknown descent. The Essentia 2000 has shown that many of her parallel lives are women of color. All of them are love interests for Alex, the white hero. Yeah. And the game calls it out, but no actual repercussions are given!

Speaking of these ladies...

Sexism

This game is really fucking sexist. Like, genuinely, it’s really sexist.

I think a lot of Vella’s contradictory character comes from this sexism and seeing her as a love interest rather than a character. Though she calls out Alex and is upset with him most of the time, she still accepts his weak apologies very easily--apologies that seem very manipulative and insincere when almost immediately after, Alex tries to convince her to let him into her Mind Dungeon, and if you take that as a metaphor than it gets even worse.

As well, Vella’s backstory includes her being used by a much-older man. What can you do after she tells this traumatic story about her being used by a man? Kiss her. And she doesn’t even get upset or angry with you; she just blushes and says to head back to the others. Because that’s not gross and manipulative or anything. That’s not taking advantage of a vulnerable woman at ALL.

The only female characters of importance that aren’t lusting after Alex are his mom and Chondra--I’ve already mentioned that Chondra has little story importance and personality, and Alex sees his mom as nagging for asking him to get groceries, gets angry at her when she says that she lost her job and asks him to get one to support the house (please note that she paid for his and his sister’s college educations in full, including semesters she didn’t plan for), and gets annoyed with her freaking out when he went missing for five days.

So yeah. The game doesn’t have the highest view of women.

But let’s talk specifically about Essentia. Essentia mentions that Alex has hurt her in parallel realities--but it’s okay, because they’re parallel versions, not actually him! And Essentia reveals that Alex’s parallel was the person who hurt Vella! But it’s okay, because she’ll love him unconditionally no matter how much he hurts her. It’s... really reminiscent of domestic abuse. And it frankly doesn’t matter that Essentia turns out to be a part of Alex and that any of the story of Vella or Sammy isn’t true; the game frames it as perfectly okay that it might have happened. It’s okay that parallel versions of Alex have hurt parallel versions of Essentia, because she loves him. It’s incredibly twisted, and it’s honestly a dangerous message to be sending.

(Also, in a very weird instance of sexism against men, out of all of the parallel selves that Essentia shows Alex, the only man is extremely hostile and violent towards Alex. It’s... kind of weird, honestly.)

Depression/Suicide:

Oh boy. Oh fucking boy.

A little background on myself.

I’m two years into my undergrad for a Psychology/Criminology double major. Classes I have taken include classes about pathologies of the mind and mental health (Psychopathology of Childhood, Developmental Psychology, Personality Psychology, Seminar on Positive Psychology, and of course Basic Psychology to be specific). I have also been clinically diagnosed with anxiety/depression, and both of these are genetically based, meaning that I have lived with them my whole life and will continue to live with them. (I am medicated, for anyone wondering. The meds are the only way I can function at a normal level.) I have felt suicidal before, I have had friends who have been suicidal before, and I have talked others down from self-harm or suicide. I’m not an expert, but I know a thing or two about mental health, depression, and suicide.

This game... this game doesn’t fucking get it at all.

(Just a quick thing: the game makes an OCD joke. Obsessive-Compulsive Disorder jokes aren’t funny, folks, since people who have it are affected by it all the time to the point of it often being debilitating. Just wanted to mention it a) to give you an idea on how the game handles mental health and b) because it really doesn’t fit anywhere else.)

Most of this surrounds the character of Rory, as he clearly suffers from depression and suicidal thoughts, as well as feeling grief surrounding his sister’s own suicide. When this is revealed, you know what Vella says to “comfort” him? “Pain is inevitable. Suffering is optional. I understand what you were feeling. 'This depression is unbearable.' 'I can't take it anymore.' The 'depression/pain' part is an unavoidable reality, but whether or not you can overcome it is up to you. You decide if you're going to keep going. Your sister is dead. Nothing can change that. [...] You can't help but feel the pain, but you can get through the suffering. That will go away. Look, I understand that it's easy for me to say. I'm not the one whose sister is dead. But you have to understand that I am telling you the true reality of the situation. You're playing with some otherworldly dangers here!“

Let me break this down to show you why this is not something to say to someone who is traumatized and in a deep depression due to the loss of a loved one.

“[W]hether or not you can overcome it is up to you.” This puts full responsibility of overcoming grief and depression onto the person suffering from it, which is not okay, and not true. Rory lost his 12-year-old sister to suicide! Very recently in the game’s timeline, as well!

Vella is basically telling him “it’s your job to get over your grief and depression.” Putting full responsibility on someone for feeling depression and grief is disgusting. If someone is grieving, what they should do is reach out. If they aren’t, reach out to them. Don’t let them suffer alone. Suffering like this is not a choice. People don’t choose to suffer.

By saying that suffering is “optional,” it subtly blames the person suffering for their own suffering, which makes their chances of getting better plummet. So frequently will people suffering from mental disorders put the blame on themselves for “not trying hard enough” or “being broken” or “not being good enough” because they think that this is all their own fault, and they won’t seek help, because “it’s all my fault.”

Now, when someone is in recovery? Yes, they should definitely try--even if it’s in small bits at a time--to to learn to cope with their disorders in healthy ways. However, when in recovery, the person is assisted by therapists, friends, family, and possibly medications. They aren’t alone. They aren’t alone, and are often guided by those who know how to help them and want to help them. The responsibility isn’t pushed solely onto them. One doesn’t “get over” being depressed. They learn to cope. They learn to accept it as a part of them, rather than all of them, and learn that they are more than their depression. The suffering never truly goes away; it can lessen, though, and a person can learn to live with it.

Some people may defend this by saying that the Allansons lost their mother very recently, and this is how they handle their grief. I lost my father in February of last year. I know this type of grief. And just because that’s how they handle their grief, that doesn’t mean it’s a healthy way of coping, nor the type of coping mechanism you should promote in your game. (I will admit that my own methods of coping weren’t great, and that I’m trying to improve on that now.) There’s a quote that I heard somewhere that goes something like, “grief never really goes away. We just learn to live with it.” That suffering doesn’t ‘go away.’ It ebbs and flows, some days being bearable, and other days not.

But that’s not the end, friends. Oh, far from it.

At one point, you can flat-out tell Rory to “stop being depressed. Being depressed is a choice.” It is noted to be the “wrong” choice, however, Rory barely reacts to it, making it not seem like the wrong decision. I don’t feel like I need to explain why “depression is a choice” is a take colder than the depths of space. Depression’s not a choice, folks. Hell, I would love it if it was, I would love to stop the fatigue, the emptiness, the lethargy, the lack of motivation, the irritability, the messed-up appetite, the fucked-up sleep patterns, the fits of crying. That would be fucking great. But I can’t. BECAUSE IT’S NOT A CHOICE, YOU WALNUT.

Okay, okay, sorry, back on topic. So let’s say you’re mean to Rory. You wanna know what happens?

He kills himself. And according to this user, the story doesn’t change and barely acknowledges Rory after his death. (Obviously there’s not footage out there of the characters mentioning that Rory committed suicide. However, the developers themselves commented on the previously-linked Steam forum post confirming its legitimacy. This is so unbelievably fucked up. Suicide is already a topic that should be handled with care, but having a main character commit suicide and have that death have no impact on the story? I don’t even have words for how deplorable that is. (Doesn’t help that the game basically pushes whether Rory lives or dies onto the player, which is also disgusting, because I don’t think the developers had the insight into suicidal ideation to know that it’s a multitude of factors that lead to suicide, and not just one person being )

(Sidenote: here are the links to the National Suicide Prevention Line and the Crisis Text Line in case anyone needs them. Please take care, friends. <3)

[Addendum: as I was working on this review and listened to the podcast linked a little further down, Andrew Allanson had this to say at 2:08:47: "When you make an unlikable character, people expect Sherlock Holmes or Dr. House. They want flawed heroes, but only to the extent that they’re beautiful and intelligent and slightly Asperger-y."

Thank you for basically saying that having Asperger’s Syndrome is an unlikable trait or makes people unlikable.]

Anti-LGBTQ+

So let’s talk about the prejudice against non-straight and non-cis people!

Andrew Allanson has been rather fucking clear about his prejudice against trans people and non-straight people. In the “The Dick Show” podcast, starting at 1:45:45, Andrew Allanson was interviewed by the commentators. I will be providing timestamps of quotes since I can’t directly link to them.

(Sidenote: I was listening to this podcast and waiting for Andrew’s pa rt to start, and one of the commentators was talking about Women’s History Month, and saying “If a woman doesn’t have a man, she’s going to expect the government to be her man. That’s just the way they’re wired.” [1:44:24 - 1:44:31]. Yeah. That tells you the type of people who run this podcast and the type of people that Andrew decides to associate himself with.)

[1:52:15 - 1:52:] “... we made the mistake of asking the player, ‘what name did your parents give you?’ And it turns out that that is a very offensive question. Because some people, um, are trans, and don’t use the name their parents gave them. So immediately the game is targeted as being transphobic. [...] So we wanted to basically create a character off of the player in the game, the first thing we ask you ‘are you a boy or a girl,’ ‘what’s your name’, and people were so bent out of shape over this. Look, I’m sympathetic to trans people, I understand why it upset them. But the problem was when we apologized, that wasn’t good enough. People then took it and said ‘what else can we find in this game to prove that it’s offensive?’”

So here’s the thing: that... is lowkey transphobic? Because it’s like you said, these people don’t use the names that their parents gave them. You’re asking them, intentionally or not, to deadname themselves. There’s a reason they call it a “deadname.”

Later on they ask, “which of these do you identify with?” and show a male figure and a female figure. Which frankly, is alright.

And then they changed it in an update to “what do you look like?” which feels like a very direct jab at trans people, especially the ones who were upset by the initial question relating to names.

Oh, and then there’s this part (I only know DIck and Andrew’s voices, I’m afraid I don’t know the third, sorry m8).

[1:54:35 - 1:55:10]

Andrew: So you play as this guy, Alex, you just come home from [college, audio cut out here], you’re an entitled asshole--

Dick: You get points for stomping queers, as I understand it, that’s the game, right? You go around and--

Andrew: The goal is to establish the white ethnostate.

[unintelligible as others laugh and talk over each other]

Dick: --you have a little ‘gaydar’ in the corner and it points you to the nearest homosexual, and then you go, y‘know, “Hammer [X]”

Andrew: It’s - it’s - yeah, it’s a hack-and-slash.

Dick: If you buy the game they send you a special overlay you can put on your controller that turns all the buttons into ‘K.’ So it’s not ‘A’--

Andrew: Yes!

Dick: --Just ‘K,’ ‘K,’ and ‘K.’

Andrew: Just ‘K,’ ‘K’--yeah, exactly, exactly.

So we not only have the mockery of gay folk, but also mention of murdering them (whether in a joking fashion or not, this still isn’t fucking funny and not something to joke about, especially if you are not LGBTQ+ yourself. And to my knowledge, none of these men are).

And that’s just from the creator himself, as well as the first few minutes of the game.

Let’s talk bout The Scene.

What is The Scene? Well, it’s the scene where Alex and Rory talk, where you can tell Rory that “depression is a choice.” Should you be kind and supportive to him, you know what you can do? “Try to kiss [him.]” And there’s art for it. There is literally no reason for this to be here other than “haha it’s a guy trying to kiss another guy, gay people are funny!” It seems to be an attempt at humor, but it fails... rather miserably.

The Legendary Third Ending

I call it “legendary” because no one knows if it actually exists or not, because people can’t find it, regardless of the hints given by the developers.

Andrew, while doing “The Dick Show” interview, mentions that he put DIck Masterson (the host of the show) into the game in the third update [1:45:56] , and that you have to give Dick a pair of aviator glasses, where he will give you a red pill [1:47:15 - 1:47:33]. Dick is also found in Chapter 4 of the game [1:47:40].

The devs also tease it on Twitter, saying that it’s “sad and challenging to complete”, and they give vague and unclear hints that don’t seem to help even the fans of the game--after all, no one has found it, apparently. Even the YIIK Discord (though this is just hearsay) has been losing steam in trying to find this ending.

I think it’s a testament to the quality of the game when one of your major three endings is nigh-impossible to find. (For the record, I feel the same way about how PT went about its ending, and how arbitrary it felt to do these very specific things that the game barely tells you about.)

Miscellaneous Other Things That Don’t Fit In The Above

There are a couple other things that irk me about this game, so time for a rapid-fire round!

You can kiss Rory, who’s implied to be a senior in high school (due to this talk of college). So he’s, at best, 18. Alex had 5 and a half years of college (the game says “five and a quarter” but unless I’m mistaken colleges work in semesters not quarters,), so he’s probably 23-24. Yeah. (There’s also the issue of consent--when you kiss Vella she just blushes and acts more docile, while with Rory, he rather vehemently rejects it. So women just accept an unwanted kiss? Hm.)

You fight a flasher as a miniboss. Because sexual harassment is hilarious. (And if neither Michael nor Rory are 18 yet, then there’s the possibility of minors being involved. YEAH.)

The title card is intentionally glitchy af and it hurts the eyes, honestly.

If you go through New Game+ and go to the 70th floor of the Mind Dungeon, Alex will basically talk to himself about some things:

It mentions that “crows are ugly.” You fool. You absolute buffoon. Crows? Excellent. Very intelligent birbs.

This is basically “hey we suck, but so does everyone around us, it’s fine”

This game unironically uses Wonderwall lyrics in an emotional scene, like I know it was popular and not a meme in the 90s but my guy, you gotta think about the connotations with the audience you’re releasing this for,

“I sighed as the elevator began to shake, vibrating with motion.” Thank you for using three words to describe the elevator shaking,

The One Thing That I Liked

Surprisingly, there is something I liked about this game. Not solely in concept, not in its potential, but in its actual execution.

It starts on the day of New Years’ Eve. It’s dark outside and inside. Alex suddenly starts getting many random calls, some from people he knows, others he doesn’t. Some voices are distorted, some aren’t. Some are talking to him, some aren’t. And they’re quick little calls before they hang up, and Alex barely says a word. He can’t leave the house, and keeps getting phone calls that get more and more distorted as time goes on.

That? I think that actually really works.

It’s a more subtle way of showing reality breaking: getting calls from people, both friends and strangers, that are slowly getting more and more broken, and you can’t do anything. You’re trapped in your house, you can’t see outside, you don’t know what’s going on. You can’t help your friends, even when Michael screams for your help. The slowly deteriorating stability of the calls are your only indication of what’s going on outside.

And for me, that works. It was the one section of the game that I felt legitimately invested in. So, kudos to the devs for that one.

Conclusion

YIIK isn’t just bad. It’s offensive. It’s ignorant, it handles serious topics incredibly clumsily, and the worst of it is that Andrew Allanson considers it to be ‘art.’ (If you’re wondering why I didn’t talk about the “video games aren’t art” quote, don’t worry. That’s going to be its own essay.)

YIIK fails on every level, from technical to storytelling. Please, I beg of you, don’t give this game money. Just go watch the LP.

You may have noticed that I didn’t talk much about the “postmodern” aspect of the game, nor much about Alex as a protagonist.

Both of those are going to be their own separate essays.

This wild ride still ain’t over, folks. Hang on.

#yiik a postmodern rpg #yiik: a postmodern rpg #yiik #andrew allanson #yeehaw #holy shit this one is SO LONG but im so proud of it

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sepiadice · 5 years ago

Text

Art Direction of Tabletop RPGs

Dungeons and Dragons is good at being Dungeons and Dragons.

That shouldn't be a controversial opinion, and it's not worded as one, yet I have one friend who derisively labels it as a war game, and another friend who believes D&D is all you need in regards to TRPGs. These two are from distinct eras of my life, and have never met.[1]

My moderate view is such: Dungeons and Dragons is good. It's not the ultimate system, but if you want a western fantasy built on the framework of Tolkien, Fifth Edition is the way to go. You could use a different system, in theory, but no other system has the same reach and stability. Everyone knows D&D, which is valuable.

Its combat and mechanics are a good balance of grit and function, and it's mostly teachable. My friend's 'wargaming' derision is because he believes it doesn't support role-playing well. Something about the guy who wrote Dungeon World saying if it's not in the rules, it’s not in the game.[2] But I've always felt that D&D makes the right decision in not bogging it down with structure and dictating the 'correct' way to role-play.

However, if you want to do anything else (Sci-fi, non-european fantasy, superheroes, Slice of Life), best case scenario the seams will creak in the attempt. D&D is good at being D&D, and that's the limit.

I appreciate D&D. I'll play D&D, happily!

There's a reason I bristle when “DM” is used as the generic term.

That said, I've always had a sort of tonal disconnect when I play D&D, and it's because of the art.

Fair warning, what follows is a lot of personal interpretations and vague mumbling trying to relay a point. I’m not actually an authority on anything.

(Dungeons & Dragons owned by Wizard of the Coast . Image sourced from Wikipedia)

Dungeons and Dragons does not have pretty art. It’s technically well done, and far from ugly, but it’s not actually inspiring. Above we have the cover of the Player’s Handbook, the first thing most new players see. Setting aside that the focus of the cover art for what should be the book about Player Characters is a giant monster man[4], the cover is very orange. The actual people are composed of muted, neutral colors, and the background is vague and out of focus.

It’s not really conveying an air of fantastic worlds and larger-than-life characters (giant wearing a dragon skeleton aside). It coveys oppression, monotony, and “realism”.

(Pathfidner owned by Paizo. Image sourced from Wikipedia)

Pathfinder’s core rulebook, on the other hand, is colorful. Look at that big, bright dragon![5] Sensibly dressed Fighter Man’s brown clothes are still bright enough to pop him out from the green-grey dungeon background[6], and Fantastic Sorceress’s red dress is also bright and helps frame the Fighter as her hand glows with magic.

While both covers feature a woman with an orb of magic, D&D’s cover shows magic as contained and lighting a small space, while Pathfinder’s magic is big and trailing, hinting at movement.

Actually, D&D’s mage girl doesn’t have a cohesive movement. Is she falling from above? Jumping in from the left? Where is she going? It doesn’t really follow in a meaningful way.

Anyways: color. Yes, yes, I know the plague of brown and and muted tones is a much whined about criticism, and it might seem odd from someone calling himself SepiaDice, but neutral tones have their place; usually as background and supporting other colors to pop more.

Besides, Sepia has a noble history in film, the brown range isn’t a common image color, and Sepia is fun to say.[7]

Color choice is very important. Bright colors draw the eye and make visuals more distinctive. Bright colors also denote and bring energy to things. Dull colors are used for locations meant to be calm and sedate. If you want the characters and locations to seem fun and full of life, you fill it with bright colors.

Everything breaths, adventure can strike at anytime!

Dull colors, and it’s hibernation. People are around, but they don’t seem to enjoy it.

But let’s turn to the visual storytelling: what does each cover tell you about life in their setting?

D&D: lots of posing to look fancy, but there’s no real sense of energy. Jumpy Magerson’s weird Megaman hop has been mentioned, of course. The Giant has a look of dull surprise as he drops Jumpy Magerson,[8] as he holds a sword in the non-active hand. Foreground fencer man is wide open, holding his own foil up and away from where it might accidentally jab anyone. The locations is… orange? Looks like there might be lava geysers?

Patherfinder: A dragon roars at its enemies! Teeth bared, tongue coiled, tendons on display! Wings unfurled to make it seem larger! The fighter is yelling back at the dragon, his weapons mid-swing! Shoulder forwards to defend the rest of the body! The Sorceress is holding a firm stance as she casts a spell that crackles with arcane energy!

Pathfinder’s cover tells a story of epic combat, fizzly magic, and energy. D&D’s cover tells a story of two adventurers existing in a space also occupied by a giant.

Now, both of these systems have the same ancestry, as Pathfinder is an iteration on D&D 3.5.[9] But one sparks more joy when I look at it.

But let’s do another case study. I’ll need an audience volunteer, and my brother’s the only person immediately on hand.

I’m going to make him list three qualities of goblins real quick:

Green

Wimpy

Sneaky

Awesome. Don’t know if the green text translated, but those are what he wrote. Give him a hand!

So, with those three traits in mind, let’s look at a goblin picture from D&D Beyond:

(Owned by Wizards of the Coast. Source here)

Like, you can’t say D&D doesn’t call that a goblin, it’s literally on the goblin page.

This guy is yellow. He’s built like a four foot tall WWE Wrestler. He’s defending with his advancing arm as he rears up to smack ya!

(Okay, “Sneaky” is a hard one to argue.)

Moving on, what does Pathfinder call a Goblin:

(Owned by Paizo. Source here)

Look at this charming miscreant! Green. Big ole head. Good mix of of ugly and oddly adorable. Probably two feet tall, and happens to want your two feet, please, but you could step on him if you’d like.

He also looks like a Gremlin

(An adorable little chaos monster owned by Warner Brothers. Source)

Point is, Pathfinder’s more cartoony take on the classic monster feels more in the spirit of the thing. Every time I see one of those goofy faces, I feel like I’m in for an enjoyable time.

Bringing us back around to the point of this essay: the art direction of D&D bogs down my theater of the mind. The art in the rulebooks don’t inspire creativity or fantastic visions. It inspires… dull, lifeless people walking through dirt roads flanked by dead grass.

I don’t enjoy looking at D&D’s art. Relatedly, I don’t like looking at the art of Magic: the Gathering, whose style I can’t help by see in every D&D sourcebook cover I see. Neither game invokes an inviting world, but utilitarian ones that exist to give quick, forgettable visual flair to represent mechanical card effects.

To save making this long essay even longer and unfocused, I’ll save talk of actual ‘canon’ lore for another time.[10]

So why do I, a semi-professional funny man and sad dreamer who can’t actually draw, want to talk about rulebook art?

Well, I’ve always felt a disconnect when I play D&D. I make the characters, I roll the dice, I attempt to role-play, but I’ve always had an emotional gap between me and the character I’m playing. I like the concept, but when I use my theater of the mind, the character feels stiff and divorced from everything. Kind of like the 5th Edition rulebook.

Then I saw this:

(Source tweet. All of this artist’s work is great and I wish I could hire them.)

This half-elf showed up on my twitter timeline, and my first thought was ‘How come my characters don’t look like that?’

Soon followed by ‘Why couldn’t they?’

Then I completed the trilogy with ‘Why haven’t I imagined my characters in a style appealing to me?’

As I was deep into contemplating what sort of aesthetic I consider my “brand”,[11] it was entering a mind primed to start overanalyzing.

So, how do I imagine my characters? In the neighborhood of the D&D art, if I have firm concept. Micah Krane always was mentally nebulous to me, just kinda being a generic half-elf dude. Trix (who was created for the brightly colored Pathfinder) is green-haired and wears a tail coat, but otherwise is also normal looking in my mind’s eye. In the last two D&D campaigns, Tybalt was also vague in appearance, and Teddi had Goat horns, but those were meant to stand out on a generic rogue character.[13]

But you know what I’ve never put on a character I’ve played? Glasses.

I hope that those who read my various media reviews[14] don’t need this overly explained, but I like glasses. I, myself, don’t wear glasses, but I find them to be great accessories in character design. Frames the eyes, come in a variety of shapes, adds bit of extra visual interest. I always point out Meganekkos and pay them extra attention.[15] I really, really like girls with glasses.

But I’ve never made one. Because there’s no cute design in D&D rulebooks. Just a range of handsome people to ugly halflings.[16]

That is the effect of art design in a system. It sets tone, expectations, and aesthetic for the players. It’s so ingrained that everytime I see art of players’ characters that break the standard, it always takes me aback. It’s inspiring to see artists who manage to divorce D&D the game from D&D the art.

I want to imagine fun, personally appealing characters. But the subtle direction of the insert art as I look through to rulebook, or the provided character portraits of D&D Beyond does not suggest things I like to see. It infects the mind, and leaves specific molds. People in practical, mundane clothes, walking down drab, uninteresting roads.

It’s the same lack of escapism that makes Western (Video Game) RPGs super unappealing to me.[17] Dark Souls, Elder Scrolls, Bioshock don’t look like fun places to be, they look tiring and full of splintery furniture waiting to do 1d4 nonlethal damage.

So I have to talk about anime now.

My mother was staying at my home a little while ago, and I turned on My Roommate is a Cat. This prompted her ask me about what about anime was appealing. I couldn’t form a competent answer for the question at the time, but it’s had time to churn in my head.

Anime is a good middle ground between cartoon and realism. It can broach deeper topics and more mature storytelling than children’s cartoons,[18] without sacrificing a light visual tone and fantastic imagery. Also, the fact that it’s produced by a non-American, non-European culture lends a degree of separation with cultural expectations and tropes. Enhances Escapism.

Luckily, in (very) recent years, after generations of exchanging video games and animation back and forth, Japanese Tabletop RPGs are starting to join in on the fun.

Which means I can look at Ryuutama.

(Image copied from DriveThruRPG. Brought over the pacific by Kotodama Heavy Industries. Buy this book.)

I love this system.

Watercolor art direction. Layout evokes a spellbook. Two Characters and a Dog take the focus on the cover, while the road signs and tiny shrine in the background invoke the emphasis on travel and wonder.

The interior art?

(Taken off the Ryuutama (english) website. Buy this book.)

Well, that makes the game just look like fun. Cartoony characters fighting cat goblins. Conflict, but it doesn’t make life feel like a constant struggle. A world I wish to inhabit. There’s also more detailed images of dragons and other world-establishing pictures mixed in to give the art range, but it’s this sort of charming that makes Ryuutama the first rulebook I actually sat and read cover to cover.[19] It’s a good system I already reviewed. Buy this PDF, maybe they’ll reprint the physical book.

Anyways, I’ll admit, the art’s a little too simple for D&D. Perfect for Ryuutama, and the end of the scale I want my mental image to be, but overshoots the sweet spot. And it’s difficult enough to find players for the much more popular 5e, so Ryuutama exclusivity would grind my playtime to zero.

Still, Ryuutama does a great job of setting it’s light, fantastic tone, where D&D has failed me. The art direction of the books, and years of exposure and defaulting to what I assume D&D should look for establishes a mental habit that’s hard to break. Wizards of the Coast has drowned nerd spaces with its particular kind of art, especially with MtG plastered all over hobby stores, deck boxes, dice, playmats, and even D&D sourcebooks.

That’s not even accounting for fanworks and the speculative fiction art in online spaces.

So what do I want to look like? Were I blessed with talent or with patient to actually learn to draw well, what would I be referencing?

What about what set my expectations of fantasy years before IndigoDice invited me to that fateful Traveller game?

(Screen cap of Tales of Vesperia grabbed from here.)

Well, okay, what I’m actually thinking about is Tales of Symphonia, but Vesperia’s graphics are kinda what nostalgia tells me Symphonia tooked like, as opposed to what it actually looks like.[20]

Look at that verdant town! Warm lighting, bright characters, leaves growing to depict life. A hotel built into a tree. This is a fantasy world that is unashamed about life thriving.

Forget solarpunk. This is my aesthetic.

As for the party members…

(Okay, Judith’s a little gratuitous, but The Definitive Edition lets me put her in a suit, and she’s awesome. Art stolen from here.)

Oddly enough, as far as JRPG outfits go, these are pretty tame with details.[21] Mostly bright, popping colors, even Yuri’s dark clothes are done in such a way to not feel grim and edgy, hints of personality, and I just enjoy looking at them.

The Tales series as a whole does a good job of taking European fantasy and applying Japanese whimsy to the design. Also yukatas. Every member looks like the hero of their own story, while still being part of a cohesive whole.

Which is, you know, the ideal way to operate as a TRPG party.

So, what’s the take away?

Artists, keep being creative. Pull inspiration in from things besides the rulebooks and Critical Role. Look at the other things you love and bring visual flare and whimsy to your art. Then share it. Ignite the passions of those of us who can’t do the draw-good thing.

Players, play with the tropes. I love doing it narratively and mechanically. My favorite rogue is still my neutral good stage magician who would never do a crime. Explore what’s possible in the freeform world of tabletop games, both in play and your Theater of the Mind.

Game designers, branch out with the art. And stop using Powered by the Apocalypse as a crutch.[22]

Hope this long ramble was enjoyable and cohesive. If you want more of this, my other works, and maybe to allow me to make an actual play podcast, consider supporting me through Patreon or Ko-fi.

Until next time, may your dice make things interesting.

[1] Though I would love to read a transcript of the two discussing it. It'd be a fun debate. [2] I don't like Powered by the Apocalypse for precisely this reason. Every actual play I've heard with the system has players talking about their characters in the abstract, because they're just pressing the buttons on their character sheet.[3] [3] I maybe should do a breakdown of PbtA one day. [4] Which is pretty poor direction. Do an epic group shot of characters battling a horde around them. [5] None of the D&D core books has a dragon on the cover. Come on, that should’ve been a gimme! [6] Similar note as footnote 5. [7] Also CornflowerBlueDice is too long to be catchy. [8] I figured it out! [9] I haven’t looked at at Pathfinder’s forthcoming second edition. Fifth Edition reclaimed it’s throne as The ubiquitous system after fourth lost its footing, so I don’t think there’s much point. [10] TL;DR: I ignore it. [11] Pulp Fantasy is too mundane. Steampunk is too victorian-y. Sci-fi fractals into so much. Solarpunk has appeal, but isn’t quite right.[12] [12] Haven’t really found the term. [13] Let’s not examine that I put more thought into female character design than male for the moment. [14] Which you should. Validate my efforts! [15] And desperately pray it’s considered innocent enough of a fetish that I don’t have to stop. [16] Never liked halflings. Gnomes are fine. Halflings, in art, have always been off-putting and malformed. [17] That and the emphasis of character customization kneecapping the Player Character’s narrative involvement. Can’t give them a personality if that’s the end user’s job! [18] Even Avatar: The Last Airbender felt like it had to sneak the narrative depth it achieved past corporate. [19] I do need to give it a reread, though. Relearn the system. [20] It still looks good, especially the environment, but the characters are kind of… leaning towards chibi. [21] This, specifically, is why I chose to highlight Vesperia over Rune Factory. [22] Technically nothing to do with this essay, but I can’t stress this point enough.

#SepiaDiceRants #ryuutama #Fifth Edition #Dungeons and Dragons #pathfinder #tales of vesperia

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pml1225-blog · 6 years ago

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4:(urbosa>)mipha>zelda(>revali>daruk)

Link is not really the most interesting character. No RPG protagonist is, because their sole purpose is to serve as an insert for the player. As such, some of the side characters have much more compelling stories and become much more memorable. Let’s take a look at two of them in Breath of the Wild.

Breath of the Wild’s story is a backstory of events that happened in the past, and it focuses on Zelda’s struggles to unlock her power to seal Ganon away. She is fiercely devoted to unlocking her inherited power, but when her training doesn’t pay off, she understandably gets frustrated. In the off-time from her training, she works on deciphering and engineering the Guardians, ancient mechanical spider-bots that she hopes to use in the fight against Ganon’s forces.

“At the current rate, we’ll soon know all we need to know about the Guardians and the Divine Beasts!”

“He always says, ‘Quit wasting your time playing at being a scholar!’ I’ve spent every day of my life dedicated to praying!”

Her father adamantly disapproves of this, insisting that she focuses on her training. This leaves Zelda feeling helpless and not in control, and when she goes to the final holy spring to pray, only to be met by silence once again, Ganon suddenly attacks. Zelda can’t do anything but stand by as she watches Link and the rest of her friends go fight the war she knows she can’t finish. When Calamity Ganon hijacks the Guardians and Divine Beasts with his ~evil essence~, killing the other champions and turning the army that she had worked so hard on against her, the defeat is complete and she breaks down. Throughout this ordeal, Link is by her side, but being the silent protagonist that he is, can only offer a meager lap for her to cry on in the rain. It is only when Link collapses from his injuries and exhaustion and a Guardian is about to lay waste to them both that she jumps in front of him and cries out, and unlocks her power, saving their lives. Power unlocked, but still thoroughly defeated, she arranges for Link and his sword to be safely stowed away for 100 years, and goes off to Hyrule castle to hold off Ganon as best she can until Link reawakens.

well, that was easy.

Zelda’s story throughout the games has always been somewhat of a disappointing one, because the games, despite their titles, center around Link. In past games, Zelda always plays a secondary role in Link’s quest, and her involvement and agency in the story ranges from just being asleep for the entirety of Zelda II to Ocarina of Time, where she semi-orchestrates the entire plot from behind the scenes, setting up things so Link can save the day. When Zelda plays an active role in the stories, it is almost always as an alter ego – either as Sheik in Ocarina of Time or as Tetra the pirate in Wind Waker. The Zelda/Tetra distinction is especially interesting and particularly glaring because Tetra is a badass and a primary mover of the plot for the first half of the story, but is unaware of her heritage as Princess Zelda. When she is informed of her ancestry, she goes full princess mode and is relegated to being asleep in a dungeon and firing arrows at Link for him to reflect at Ganon. In the next game (Phantom Hourglass), she readopts her Tetra personality, but her story is very much that of a damsel in distress, which came as a disappointment to fans yearning for more.

By telling Zelda’s story in the past while letting the player finish Link’s story, Nintendo cleverly maneuvered around the problem of having Zelda, who is technically the title character, always being the secondary character. Her story is quite compelling and relatable, seeing how her attempts to balance the burden of unlocking her power with her knack and interest in research and essentially the Hyrulian version of engineering. The way she, as psychoanalyzed by one of the Champions, views Link’s steadfast dedication to his set path as a constant reminder of her own failure paints a convincingly conflicted character, stuck between a rock and a hard place. However, Nintendo fails to bring her story to a fully satisfying conclusion. In the end, her efforts to tame the Guardians are useless and actually lead to her defeat, and she unlocks her power not through her own dedication to her training, but rather her desire to protect Link. This girl climbed three (3) mountains for that shit! Eventually, when she can’t hold Ganon back any further, she calls out to Link to help, and that’s when the game begins. In the final post-game cutscene, Zelda expresses her desire to explore all of Hyrule and continue learning about their ancestors while helping the people, so she does get to do what she wants, but it is still a happy ending that is given to her by Link and the player. In a game where the primary gameplay philosophy is “you can literally do whatever you want”, Zelda’s story where she can’t escape her destiny and the wishes of her father and ancestors leaves a bitter irony. However, her character that is portrayed still shines through the miserable lot in life she was given, as her scenes show her as a real character with real motivations that players will want to root for. Just not a primary character.

That’s not to say that Nintendo is incapable of telling non-Link stories in the context of the Legend of Zelda. The stories of the characters Link meets throughout his journey are often quite compelling and imbued with feeling, and even through the brief interactions the player has, they really contribute to the overall vibe of the games. Breath of the Wild ups the ante by introducing 4 other secondary characters – the Champions. Of the four, Mipha’s character stood out to me, especially since her reception among the fanbase seemed to be extremely divided. Most of her critics claim that “her only character trait is liking Link”, and while, admittedly, much of her character arc revolves around her love for Link, it is told in a way that provides agency and weight to her decisions. Mipha is a childhood friend of Link’s, and as adults/teenagers, she often tends to his wounds with her healing powers. When their respective duties as Champions require them to travel separately and pair Link with Zelda, she is understandably jealous, but keeps it to herself in order to not jeopardize their group’s mission. Instead of being passive, however, she still expresses her wishes to spend more time with Link when their mission is fulfilled, and vows to stick by his side and protect him with all of her power. She also harbors no ill will towards Zelda, instead offering her advice on how to unlock her power by describing how she thinks of someone she cares about (Link) when healing (which somehow ends up being the key to unlocking Zelda’s power even though she’s not the one with a crush on Link ugh).

“We just don’t seem to know much about what we’ll be up against. But know this: that no matter how difficult this battle may get, if you - if anyone ever tries to do you harm, the I will heal you. No matter when, or how bad the wound, I hope you know that I will always protect you. Once this whole thing is over, maybe things can go back to how they used to be when we were young. You know...perhaps we could spend some time together.”

Though she falls to Ganon along with the remaining champions, the extent of her feelings towards Link is revealed during the game. The Zora, her race of fish-people, initially distrust Link because they believe that he took Mipha away from them and failed to protect her from Ganon. After her father reveals the truth that Mipha loved Link and desired to protect him along with the rest of Hyrule, however, the elders turn to begrudgingly placing their faith in Link based on their trust of Mipha’s judgement. This is symbolized by the armor that Mipha crafted for Link, which in Zora culture is something similar to a proposal. The armor is instrumental to Link’s success, and when he frees Mipha’s soul from Ganon’s grasp, she expresses her gratitude and feelings and passes on her healing powers to Link so she can continue to look over him from the afterlife. In this way, Mipha’s story, though a trite one of impossible childhood love, is more satisfying than Zelda’s. Many of her actions are dependent on her love for Link, sure, but they are logical and are met with logical results. Her happy ending is a direct result of her own actions and character (other than the part where Link still has to free her soul from Ganon, but he has to do that for everyone). The player is reminded of this every time they don the armor she made for Link or get merked by some dumb shit and are revived by her power. The difference between Zelda’s and the Champions’ stories can be seen by how fans responded. When the DLC came out promising more backstory on the Champions, fans were excited and rumors even circulated that you would be able to play as Mipha and the others. Though the DLC eventually fell way short of these expectations, providing little more backstory than “Mipha is kind to everyone”, the prospect that people wanted to play as her indicates that people wanted to experience more of her character beyond her devotion towards Link, something which you can’t exactly say for Zelda. I hope that Nintendo will continue to tell compelling and satisfying stories that aren’t solely based on a male lead, but perhaps the traditional Legend of Zelda story isn’t fit for this. Maybe Metroid?

#storyworlds #storyworlds characters

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dndeed · 7 years ago

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Critical Role Miniature Rollout: Episode 11-12

A summary and review of minis used on @geekandsundry‘s Critical Role.

Episode 11 is mini-less, let us proceed to episode 12. Per usual, I will be listing all the identifiable miniature and then actually discussing primarily new miniatures. Let’s first attempt to decode one of the episodes most puzzling components, Lord Sutan’s fireplace.

The Terrain

Mantel and Fireplace Dwarven Forge, Pathfinder Battles, and Unknown Fire Figure

Some prop building ingenuity on display here. The fireplace appears to be an older style Dwarven Forge door frame with the door removed, two Pathfinder Dungeon Dressing Lecterns taped to the top, and some sort of fire marker in the middle. I am unsure of the exact fire miniature as the view is obscured.

I cannot help but like this fireplace piece, it’s so delightfully crafty and scrappy. Even though there are a great number of actual fireplace figures that may have looked cleaner and would have undoubtedly been easier to implement. Paizo just recently had a fireplace Dungeon Dressing piece in their Maze of Death set. Nothing comfier than a fireplace heated room when you’re lost in a death maze, lemme tell ya.

The List

Dwarven Forge City Builder Tudor Set

Dwarven Forge Magnetic Accessory Add-On Pack

Dwarven Forge Medieval Furniture Set

Dwarven Forge Deluxe Balcony

Dwarven Forge Master Maze Door

Dwarven Forge LED Lighted Walls

Crown of Fangs Dressing: Lectern

Maze of Death Dressing: Knight Statue

Rusty Dragon Inn Dressing: Table

Deadly Foes Dressing: Candelabra

Legendary Realms Double Bed

Legendary Realms Lion Statue

Legendary Realms Wooden Bench

Legendary Realms Bookcase

Monster Menagerie 2 #004 Halfling Rogue

Reaper Miniatures Wall of Fire

The Monsters

Rug of Smothering Custom Piece

As predictable as this monster can be, I do enjoy a good rug of smothering. It’s such an evocative image and has some fun ally damaging mechanics. This miniature appears to be a printed piece of material placed on a base. Looks really great. I wish Paizo or Wizards of the Coast would go ahead and give us an animated rug miniature. Related, I would very much like to see a variant of this monster, the welcome mat of smothering. Less dangerous, doesn’t really qualify for a challenge rating, more like an inconvenience rating.

The Terrain

Candelabra Pathfinder Battles Miniatures Candelabra

This a terrain piece that begs to be interacted with, in a sort of “I take up the candelabra and hurl it through the chest of the monster like a fire enhanced trident of +2 radicality!” I have many miniatures, so sometimes it’s the seemingly mundane minis that really get me jazzed, simply because they are unique and I’ve never seen one before. You could show me the sweetest new orc mini and I would still be more excited by the boring ol’ dungeon decor. When I got the candelabra in a booster I was pumped.

Bed Legendary Realms Double Bed

Putting a candelabra so close to the bed seems like a real fire hazard. And also an incredibly inconvenient light source for bedtime reading. Especially with it right next to the balcony like this, wind blowin’ through, light flickerin’, candle wax spittin’ all over ya. Lord Sutan should fire his interior decorator.

This is a reasonably nice and priced mini.

Suit of Armor Pathfinder Battles Knight Statue

What a great idea for a piece of Dungeon Dressing. Decorative armor makes a wonderful addition to a room. This figure is strangely titled Knight Statue, but it is clearly armor not a statue. I have three or four of these miniatures and each one is leaned forward a little bit as if to remind players that suits of armor are great for pushing onto enemies during combat.

Lion Statue Fireplace Ornamentation Legendary Realms Lion Statue

This seems like a good way to inject a bit of flair into a terrain layout. I have only seen this mini offered by Legendary Realms, I believe it is a LR exclusive. A unique and fun piece, this miniature is king, I ain’t lion, etc, etc. Let’s hurry up and get to the star of the show...

Bookcase Legendary Realms Bookcase

For years I have been after some good bookcase models! With dreams of putting together a library encounter in which many a bookcase gets toppled and dominoed over. I had some reservations about this mini, but I have been reassured seeing it deployed in the field. It looks better in-use than in promo photos. A solid miniature at a reasonable price. If I found this mini in a retail environment, I would surely have a Fjord/Caleb style standoff with the nearest fellow patron over the right to purchase it.

Closing Remarks

I did not discuss the Dwarven Forge components premiering in this episode. What can be said? True to form, they are delightful. The light up torches are slick and fun trivia, the hanging banners are magnetic, mighty clever. I had hoped to see more environmental interaction. Terrain minis are fun in part because they can be used in-game by the characters. Perhaps in future interior encounters.

#criticalroleminiaturerollout

#criticalroleminiaturerollout #critical role #criticalrole #critical role season 2 #criticalroleseason2

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graphicpolicy · 6 years ago

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Like many people in the world, I have anxiety. Some days it is better than others, but it is always there. If I dare to forget about it, it reminds me that it’s there. It’s a dreadful tap on the shoulder by a ghost. When you turn and look for the source, nothing is there, but just out of sight, and just out of reach, you can feel it’s presence. It may be worrying about something, like did I turn off the stove before I left the house (you did by the way, you checked it four times), or letting my mind do cardio while my body is trying to rest in the middle of the night.

Thankfully, there are things that can help with my closest invisible friend and enemy. Meditation and mindfulness in general are very important, as are walking, getting enough sleep, therapy, and being positive, but there’s something else that helps me fill in between those moments, and it’s playing video games. Now to be clear, please understand I am not saying that video games will fix your troubles, because they won’t. You should get help for your issues, talk to people, and take care of your physical and mental being first and foremost, but there is a connection to playing games for me, and finding a sense of peace.

Astroneer

The games I find most helpful when I feel anxious, are ironically survival games on other worlds like No Man’s Sky, Subnautica, Astroneer, and Minecraft to name a few. In these games you are constantly trying to survive (unless you’re playing a creative mode where there isn’t much or any punishment to the player), while also being able to control so much about the world. At times, it feels like I am a God, and at others, I feel like I am the weakest and smallest form of life. I can reshape the terrain on a planet in Astroneer like I’m a character out of X-men, but if I dig in the wrong spot, I can fall to my death. If I wander too far from my oxygen tethers, I suffocate. In Minecraft, I can build a castle, use magic, and build entire railway systems, but I need to cook a pork chop or eat an apple once in awhile, or I’ll die.

No Man’s Sky

It’s these kind of systems that seem close to our own lives, and represent the control that someone with anxiety wishes they had. I can control so much of my fate in these worlds with a click of a mouse, or the press of a button, but I have to rest sometimes. I can be a brilliant aquatic engineer and build complex breathing apparatuses and technology in Subnautica, but one second too long in a cave, and I can drown. This can an be a reminder for our own mortality. You can achieve so many great things if you put your mind to it, but if you don’t take care of yourself, or are careless, it could mean getting sicker, or even worse, dying.

Subnautica

Video games can get a bad rap. The World Health Organization classified gaming disorder as a disease. I’m certainly not discrediting their research, or saying that a gaming disorder or an addiction is a not real thing. People can become addicted to many things, but I think the negativity for the medium can confuse the mainstream people who don’t play games regularly. I have people that I know personally who think that gaming is bad for children and people in general. They may see their child get on Fortnite, and not want to do anything else. When they were younger, they were outside more, so they look at life through only their own perspective, when in reality children can do both quite easily. We see memes shared about topics like having kids do farm work instead of playing Pokémon Go and other forced comparisons. We’ve all heard and seen the constant claims of violence in gaming being connected to mass shootings and other crimes. Gaming, much like comics, and other geek culture, I feel fall into that misunderstood area. Gaming is just another form of art and escapism. Some people read books, watch tv, listen to music, or do all of these, and some people also play video games, read comics, or play dungeons and dragons, and more. Many of us will binge watch hours on end of a Netflix show, so I believe the criticism to gaming can be hypocritical at times when it is just a different form of entertainment.

The other thing that sometimes I feel can get missed is the beauty inside of games. There are artists, composers, actors, programmers, and so many more talented people that are working to create new experiences everyday. There are both narrative and open world experiences to be had. You can travel to different worlds and explore things and for a moment, escape from reality and explore a new fantastic experience. It’s a more realized version of using your imagination as a child. I used to pretend I was an astronaut on an alien world, and I only had a toy gun, a stick, and a net from my mothers pool. Now, there are people creating worlds for me, and some of them seemingly infinite. I can take off in my ship and fly practically anywhere in No Man’s Sky. I can see new species, discover new minerals, and disconnect from everything for a few minutes or hours. That isn’t a bad thing, that’s a beautiful thing. Perhaps if gaming seems alien to you, have your child or a young family member show you the wonderful things they can hold in them, and maybe even challenge yourself to try something new and fun with them.

Thank you for reading. If you are feeling anxious, remember to breathe, and most importantly, be nice to yourself, and take care of yourself. Maybe I’ll see you among the stars. Live long, and prosper 🖖.

No Man’s Sky is available on Steam, PS4, and is coming to Xbox with it’s new massive NEXT update July 24th. Astroneer is available in Early Access and Game Preview on Steam and Xbox. Subnautica is available on Steam, Game Preview on Xbox, and is coming to PS4 this year. Minecraft is available on practically everything!

Ground Control To Major Anxiety: Escapism Through Gaming #videogames #health #wellbeing Like many people in the world, I have anxiety. Some days it is better than others, but it is always there.

#astroneer #health #minecraft #no man&039;s sky #subnautica #world health organization

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zippdementia · 7 years ago

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Part 44 Alignment May Vary: Lady Dagger side quest pt 1

This is the ongoing adventure in the 5e conversion of classic 3.5 adventure The Red Hand of Doom! Not only does this detail the adventures of my three players but it also give detailed suggestions on how to run a 5e conversion of this campaign.

Tools I reference a lot: The 3.5 Red Handbook of Doom, The beastiary Revenge of the Horde, secondary beastiary Tome of Beasts.

Last time my players, still separated after the momentous battle at the Skull Bridge bridge, encountered different pieces of the same side quest, a story I worked into the game involving Jorr Natherson and his murdered daughter who has become the terrifying Lady of the Wood.

Speaking of which, I forget to give Jorr’s stats. Here you go.

Shortly after this, the players meet back up, as Tyrion and Traki limp into town carrying the unconscious Xaviee and Nysyries is transported by the Lady of the Wood to the same location. Their reunion is a happy one but they have little time to celebrate: a black cloud of smoke rises from the village of Drellin’s Ferry.

“But we stopped the horde!” Nysyries says in disbelief.

“There must have been an advance party,” sighs Traki, not relishing the thought of another fight this day.

“Or something else has happened,” Tyrion suggests darkly, sounding even worse for wear than Traki.

Indeed, this is something else, as they soon discover.

Raising the Dead: Lady Dagger Plotline

This side quest is very easy to set up and is a good way to keep tension in the game, tension that may be missing if the players have defeated the horde up to this point. If they did not defeat the horde and just had the big fight in Drellin’s Ferry, then this side quest can help play up the fact that in times of war, people turn on each other. It makes the threat of war more real, and pushes it beyond a simple “fight the evil horde” mentality into one of internal treason and intrigue.

The plot itself is inspired by the Chasm of Doom plotline from the Lone Wolf gamebooks and mixes this with the Lady Dagger sidequest from the campaign. It is broken into four parts, presented below.

Be aware, this is a longer side quest which will take probably two sessions to complete. In that way, it provides a bit of a break from the main campaign which may be something you want, or don’t want, depending on your momentum. It works well in my game because my players are used to tangents, and I think tangents help grow a world beyond the plot. I also much prefer it as a side quest to the string of random encounters suggested by the campaign book and am disappointed they didn’t offer an official Lady Dagger side quest in the campaign. It was so ripe for some kind of treatment like this... or at least a bandit camp storming! I highly advise running a side plot like this over the endless series of skirmishes suggested by the main book. It’s more interesting by far.

Part One, set up: At any time during the otherwise peaceful evacuation of Drellin’s Ferry, a fire breaks out in Iormel’s warehosue. The town—including the heroes if they are present—are called to assist in putting it out. While they are doing this, a large host of bandits strikes. Some attack the people putting out the fires, but this is just a distraction. Their real goal is to target a couple of key NPCs in the town and kidnap them for a dark ritual in the Wyrmsmoke mountains. They suceed in their kidnapping and ride off before the players realize the kidnapping is happening. In my game, I use the Wizard Serah (because of her connection to Tyrion), Sorranna, and Jared Nurth. One of these is, by the by, Lady Dagger. She has masterminded this entire raid.

Note: if your players are more attached to other characters you can substitute them (except for Lady Dagger).

At this point, the players have the option to try and hunt the raiders down or to continue on their main quest for the horde. The hope is that the people kidnapped were important enough to them (see my previous post in this series about handling the set up for Drellin’s Ferry for advice on accomplishing this) that they will choose to hunt them down. If not, you can keep the game moving and either bring up the consequences of the ritual later in the campaign or assume the ritual was a failure and never deal with it again.

Part Two, the hunt: Assuming that the players do decide to hunt down the bandits, they should be made aware that they are on a time limit. The ritual (the town’s druid is a good NPC to exposition this, or maybe the raiders left a note boasting of their intentions) requires the full moon... which happens to be tomorrow night! The point here is that the players should have the opportunity for a long rest and a short rest or two during this side quest, but no more if they want to stop the ritual. This way it doesn’t pull them from the main storyline for too long and pushes a sense of urgency upon them.

The bandits have riden nearly a half day’s journey to the base of the Wyrmsmoke mountains, where the ancient city of Maaken lies. The town can give the players horses (which they will need to catch up with the raiders). After this, a couple of survival rolls (DC 14) can see how long it takes them to catch onto the raider’s trail. Anything except critical failure shouldn’t end the mission, but it should delay the players, cutting into their time left for rests.

Successful tracking of the bandits will eventually take them across a small stream and into the woods at the base of the Wyrmsmoke mountains. Here they find a cottage. When Traki investigates, he is greeted by an old woman (my party jokes that it must be Lady Dagger) who is solemnly pleased to meet “one of the elder tribe” (Traki is a wood elf) and is happy to aid his quest by telling him of the “noisy group who crashed through the woods last night.” She says it doesn’t make sense... the group was heading north to the abandoned ghost city of Maaken!

"You must not be from around here,” the old woman says, when Traki tells her he doesn’t know the city. “The city of Maaken is an old legend, but a well known one. It fell during the Age of the Black Moon, when a Dragonlord emerged from the Wyrmsmoke mountain with a horde of draconic beasts. He was Dragonborn, and a giant of a man. He cut through the cities surrounding the mountain and intended to drive East into the heart of Rhest. But the lord of Rhest came out to meet him

“It was there in the City of Maaken that King Ulnar of Rhest met the Dragonlord in combat and slew him. In mortal combat upon the very brink of the abyss noth of them met their ends. It is said that the Dragonlord’s death-cry when he fell will echo through the gorge until the day he rises to wreak his vengeance on the Vale.”

Traki felt his throat tighten. The ritual that the druid had spoken of, the ritual to the death god Erythnul... he had said it was meant to raise the dead. Did the Lady Dagger mean to raise the old Dragonlord and his army?

“I thank you for your story, mother,” the wood elf said. “I wish I could stay and here more. But I must be underway.”

The woman gave him a knowing look, though he could not see it. He could hear the kindness in her voice though, when she told him to hang on a moment. She returned shortly and pressed something sweet smelling into his hand. It was wrapped in cloth.

“Honey cake,” she told him. “If I do not see you again, it will be a shame, but it was a comfort to an old lady to know that the elders still walk the earth, and an honor to get to speak to one. Fare well, and may you bring light to the dark places of the world.”

Part Three, approaching Maaken: In this section, the players catch up to some rear guard bandits and have the option to either fight them or try to sneak through the woods around them. The fight is not easy! A berserker, a bandit captain, a knight, and a slightly beefed up cult fanatic (his spell DCs and attack bonuses are about two or three higher than normal) make up the fight, and they are all horsed. The captain and the knight will attempt to flank one character at a time, taking them down before focusing on another. The berserker will go for the most lightly armored foe (preferably a mage of some sort) and the fanatic will hang back and cast spells, trying to debuff and status effect anyone the knight and captain.

The benefit to beating all opponents, aside from experience, is that the knight has an Onyx Pendant on him, which will allow the players to avoid a particularly nasty fight in the upcoming dungeon. The benefit to fleeing is that they preserve their health and spells for longer, though going through the woods they may come across a very strange cabin. More on that in a moment.

My players take the direct route, charging at the bandits when they see them. Traki makes the questionable, but very brave, decision to rush ahead of his fellows and jump kicks the knight off of his horse, then proceeds to fight him, the captain, and the cult fanatic all at one time. Meanwhile, Nysyries uses storm cloud to summon lightning strikes down into the fight, while Tyrion tries to fend off the berserker who charges her down like a Dothraki screamer.

The fight has some impressive moments and goes on for quite a while, becoming very tactical and very evenly matched. Eventually the fanatic flees into the woods, chased by Tyrion, and the Knight is left fighting Nysyries (transformed into a giant constrictor) and Traki. It is fun in DnD 5 what just a few points of AC will change in a fight. The Knight having 20 AC really changes the difficulty level and the fight goes on for a while with neither side really gaining ground. In fact, it has gone on for so long at this point that this Knight has actually ended up taking on some character, getting the chance to banter with Traki during the fight. When Traki offers to let him go in exchange for information on the bandits, I actually go for it... it just feels a waste to let this character die.

And so is created Aldric Alwright, mercenary in the employ of the Dagger and a worshipper of Erythnul. Before he takes his leave of them and this entire Erythnul business, he reveals the layout of the temple as best he can and informs Traki and Nysyries that it is well guarded by over a dozen bandits, some of them monstrous, like Orcs and Trolls. He gives them the password to enter: Lohn. He does not tell them about his Onyx Medallion, or the trap it triggers (hey, neutral evil character here). He tells Traki that the Lady Dagger plans to raise the army of the dead in order to defeat the horde and save the Vale, and this throws a sudden twist into the plot. Traki is a chaotic good character and Nysyries a neutral character, neither of them lawful good, and they actually ponder whether it might not be a bad thing to let the army be raised....

But of course, there is the matter of the sacrifice of Tyrion’s friend Serah and the brave captain Soranna. That they can’t quite abide.

And speaking of Tyrion, where had the bugger run off to...?

"You can see the signs of the little man’s passage, here,” Nysyeries said, dismounting and examining a torn up bush. Rain splattered against the leather tunic she wore and ran in rivulets down the cracks in her broken horn, a memento of her fall from the Skull Gorge Bridge.

Traki sniffed the air. A slight sulfur stink still hung here. The halfling had indeed passed this way. Drops of rain struck his face as he turned it up towards the sky. It would be a wet evening.

They found the cabin minutes later. It was a sad little structure, barely more than two rooms big, with dark windows and a single door that hung slightly ajar, but not in a way that was inviting. Instead it seemed to ask, do you really want to come in here? It felt all over like a trap. Traki entered first, his ears alert for the slightest sound of movement, for the shuffle of someone moving to strike him from the shadows. He stepped into the body almost at once.

“Tyrion’s work,” Nysyeries confirmed when she entered and knelt next to the ruined corpse. She recognized the man who had fled the scene of battle, the one who had been casting spells to protect the other bandits. He was missing a large chunk out of his side where an axe had torn into him. “But no sign of Tyrion.”

The cabin was small and sparsely furnished. Not many places for a halfling to hide, and less reason for him to. And everything was so quiet. That was what Traki noted the most: every time Nysyries spoke, it was like a thunderclap to this silence. The druid was examining the front door, running a finger along its edge.

“A spell went off here,” she exclaimed. “Maybe this was a trap, at least when Tyrion came through.”

“So he was killed, or teleported into some dungeon somewhere?” Traki asked, keeping his voice low as if in reverence to the silence.

“No.” She pointed to the body. “He was free to kill this one. And there is no sign of a further struggle. I think whatever happened here at the door he survived. Then he fought this man, and then...”

Then what? Did Tyrion leave to go find his companions? That made the most logical sense, even for the sometimes irrational bard, but the blood on the body was still warm, almost hot. He had died moments ago. Even Tyrion would take a moment to collect himself after a successful hunt like this one. They had been right on his trail and it seemed to her improbable that they had not seen him emerge from the cabin nor heard sounds of his crashing through the woods afterwards (he was not the most subtle of creatures). Even now, she half expected one of the bard’s half nonsense, always merry, songs to break the darkness.

“What is this?” Traki was running his hands along the back end of a book shelf that had collapsed, probably during the fight. His fingertips, as perceptive as any pair of eyes, traced the woodgrain and he silently answered his own question. “Help me move it,” he said, with a sense of urgency in his voice.

Nysyries came to his aid and easily the two shifted the shelf and pushed it aside, to reveal a trapdoor set in the wooden floor. It was locked with a rusted deadbolt, looked like it hadn’t been opened in years. But Traki was already pulling on the bolt. His face went red as he struggled with the rusted bolt. Nysyries frowned: something was wrong. She had seen Traki punch through steel armor, lift grown men, wrestle with shapeshifters. To not be able to move a simple lock? She bent to help him, her large scaled hands trying to find a good purchase on the bolt. Together they pulled and finally the bolt gave way with a sound like wood splintering and paper tearing. They had broken some kind of spell, Nysyries knew.

They wrenched the trapdoor open and suddenly sound returned to the cabin: growling and yelling and a horrible rhythmic snapping. Looking down into the trapdoor they saw a pit, 40 feet deep, filled with writing short green tentacles, and at its bottom was Tyrion, doing his best to stay pressed against that wall and away from the pit’s bottom, which was composed entirely of a maw with tremendous dull white teeth. The maw was snapping shut inches from Tyrion’s face, but it couldn’t quite reach him.

“Help me!” He shouted. Tyrion’s voice never had betrayed fear since he got the cursed axe, but there was definitely a touch of what one might call panic in it now. Urgency, maybe, was the best word.

Nysyries decides to blast the creature with fire, which will be tough because Tyrion is in the way. I warn her of this, but she says she has a decent bonus to the roll and tosses her die. It comes up...

... a natural 1.

Her fireball slames into Tyrion’s back, destroying the only thing that was protecting him: his shield of Agathys. Then it is the maw’s turn. I roll and it comes up...

... a natural 20.

Tyrion curses as his hold falters on the wall and he falls full bodied into the maw. The jaws snap shut on him hungrily, tearing through his armor and his flesh.

“No!” Traki shouts. He acts fast, grabbing rope from around his bag and launching himself head first down the pit, trusting Nysyries will know what to do. The Dragonborn does: she grabs the other end of the rope. Traki plummets towards the maw, his hand outstretched. His hand closes around Tyrion’s ankle.

“You have one shot at this,” I tell the group. “Otherwise, Tyrion will be killed. It is going to be a strength contest, Maw versus Traki.”

“Can it be an acrobatics check, what with all the crazy stunts going on?” Traki asks.

I think about it for a moment. Traki has +8 to Acrobatics I believe. The Maw has +5 to Strength. But more than that, the maneuver makes sense. Snatching your friend from the jaws of death does smack of a dexterity move.

“Alrite,” I decide. “Let’s roll.”

Traki rolls and over our vid cam I can see the heads lower around the table to track the die. There is a collective heavy silence a moment later. While waiting for the inevitable bad news, I roll my own die, my eyes watching it bounce over my keyboard and across the dark wood of my dining room table.

“What did you get?” I ask. Again, the pause.

“A twelve,” Traki says softly, awaiting the news that they have failed.

I look down at my own die and add the +5.

“I got an eleven,” I admit.

The table explodes in a cry of disbelieving triumph. Traki is up and jumping. Nysyries is laughing. Traki is throwing his hands up and giving high fives to Tyrion. I’m laughing, too. Our games often come down to these crazy death rolls and I never get tired of it. Especially in this instance, where everything in the cabin was completely improvised on the spot because I needed something to punish Tyrion for going into strange cabins in the woods :)

Part Four, the Maakengorge Temple: After the horror of the cabin, the companions take a short rest and then finish their journey to Maaken, arriving at nightfall. The city is a ruin, the buildings mostly destroyed, their remains like the bones of giants strewn across the broken land. The chasm itself, the Maakengorge, is a dark gash in the twilight, sucking up the last rays of the sun as it sets behind the looming mountains. The crack extends into those mountains, disappearing underneath them into secret caverns which no one has dared explore. Most of Maaken is underground now, the city covered by the earth flung down from the mountain in the same blows that struck the chasm through the land.

The players hang around for a bit, watching. They see two guards standing at the broken entrance to one of the larger buildings, with much of its structure still intact. This, from Aldric’s description, is the temple where the ritual will take place, thought the ritual chamber itself is deep inside the temple. There are other ways in, Aldric had informed them, but even he did not know all the secrets of Maaken. The players debate for a while whether to take the front gate approach or to search for a hidden entrance around the grounds. Finally, seeing that night is coming on (and with it the full moon that will herald the sacrifice) they decide not to spend the time searching for an entrance when they have one right in front of them.

Striding up to the guards, they order them to move aside for the “new recruits.”

This is a pretty easy check and the players approach the situation well, using their knowledge of what is going on and the password Aldric told them to pass with only a DC 10 difficulty.

The guards move aside and let the players in. The dungeon layout from here is pretty linear, as all side passages lead pretty quickly to openings out onto the chasm, so it is clear this building was cut in half at the time the gorge was created. There is a room they can’t get into just yet, beyond which seems to lie treasure. This is the “Dwarven payment” from the campaign book, and contains some prizes if they manage to survive this side quest.

There is a long hall that leads past arrow slits on one side (they look out onto the darkness of the chasm) and a detailed mural on the other. The mural details the rise and fall of the Dragonlord, his casting into the Maakengorge, and then something else... the last few panels show the Dragonlord rising again, burning the vale with fire and a skeletal army, and finally sitting on a throne in a triumvirate over the entire world. The other two throned figures in this final panel are a warrior with skeletal wings and a female Tiefling with one eye.

The mural causes a bit of commotion amongst the group. It is clearly a hint towards Abenthy and Karina, from our last campaign, but the full significance isn’t apparent. Regardless, it sends a chill through the group to see their prior characters part of an ancient prophecy. Had they examined Karina’s missing eye, they would have noticed a gemstone used to sit here but was pried out, probably by raiders or the bandits. A sliver of blue stone is all that remains.

Past the mural is a set of stairs going down down down... until a stone door slams shut behind them, leaving them in darkness. Which reminds me, I forgot to mention that lights aren’t working properly in this dungeon. The torches that the bandits had set up upstairs were low and sputtering as if caught in an invisible rain. And even Tyrion’s magical light, always cast on his axe, seems dim and only sparsely illuminates the area around them. And this area has no other light, it is pitch black where Tyrion’s magic does not invade. Of course, Traki has other senses he relies on constantly, but it is Nysyries who actually hears the thing slithering towards them out of the dark.

The creature that emerges into Tyrion’s light is an ooze of some kind, but monstrous and humanoid, filling the entire hall with thick swampy tendrils that lash out at the heroes and wrap them into tight grips, before slowly trudging forward again.

The battle that ensues here is a tense one. The Ooze does not have much defenses, but every turn that it holds someone in its grip, it has a chance to destroy any of their carried items. Mundane items are instantly destroyed, but magical items are not safe either! The player must roll DEX to save them. This is a cinch for Traki, who doesn’t carry much of value anyway, but Tyrion twice almost loses his axe, and Nysyries does lose her armor, dropping her AC to a stupidly low number.

All the while, the Ooze continues to plod down the hall towards a pair of broken double doors which open onto a ledge hanging over nothing: the chasm looms before the players and the Ooze is slowly dragging them with it to the edge of that pit. It becomes a race against time as the players beat down on the Ooze with everything they have, slowly reducing its resistance-to-most-damage hitpoints to 3. But they are not quite fast enough. With a last effort, the Ooze swings one of its tendrils and tosses the Halfing out over the void.

DnD 5e doesn’t really cover general throwing rules for creatures throwing creatures, though maybe there is a monster somewhere in the manual that has a special move that does this. I improvise, and handle this pretty much like a shove attack, where it is a STR v. STR challenge to see if the Ooze can “push” Tyrion 10 feet away, over the edge of the ledge. I roll high: a 17. Tyrion rolls low, and he goes flying off to his death.

Except that he has the lucky feat.

Now, in our game, we’ve limited the use of lucky quite a bit. The three free rerolls a day always seemed over the top to me, potentially giving the player a dozen rerolls over a long session. On top of that, his natural Halfling ability to reroll 1s stacks with this to just be a ton of rerolls, which is one of the more powerful things you can do in DND 5 (reroll). So we limited Lucky as a house rule to be once a day, and Tyrion has already used his today.

But the player asks if he can break our rules and use Lucky this one time to make one Dexterity save, to see if he can grab the edge of the ledge as he falls. It just... I don’t know... despite my usual hardcore Dark Souls style of DMing, it just feels right to let Tyrion get one final chance to save his life. So we allow it and he makes the save!

Tyrion’s axe flashes through the air as he whips it down in a mighty swing that catches the very edge of the ledge, bringing him to a jarring halt suspended over the pit. Nysyries and Traki waste no time in finishing off the Ooze and rushing to his aid. Traki grabs his arm and pulls him back up. Nysyries, meanwhile, is disentangling herself from the ooze puddle when she finds something odd. Buried in the ooze is a single object that is undamaged: a human hand with a bright ring on it. Nysyries removes the ring and the hand decays in seconds. She may learn later what this ring’s powers are...

Before that can happen, the group now tries to figure out a way out of this hall. They explore its entire length, missing a secret door at its far end, assuming it to be just another dead end. The stone door they spend more time on, trying everything from punching it (Traki) to seeking out runes (Tyrion) to holding aloft the ring and waving it around in front of it (Nysyries). It stays shut. Finally, Traki says “fuck it” and decides to bungee jump off the ledge, after tying his rope around himself and Tyrion. There has to be a way out somewhere in the chasm, right?

There are actually several ways to get through the ruins. Finding the secret door is the most direct way, but the tunnels around this area are numerous. There is even a way to get into the ruins while avoiding the guards at the front doors, a secret back way that would have taken them through a dark and forgotten burial chamber.

So Traki has jumped, and Tyrion with his belt of giant strength (retrieved waaaaay back in the Desert of Thud) should be able to hold his weight. But this is a session of extremes. Tyrion rolls (of course) a critical failure, and both of them go flying uncontrollably off of the ledge. Traki has a brief moment to see that there is in fact an opening below them and to grab it before Tyrion comes barreling past him and (Traki fails a str save here) pulls them both off this second ledge and down into the abyss. Aaaand we’re back to a life or death situation, only this time, there is no legitimate save roll that makes sense.

Nysyries sees what is happening, though, and she transforms into the quetzalcoatl and dives after them. She grabs Traki in her talons and stops his descent. Tyrion, on the rope dangling 40 feet below disappears into darkness. He cannot see the others, just the rope trailing into blackness above him. And below him there is a gaping maw of darkness, giving just the barest impression of a nearly featureless face. Shadows upon darkness seem to form the idea of a mouth, of nose, of eyes. The area where the mouth is grows darker and Tyrion has the sudden sickening feeling that the mouth is opening and drawing him closer with an intake of air. He feels the rope taut around him. He feels the pull of the darkness.

And then suddenly he is rising, Nysyries pulling them up and onto the ledge. They collapse here, Tyrion first moving as far from the edge of the ledge as he can, with a cold shiver. It isn’t fear. It is more the knowledge that there is something down there that eats at his mind. It isn’t fear, but it isn’t okay, either.

Traki is downcast, distraught that he has endangered his fellows. He takes the blame on himself for the ordeal with the rope and stays silent, ashamed of his guilt, whether valid or not.

Nysyries though, transforms back into a Dragonborn and begins exploring the ledge. She finds an opening going back underneath the temple and, next to it, the long dead body of an explorer. His journal tells his story, of how he fell while exploring the ruins and ended up breaking a leg. He had a healing potion but was saving it for his son, who “should be along shortly.” The son never arrived, it seemed, and the father died holding onto the hope that he would save his last potion for him. Meanwhile, he writes of a way back up through the tunnel ahead. The companions gather at its maw, listening, hearing faint laughter and voices coming from down the tunnels. No time for a rest, they decide to move on.

... and that’s where we stop. The side quest has taken longer than I thought it would to conclude, but it has a good pacing. It feels consequential, not just shoehorned into the world. The players are exploring dark corners of the Vale, delving into histories that seem to have some bearing on current events and maybe even the future.

Next post we shall get into the pinacle encounter of the side quest and how the players proceed (even a TPK) will have drastic consequences for the way I run the campaign. Regardless, we should be getting back to the main missions after next time: Facing Lady Dagger.

#dnd 5e #red hand of doom #lady dagger

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