#and as always i’m just talking about gameplay and what makes getting through this garbage balance as painless as possible

[switch]

oh yeah i feel the need to make this PSA now that a free heracles is available again and some people will still talk to you about fgo like it’s 2017:

heracles is still good, but the game has scaled to the degree that he is generally not quite the reliable unkillable soloist he once was. insane cq gimmicks, bloated healthpools, the emphasis on aoe/mixed waves, the inflated amount of damage he takes, the frequency with which bosses crit nuke, pierce/buff removal, and the existence of competitive soloists who can be used as support if you need while dealing more damage, taking less damage, and possessing more anti-debuff/gimmick/crit utility etc, all make him more of a backline emergency cleanup crew guy now. especially if this ticket means you’re getting him at np1. gun to my head i’d recommend getting or raising np levels on either saber or emiya depending on which one suits your general farming/wave clearing needs better unless you’re dying for a cleanup guy.

like again i’m not saying he’s bad or can’t still be used, but i don’t want people to ticket him hoping for gameplay carry and then be surprised at how frequently he can get shut down outright if you just throw him at newer content without a lot more prep and resources.

[whoredmode]

So SR has always had things like zombies in it, basing off that - what are your thoughts on supernatural elements? Do they exist, or is it all a hoax?

if you’re asking if there’s any supernatural elements in my canon, absolutely not. if you read my pinned and go through my tags i make it pretty clear that any supernatural elements do not exist in my canon. zombies, aliens, whatever else have been omitted completely. the “zombie lin” stuff is probably as close as it gets, but that’s a complete urban legend, and i’ll link some stuff i’ve written here and here on the topic. honestly i’m more than happy to talk about stilwater’s worldbuilding and urban legends, if that’s of anyone’s interest.

and if it counts, anteros also claims to see ghosts after he wakes up from his coma. that’s a whole thing. also the philosotologists are technically a UFO cult, as in they believe in an extraterrestrial higher power (but it’s very obviously not true).

but if you’re just asking my general thoughts on sr’s relationship w the paranormal, it’s….contentious to say the least. here’s the thing. sr1 and sr2 knew how to be video games. they told grounded stories w grounded gameplay but knew when to up the ante, when to add hyperreal elements and absurdity. it was suited to the moment. it was tongue-in-cheek. it wasn’t placed as a large canon centerpiece. it wasn’t meant for you to take it seriously, and that’s when it worked. i really enjoy that. but srtt’s zombie shit in the last act of its story comes completely out of left field, completely detracts from the story, makes no sense, and is just a nuisance in actual gameplay. in the previous two games, zombies were a joke—you get your dead friend back as a homie. it’s not “canon” to the story you’re experiencing, to the world they live in. srtt suddenly saying “actually zombies are real and now an island is infested w them” is just. pushing it. it’s bad. but imo it’s nowhere near the levels of pointless and embarrassing that sriv is.

i swear i could write a fucking thesis on how sriv is the perfect example of how not to end an ongoing story/canon. my thoughts on the aliens and supernatural elements of sriv? it’s bad. garbage. worst anyone’s ever done it. at least srtt gives me the option to just physically ignore the zombies on arapice island, even if it means having to take the long way around. aliens are baked into every contrived piece of sriv. there’s no getting away from it.

so like i said. contentious. i think when it’s done in a purposefully cheeky and non-obtrusive way, it works great. it adds a lot of memorable charm. having those moments of heightened reality, hints of something beyond our realm, it gives you so much more creative leeway for telling a meaningful and grounded story bc you have the freedom to interpret that as you want. but being forced to reckon w it in a canon way like srtt and sriv do, it forces a complete tonal shift. you can’t really do that grounded realistic story anymore when you suddenly add “zombies and aliens are actually real” and especially w what sriv does to the story. and like. hey. i totally understand if that’s your thing. some people really prefer the supernatural aspect and want that space adventure. more power to you. but if i wanted to have a story about people fighting aliens or zombies, i’d just play a different game.

[obsessedwithkirby]

Ough, yeah, I feel like it’s really hard to get people into the story. Like, I get *why* the game’s a mobile gacha game, it probably wouldn’t be able to be what it is if wasn’t so financially successful, but I feel like most people looking for a fulfilling story experience from a video game are probably going to overlook a game like that. At the same time, I feel like people up for playing a gacha game are probably much more interested in the gacha aspect, and at best the gameplay, rather than anything else. I also find it hard to recommend to my friends because I feel like I always have to be like, “the story and gameplay and music are amazing trust me, but also the game uses a mobile energy system and you get characters by gambling”. Like, I’ve managed to get a full experience myself without spending money, but it takes a huge time commitment that I don’t think is reasonable to ask of most people.

Adding on, I personally happened to get into the game because someone I was following for kirby art started posting about it, and even then I kind of just expected it to be something I put down in a couple weeks. It wasn’t until skimming through the story in chapter 3 and darknights memoir that I realized the story was more than just the filler of most other gacha games. And I think that’s really the best the game has going for it in terms of outreach. Like, from what I’ve seen of the ads they’re all the same mobile game ad garbage, but there are some pretty nice small communities around the game that I feel like are doing most of the actual legwork in telling people it’s something worth playing. Oh and also the music. The music gets a lot of people’s attention and rightfully so because it’s great.

This is a bit off-topic, but since I’m already typing I do want to say something about the gameplay and music because I think both are also notable strengths that the game has. I don’t know how much of this was intentional, but the gameplay really complements the story well. The tower defense gameplay of formulating a defense against an almost mindless horde of enemies suits both Rhodes Island and Reunion (and several of the later antagonists) very well. Rhodes is a pharmaceutical company first and foremost, so its role is strictly defense, even in combat scenarios. This responsibility later extends to protecting civilians that might be caught in the crossfire. Reunion on the other hand is described at several points in the early story to mainly be an uncoordinated mob of hopeless people who aim for little more than to release their anger before they die, and the gameplay reflects this with waves of enemies that break themselves against your defenses, doing little more than attacking the nearest person and moving down the one path they see open to them, though this does change and complicate as the game goes on.

Actually, I want to talk about the bishop of sal viento as an interesting subversion of the typical gameplay that better suits the particular story told in under tides. The bishop, rather than an advancing threat, is an unmoving monster thrashing against the walls of the cave he trapped himself in, and the player attacks him while he’s vulnerable, which I think more appropriately reflects the situation in under tides. The perspective at that point is from the abyssal hunters who are lunging upon their prey for the kill while it’s stuck itself in a corner.

The music, apart from just being generally very good, really does a lot to support the mood of the story. I’m a huge fan of drift personally when it comes to the background music used in cutscenes, but there are also some really impactful pieces used throughout the game like during the mephisto the singer fight where the song shifts to lullabye during the second phase, making the fight appropriately tragic and somber. Some of the songs featured outside of the game are also great for enhancing and expanding on characters in the story. I think Ständchen and Sentenced for example add a lot to how I feel about Ebenholz and Penance respectively as characters.

tags from @obsessedwithkirby on one of my posts

Glad you liked my analysis! I totally agree, it's a shame that a lot of people skip the story. I've been feeling the pain of convincing someone to play arknights only to have him skip all the story; at least I got him to try the anime.

I do enjoy the gameplay and aesthetics of arknights, but the writing and worldbuilding are what really have their hooks in me. I'm continually impressed by the breadth of the worldbuilding and variety of subjects the game touches on. Critiques and commentaries on heavy, real-life issues that take care to express the complexity of the subject without oversimplifying it or providing an unrealistic happy ending solution.

[yourtamaki]

history doesn’t repeat, it rhymes

sakusa x gn!reader

word count: 4.1k

warnings: angst, hurt/comfort, elements of depersonalization, non-explicit mentions of sex

dedicated to: @onyxoverride (thank you for beta reading) & @saintdabi

you can’t remember the last time you saw your reflection.

it wasn’t deliberate, the way you turned your back to the full length mirror in your closet every morning when you got dressed, how you usually dodged your reflection coming out of the shower like you did just now. at least, not at first. not until you realized how much better you felt now that you didn’t have to come face to face with a stranger everyday. that was the only word to describe whatever lived in the mirror. a stranger. any recognizable part of you had rotted away long ago. all that remained now was an empty husk with dead eyes and a selfish heart. the same selfish heart that set you on this path in the first place. 

was it worth it? you wanted to ask your past self. was his love worth what you did to yourself?

the very first night you met sakusa set the tone for the rest of your relationship. you’re still not entirely sure why you accepted your roommate, hinata’s, invitation to his team’s party to celebrate their record win streak. it probably had something to do with the puppy dog eyes he threw you. regardless, you went, wearing an outfit you were losing confidence in by the second and leaning against a wall as far from the drunk crowd as you could get. you never liked parties like this. too many people, too loud. but for your best friend, you were willing to grit your teeth and bare it. 

a part of you, larger than you would ever admit, wishes you never looked to your left that day. wishes that you never spotted the curly haired man looking so sullen despite half his face being covered with a mask, that you didn’t notice the way his eyes flickered from his empty red cup to where you knew the kitchen to be, how he wearily eyed the crowd of people that separated him from it. 

“i was about to grab a drink. i can bring something back for you if you’d like?” the first thing you ever said to the love of your life was a lie. you were planning on staying tucked in your corner all night, safe from the dancing drunks who had no concept of personal space until hinata was ready to leave. and yet the words were almost ripped out of you the moment your eyes landed on him, a fierce need to help the man flaring up from nowhere. you could only assume he had separated himself from the party for the same reason you had and it pulled on your heartstrings. no one ever noticed when you needed help so why not extend that courtesy to him instead? he blinked at you as though he had to process your offer before he nodded. 

“yes, please i’d appreciate it.” his voice was different than you expected it to be. slow and calm despite the way his fist clenched and unclenched.  “just water. a closed bottle if you can find it.” 

his brows furrowed for a moment when you held out your hand before letting out a quiet ah and handing you his empty cup. it was endearing how he placed it in your hand, balancing it carefully on your palm. 

“be right back.” you shot him a smile and started to make your way across the floor, getting pushed and jostled the entire way there. you made quick work of tossing the garbage into the overflowing trash bag and dug out two water bottles from behind a rack of beer cans in the fridge. the trip back was no easier and you breathed a sigh of relief when you were once again in your small private bubble with the man. the discomfort you endured, the skin crawling sensation of all those bodies too close to you was worth the way his eyes lit up when he saw you’d returned. 

he accepted the cool bottle with a murmured thanks, pulling his mask down and tucking it under his chin. handsome was your first thought and his name was your second. the two distinct moles on his brow should’ve given it away that you were talking to sakusa kiyoomi. you’d seen enough of hinata’s games, heard enough stories to put a name to the face. he held your stare as you placed him in your mind, taking a sip from the bottle as he did. an urge to say something, anything to keep those eyes on you bubbled up hot and fast and you said the first thing that came to mind. 

“my roommate’s your teammate.” 

“is he? which one?” 

“hinata. shoyo.” you added as though there was another hinata on the msby roster.

“ah. my condolences.” the corner of his lips quirked up when you snorted. “i’ve seen how he leaves a locker room. i don’t want to imagine what his room looks like.” 

“it’s not pretty, that’s for sure.” you said, leaning your shoulder against the wall and taking a moment to regard him. “can i ask why you’re here? shoyo told me you don’t like crowds so a party must be hard on you.” 

“would you believe me if i said contractual obligations?” 

“nope cause i helped shoyo go through his contract and i don’t remember ragers being a part of the deal.” a small burst of pride bloomed in your chest when he laughed, a quick huff from his nose and amused eyes as though he didn’t expect it. 

“you got me.” you waited for him to explain and deflated a bit when he remained silent. that is, until you followed where his eyes had wandered. it was easy to spot hinata from across the party. he sat high above the rest of the crowd on bokuto’s shoulders, leaning back occasionally to test bokuto’s reaction time and giggling every time he was caught at the last moment. meian was trying in vain to pull the ginger down while atsumu seemed to be on facetime with someone recording the whole thing, his loud laughter ringing out clearly over the music. 

“you’re here for them?” you said just as the realization dawned on you. sakusa twitched, so small you wouldn’t have noticed if you hadn’t been watching him so closely. 

“spending time with your teammates promotes better gameplay on the court.” 

“i’m sure it does. but wanting to hang out with your friends isn’t a crime.” 

“we are hanging out. i’m here, aren’t i? if they wanted to talk to me, they know where to find me.” the bitterness in his tone wasn’t enough to mask the acceptance behind his words, of being resigned to his fate as the forgotten one. 

“well, i found you.” he looked over at you, something unreadable swimming behind his eyes before they softened.

“yeah. you did. you know, you’ve talked a lot about shoyo but i don’t know anything about you. i don’t even know your name.” he said. heat raced to your cheeks, flustered that he seemed to be paying as much attention to you that you were to him.

“i didn’t even notice, sorry.” you said before offering your name. he repeated it back, once, twice, rolling it around on his tongue and you watched his mouth, mesmerized by how it curled around a word you’ve heard your whole life until it sounded new again. he spoke your name in a soft, hushed whisper and you wondered if his lips would feel just as soft. half-lidded, his gaze flickered downwards like he was wondering the same thing.

the rest of the night was a blur in your mind. all you could recall was that you chatted with sakusa until the others found you and you drove a passed-out hinata home with a new contact saved to your phone.  

the reminiscing left you drained, clutching your phone in your hands, the screen frozen on that same contact as you collapsed into bed and yet you couldn’t stop the rest of the memories from flooding through your mind, the truth you’ve been holding off for too long. you’ve picked at a festering wound that was best left alone. if you didn’t think too hard about it, if you ignored how it grew and ate away at you, it wouldn’t hurt as much. right? but it was too late. you’ve pulled the string and now you’re left to deal with your own unraveling. 

you scrolled through your texts for what feels like a lifetime, the entirety of your relationship flashing by and disappearing in an instant until you could scroll no higher. of course you sent the first text. a formal message that didn’t look anything like how you actually text with one too many exclamation points in your desperation to come across friendly. 

your fingers moved across the screen and when your mind caught up, your thumb was hovering over the button to delete the entire conversation. you never wanted to see evidence of who you used to be ever again. you didn’t want to be reminded of the person you cut and broke and killed until they fit into sakusa’s neat life. but sentimentality stilled your hand, the phone dropping from your limp fingers and crashing to the floor. you didn’t bother reaching for it.

the accursed memories refuse to let you be, another bobbing up to the surface from the murky depths and pulling you under before you could stop it. one that showed what little agency you had in your own life.

it started the way it always did. you noticed him. noticed how tired he was every time you spoke. how you went from going out on dates to always staying in to maybe being lucky enough to say good night over the phone before he crashed for the day. and sure, you were lonely. so starved for him it ached. but that was overshadowed by your worry for him. you would lay awake wondering if he’d remember to eat that day, if he had the energy to clean his apartment and if he didn’t, how much was that adding to his stress? 

so you swung by his place the next morning after he had left for practice, spent the day cleaning, restocked his fridge and were nearly done making dinner when he returned. his exhaustion was truly hammered home when he walked straight past the kitchen on autopilot before doubling back, tilting his head at you in confusion. 

“what are you doing here, darling?” 

“helping out.” you turned back to the stove and busied yourself with mindless stirring, afraid that you’d been too eager and overstepped. “you seemed pretty tired these days so i wanted to do something for you but you’re back earlier than i expected so i can just go if you want to be alone just let me-” 

your rambling was cut off when a force barrelled into you and sakusa hugged you tight from behind, head buried in the crook of your shoulder. all at once, whatever anxiety had been growing fled you and you relaxed into his touch. 

“thank you.” it wasn’t the words that made your heart leap to your throat. it was the sincerity, the slight crack at the end that told you he had more he wanted to say but didn’t know how. 

you fell into a routine of going over to his apartment, looking after things, kissing him when he returned and staying over at night. at first, it was once a week. then over the weekend, then every other day. 

“you should move in.” even though you half expected your relationship to take this next step, it still took you by surprise the casual way sakusa brought it up. you weren’t entirely sure if you wanted to move in with him just yet. you built a home with hinata and that apartment meant everything to you, all your happiest memories were made there and oh no sakusa was still waiting for an answer.  

“i should?”

“yeah.” 

and that was the end of it. you were packed and out of hinata’s apartment (because it was his now. his and atsumu’s. not yours, it’ll never be yours again) by the end of the month. most of your things didn’t come with you but that was fine, right? so what if you still felt like a guest in your home even to this day with none of yourself being reflected in the apartment? you got to wake up to see the love of your life every day and that made everything worth it. 

until you started waking up alone.  

extra training, he said. the team drafted new players and he had to get used to their play style, he said. and you believed him, trusted that he’d be home with you if he could. so you took the crushing loneliness and swallowed it down like a bitter pill. you smiled wide when he came home late with only the moon to light your bedroom and let him use your body to rid the stress of the day.

the dead of night was the only time you’d have him all to yourself. you could be greedy for his attention when he was buried inside you. it was easy to pretend you clawed up and down his back because you were caught up in the moment and not because you were desperate to keep him close to you. easy to pretend the tears in your eyes were from pleasure and not from how much you missed his voice. 

and when he was empty and spent, you would stroke his hair until he fell asleep and then, only then, would you whisper all the things you couldn’t tell him during the day. small, meaningless anecdotes that you knew would earn you a wry smile if he was awake to hear them, the one he used when he didn’t want to let on how close he was to laughing. the stolen moments were a salve on your fractured heart but it was never enough to heal it. in the end, when you were once again alone in your too-wide bed, it only served to remind you just how deep the cracks were. 

maybe that’s where you went wrong. you gave away your heart to someone and got nothing in return, nothing to plug up the all-consuming void in your chest. there was nothing left of you. no, that wasn’t quite true. there was nothing good left of you. you gave him your best parts and all you had now was pure resentment that burned hot and fierce in your core, so acidic it ate everything in its path. it burned away the dredges of your soul until all you could do was allow it to climb up and scorch your throat in a silent scream. 

another memory. it’s strange what your brain chose to latch onto as you spiralled. on the surface, you remember this to be a happier time. but as it overtook you, you’re reminded almost violently that the edges of this memory are stained with the early decay of your identity. 

before the early mornings and late nights, before you got into the habit of staring at your ceiling and wondering how you got to that point, you and sakusa had a tradition. you’d both find something, a story, a movie, that you think the other doesn’t know and share it with them. that day sakusa came to you with the myth of orpheus and eurydice. 

he told you the story of a man so in love with his wife he journeys to the underworld after she dies to find her, how hades tells him he can guide her to the land of the living but orpheus must trust that eurydice is following him. if he turns around, eurydice’s fate is sealed. sakusa explained how in every version of the myth, orpheus turned around at the very end out of an uncontrollable, unfiltered love for his wife. whether it was because he was excited to see the end of the tunnel and wanted to share his joy with her or because he feared she got lost, either one stems from the love he has for her. the love that sent him to find her is the same love that doomed her in the end. but the more sakusa spoke about orpheus, the more you wondered about the other protagonist of the story. 

“why didn’t eurydice try to let orpheus know she was there? she could’ve held his hand or touched his back or something.” you asked. you were laying your head on sakusa’s chest, letting the low rumble wash over you as he read you the tale. the question had been bugging you as the story came to its conclusion though you couldn’t place your finger as to why.

“she was a spirit. she would pass right through him.” 

“yeah but…” you searched for the words to explain your confusion. “she didn’t even try.” 

“it wouldn’t have mattered either way.” 

you opened your mouth to press the issue further, too stubborn to let it go just yet when you heard sakusa sigh out of his nose. it was enough for any question to die on your tongue and all that came out was a quiet, “i guess so.” 

it was a nothing memory. an empty thing to remind you of better times that you’ve had no need to look back on. so why did that moment swirl around your head now, as you crumbled in your lowest moments? scattered pieces start to form together in the recesses of your mind but before you could call them forth to make a full image, the bedroom door swung open and sakusa walked in. 

for once, you don’t slip on your well worn porcelain mask. you don’t school your expression and force it to mold into something that couldn’t quite be called happy. instead, you sat up straight in bed, held his gaze and did nothing to hide the maelstrom of hurt that raged inside you. a sick satisfaction shot through your veins when his steps faltered at the force of your stare. 

“what’s wrong?” he asked. 

what isn’t? you thought but instead said, “nothing. i was just thinking. about us.” 

“oh.” his eyes are already sliding away from you, a quiet detachment in his voice that made you grind your teeth in frustration. 

“remember that greek story you told me about?” 

“mhmm.” 

“tell me again why eurydice didn’t reach out.” there it is again. a short, sharp exhale from his nose. he opened his mouth but you spoke before he could. “humour me.”

“she was dead, darling. she couldn’t touch him, he couldn’t hear her so there was no point.” 

“no point? there was no point in trying to tell orpheus that she was behind him? he climbed into the underworld for her and she couldn’t try?” 

“could you--?” he cut himself off and pinched the bridge of his nose. “it’s late. i’m exhausted and really not in the mood so can we go to bed?” 

“doesn’t that sound familiar?” you continued as though he hadn’t spoken. “one person bending heaven and hell for the person they love while the other can’t even meet them halfway. remind you of anything?” 

now you had his full attention. his brows scrunched together and you’re not sure if he’s trying to figure out the meaning behind your words or the reason for your hostile tone. you don’t feel like helping him out either and instead watched the gears turn in his head with something akin to glee. it’s his turn to be paranoid, to overthink, to pick apart every moment of your relationship and dissect it piece by rotted piece. 

“please don’t be vague. if you’re upset with me, tell me.” it was the most emotion you’ve heard from him in so long, you were taken aback for a moment. 

“i’m a bit past ‘upset’, omi.”

“i’m sorry.”

you scoffed. “you don’t even know what you’re apologizing for.” 

“you’re hurt and it’s my fault. that's enough for me to say sorry.” 

“you don’t understand.” he crossed the room in three large strides, sitting on the edge of the bed to leave space between you. 

“then help me understand.” 

you floundered for the right words to explain the mountain of revelations you’ve uncovered and settled for, “how do i take my coffee, kiyoomi?” 

he took your use of his full name in stride. “black. one sugar.” 

“no that’s how you take your coffee. that’s the only way you ever make coffee. i had to learn to like it.” 

“what, you’re mad i don’t know how you like your coffee?” you know he didn’t mean anything by it, that’s he's always been more blunt that he means to be but it doesn’t stop you from feeling patronized and the hurt loosened your tongue. 

“it’s not about the coffee! it’s not about the fact that eurydice was a ghost. it’s the effort, omi. you haven’t put an ounce of effort into this relationship. i’m the one who has to bend. i’m the one that has to change, it’s never you.” 

“i never asked you to.” the truth of the statement knocked the air out of your lungs. because that's the worst part, isn’t it? you have no one to blame your misery on but yourself. 

“i don’t know how to love you without sacrificing pieces of myself. and i’m empty, kiyoomi, i've given you all of me. and it feels like you’ve given me nothing in return.”  

his head was bowed while he listened but from how tight he laced his fingers together, you know he was fighting to stay calm. “you know i love you, right?”

“do you? do you love me or love that i’m convenient? love that i clean your place and make you food and have a hole you can--” 

“stop.” you didn’t know it was possible for so much heartbreak to be packed into a single word. it sobered you of your venom and in its place, shame came rushing in. 

“i’m sorry. i'm pissed at myself for letting it get this far and i’m taking it out on you. i don’t regret loving you. but it feels like that’s the only thing living inside me. like i’m not even a person anymore.”

“i should’ve noticed. it shouldn’t have taken you snapping for me to realize what was going on.” 

“maybe.” 

silence, suffocating silence, stretched and morphed time until it felt like you’ve aged a decade in a moment. and then sakusa spoke.

“you’ll help a stranger just because they look like they might need it and ask for nothing in return. you’ll make someone food just so you can be sure they ate that day. you’ll tell me about your day while i fall asleep and i don’t think i could sleep without hearing your voice. you’re kind and too selfless for your own good and the best person i’ve ever met. it kills me that i’ve been the cause of your pain.”

it was strange hearing those traits spun in a good light when you’ve thought of them negatively for so long. strange knowing where you saw faults he saw things worth admiring. “you hear me at night?” 

“and you like focusing on minor details. yes, darling. every night.” 

“oh.” 

“i understand if you need… space, if you want to spend some time apart. but give me a chance. please. give me a chance to prove how important you are to me. i’m sorry that i’ve failed you. i’m sorry i've been taking you for granted. but that ends now. never again. 

“and i can help you, too. i can remind you of all the parts you say you’ve lost. i’ll tell you all about the person i fell in love with everyday if you need it. i’d never run out of things to say. please. you found me once, let me return the favour and help you find yourself. if-if you’ll have me.” 

his small speech wasn’t the reason tears stung the back of your eyes. as he finished speaking, sakusa reached out across the space between you and offered you his hand. a lifeline that you took, the lump in your throat to keeping everything you wanted to say stuck inside you. thankfully, you needed no words for sakusa to understand you. he brought your joined fingers to his lips and let out a shaky breath against them. the two of you stayed like that for a small eternity, drifted apart yet holding together with a bridge to link you. you’ve been fueled by resentment and anger for so long, you weren’t sure if you were strong enough to let them go. but you did know that you didn’t want to try without him by your side. 

[neokad]

Phantasy Star II - The 1989 JRPG that could

(This post is dedicated to @kuukigajan, my best friend, whom motivated me to post here again, so... I hope you'll enjoy this!)

This game. This freaking game.

I'm gonna say it right now: this post will contain massive spoilers about pretty much everything in Phantasy Star 2's story, so if you do plan on experiencing this game fresh, I strongly advise you to not read this post at all beyond the first paragraph, but... here's the gist of it: Phantasy Star II is one of the most important and groundbreaking JRPGs of its time, and I just did not believe this game was from 1989, at ALL. For that and a few other reasons, it has become one of my new favourite games of all time <3 

In fact, I do want to start with the one big flaw of this adventure so that I can just gush about everything else that's brilliant about PSII. I have to be honest: the dungeon design in this game is horrible. Now to be fair, it does make the many places you visit more memorable, but well... there's a rumor floating around that an actual trainee made the layouts for the dungeons - and since this game was a bit rushed for the Genesis's launch, the devs just didn't have time to replace the... stuff he submitted. And let me tell you, this rumor makes sense: PSII's dungeons are too big, too maze-like, too confusing and also FILLED with strong enemies. And in a game where you don't get a way to save anywhere until the midway point, it can make your adventure very frustrating and potentially grindy because of that... Now I wouldn't say that PSII's nearly as bad in this area as say, the original version of Dragon Warrior or ironically the first Phantasy Star, but the dungeons can totally make you feel like the game's harder than it actually is, at least without a map.

Thankfully, you should never feel bad for using any maps or guides with this game! The execs at SEGA at the time made the very smart decision to include a walkthrough with each copy of the game, including maps, tips, secrets and more! Said guide does encourage youto not look at it as much as possible but... it's totally fair to just use this, without any shame!

And that is a great thing, because... with you armed with this piece of paper, Phantasy Star II can finally show you its actual brilliance.

The game's plot starts off a thousand years after the events of the first Phantasy Star game. Since Alis and her party defeated Dark Force, the inhabitants of the Algol solar system - and its three planets of Palma, Motavia and Dezolis - have enjoyed relative peace. However, at a (to my knowledge) unknown point in time, a computer entity known as Mother Brain has started imposing itself onto mostly Motavia. This, over time, has actually given many benefits to the region: the once deserted wasteland was given rain, water and crops, so that it could finally host viable, comfortable civilizations. The citizens that lived here could finally ditch their (arguably) nomadic, harsh lives in favor of comfort, pleasant weather and more. And most importantly, Mother Brain allowed its citizens, save for a few, to ditch their current jobs and live a life of laziness, without any obligations or pressure to do anything other than well, existence. This is reflected many times during the game through NPC dialogue, too!

It is on such a setting that our protagonist, Rolf, wakes up from a strange nightmare. In it, we see Alis batting Dark Force and struggling in doing so, but as soon as he realizes this, Rolf wakes up in cold sweat. He then proceeds to calm his nerves, realizing that no such dramatic events could possible happen to him - after all, he and many others have been under the universal protection and care of Mother Brain, whom at this point, has provided all of their needs for centuries. He then gets out of bed and goes to the central tower, where we works as an agent in case some things do go wrong.

And gone wrong things have! His superior informs him that biological monsters, which had been created and bred in the Mota biosystems laboratory, have gone rogue and infected the regions of Motavia at a rapid rate. Because of this, Rolf is asked to investigate the cause of this phenomenon. Once he gets home to prepare for his journey, he is ambushed by best girl Nei, who has been rescued by him many months ago from the clutches of a serial killer. She does not want to be left alone anymore, and since she is also worried for Rolf's sefety, asks him to accompany him on the mission. Naturally, Rolf accepts.

Here, I do want to bring up Nei in more detail! She's in fact, the first of PSII's brilliant story-gameplay interactions, and here's why! Nei is in fact, a crossbreed experiment between a human and an unknown animal with cat-like features, but here's the thing: this said experiment was a failure. Because of this, Nei is only one years old, and yet her physical and mental age are progressing way more rapidly than they should. And you can feel this effect on the game itself: she needs way less EXP than any other party member in the game to level up, and because of this she will skyrocket in levels way beyond the rest of your crew... with a catch. Because of the nature of the experiment, the genetic code inside of her is slowly being messed up and corrupted, which not only causes her level ups to be less valuable than anyone else's, but it also becomes an important plot point later...  Unfortunately, despite her absolute cuteness, her status as a half-half made her a victim of bullying, racism and so much more, which is... pretty messed up to bring up at the time not gonna lie o_o

Starting up the journey, the party discovers that rogues have destroyed a neighboring city, and it just so happens that their base is situed at Shure, the first dungeon of the game . One assumption I like to make from this scene is that life has become so easy and careless on Motavia that people just went and did crime out of pure boredom, because life just wasn't thrilling enough anymore with Mother Brain doing everything it could for its inhabitants...

However, upon climbing said tower, Rolf and Nei find out multiple dead rogue bodies, whom have been presumably murdered by the many biomonsters roaming the place. They do, however, manage to find some dynamite and most importantly, a letter. This piece of paper informs our heroes that the daughter of a Darum, the very same person that tried to murder Nei months ago, is held captive in another tower, which explains why he turned to crime in the first place. They then decide to do the obvious, which is to rescue daughter Teim in her captivity location. Once they meet up with her, she explains her desire to talk to her father to set things straight and sway him from the life he's been getting into, as well as hide her from the surviving rogue members with the help of a veil. Our group manages to meet up with Darum, but... her daughter asks the party to stay put, as she does not want them to interfere with her as she explains things to her father. However, in the heat of the moment, she forgets to remove her veil, which causes Darum to not recognize her. In his confusion, he murders her own flesh and blood and sits there, stunned, as he watches the reason he caused many untold atrocities... wither away below him. Shocked and going insane by this situation, he sees no other way out... but to commit suicide with the help of a bomb.

It gets worse.

While this scene was tragic and brutal to say the least, it does allow Rolf to cross the previously guarded bridge where Darum was always located, which allows him to investigate his mission further.

I do want to make a sidenote here actually! Phantasy Star II does include eight playable characters, but unlike Rolf and Nei they do not join you at fixed intervals - instead, they will become available in your home town of Paseo once conditions are met. Sadly while they do have a recruitment quote, a few lines and a backstory, they do not have an impact on the main story in any way. This does blow as this means PSII does not have much in character development and interaction, but I did want to mention that there’s more to this game than just Rolf and Nei :P 

Upon exploring the regions of Motavia, the party manages to make its way to the Biosystems lab, and what they find here is horrifying to say the least. The lab is in horrible shape, with cracked floors everywhere. On top of that, there is no one inside the lab anymore, it being completely deserted, save for some horrible-looking creatures being kept insides tubes, decorating the now sinister looking building... Because of this, Rolf deems it safe to pick up the recorder inside the lab, to analyze it and try to find out just what exactly went wrong - if anything at all - to hopefully figure out why the world has been sacked by biomonsters. And sure enough, the gang make its way back to Paseo.  After handing over the recorder to the library located in Paseo’s Central Tower, it is now made clear: the biomonsters were caused by a large amount of energy used in a very short amount of time in those labs, causing them to mutate extremely rapidly. This had the predictable but unfortunate effect of ruining the natural order of the ecosystem, which is why these species are wrecking havoc without control. The librarian giving this information also makes the following connection: this outpour of energy must have come from Climatrol - another lab which regulates the weather of the terraformed planet so that it can sustain its new shape. Following this, Rolf and co. take a few steps to reach Climatrol - and I want to highlight a specific one!

The story somewhat pauses until then, but one of the dungeons you’ll go through is a garbage dump... and one of the treasures is a jet scooter you can use! Sounds cool, right? Well it is, but even such a cool object has been abandoned by the lazy society, since teleportation is much more convenient to them. I just thought it was a really neat detail, that’s all ^_^

Once making their way through the relatively normal Climatrol, something does wait for them at the top of the building... something... unsettling...

This is Neifirst. She was another failed experiment just like Nei, sharing the same biological data as her. However, unlike her sister, her creators tried to kill her on the spot due to her status. This made her enraged against the species that gave her life, and as an act of revenge, decided to unleash this bio catastrophy to slowly wipe us out. This is where another truth is revealed: Nei did not come with Rolf just to protect him, she actually wanted to put a stop to her sister, because while she did dislike being treated like a freak or a monster, she never wanted to hate her species as a whole... It remains that she still wants to stop her sister’s plans, and despite Rolf’s protests, the two engages in a fight. However, due to Neifirst being much stronger, Nei sustains heavy damage and is incapacitated. But, this is where the rest of the party comes in, and thus they finish the job and kill off Neifirst dead in her tracks, Rolf then quickly rushes in to his dear friend’s side, but as he does... it’s too late... Nei is dead.

This is yet another reason why Phantasy Star II is such an important game: it is, to my knowledge, the very first JRPG in which a major playable character dies permanently. Heck, Rolf even tries to bring her back through the local Clone Lab - because yes, citizens have access to eternal life by cloning their bodies until the end of time - but... since Nei’s genetic code was degenerating rapidly, they could not clone her body anymore. And, since Neifirst was also defeated, it is also impossible to get a fresh code back from anywhere in the world. Nei is dead. And you cannot do anything about it.

But don’t worry! It still gets worse!

But just as you’re about to find a way to fix this, it turns out that Climatrol has collapsed, which caused an immense flood all over the world. Since the government - and by extension, Mother Brain - isn’t happy about this, you are now considered a fugitive, a criminal. You are now the bad guy, and you are wanted for treason. 1989, anyone??

This is where the second brilliant story-gameplay integration of Phantasy Star II happens. Where until now you’ve only fought mutated monsters due to the outbreak, the government has now sent thousands of carious cyborgs and robots against you - and lo and behold, this is now the only thing you are fighting in both the overworld and dungeons, and the previous creatures are now nowhere to be seen. THAT’S REALLY SMART. Now sure, even if you are considered evil to many, you still task yourself with the task of unflooding the planet, and to do so you simply reactivate all four colored dams in the continent. However, upon reactivating the fourth one, your party is suddenly ambushed by a trio of robots sent by the cops, and this time? They succeed in capturing you. Your party is now sent in chains on a hovering satellite, as you are sentenced to slowly wither away and die in there without any trial of any sort, simply because you went against Mother Brain’s dear wishes...

But, something goes amiss. The sattelite starts to malfunction, and is now set to crash on one of the three planets of the Algol system. And despite you all trying to alter its course, it is too late. The satellite crashes onto Palma - the planet of the first Phantasy Star game - and it is gone.

That’s right! The planet in which many players took the time to save with Alis’s gang, to have a huge dungeon crawling adventure, the planet where you defeated Lassic in a glorious fashion. GONE. In only a few seconds. But... what about yourself? Well, you actually died! But a space pirate wandering close to the crash site pulled out your remains and cloned everyone’s body back to life... which makes you technically not yourself, and also dead, for the remainder of the game! ...May I remind you this game was developed in 1989?

Tyler the space pirate then escorts the zombie party back to Paseo, but not for long - you see, your commander, who hasn’t truly approved of Mother Brain’s actions against your group, allows you access to a spaceship. This is a big deal, because space travel as a whole has been banned ten years ago due to a major accident in which Rolf had lost his parents, and thus, the one stationed in Paseo is the last one remaining on the planet. But sure enough, Rolf takes the opportunity and travels to the ice planet of Dezolis, or Dezo.

And honestly? Even though this next part has nothing to do with the main story, it’s probably one of my favourites in the entire game. In this section, you simply must make your way through an abandoned space station, which has not seen use in years. At first, you’d think it was somewhat related to the spaceship incident, but as you explore this space station, you find a bunch of animals and newspapers lying around. You not only find some irrelevant ads about various products, but also news flash about a horrible gas spreading throughout the station, begging every inhabitant to evacuate immediately, which... definitively implies a very bleak fate to the place and its inhabitants o_o 

And on top of this unsettling setting, this is the first time you get to hear “Silent Zone”, my favourite track in the game. While the rest of the soundtrack is very upbeat, catchy and all around excellent, this track in particular is very... sad, desolate, lonely, in spite of it being just as catchy! It all combines for a brilliant example of “show, don’t tell” that really sets the mood perfectly to me <3

Either way, upon exploring more of Dezo - a frigid wasteland with few inhabitants - the party gets to meet up with Noah, a party member from Phantasy Star I! After reawakening from a cryogenic sleep, he then reveals that unlike Paseo and Motavia, Dezo basically never submitted with Mother Brain’s control and benefits simply because they did not want to live a life without any struggles. Unfortunately, this is also where you learn that Paseo came to terms with this *after* being to MB’s whims and as such, you can connect the dots and realize that the satellite crash was no accident after all... it was all planned.

Noah, however, knows about how deeply MB has ruined everything for the inhabitants of Motavia and thus tasks Rolf with collecting eight legendary ancient weapons all throughout Dezo, located within some ruinous, empty, cold dungeons which make for stunning atmosphere and presence, believe me!

Once that’s done, he then entrusts Rolf with the ultimate Sword and, thanks to kinetic abilities, sends him and his troupe to the space station housing Mother Brain. And once there, for the first time in centuries, a human being has met with Mother Brain.

And of course, the computer scoffs at those rebelling against her. She laughs at how they think they’d want a life with struggles, wtihout comfort, without anyone providing their needs, when work and hardship seems so uninviting on a desert wasteland like Motavia, or a frigid hell like Dezo. And yet, after a (pretty difficult!) battle, you emerge victorious! Or do you?

After the victorious outcome, Noah senses some additional presences beyond Mother Brain’s spot, and urges the party to investigate. And then... I don’t think I’ll even explain it in words. Please watch what happens. It is disturbing.

Yeah. We, the humans, were destroying our planet, Earth. Thus, we escaped through this spaceship to avoid extinction, and found the Algo system. It then, to our species, only seemed logical with so few numbers, to instead slowly weaken the population of all three planets with Mother Brain, making it then easy (although a very long process) to get rid of the population and start anew, even if it meant genocide. What I love about this twist ending is not only how it’s presented: the creepy music, the way you did *not* expect it at all, the number of humans on the screen at once, and so on... but also, how you don’t even know for sure how it ends. You don’t know if Rolf, Rudo, Amy, Kain, Hugh, Shir, Anna... if any of them survived. But it looks grim. It looks like we lost. And it looks like everyone we fought and tried to save... will rot until the final days anyway... Phantasy Star II... is important. Sure, I could talk about how the game is challenging due to how both your party members AND the enemies are very capable in battle or the stellar, catchy, memorable soundtrack...   but its story... is stunning. In 1989, we were still used to princesses being saved by armored heroes from dark dragons. We were used to things going all well in the end. But in 1989, Phantasy Star II taught us many things that would become staples in the future of JRPGs:  Yes, your cherished ones may die with you not being able to do anything about it No, you may not be able to save everyone you’d like to. Yes, your actions might make things worse for yourself and everyone else. No, things aren’t quite as black or white as they seem. And no, you might not always win. Phantasy Star II is a masterpiece. It’s a bit hard to approach this game today, but with a guide, this game is a must play. It’s unique. It’s ambitious. It’s chilling. And I adore this game to pieces. Thank you for reading, somehow <3

[feralphoenix]

BUT THAT DOESN’T MEAN YOU’RE NOT PREPARED TO TRY

if you’re following my blog or if you read my fanfiction, you may have seen me talking in tags or comments about how the radiance hollowknight was a pacifist. “feral, wtf?” you may have thought. “she’s the freaking final boss and tries really, really hard to kill you and all her attacks do 2 entire masks damage. where on earth do you get pacifism out of that???”

to you specifically i say, that’s an understandable reaction! the short version of how i got here was that i started thinking about the story implications of radi not inflicting contact damage and took a deep dive into game mechanics and lore. when i came up for air i had made myself Very Sad.

if this intrigues you and you would like to know more, come along with me, i am happy to point out the things i noticed and share the Big Sad around.

this essay is also available on dreamwidth for accessibility purposes, since my layout’s text may be too small for folks on pc with high-res screens.

CONTENT WARNING: This essay discusses pseudo-zombie plagues and associated body horror, colonialism and genocide, horrible things that happened in real life Australian history... you know, the usual topics that come up when I’m talking about Hollow Knight.

ADDITIONAL NOTICE: TPK fans of the “TPK meant well/was working for the greater good”/“TPK and Radi are equally bad”/“TPK is bad but Radi is worse” variety please give this one a pass, it ain’t for you.

finally if youre from a christian cultural upbringing (whether currently practicing, agnostic/secular, or atheist now), understand that some of what i’m discussing here may challenge you. if thinking thru the implications of this particular part of hollow knight worldbuilding/lore is distressing for you, PLEASE only approach this essay when youre in a safe mindset & open to listening, and ask the help of a therapist or anti-racism teacher/mentor to help you process your thoughts & feelings. just like keep in mind that youre listening to an ethnoreligiously marginalized person and please be respectful here or wherever else youre discussing this dang essay

BUT THAT DOESN’T MEAN YOU’RE NOT PREPARED TO TRY: The Radiance Doesn’t Deal Contact Damage And That’s Kind Of Fucked Up And Sad

The vast majority of hostile creatures in Hollow Knight deal contact damage: This is to say, if the Wandering Knight (who I’ll probably spend most of this essay calling by their affectionate fan name Ghost) touches a hostile creature, this harms them.

There are exceptions to this rule. The most notable and most oft-memed example is the game’s literal actual true final boss, the Radiance. Not only will Ghost not be harmed by running into any part of her body, but during her stagger animation, where she drops to the boss arena floor on her front with her whole body splayed out, Ghost still isn’t harmed if she lands on top of them! What’s more, this holds true for her full-power form Absolute Radiance, the secret final boss of the Godmaster quest/endings.

A lot of people find this amusing, because it’s a little absurd that a game’s final boss is an exception to such a consistent element of gameplay! Hence all the “haha moth too soft and fluffy for contact damage” jokes. It is objective facts that Radi is very soft and very fluffy, so it’s very easy to understand why people don’t overthink this too much.

Thinking about things I like in gross detail is unfortunately my hobby. When it comes to Hollow Knight this usually leads to me making myself really sad. I’d like to share the fruits of my theorizing with the class, so other people can be sad with me.

Now, from a game design perspective I can think of a lot of reasons why Team Cherry chose for Radiance not to inflict contact damage. Her hitbox only covers the central part of her body. Her limbs are large, so because of the way she floats, if she did contact damage she would be protected from nail strikes from below and to either side. This would give a player who prefers nail combat a punishingly small margin through which they could inflict damage without also taking a hit, potentially forcing them to adapt to a new and unfamiliar play style at the very end of the game. That’s not fun for anybody and tends to make players feel very frustrated.

In addition to this, Radiance’s attacks are all bullet hell-style spells. All of them except the floor hazards inflict two masks of damage, meaning if you want to stay alive and identify points where it’s possible to heal, you need to learn the spell patterns and dodge a lot. Radi is a large boss. If running into her hurt you this would make the bullet hell elements of her fight extra punishing.

So, I think the purely game mechanics reason for Moth Too Soft And Fluffy is in interest of keeping her boss fight fair, and helping players feel like they have a chance of actually defeating her.

Part of why we all love Hollow Knight, though, is that there’s not much in the game that only exists for purely mechanical reasons. There’s always some form of story or lore integration.

So what on earth is the story reason behind why Radiance doesn’t deal contact damage?

OTHER ENEMIES THAT DON’T DEAL CONTACT DAMAGE

Radi isn’t the only enemy (here defined as fightable/killable creature) in Hollow Knight who doesn't inflict contact damage, so let’s take a look at her fellow exceptions to the rule to see what we can learn.

Broadly speaking there are two categories of Enemies That Don’t Deal Contact Damage. The first is enemies or bosses who used to be hostile, but have become friendly to the player. For instance, when characters like Ogrim and Hornet are not being fought in boss battles, touching them won’t cause damage to Ghost. These story characters who Ghost has more or less reconciled with can’t be damaged by the player out of combat either.

In terms of generic enemies who used to be hostile but have become friendly to the player, we have the mantises of the Fungal Wastes and the Siblings/Ghost’s Shade. We learn from the game’s lore that the mantises Did Not Like The Pale King and were hostile to Hallownest, but that they established a ceasefire conditional on their keeping the people of Deepnest (who were also hostile to Hallownest) from leaving through the area’s main entrance/exit in the Fungal Wastes - essentially the two native kingdoms were pitted against one another by the Pale King.

Now, just because there was a ceasefire, that doesn’t mean the mantises take kindly to Hallownest bugs brazenly trespassing into their dang house; they will get in your face and try to kill you unless you have permission to be there. But once you’ve defeated the Mantis Lords in combat and proven yourself worthy of the mantises’ respect, they’ll let you pass through their turf unmolested. They are no longer actively hostile and don't deal contact damage.

(You're still able to attack them, though - maybe because you’d be locked out of receiving the Hunter’s Mark if you complete the Respect quest/achievement before you’ve successfully killed enough mantises? - and if you attack them, or if your pet charm familiars attack them, any mantises you aggroed will fight back and deal contact damage again.)

The Siblings, as well as Ghost’s Shade, are initially indiscriminately hostile. Our window into Shade psychology is limited, but we know that the Shade died violently and the Siblings probably did too; they may be lashing out. They’re also Void creatures, and Ghost looks a lot like the Pale King, whom we can guess from context clues pissed the Void off significantly by using it as his personal play-doh to make tools and toys with and also using its house as his personal garbage dump for baby corpses.

However, once Ghost recalls their past and breaks the mask of the Kingsoul charm to reveal the Void Heart at its core, the Void recognizes them as a part of it, and Ghost becomes able to direct/lead the Void to some extent. As an extension of this, the Siblings and Ghost’s shade become docile and can now be killed by any weapon in one hit instead of just the Dream Nail (which is made of Radiance’s Light and is the Void’s natural weakness). They don’t deal contact damage anymore either.

That’s it for “enemies that inflict contact damage at one point, but stop inflicting it after becoming friendly or neutral to Ghost”.

The generic enemies which don't inflict contact damage include shrumelings, maggots, maskflies, and lightseeds/lifeseeds. These enemies are incapable of inflicting any damage on Ghost whatsoever, because by themselves they are completely helpless entities with no natural defenses.

Shrumelings are infant members of the mushroom clan who are usually protected by adult fungi like shrumal warriors and ogres. Lightseeds and lifeseeds are harmless single-celled organisms. Maskflies are similarly harmless. Maggots, we glean from the Hunter’s Journal and dialogue from False Knight/Failed Champion, are the bottom rung of Hallownest’s society because they are weak and helpless, and are forced into menial and slave labor by other Hallownest bugs because they cannot defend themselves. The maggots’ plight is the whole reason why False Knight/Failed Champion stole Hegemol's armor in the first place, as he wanted to protect his people.

All of these enemies flee when Ghost approaches them. (Some maskfly groups’ flight triggers are set to specific areas on a map and won’t flee if you can avoid stepping on/passing through those areas, but this is clearly due to a programming oversight because their whole Thing is running away.)

But, there’s something interesting to be observed in the case of lightseeds and maggots: They can fight back against and harm Ghost if they use tools. The little flock of lightseeds you chase around the Ancient Basin eventually get sick of Ghost’s shit and take over Broken Vessel/Lost Kin’s corpse, which they puppet around to try to murder you. By doing so they gain access to Broken Vessel/Lost Kin’s considerable combat prowess and become very dangerous, contact damage included in the bargain. (The lightseeds’ doing this seems to evoke the vessel’s spirit, since they reach for Ghost when defeated. That’s not a gesture the lightseeds have any reason to make. The Lost Kin fight, by which the spirit seems to gain some form of closure, becomes available here too.)

False Knight/Failed Champion’s fights work on the same general principle. Now that he has a weapon he can attack Ghost, and his armor deals contact damage. The maggot inside the armor does not inflict contact damage; essentially both his boss fights consist of your whacking the armor until he’s stunned and pops out of the armor for a moment so you can hit his vulnerable real body, which is the only part of him that yields Soul when you smack him. In fact, his boss fights will last forever if you let him recover from being stunned on his own.

Between these two groups, Radiance very obviously doesn’t fit in the first, as she’s the final boss and is very vigorously trying to kill Ghost with various magic spells. You can tell from her Dream Nail dialogue that she’s furious about what the Pale King did to her and her people, and is afraid for her life. She is willing to use everything at her disposal to try to destroy Ghost so she can survive, go free, and get revenge for the Pale King’s crimes. If she could do contact damage to Ghost she would.

So, the only logical conclusion to make is that Radi falls into the second group of enemies that don’t inflict contact damage. She is physically incapable of causing any harm to anyone with only her body. Her magic is deadly as all get out and the 2 masks damage explosion noise probably haunts the nightmares of anyone who’s struggled fighting her, but without it she is helpless.

WHY CAN’T RADIANCE DO CONTACT DAMAGE?

It might be pretty hard to reconcile the fact that a character with Audre Lorde energy as potent as Radi Hollowknight’s is has a whopping 0 ATK. The biggest clues we get in terms of story context for her inability to inflict physical harm of any kind can be found within the culture of the moth tribe, who were her people.

Thistlewind, the backer-designed moth ghost who can be found in the Resting Grounds, tells you that the majority of moths were pacifists, and that individuals like them and like Markoth who learned to wield a nail were in the minority. Thistlewind appears to have learned to fight as a means of self-defense while they explored the crater area, and describes Markoth as having done so in order to “[brave] the edges of this world, hoping to uncover a truth long forgotten”. It sounds to me like Markoth was trying to recover parts of moth culture that were lost when their tribe was assimilated into Hallownest, or maybe even searching for Radiance or trying to learn what happened to her. (Judging that his corpse is hidden behind one of the Pale King’s shade gates it seems this didn’t go well. Thanks TPK.)

As far as fighting moths go there’s Marmu too, but she seems to be a special case, possibly raised in Hallownest's culture instead of with her tribe. We don’t actually get any sort of canon explanation for how a baby moth wound up as a child soldier who died defending the Queen’s Gardens, but given the overall tone of Hollow Knight as a game and all the colonization/Australian history parallel subtext, some horrifying possibilities come to mind.

So, if Thistlewind, Markoth, and Marmu are Outliers Lepidoptera and should not be counted, how did the majority of moths spend their time? According to Seer, who knows more about the tribe’s history than most (and to Quirrel, who points you to her if you defeat Uumuu before picking up the Dream Nail), the moths’ main prerogative was cultivating and developing dream magic. From the way the Seer describes dreams as a living history as you collect Essence, dream magic seems to be a parallel to the Dreaming (or Dreamtime), a spiritual concept in Indigenous Australian religion related to both history and myth.

To translate this into simple terms, the moths were by and large pacifists whose culture celebrated art, history, and spirituality.

Team Cherry tends to adapt at least some aspects of real-life bug behavior and biology into their sad cartoon bugs, so moths-as-pacifists tracks: Real moths do not really have any way to fight. They defend themselves from predators via their mobility and their markings, which tend towards either camouflage that helps them hide or bright markings intended to scare predators off by indicating they’re poisonous (therefore not good to eat) or look like the face of something much bigger and more dangerous than they are.

There's not that much we can glean about the moths in pre-Hallownest society aside from Seer’s dialogue, because Hallownest destroyed their civilization so thoroughly: Except in the Dream Realm (which is filled with Essence spirographs and the wisteria charms that decorate Seer’s room), their architecture can only be found anymore in hidden parts of the Resting Grounds and at the very top of the Crystal Peak where Radi’s statue and a fuckton of lore tablets Ghost doesn’t know how to read are located.

But, we know that the crater pre-Hallownest was home to a ton of diverse bug nations - the mosskin, the mushroom tribe, the mantises, Deepnest, the Hive, the flukes - and every SINGLE one of those had some kind of warrior tradition, as well as their own unique cultures. In the midst of all that it was only the moths who were pacifists, so from there we can tentatively assume that they were on good enough terms with their neighbors for there not to be any fighting. The mosskin in particular also had and still have a Higher Being on their side, though in the modern day Unn seems to be rather conflict avoidant to say the least.

And we know from Hallownest’s past dealings with the mantises and Deepnest that even having Two (2) Higher Beings isn’t enough to keep rival civilizations off your nuts if they hate you, so it’s improbable that Radiance just did all the moths’ fighting for them.

The only hint that the moths ever had beef with anyone at all is one of Radiance’s Dream Nail lines, “ancient enemy” - this is popularly theorized to refer to the Void and might be corroborated by the Void’s willingness to follow Ghost into Radi’s boss fights and fight alongside them. As the Void seems to be some sort of Higher Being/god of darkness and nothingness, and the Dream Nail’s only offensive ability is to kill Void creatures, the Void and creatures of Light appear to be in a position of mutual vulnerability. Some of the Pale King’s writings in his workshop, which identify the Void as a power in direct opposition to his, support this too.

It’s unclear whether the Void civilization and Radiance ever directly came to blows or whether they were just giving each other the stink eye over being natural enemies - personally I think the latter is more likely because the two civilizations existed on opposite sides of the crater*, and again, the moths were pacifists; plus when Ghost brings the Void along to Radi’s boss fight she is quickly and gruesomely overwhelmed by it.

What I am saying here is that if pacifism was such an integral aspect of moth culture, and Radiance epitomized her people’s culture, and she is 100% incapable of inflicting physical harm, she was probably a pacifist too.

DEEP DOWN YOU KNOW YOU WEREN'T BUILT FOR FIGHTING

Hallownest flourished for a long, long time between the Pale King and White Lady first establishing it and the initial outbreak of the Infection.

There’s no conclusive information in-game as to why this is. We can only guess: Maybe Radiance was so badly hurt or weakened by the moths’ assimilation that it simply took her That Long to become capable of the mass dream broadcast to Literally Everyone In Hallownest that would eventually become the Infection when Hallownest’s people tried to suppress it. Or, maybe it just took a long time for her to come up with a way to fight back. It’s possible that it took her a while to find the resolve to actually fight back, too, with her principles of pacifism in conflict with the necessity of defending herself and taking her people back. Maybe there was a change in the moths’ situation in Hallownest somewhere down the line that compelled her to step in - all the moths are super extremely dead at the time Hollow Knight starts, after all. Even Seer is eventually revealed to be a revenant like Ze’mer the Grey Mourner, only lingering in the world to pass on the Dream Nail and tell Radiance’s story. Maybe it was a combination of all those factors. Barring Team Cherry dropping in to explain this bit of Sekret Deep Lore, we are never going to know.

All we DO know for sure is that when we mosey into Hollow’s brain (and/or Ultimate Showdown of Ultimate Destiny our way to the top of Hallownest’s Pantheon) and challenge the literal actual sun to a fight, Radi takes the challenge with extreme prejudice and comes in swinging.

Something interesting I noticed while comparing the Radiance boss fights with the Pure Vessel fight is that some of their attacks are vaguely similar. Where warrior-mage characters like Xero and Markoth have physical weapons that they summon and manipulate with magic, Radiance and Pure Vessel both create nails and daggers out of Essence and Soul respectively. Both characters’ magical weapon attacks are similar in nature too: Some are used to create hazards that must be dodged or avoided, and some are fired directly at Ghost in radial patterns.

This begs a very sad chicken-and-egg question. Did Radi and Hollow develop these battle techniques independently of each other, has Hollow in their prime form somehow absorbed similar techniques to Radi through osmosis since they’re currently chained together by the brain... or is Radi mimicking and innovating on these attacks she knows Hollow can do?

All her other attacks seem very obvious for a light-themed character, after all: Beam attacks and blobs of light. A flash of bright light is also how she shakes off the Void the first time it tries to grab her, too, making for a strong argument that that’s the original natural defense she possessed, and that’s what she based most of her attack magic off of.

Making sword’s and knive’s from Essence when most of her people didn’t even handle these sorts of tools even at the height of her power and influence, though... that seems less like something that would come naturally to her. i don’t really know i don’t have a definitive answer or theory for this one it just Seems Possible and it’s fucking me up guys

Even the Infection - which began life as Radiance’s attempt to communicate, let’s remember, before it progressed to “The End Of Eva Disease Will Continue Until Someone Actually Listens To Me” and then finally Radi screaming “FUCK U LET ME OUT, GET THAT NEW SUNNY D BOTTLE THE FUCK AWAY FROM ME, HALLOWNEST EAT SHIT” during canon - does not appear to be fatal to living bugs until the tumorous growths grow so large they impede bodily functions, like real cancer. We can observe this phenomenon via a number of NPCs and enemies that are rediscovered as tumorous corpses after the whole Crossroads area becomes infected.

At least to me, all of this points to Radiance being a character to whom violence and causing harm doesn't come naturally, and who has resorted to these methods in desperation.

It actually reminds me a lot of False Knight/Failed Champion. It’s a very common theory among fans that when he stole Hegemol’s armor he killed Hegemol - this is a reasonable thing to believe, since Hegemol is the only one of the Five Great Knights of Hallownest who never appears at all in-game, not even as a corpse like Dryya and Isma. Like Radi, False Knight/Failed Champion is a character who rose up and turned to violence in order to protect his people, despite the maggots not being a belligerent species.

False Knight is one of the game’s first major bosses, sometimes the first boss that players encounter at all. And so Hollow Knight’s story bookends with two separate victims of a predatory system, one who lived within and was cannibalized by it, one outside of it who was deliberately targeted by the Pale King. Neither of them started out as a fighter, but both of them still adopted violence as a tool to protect themselves and their people. Radiance is as doomed as False Knight by the Pale King’s genocide, but just like False Knight, she has no intention of going quietly, and will rage against the dying of the light as only the literal actual sun can.

Cue Deedee Magno Hall voice clip. You all know the one.

*A footnote: There’s no conclusive evidence to tell us whether the Void civilization was contemporaneous with the other pre-Hallownest indigenous bug nations or whether it predated them. Mask Maker has a line suggesting that the Void civilization tried to expand throughout the crater in its heyday and that maybe this was linked to its collapse, but in general the Void lore is just too darn thin to draw firm conclusions - it’s like trying to speculate on the ancient stone age cultures of the Americas that came before pre-settler Indigenous countries when the only sources you can easily access are elementary school level US history textbooks. (To non-Americans: We mostly teach kids propaganda until they hit college-level courses and it sucks so much ass.) This is very realistic worldbuilding, but also please Team Cherry I want to know more about these ancient bugs who apparently got lost in the sauce

[maniacalmagician]

EVERHOOD: Pinocchio in Psychedelic Purgatory: the Rock Opera Adventure. OR: I walked backwards into hell, and felt euphoria as I became privvy to the Divine Truths

Hello tumblr people. I’ve been Away. I played a game recently and I wanted to talk about it.   damnit i really wanted to put pictures into this mini essay. ive been away from this garbage site for too long, i dont know how to do it lol.  ok anyway    First, I want to say to the developers and anyone else that this has quickly become one of my all time favorite games. Currently writing I have personally never felt a greater emotional attachment to an experience with a piece of software. Perhaps it is the extreme idiosyncratic nature of it, perhaps it is the deeply intriguing storyline, mostly however it is a combination of those in addition to some of the most outstanding psychedelic visuals I have ever seen, particularly in the finale sequence, and a killer soundtrack that combines many genres but focuses mostly to being as bangers as possible. I will be upfront and say this game comes with a boatload of trigger warnings, and thus the aforementioned idiosyncratic nature of it may not appeal to everyone, however I feel it necessary to indicate potential content warnings here as I would hate for people to be triggered: epilepsy is the big one, I myself have mild stutter based epilepsy and it didn't cause health problems or anything but my case is not universal. Anyway. That is a hard warning on epilepsy. I do it because The Incredibles 2 did not, lmao (that's an example of the kind of visuals that trigger me personally. An aside ) Other things include (spoilers): arachnophobia, misophonia (screeches, unsettling sounds), themes of death, immortality, suicide. Some game mechanics are not immediately intuitive and puzzles require some pretty clever but sometimes obtuse solutions. Direction is not always super clear either. People have complained of performance issues but I am leaving this review after playing the switch port, which played smoothly other than some awkwardly long loading times here and there. What I have played of PC so far runs smooth but as of writing, performance for me was fine (my pc is a lowend budget build). There is a difficulty to it. Even playing on easier modes, it can be quite unforgiving. If you're a fan of hard games (I am but I suck at them) and rhythm games (this is, uh, Not? That? Almost functions as half walking sim, half rhythm Game, dodgy shoot em up kinda feels. Truly unique gameplay I think. Constantly switches things up, too. But yes I also adore rhythm games, and yes i also do suck at those too.), half of it is that. The devs troll you with puzzles. It's truly a wild experience as it advertises, one of a kind. And yet, however.... This game wears, much like its heart,, its references, on its sleeve. If you are not into that kind of thing, you will probably be annoyed by this game. It also loves to delv into meta, as many puzzles and interactions are references to the UI of the game itself. Personally, I'm not wild about meta but I appreciate the ernestness here, so I'm willing to roll with whatever this game throws at me because every turn feels unexpected, fresh, funky, somber, and wildly intelligent, with boldly sincere ludonarrative choices, script and art direction. If you like Geno from super Mario Brothers, which, guess what, narrator here LOVES Geno from Super Mario Brothers, this is functionally the game you've always wanted that Nintendo could never make because Square has held Geno hostage in some kind of underground torture facility since 1995. Turns out they were rather right to do so, because when that puppet is out serving a higher authroity, he can be quite dangerous. Narrarively it borrows much from its sources but I would argue there's proof the writers have spent time thinking about the implications of their source materials worlds, and that reflection casts itself back to create this, experience that is wholly unique even if we know Red is Geno and "Gaster" (who was based on Uboa from Yume Nikki or princess mononokes forest spirits), and some kind of disco Marceline character who changes their identity frequently, skeleton brothers- well undead brothers, really - We have to remember in the creation and consumption of media sometimes, influences and archetypes are ever present and Everhood almost itself is a realm that would indulge in the idea of self referential material. It makes for this very Jungian experience of friendly archetypes we're familiar with, which works well with this setting of an immortal realm. Thats not to say the personalities we do meet aren't expounded upon - they are, heavily, and become uniquely their own. (Spoiler) if my theory is to be believed this world is a purgatory where people have made their own artificial vessels and as time has made them bored (though some seem to be having a good time) while typical strains of the Pinocchio myth are thrown in about questions of identity and death - and probably even more so towards Timothy Learys concept of the Ego Death, or the return to the collective soup of unconcious being. Undertale will probably always be a reccomendation even by its own reference to it so comparisons to it will be littered through here. It feels like the developers were emboldened by Toby Foxs spirit in game development (his creative energy is rather infectious) and shared many similar ideas, but this feels far more aimed towards a maturer audience (references to the things I mentioned in the trigger warning list) and focused on achieving this feeling that its predecesors have as well. Yume nikki. Lisa. Earthbound. Toby's games. super Mario rpg in its humor, Cat Soup in its psychedellic depressive vibes, all this cool indie cult classicy kinda mash up soup.  bizarre antics and then these characters who have surprising depth the further you go. It has been 6 years since Undertale came out, and the developers for Everhood have called a lot of the "what ifs" that fans of that game ask, an answer in their own game. (What if No Mercy was forced, for example? What if going against destiny is the wrong thing to do? Why is Death such a Bad Thing? etc!) And the further along you progress, the smarter the story gets, the more complex the narrative threads and characters. This game knows how to write compelling literature and that wasn't an element I expecting but god am I so glad for it. Literally my pea brain saw Red's design flipping around some frets on a streamers videocapture (shoutout to based fellow tampa native Charles White, thank you for being witty and having good taste and your Floridian comisery.) one night and went "oh i like." But the experience I got in exchange was, so, so much more than that (but the tetris effect won't let that image disappear from my eyelids quite yet haha.) I hear there are multiple endings and one requires a 3 hour long trek. I'm not done with the game at the time of reviewing. You bet your sweet ass I am going to find out the Ultimate Truth. I found a way to deal with some of the bullshit in other games, I may not be great at games but I want to see whatever imagery these guys put on screen so it compels me to seek out all the alternative routes. I am going to be following these developers projects very closely. If this is their debut, their next project will be ... ... I would hate to force expectations, like if you just made a magnum opus like this it'd be perfectly alright to retire, but I just once again want to say thank you to the developers for putting your heart on display for the world to see. I see it. I have dealt with struggles similar to the ones in the stories this game articulates about anxiety and depression, existentialism and dread, dissociation and all the heavy themes that were risky to include narratively - I'm certaintly glad you took the risks you did. May update this review as I get further along the story but yeah. Tl;dr: haha pinocchio myth done well make brain go brrr. 9.99999999999998/10. I am taking an infitisimal fraction of a point off because of the ♥♥♥♥♥♥♥ spider in the monster maze. that thing was abhorrent, but I won't let it deter anyone else who wants to play.

[bitterfucked]

finally beat all the ds3 bosses solo the other day so here’s a buncha shitty cell phone pics i sent to my friend to brag

build was a regen faith build 44/40 VIG/END, 28/16 STR/DEX, 60 FAITH. rings were Sun Princess, FAP, Havel, and Chloranthy (all +3 for Midir/Gael). i used Blessed Lothric Knight Greatsword for Soul of Cinder, with Ancient Dragon Greatshield offhand, Sunlight Straight Sword + ADGS vs Nameless King, and the Blessed Dragonslayer Axe/Ethereal Oak Shield you see in the pics vs everyone else.

here’s my review of the 5 hardest bosses:

1. Soul of Cinder: 9/10

fun fight, the super varied movesets were really thematic. loses a point cos if you aren’t familiar with previous games’ lore this is kind of an “okay i guess there had to be a final boss” type of fight. like great gameplay but Cindy has 0 story build-up in ds3

2. Nameless King: -100/10 first phase, 7/10 second phase

overhyped garbage fight. hate playing camera souls phase 1, hate that you’re encouraged to bring lightning for the drake’s weakness and then punished for it phase 2, and i hate his janky stab-grab hitbox.

“he’s got a super varied moveset” okay but he doesn’t if you do the typical “suck dick and smack booty” ds3 boss strategy; the fight is just swing swing punish for 2 minutes straight. don’t get me wrong i love ds3 gameplay and i’m here for that but the way ppl talk about NK i was expecting something better than a trashfire phase 1 followed by a phase 2 that is IMO subpar when compared to Dragonslayer Armor or Cindy for “big dude with sword” fights.

i won’t be fighting NK on any NG+s i think. phase 1 is that unfun, so it’s probably a 1/character fight to get his sick fashion and maybe that swordspear

3. Sister Friede: 9/10

first phase is fun as hell once you get the hang of it, phase 2 is a bit meh and really why she isn’t 10/10, phase 3 is terrifying and so satisfying to beat. not much to say here. Friede and Cindy are both very nearly that platonic dark souls ideal of a boss that feels impossibly hard until you learn their moves and realize how fair (yet challenging) the fight is.

4. Midir: 10/10 potential, 7/10 practical

i love midir’s moveset and he’s the dragon fight of my dreams. you know how a lot of video games do dragon fights but they don’t do a good job of actually showcasing what it’s like to fight a five-storey tall crocodile that can breathe fire and fly? midir falls (omg spoiler) a lil short on the flying department but nails everything else.

the thing is, he’s a health sponge. this’d be my favourite fight in the game if he had about 2000 less HP but as is, he’s a bit too much of an endurance fight. which takes away from the sheer terror of a well done dragon - there should be more of an element of “take him down fast or die”. endurance fight removes that tension and makes it more of a “somersaulting arsehole teases animal for ten minutes before delivering a brutal headshot” kind of tone. midir also gives a surprising amount of space for you to heal for a battle that’s considered the hardest in the game, which removes the tension of an endurance fight - you’re not outlasting a series of deadly combos, you’re using your own massive HP pool to marathon 200 hits into midir’s noggin

5. Gael: 6/10

i’m probably never going to fight gael again but he does score a lot of points for

a) having each phase be more of an awe-inspiring “oh shit oh fuck” moment than the last

b) making me nearly piss myself when i passed through the fog gate for the first time and was like “huh this a weird spot for the gate” and then see him just fucking sprinting at me

c) literally saying “it’s always darkest before the soul!” like what a fucking funny line for the final boss of the series

anyways he’s got the same issue as midir where it’s a sastisfyingly difficult fight made frustratingly much harder by an inflated HP pool. even once i got phase 1 & 2 relatively down, he was such a slog that my mistakes would just pile up for phase 3. i know i don’t have this complaint for Friede who has a similar size HP pool but she’s not an endurance slog - she can get combo’d down fast phase 1, and phase 2 is so full of free hits that she’s effectively 5000 HP less than her written total. you don’t spend the entire fight dodging around being like “okay… where’s my one hit opening…” which is fun to do sometimes! just not for the entirety of an extremely long fight

outside of HP bloat, teleporting into phase 2 feels janky and basically having to use the pillars to create space for estus and buffs reduces an epic fight into cheesy videogame moments. i also literally did not realize that his cape hurts you because that makes no fucking sense. i thought he just had janky hit boxes until i looked up a video on how to beat him

fun as hell game overall tho time to finish my pyro, sorc, and ranger playthroughs

[demonfox38]

Completed - Zelda II: The Adventure of Link

Oh, my language is going to be vulgar on this one.

So, I'm a crusty millennial who likes old garbage. Most of the media I like is old enough to drink and be a member of the US congress, but probably couldn't be due to the country that produced it. Now, I'd like to think that I've got good reasons to like older media, particularly when it comes to video games. It's a bit hard for my NES to bug me for microtransactions/DLC and emanate the screams of children and man-children alike. But, as much as I like my retro junk, there's one thing I'm very, very happy about regarding modern video games. The variety of game types now-a-days is a blessing. It's rare that someone is stellar at all game types, and I sure have my weaknesses.

It took me a long time to realize that I could be good at video games, and I wholly blame the glut of 1980s platforming games on that.

Look, platforming is not a forgiving genre. Particularly, back in the day where you had characters dying in 1-3 hits before factoring in death pits. It existed then for the reason that fourteen million instakill indie horror games exist now. Instantly killing the player is a lot easier to code than, say, having to track a health bar or their new position as an enemy swats them into a different room. Sometimes, a coder's gotta do what they can to keep themselves sane.

But, from a player's perspective, this style sucks!

Getting good at a platforming game requires practicing the same levels over and over again, developing a sense of your character's inertia and limitations. Without a save state or a warp to narrow in on a particularly troublesome location, it's hard to get learning to stick. You could lose a lot of games and time trying to put it all together. And some poor little character is always suffering because of your ineptitude! Such failure feels like a fork in an electrical socket. Succeeding in these circumstances requires a great deal of emotional resilience and a contrary attitude. And you know what? That's just not something I had as a kid. In fact, one could say I had my aggression and competitive drive scolded out of me. I'm just now getting that back.

So, yeah. I had a little trouble with "Zelda II: The Adventure of Link."

"Zelda II" is part of a trifecta of NES games that get routinely shit on by retro reviewers. Like its peers "Super Mario Bros. 2" and "Castlevania II", this game is generally considered an inferior game due to an extreme change of gameplay and appearance from its predecessors. And you know what? That attitude sucks. I'd rather have a variety of different games with a cast I like than have them pigeon-holed into one genre. In "Zelda II"'s case, however? The game mechanic shift was so extreme that I can easily see the ire it raises. Hell, I felt it. I wouldn't go so far to say that it's the worst Zelda game ever, but man, does it have structural defects.

In "Zelda II", Link's goal is to save an ensorcelled Zelda from eternal slumber by picking up a Triforce chunk that was pitched into a fuck-off palace way at the edge of Hyrule. (No, not the Zelda from the first game. Another Zelda. Same Link, though.) To do that, he's got to slap six gemstones into various temples across the countryside. Naturally, that includes picking up his trusty sword, leaping into battle, and then maybe straight into a death pit.

That's right. This Zelda is actually a Mario.

Further complicating the matter is a sharp switch in battle style and item accruement. While the previous Zelda game was about room management and ranged combat (or at least, as much as that was allowed), this game is all about jamming Link's dinky sword into an enemy's face and running off as fast as he can. Now, Link can learn a few tricks to help with the slash and dash, like directional stab mechanics and spells. But, as far as getting new weapons to help you? Sorry, bud. No bombs or boomerangs here. Well, except for the assholes throwing boomerangs at you, anyway. You just can't steal them.

The game encourages polishing the player's skill with Link through a level system. After acquiring XP through good ol' fashioned monster murdering, Link can cash his points out, improving his life, magic, or attack power. As the player levels him up, stats become more costly to improve. If Link gets a total game over before you use your XP, it is wiped out. Alright, fine. Fair, I guess. But, I wouldn't recommend looking at Japanese footage of this game if you don't want to give yourself a migraine. It turns out that as a part of some rebalancing, the level-up system was stacked to try and keep players from dumping all of their points into a single stat early into the game. Particularly, attack. Considering how painful and annoying enemy logic gets in this game, it's such a drag to learn that Japanese players literally could cut their way right out of that struggle. Thanks for dicking with the game design again, American publishers.

I guess we got better looking sprites and sound effects out of the deal? Hooray for wiggly Barba.

Even with leveling mechanics and a handful of heart and magic containers, this Link feels much frailer than the original Zelda's Link. Like, it's hard to believe he's supposed to be the same guy. Even at max health and defense, you could get Link wiped out with 8-32 hits (as opposed to 16-64 hits from the first game.) Exacerbating that is a life system that can yoink those health bars at any pit's whim and Link's range/health restoration being tied to a limited pool of magic. It feels like you're playing with a ceramic replica of the original character. You can make it work in a fight, sure, but you'd rather have a sword than a shard of a broken teapot.

If you don't have a bushido-level acceptance of death, you're not going to make it very far in this game. I'm not being hyperbolic. You have to accept that you are going to kill Link. You're going to watch that little fairy boy fade to black as the world flashes around him, and you're going to see that a lot. You're going to toss his bitch ass into the river to get a game over and restock your lives because fuck if you're going to wipe out inside a dungeon and have to start your bitch ass back at Zelda's temple again. That little counter on the main menu isn't how many times you have wiped out. It's how many times you've clawed your way out of the abyss with a middle finger raised.

Oh. Minor epilepsy warning on boss and Link deaths, by the way.

Having gone full bleak there for a moment, there are a few pieces of knowledge that can help slow down the cycle of life and death:

There are towns with nice ladies in red dresses and orange robes that will heal your ass for free. You should talk with them a lot.

There are classes of enemies that will drop items after they have been killed six times. Most of the time, this is a magic bottle that restores MP. Sometimes, it's a bag of experience. No monster will drop anything to heal your HP.

Also, some enemies are literal rat bastards that steal your XP. Some also give you no XP on killing them. Yeah. I know. Annoying.

The Life spell is in Saria. The downward stab is in Mido. (I realize these are very strange sentences if you're more familiar with "Ocarina of Time.") Getting these can make a night and day difference in surviving the game. So, keep that in mind.

You do get a spell that will turn you into a fairy. You can use it to game pits and sneak past lock doors. Just don't abuse it too much. It's expensive.

The dungeons have this little statue in front of them that you can whack with your sword. In most locations, it'll drop either a magic bottle or an Iron Knuckle. Game entering and exiting a dungeon as much as possible to restore yourself to full vitality.

You can get into random fights on the overworld (represented either by a little black blob or a more threatening human-sized blob.) Staying on gold roads will mean these encounters produce no enemies.

Also, you can use those random battles to override forced platforming sections. Not that I would recommend cheating in such a fashion. 😉

The game will give you a level up after you plug a gemstone into a dungeon. If you're close to leveling up anyway, turn around and grind up to the top, cash in what you've got, and then go pitch that gem.

Link has a crouch, not a duck. You think pressing down on the D-pad will evade projectiles aimed at your face, but it does not. Crouching is only good for blocking floor-level garbage. It's best not to think of the down button as much as possible, really. Only use it to pick up crap off the ground and cheese the final boss. Otherwise, jump.

I know that I said earlier that "Zelda II" is mechanically like a Mario game, but you know what other perspective might help? Try and play Link as a Metroidvania Castlevania character. There's an attack style in games like "Castlevania: Symphony of the Night" and "Aria of Sorrow" where you walk, jump, and attack in such a way that you never stop moving forward. That's what you've got to do. Walk, jump at an enemy, bonk on forehead. (Depending on how fast you press the attack button, you may need to delay swinging your sword just a teeny bit. At least, I had a bad habit of swinging too early.) With any luck, when you hit the ground, you will be able to keep on moving. You do not want to get stuck playing "poke-the-hole" with your enemies, particularly with how turtle-y some of them can get.

So, the game's a brutal bitch, but I don't want to spend the entire time shitting on it. Let's talk about improvements.

Honestly, I like the sprite style of the side-scrolling sections better than the previous game. Everyone/thing has more room to be rendered, so they look clearer. I can't say the monster or dungeon design here is my favorite, but hey. Easy to see. Yippie. Could have used a map though. Maybe some more tile textures in the dungeons?

NO. STOP. BE NICE.

There are more people around that want to help Link out. Like, whole towns filled with helpful healing ladies and dudes that will teach you magic and the occasional sword strike. Most of their conversation makes sense (although, there's a memetastic fault in translation regarding a character being named Error instead of what I'm assuming should have been Errol.) People good. Want to help people. People help me.

Except for towns where some of the people are monsters, and one of the times they overlapped a healing lady to get text box priority, and then they killed me. Boo.

I'M SORRY. I HAD A HARD TIME.

The music variety is pleasant. Only a few tracks have escaped the game to go into use elsewhere, but there's only one that I'm really iffy on. The NA release did a fine job transposing what they could using a different sound chip, and there are striking uses of the sample channel being used in ominous situations.

But…like…I struggle to see where fighting through this game is worth it. And maybe it comes down to the final boss. Like, the penultimate one? Absolutely cool. A bitch to fight, but I can't knock how massive and intricate its sprite is. But, the final boss? I suppose it comes down to personal tastes, but I find mirror matches/rivals to be exceedingly dull. Like, good for you. You know how I fight. I do too. Come back to me when you know the weaknesses of my style and use a fresh set of skills to throw at me.

Like, it's not the worst ending in the Zelda series. (My vote for that would go to "Link's Awakening.") You do get Zelda saved. But, given that the final boss is some kind of dark clone of yourself…it begs a lot of questions. Was there any concrete plan for the forces of darkness in Hyrule, or were various monster tribes just scuffling around, being dicks without any overarching plan? Were some monsters trying to keep you out of the Great Palace for a good reason? Would there have been any threat of Ganon reviving at all if Link just…sat on his ass behind a castle for the next century or managed his anxiety in a different way? Why does the manual bother to separate Zeldas and the game does not? Oh, wait. The Japanese intro correctly distinguishes this and the American one does not. Why am I not surprised? What's the difference if you don't see the Zelda you saved from the first game, anyway?

This game is a lot of work. I had to psych myself up to play it every time, and by the end, I was rattled enough by my nerves that I literally camped in my bathroom for a few minutes just to make sure I didn't get sick on the couch. Very stressful. And I'm not sure that stress was worth it, frankly. Life's hard enough as it is right now. I literally have a stress rash on my neck from the shit I'm going through in real life. No, you did not need to know about that. But maybe you need to know that I've been having a hard time lately, and this game did nothing to alleviate me from the stresses of reality. And what's the point in checking out from reality if a fantasy world is just going to make me miserable, too?

There are better games to play in this style. Hell, there are better games on the NES in this style. You know what you should go play? "Faxanadu." It's uglier than "Zelda II", sure. An absolute idiot when it comes to basic mathematics. But it's very chill about platforming and death. And maybe I just want to chill the fuck out for a while.

[fire-mage-719]

DOOM 2016 vs DOOM Eternal

Yeah, I get it, I’m late to the party. How long as Eternal been out? And I literally just finished it? Which isn’t even to mention how I didn’t even GET Eternal until long after it had come out. But early into playing Eternal I wanted to make a 2016 vs Eternal comparison. It has been a while since I’ve played 2016, but I’ve played through it at least, like, three times so hopefully my memory stands as I write this critique of the two games. 

Now first off, neither are bad games. You’re a fool to think either one would be so. Both are MARVELS in gameplay and entertainment factor. Honestly, if I was stuck with one game for the rest of time, it would probably be one of these two. Well, I also like other properties mostly licensed or owned by Nintendo, so it would be a tough battle, but they’re up there. DOOM 2016 and Eternal are just really stinking good games. Now personally I can’t really say anything on quality, since I played 2016 on a Switch (which is not renowned for stellar graphics) and Eternal on my computer (a hand-me-down from my father, which I am surprised doesn’t explode every time I touch it... I’m bad with computers and wouldn’t dare to replace the graphics card unless my life depended on it). I just really can’t say anything about graphics, but overall even without 1080 HD resolution and maximum FPS or whatever, the games work well, and play well. The only glitch or error I ever had playing either was in 2016, where on the second level I phased through a floor in the middle of a fight and right into a section with a new gun. I did not complain. 

Now to get to the actual points. DOOM Eternal is an amazing game. I think that they really perfected the combat from 2016 in Eternal. We will miss hand pistol, rip, but they really did the weaponry and fighting well. The flames for armor, glory kills, grenades, THE SWORD MAN, all of them just... amazing. I think the first thing I was just so ecstatic about was the regenerating chainsaw ammo. Because you could always at least get 1 chainsaw ammo (gas? Whatever) back whenever you wanted, it made it so you had to use the chainsaw. Well, the way the game played you NEEDED the chainsaw, but rather, with this mechanic you could use it regularly, and not just try and save it for the annoying enemies. That was a HUGE boost from 2016 that Eternal had.

Another thing Eternal did well was hiding secrets. A staple for DOOM throughout time, and Eternal did a perfect job of hiding them but also making them reasonable to find. They’re cleverly hidden, and the dossier and map show just enough to help you get them. I really like the map in Eternal, I think that the main thing I would want in 2016 is Eternal’s map. And to speak of map and locations: travelling in both 2016 and Eternal is never a chore. The amazing landscapes and designs are just spectacular. Not to mention the fast travel option in Eternal? You can go back and find the secrets you missed which is just... so amazing. Like, I’m no completionist, and I want to complete DOOM.

Now to get to my only quarrel with Eternal: The story flow. 

I love Eternal, but I felt as if the story was somehow... wrong. Oh, the storytelling and lore are great, but I felt as if things were too far apart, non-joined as I played. The flow of place to place felt wrong, or in the very least too fast. In 2016, everything takes place on Mars (or Hell) and everything seems more joined or within reason, rather than just: Oh, I’m on Earth! Now I’m on the Sentinel Planet! And now I’m in a frozen land! Now we’re in Hell! And Hey look there’s Mars! The story is just fine, it all works out, and the worlds we go to follow that story just fine and well, but compared to the storytelling and progression of 2016, it just feels slightly off. Not saying it’s bad, just that I prefer the flow of 2016. But we also got all the cool locations of Eternal, and hey, they’re really stinking awesome. 

My other complaint is that Eternal just sort of... started. We show up on this like... space station? Just chilling outside of the orbit of Earth? Like, how did we get there at the end of 2016? Where did it come from? That was the only real plot thing that sort of bugged me.

The story of Eternal and 2016 can’t really be compared. They’re sort of only comparable to themselves and their own stories. BUT CAN I SAY THAT SAMUEL HAYDEN CAN SCREW RIGHT OFF????? Shut up you stupid sword thief! Stealing MY sword! And then acting all buddy-buddy got to save the world? I do like his character honestly, and I adore the implications he has. Or rather, all the knowledge he has. Like, he gives us some exposition on the places we go to (once we unfortunately have his company) and you have to wonder how the fresh heck he GOT that info. I think I saw a theory that the maykr angel that made Doomguy have the big-bad powers the demons fear (beside his overall ungodly amounts of rage) was also Samuel. Like, something about similarity of names and the disappearance of the angel dude? But the story expansion for eternal shows the angel dude with voice lines that imply they aren’t the same person, so really for now all we have on Sammy boy is he’s a piece of garbage. Who somehow stole the almighty maker of the makyrs. That comment Vega made, “Dr. Hayden, am I the Father?” or whatever, had me shooketh. BUT WHAT HAD ME MORE SHOOKETH IS THAT WE LEFT VEGA BEHIND! Or that like, Samuel just had the almighty maker of the angel people just running his Mars facility? And almost get blown up at the end of 2016? Just wack.

I had other stuff, like how the Unmakyr is super cool, giving us more weapon options. And how the new weapons are cool, and specifics on combat, but we don’t need to go into what we already know: the combat in Eternal rocks. I wanted to talk a bit about upgrades, but I just have to say that I liked the 2016 ones better. They were a bit more customizable, and I just preferred the ways you got them in 2016. 

The last thing I can really say is that the boss battles in Eternal were sort of... sad. In 2016 they were super cool, with interesting mechanics that you really had to figure out and adapt to. The ones in Eternal were like... shoot me enough and just don’t die to the lackeys that spawn and my AOE attacks or maybe like, my fist. The integration from level to boss fight didn’t feel as smooth in Eternal as it did in 2016. Honestly, I just thought the boss battles were sort of boring in Eternal. Like the Doom Marauder was a more difficult fight than the Icon of Sin. They worked well with the combat, but they just were sort of boring. 

I don’t want to go on much longer, but above all I loved Eternal and 2016. Both are amazing games with great combat, are totally fun to fight in and explore, and give us amazing stories and characters. Not you Samuel. I can’t wait for the Eternal story expansion, and I can’t wait to see where the story goes from here.

[layce2015]

My thoughts on The Last of Us pt. 2

Sooooooo.....the most controversial game and the sequel to a game that many consider a masterpiece. And it's one of my, if not my favorite game of all time. As you guys know, I was really hyped for this game.

Then those leaks happened and everyone turned against the game. I didn't read the leaks as I wanted to find out for myself when I got to play the game. 

Now that I've played it and beat the game, y'all are probably wondering what my thoughts were. Well....I thought the game was okay. 

Let me explain, there are parts I loved about this game and there are parts I really didn't like in this game (I'm sure one moment you guys know which one I really didn't like). I don't think it's a Masterpiece as those game reviewers gave it but I don't think it's total garbage either. I think it's kinda in the middle.

Sad thing is, I can see a good story in this but I think the execution was off and the pacing was off as well. I don't think the game should have been as long as it was, it should've been at least 15-18 hours long, like the 1st game.

And the ending to this game....honestly, I expected worse. And I will say as I was getting closer to the ending I had a feeling that that was gonna happen. It kinda reminded me of the All Out War in Walking Dead with Negan and Rick. So the ending didn't upset me as much as everyone else was.

So, all in all, I think the game is decent and I might go back to play parts of the game but it is not a Masterpiece like the 1st game was.

The combat and Gameplay, I will say I had a lot of fun with. I feel like that part was better than the first game. And the animation of Ellie working on her guns on the workbench was so cool to see. The bow and arrows were probably among my favorite weapons, which is funny as it was my least favorite in the first game.

This is kinda hard to say without spoiling the game, so here we go!

SPOILER ALERT

SPOILER ALERT 

If you haven't played this game or watched your favorite YouTubers play it all the way to the end DO NOT READ BEYOND THIS POINT!!

Okay, we good? Good.

MY MAN JOEL DESERVED BETTER!!!

Sorry, I had to say that but Joel's death, I REALLY didn't like it. Not that he died, but the way he died and that he died so early in the game I really didn't like. I had some inkling that he would die in this game but just not that way or so soon.

It felt more like it was for shock value than to tell a good story.

And I hate Abby so much as a character. And I want to say Fuck you Neil for trying to get me to sympathize with her while playing the second half of the game as her. I don't care about her at all! And fuck you, Neil, for also having me play as Abby and beating Ellie up.

Also is it bad everytime I got Abby killed I was happy and kept saying That's for Joel?! I'm sorry if I'm happy about the character I'm playing as dying, something is wrong.

I think if we cut out all that stuff with playing as Abby and just mainly focused as Ellie and got a different ending, this would've been a better game maybe a Masterpiece like the 1st game.

Also the flashbacks with Joel were my favorite parts of the game. It was just heartbreaking on playing those and seeing Joel again.

As for the whole SJW crazy leftist thing people complained about, I don't think it was that bad or in your face. I mean, it wasn't like shoved in your face. It felt like it was said then not really brought up again.

As for the new characters, the only ones I really liked was Jesse, Dina and, to some extent, Owen. Jesse and Dina I thought were pretty likeable, I thought Dina and Ellie's relationship felt real and was pretty good. Jesse was also a decent character. 

Also I want to shout out to Tommy for being a badass and going on that one man army fight to Seattle. 

Owen was the only one of the bad guy group, I kinda liked as it felt that he was reluctant to help Abby with her revenge mission against Joel. And he was pretty likeable

Oh yeah, the reason Abby kills Joel is because her dad was the Doctor that was gonna work on Ellie to extract a cure from her. So yeah, Joel killed him and that's why she goes after him.

Also the infamous sex scene in this game, I don't think was that bad. I was thinking it was gonna be waaaay worse from what I've heard people saying how they thought it was awful. I think that was another scene to be used for shock value.

And now let's talk about the ending. So after going through all of this, killing all these people, getting leads on where Abby is, Ellie finally catches up to her and her and Abby have a fight. Ellie gets the upper hand and is about to drown Abby until she gets a small flashback of Joel then stops and let's Abby go.

I understand that people are very upset with this ending, but the reason I'm not as upset as everyone else is that, I kinda had a small feeling that that's the ending they were gonna go with. Also I was expecting a much worse ending, like Ellie does something stupid and Abby kills her and leaves or something else. 

But like you guys I would've preferred a different ending, like her killing Abby. And then maybe have her realize that, this changed nothing that she feels nothing. She doesn't feel satisfied or whatever.

I also think they went with this ending cause they wanted to be controversial just like the ending of the 1st game was to alot of people.

But that's just my theory.

But like I said, there are parts I like about this game and other parts I didn't like and it's sad cause I can see the potential for this being an amazing game. And it's just an decent game. I don't regret getting the game and I'll probably go back and play it but probably not all the way through. Probably the first half and then that epilogue ending, just skip that whole Abby section.

All in all, that's my opinion. Let me know if you guys liked the game or not! And please let's be civilized about it! And if my opinion about the game makes you upset, then I'm sorry that's your problem not mine. This is MY opinion! If you didn't like the game, I understand. But me personally, I didn't love it but I also didn't hate it, I'm just in the middle of it.

And to be clear, I don't love it as much as the 1st game. The Last of Us will always be my favorite game.

As for my fan fic, I'm sure everyone is wondering if I'm gonna follow the game. I can assure you that I will NOT follow the game. There are some aspects I'll keep but not all of it, I'm gonna kinda rewrite the story and make it more satisfying, hopefully.

[mymanskabu]

Awww I loved the touch starved ask. Could you please do the same for Gordie, Raihan, and Leon?

× I'm glad you liked the previous one!

× Oo boy, not sure I have Gordie down properly. I only watched gameplay of sword and I have lowkey been ignoring him. Granted he's got an adorable air about him... I'll try anonie.

× We back with a little smth, smth.

┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Leon:

▪︎ Leon himself is a pretty physical person, loves to show this type of affection to his S/O constantly. He figured they were like him in that aspect and that's why they lingered so long in hugs or kisses. It wasn't until they were laying their head on his lap and he started playing with their hair that he realized why they were so, for lack of better words, clingy.

▪︎ "What are you doing?" His S/O asked, when they felt his fingers gently massage their scalp. It was an abnormal yet very pleasant sensation, they didn't want it to end.

▪︎ "Touching your hair, you don't like it?" He was about to untangle his hand from their hair but they were quick to hold it there, looking up to him with pleading eyes.

▪︎ "No one has ever done this to me and it feels really nice, can you do this more often?" Their question melted his heart, he was wrapped around their finger and he wouldn't have it any different.

▪︎ He adored holding his S/O and it became a common thing for them to practically throw themselves into his arms happily. Where it was warm, where they could hear his heart beat as if it was a lullaby, and where they felt the safest.

▪︎ "I missed you a thousand times more than what you're expressing right now, baby." His S/O would only hug him tighter to silently say that he was wrong.

▪︎ He was addicted to giving them physical affection, every time they were introduced something new, loving, and gentle they always told him how grateful they were to be able to experience it with Leon.

▪︎ Definitely a softy for when his S/O asks them to stay just a little longer. In his head he's just like, I can be late this once or twice or thrice okay maybe a fourth time and that's it—

▪︎ He made sure they knew what all types of affection he was comfortable showing them were. He also made sure they were comfortable and through this Leon, with his S/O, figured out what type of comfort they most liked from each other.

Gordie:

▪︎ Gordie is super touchy in private, big hugger, loves the cuddly stuff. He easily realized that his S/O lacked physical affection because of how they acted whenever he would want to hold them. It was especially obvious when he went to carry them and they had the most beautiful smile he had ever seen on them. The reaction felt a bit over the top for it to be normal but it was a genuine reaction from them and he just *sobs internally in gentle*

▪︎ "I never want to let you go," They said softly, their arms wrapped around his neck and their nose nuzzled against his shoulder. Wait, they can't do that, why they gotta go and get him all red in the face.

▪︎ "Good thing for you, I wasn't planning on letting you go anytime soon," He replied. In this occasion his S/O had told him about how they had never really been in the most affectionate relationships and gave so much to where they put themselves in a position where they were almost never on the receiving end.

▪︎ So, he made sure they were always receiving love. In private, him and his S/O are extremely affectionate towards each other, one would wonder who's the most touchy.

▪︎ His S/O liked being the little spoon in cuddling, that feeling of being wrapped and protected was one of the best sensations they'd been able to experience. If Gordie wants to though, they'll switch because having him in their arms and knowing he feels something similar makes his S/O happy.

▪︎ "I can't remember the last time I've felt someone genuinely love me like you do." Gordie knew they were talking about the kisses but the statement hit him straight in the feels. Someone drop a rock type Pokemon on the piece of garbage that hurt his S/O.

▪︎ "You'll be happy to know that you and I are going to be together for the rest of our lives."

▪︎ "Was that some sort of proposal because if so, yes."

Raihan:

▪︎ He got the "frustrated at the fact they are touch starved" S/O. He noticed they reacted a bit weirdly to physical affection, like they had no idea what to do when it happened. They don't have to do anything, but they lacked it so much in their life they thought there was some sort of instruction manual to it.

▪︎ Raihan was pretty affectionate, he will do things whenever he feels like it unless his S/O doesn't want to then he will respect it. They get very flustered at the physical contact and always have something sarcastic or snarky to say in response. At first he thought they just hated the physical touch and he stopped for a cool while.

▪︎ "Raihan, I'm sorry. I didn't... I... I liked your hugs and the random kisses, I'm just... I'm annoyed that I don't understand what I feel."

▪︎ "How do you mean?" He tries to understand their point of view, at this moment not fully getting the idea that they're touch starved.

▪︎ "You put your arm around me and I literally feel my knees buckle, it's ridiculous. I'm not trying to be dramatic but what you give me is so..." They pause trying to think of the word to describe what they feel. "Case in point, I want you to do the things you were doing. It has been so long since I've had a... a-a hug."

▪︎ They got him, his S/O now could not live a day without having been kissed, hugged, or cuddled at some point over ten times. He couldn't help himself, he would hold their face in his hands and plant gentle kisses on their forehead, cheeks, jaw, lips and made sure they could feel every wonderful sensation there is.

▪︎ He also really likes when his S/O just wants to hold him for as long as they can. They'll do whatever they can to stay with him or remain cuddled. He has had to give countless of excuses because he doesn't want to leave them but at times he will shower them in affection before he goes and promise to come back and shower them in more as long as they return it.

[bumblekscript]

from BlueTidalGamer to Kyle: Do you have any favourite games that you'd consider a guilty pleasure?

Questions answered by Ian Flynn and Kyle Crouse

Episode link

Kyle: Well, I don’t really feel guilty about them, like

Ian: [laughs]

Kyle: is that a thing? Like, I understand that maybe I should guilty about them but I don’t

Ian: Close enough

Kyle: Sure, I mean, I don’t feel guilty about liking Sonic Heroes [laughs] I will acknowledge that it has massive problems, but I still like it and that’s fine, I’m fine with it, and so, I think a lot of it has to do with the music, but I also do find it kinda fun, it’s a bit repetitive having to play through the same stages with similar character multiple times in order to finish it, but on that same token, it’s actually kind of relaxing in a way, in that way, there’s definitely frustrating points, the special stages are hot garbage, they’re not good, they’re not good, they are not well done, the final battle against Metal Overlord as Super Sonic, no. It’s completely broken, I still don’t understand how it’s even supposed to work, because there’s so many like, invisible walls everywhere and it’s just, that’s completely broken, but I don’t know there’s still something about it that’s appealing to me, I like it better than Sonic Adventure 2, which is probably going to make people very mad to which I say

Ian: Sacrilege

Kyle: To which I say, come at me bros. I also love me some Warriors slash Musou game oh ho, they are so fun, just slaughtering down complete armies as a freaking like god, is awesome, it is so awesome, it is so cool I love them, especially Hyrule Warriors, which is funny, because I’m not like a huge Zelda fan, I like Zelda games but I’ve never been like super into them, and I’ve not played all of them, but for some reason Hyrule Warriors just hits me right perfectly, because even though I haven’t played many Zelda games, I’ve seen and played enough of them to know a lot of what they are referencing, so I can still appreciate it for the references, and because I like Zelda character, Zelda characters are great, I just you know, the games I don’t necessarily sit down and play all that often, so

Ian: I think the magic balance with Hyrule Warriors is that it’s indulgent in all the right ways, you are playing with the world’s best written fanfic, and you are given the power of a god to just lay waste to all the bad guys, until you are given the power of a god to lay waste to the good guys, so that you can lay waste to the bad guys again, as the good guys again, and it’s so good

Kyle: The fact that almost everybody is playable in some form or another, whether they’re good or evil is brilliant, it’s perfect, I can’t wait for the next one, I can’t wait for the age of calamity it’s gonna to be so

Ian: We’re not gonna get into that topic, or we’re nor going to finish the show, because I’m gonna go on and on and on and on and on

Kyle: Yep, that might be something we have to break out the actual episode numbers for, to talk about at some point

Both: [laugh]

Kyle: I also do have a soft spot for the Dead or Alive series, the fighting game specifically, I’ve not played the dating sims, but the fighting games, I like them, they’re silly, it’s a very just kinda stupid, fanservice-y game, but it actually has some pretty good fighting mechanics too, so it’s not all just silliness, I still stand by Super Princess Peach, I think it’s a pretty good, fun little platformer, people criticize it because it’s a game staring a woman focused on emotions, but here’s the thing, the whole point of the game is that Peach is the only one who can control her emotions, no one else can, Mario and everybody else is overcome with emotional strife, and she has to go out and be the one to, who actually has control over her emotions and be the one to save the kingdom, so, I think that’s a nice kinda twist of an old school formula, Golden Axe: Beast Rider, I like just because it’s stupid, I like stupid games, that’s my thing, apparently, same with Lollipop Chainsaw, it’s completely stupid, Metal Wolf Chaos is the same way, they’re just dumb, they’re just dumb fun, and that’s all I want in video games a lot of the time, just something to turn your brain off and have completely stupid things happening, that’s really all I want in life, really, because I’m sick of my brain [laughs] so, those are some of my guilty pleasures, I suppose, I’m not guilty about them, but you know. What about you Ian? what are some games you might, you enjoy but not necessarily

Ian: Going to admit to it?

Kyle: Going to admit it, I suppose

Ian: Ah shoot, I haven’t really thought about it because the question was posed to you, I didn’t think about it

Kyle: [laughs] Well, you know I always turn it around back on you sometimes

Ian:  [laughs] I guess I feel a little dirty with just how much time I’ve spent on Tales of Crestoria, which is a very buggy gacha, and I mean, gachas in and of themselves kinda feel dirty because it’s a thinly veiled attempt to get your money, some of them are better about the gameplay than others, but you know that down at the bottom of it, they want you to spend money to get thing, I like getting the thing, I’ve never been suckered into spending money on it, and crestoria itself is, the bugginess aside, Kyle, the game wouldn’t load half the time when they launched because of a bug in the chat system

Kyle: [laughs]

Ian: You literally couldn’t go to the guild management screen because it would try to load the guild chat and break the game, it was, anyway

Kyle: Sounds like a mobile game to me, especially newly launched mobile game

Ian: And the drop rates are just atrocious, but I’m a fan of the tales of series, I’m really fond of the design aesthetic, the localization on the story is top notch, the music is solid, and who cares if most of the game is running on auto as I, you know, do something else, and just hit the button so I can get the thing, so I can level up the characters, so I can hit auto, so I can hit the thing and it’s completely a skinner box, but darn it, it’s a nice skinner box, I like the box, I press button, people do swingy anime thing, explosion, yay

Kyle: Sometimes you just need a nice boost of

Ian: Endorphins

Kyle: Yeah, sometimes, you just need a nice endorphin boost sometime you do, it’s fine, why do you think I like stupid games with dumb or no stories that are just button mash action, it’s the same kinda thing

questions can be asked at: bumblekast@yahoo.com; On Twitter @BumbleKast; Comments section on any YouTube video; Through Ko-fi support; Patrons can post on Patreon page and the Q&A channel in the Patreon-exclusive Discord

[starrymothwings]

OKAY so time for an actual review of Sonic Forces because i actually started and finished the game in one sitting

The Good:

1. I actually like the custom character?? I’ll talk more about this but I thought it was a cute and fun way of spicing up the series a bit. Like everyone loves Sonic and Co. but I’m always a sucker for games that let you make custom characters bc it’s a more personal way of connecting with the series. Not to mention, but it intorduced a new way of playing and it did it pretty well, considering that I actually preferred the Avatar stages due to the movement. Very easy to control which has been a major gripe with recent Sonic games

2. The music. I’m picky when it comes to game OSTs but there are more than a few songs I’m thinking about buying. The music in the Classic levels in particular are very nice

3. Infinite is a fun villain! He’s edgy to the max but those kinds of characters never really bothered me to be honest? I actually wish he had been the main villain rather than Eggman because that would’ve been a good way to flesh out a new character in an already short game.

The Bad:

1. The game itself is really short. There are about 30 main levels and almost all of them can be completed in a few minutes each. I’m a slow gamer so I’ll say the whole thing took me about 5-6 hours to beat it. And in those 5-6 hours, it felt like the game was trying to be two or three different games at once. I do understand it came out after Sonic Generations, and the Sonic franchise has revolved around the classic platformer level style. But—

—I wish there was more to the game. Rather than playing level after level, I wish there was some kind of overworld to interact with, even if it was just the resistance base. I mean, we have almost the entire SA2 cast there, wouldn’t it be cool to go around and talk to everyone occasionally? Like actually see how their reactions change to the events of the game as it goes on?? Plus, I would’ve liked it to be longer. I did get it on sale but the original price is around $40 right? Unless you plan to 100% the game then there really isn’t much content per dollar.

2. Sonic Generations did really well from what I remember, and this game came out right afterwards if memory serves me right? But unfortunately, I really don’t think Classic Sonic had a place in the game. He’s just kinda...Shoehorned in there. Like there’s no meaningful plot point surrounding him beyond the fact that he...Gave Tails hope, I guess? His levels are alright, not really my favorite despite the fact that I do the best on them. Easily the best music in the game. Unfortunately, I just think his addition weakens the game overall. Again, it’s one of the reasons why Sonic Forces feels like it was trying to be more than one game. Also, his controls could be better.

3. Speaking of Sonic...I understand that he’s y’know...Sonic, and this is a Sonic game, so people are expecting Sonic to be in it. But, and this could just be a problem caused by the game’s short length and pacing, I don’t think we should have gotten Sonic back so soon. I mean, the conflict in the beginning (and the reason for your Avatar to be there) is the fact that Sonic was captured, but you get him back in the fifth level, which is anywhere after 10-25 minutes of gameplay. Not a major gripe, but it does seem a bit silly. What I DO have a major gripe with though is the fact that Sonic controls like garbage. I did not look forward to the Modern Sonic levels because I knew I was going to get screwed over by bad controls. Like the countless times I fell off the running sections because the game decided it didn’t want me to stay in bounds anymore.

4. I wish there was a bigger connection between the Avatar and Infinite. Like, aside from the one fight between the two of them midway through, there’s really no interaction between them. It’s just that you have a game where the main unique feature is that you can customize an avatar character to use throughout, and then you have the villain that debuts in said game.

We know that the Rookie was able to join the resistance because Infinite spared them, so it wouldn’t be farfetched to say that he’s the Avatar’s nemesis, right? Again, I like Infinite, and I wish he was in the game more. Since the game is split between the Sonic levels and the Avatar levels, and the conflict is (essentially) split between Infinite and Eggman, I wish the Avatar levels were spent dealing with Infinite the majority of the time and Sonic with Eggman—Rather than Sonic...Pretty much doing everything? Nemesis against nemesis.

5. Where was Chaos? :) Where was my boy? (: Because you have him in the trailer, you have him in the cutscenes where all the villains are lined up, but you don’t even fight him in the game? At least not in any of the main levels. DX was my first Sonic game so I am admittedly a little biased, but again: where was my BOY, SEGA? :) I just want to talk

Overall:

Okay so, despite the fact that there are more bad points than good in this post, I actually really enjoyed the game! I can see why people might criticize the game, but as always my main factor of whether or not I like a game is if I have fun with it—and I did. The music was good, (most) of the levels were fun, I always enjoy a custom character, the new villain was entertaining. I had a good time. I do wish I had a longer time, and maybe a slightly different time, but a good time nonetheless.

Now I’m off to play the Shadow episode and see if I have anything new to say afterwards, and then I’m gonna make fanart of my avatar because this game forced me to make a sonic oc in this year 2020, said self-insert rights, and also cringe is dead

Come talk to me about this game and Sonic in general if you want! Also send me your avatars/sonic ocs bc I want to see them

[some-creep]

SERIOUS and OFFICIAL RE3 Creep Review

Resident Evil 3 Remake is a good and fun game that I have already dedicated more energy into than all of RE2 Remake.

However. We can’t leave it at that so here’s a stupid long post.

First off: This will not include any mention of the freebie multiplayer game bundled in, RE: Resistance, a game that I unfortunately like but also realize it adds absolutely nothing to the purchase of this game itself.

Second: I have no goddamn idea what other people are saying about this game because I haven’t even clicked on the steam store page to see the general review scores. I don’t have twitter, and I refuse to watch reviews. All I know is vague youtube titles I’ve seen in my feed. That’s it.

Third of all: Everything I’ve ever written on here is disjointed and confusing so buckle the fuck up.

Oh. And spoilers.

To start this story we must go back to everyone’s favorite year, 2003, when RE3 released on the Gamecube and I was in third grade. Watching my cousin play it when he stayed over was my first actual experience with the series. And Nemesis was, like, really fucking scary at the time because I was a child. I bring this up because as you all might know, I’m a bit of an obsessed weirdo sometimes. This is where it started for me, so RE3 is kind of a big deal for me personally. Conceptually, this game means kind of a lot to me I guess.

As a “remake”, RE3 does, like, a terrible fucking job at being one of those. This is flat out, just, not a remake. At all. It’s a re-imagining. It would be easier to count the things they included from the original over the things they cut, that’s how different it is. OG RE3 had like. Three environments. And the remake just straight up cuts one of them and slaps a different character in the other. Alright I guess. We don’t see Brad get killed by Nemesis, because that just… doesn’t happen anymore. Jill doesn’t go to the police station… at all even. There’s no missile countdown during the final boss fight which was my favorite part because it was like. I know it was just a glorified timer but it was much scarier to me than the self destruct timer? Idk for some reason the concept of a missile destroying the whole ass city is an idea that genuinely just kind of freaks me out to this day.

This will sounds very hyperbolic but the ending was kind of garbage. Mr. Paul I love my Wife Anderson did a shot for shot recreation of the original ending and I guess I was just expecting something like that instead we got. Not. That. I don’t know if these complaints are valid but they are things I’ve been thinking about a lot. Half that scene straight up just takes place in a map that is just an empty white void. If that after the credits scene wasn’t a possible hint at a Code Veronica remake I will riot. CV is my other favorite game (conceptually. CV itself is a completely fucking unplayable nightmare game).

There’s no helicopter fight. There’s no gravedigger. There’s no giant spiders. There’s one bonus costume. Hell, there frankly isn’t even a lot of Raccoon City at all.

I guess it is short. My first play through was 4ish hours of logged gameplay and 6ish hours of total playtime with cutscenes and nemesis chases which apparently pause the timer since they’re basically QTEs? This doesn’t really bother me like it does other people. I don’t have a lot of free time anymore. Everyone fucking hates that this game is short from what I’ve seen? Idk. (It’s no shorter than RE2. RE2 just seems longer since you can be Leon or Claire but their stories are basically identical. B scenario in RE2 Remake was a fucking joke.)

Buuut… I really, really like this game.  Carlos is fine. He’s in this game. I still don’t like him that much but he’s the best of the male sidekicks. Maybe I like him more than Leon. He isn’t offensive or anything I just don’t stan him as hard as everyone on here seems to. Mikhail is way, way better now. Love how he knows who Jill is. Nikolai has… good facial mocap I guess. He’s certainly in the game and is evil and Russian again so no change there. Tyrel is a character who does things and is in scenes. He seems nice. He’s doing his best. And then there’s Jill. Who got the best treatment of anything in this entire game. Not like, physically of course, her ribs are absolutely destroyed and her spine has been snapped several times after all of that shit they put her through in the cutscenes.

I loved, loved, loved the opening. So much. Jill’s apartment. Her nightmares. The fact her life is in shambles. I’ve gushed about this before but I genuinely loved how the game opened. It’s everything I could have asked for and so much more. It’s an idea I’ve toyed w/ before in one of the only finished stories I’ve ever put on AO3 and I’m so glad to see it acknowledged canonically. I just. Ugh. I loved it.

Everything she says is beautiful and perfect and sassy and sometimes angry and it’s just. Good. They let Jill say fuck and she became unstoppable. Also she at least still says the You want S.T.A.R.S. line. It’s way, way, way early, in a scene that makes no sense for it to be in at all. But she says it. And I liked that she said it. I’m easy.

That stupid railgun bullshit at the end?? I was streaming it live and just exclaimed “is this game even real???” because I was just so all about it. We’re all still giggling at “Bitch can’t even swim.”

It’s fun to play as Jill and do sick dodge rolls. I’ve gone through this game four times now, once on each base difficulty and again on Assisted with just the hot-dogger fire knife w/o healing. Sick dodge rolls make the game very easy if you don’t fuck them up. I always fuck them up. But, still. I feel like all the bits are there from RE2 but just better. I intend to go through the game on the other two difficulties. Wish me luck. I am frankly terrified. But I want to do it.

Two of the nemesis fights are just straight up identical though. Which is. Okay. Sure. Whatever.

This game only had two puzzles for reasons I do not understand. The subway puzzle was the hardest of the two. It is the first puzzle in the game. Arguably, it is the only puzzle in the game because it is the only one you have to think about for more than 11 seconds to solve.

When the credits play the new version of Free from Fear I genuinely forget every weird problem I have with this game because it’s just… so good. Once again. I am easy.

This whole thing probably sounds like more complaints than praise for a game I’ve put this much time into, and maybe it is, but it is easier to talk about about something bad about a game than to pinpoint what you liked. And I love to complain as we all know. This is horrible as a remake. It’s great as a follow up to RE2 Remake probably. I think plenty of people already disagree with that. But plenty of people like to just be wrong on the internet.

Speaking of RE2 remake why did Pale Heads return from.. the ghost survivors dlc of all the fucking things. That’s just weird. They were a weird inclusion. Maybe I’m not totally surprised something like that made it over but it’s still… weird. They’re fine as an enemy type. I just ignored them though.

I think that for me it is just enough to have good and fun characters that I enjoy. I just. Like how Jill is written. And honestly, that’s kinda just all I need. It doesn’t really matter to me that this game is something of a horrible amalgamation of vaguely borrowed concepts from the original game. Sure, the RE1 remake is great because it’s mostly completely faithful, but that doesn’t mean it’s the only way to do it. Re-imaginings like this can also be good. This one is good. It’s fun.

There are a strange amount of tentacles in this game to the point where I wonder if someone on the dev team just straight up had a fetish. Especially after you get the lockpick. That scene is. Um. Yeah. It’s in the game.

Is that really how I’m going to end this? Talking about the tentacle fetish?

Yeah.

[dbh-is-a-crime]

All Dbh Chapters

@kaydel your reply to my ask has inspired me to give my thoughts on each of the chapters.

Chapter 1: The Hostage

Is honestly a good first chapter, the tension and stakes are high, it pulls you in. There's a reason people who played the demo were hyped for the game. And regardless of what I think of Cage's writing, it's not the first time he's done a solid intro to a game. (Swiftly followed by garbage but I digress..)

We learn something about deviancy and how it starts, we get a sequence of dialogue based gameplay to set up how important it is to the story, and we get a taste of Connor’s somewhat underdeveloped investigation gameplay. 

I will admit that there are several lines I kind of like in this scene (’You can’t kill me, I’m not alive’ I’d like this even better if Bryan didn’t love it so much) And most of the outcomes are very cool! 

Chapter 2: Opening

Is not a chapter, it's the opening credits. It's not really interesting, but it's not as bad as Heavy Rain's, only because it's about half as long. Kara was robbed.

Chapter 3: Shades of Color

What a title am I right! And no, it's not just because of the paints. This chapter, title aside, isn't bad! We don't learn anything about Markus but it sets the world up nicely. It's one of the cooler open areas. It shows off the graphics nicely. 

And all of that is promptly ruined by the overly heavy-handed scene with the protesters. With the follow up of the back of the bus! Also the preacher guy is weird what was the point of that.

Chapter 4: A New Home

Easily one of the most (if not The Most) boring chapters in the game. Mundane QTEs? We all looooooove those! At the end of the chapter you get some exposition to a very nice composition (this game really would be nothing without the music) and that part is actually ok. But the mundane housework gameplay doesn’t get a pass, even if it is to give context for what the life of an android is like. Would be 100% better if there was 40% less housework.

Chapter 5: The Painter

A solid chapter! Learning about Markus through his interactions with Carl? An actual good narrative device? Unbelievable. At surface level their relationship is sweet and Carl is so supportive of Markus growing beyond his programming. Though there is a darker undertone that mirrors the caged android birds. And that it’s all a gilded cage. And I like both of those interpretations, they’re interesting. 

The music mini game is interesting the first time you do it but after that I’m never picking it again, chess it is from now on.

Chapter 6: Partners

Connor’s return after 5 chapters. I think that might be the longest break between appearances for any of them. Anyway this chapter is mostly fine. It sets up Hank and Connor’s troubled partnership and shows us what most of Connor’s gameplay is going to be. (Detective work and trying to reason with Hank) It would be interesting if there was an option to let Ortiz’ android go, seeing as there if a version of the scene where you don’t find him. But I guess it’s too early for Connor to be disobeying.

Chapter 7: Stormy Night

Classic David Cage has women being abused by men! Unfortunately this is one of Kara’s best chapters. The tension from the very first moment if real, and as soon as Alice runs up stairs, you just know what’s going to happen. Without fail, every person I’ve ever watched, immediately tries to follow her. Honestly? Solid way to make me care about the kid. 

I know some folks have problems with showing child abuse on screen, but my opinion is that they kept the worst of it as implied, like in the failed ending of the chapter, you don’t see it actually happen. So I’m personally okay with it, but I can understand why some may disagree.

10/10 for the chase/escape scene. It’s stressful as hell but honestly the music just makes it...like idk the moment Kara deviates? I nearly, literally screamed the first time. The build up to it is so good, and you as the player are determined to protect Alice and will fight through the programming to do it.

Chapter 8: Broken

Gonna be honest, Markus’ deviating scene falls a little flatter for me. I’ve watched several people play for the first time and actively not want to break programming and retaliate. Which makes the fact that its a scripted event you can’t avoid frustrating to them. I guess we just haven’t seen any anger from him yet so it doesn’t feel like the reaction you expect? (I get that it’s supposed to be him finally cracking, the story just...doesn’t convey that very well.)

Also the fact that you get punished for staying silent with Carl dying is shitty.

Chapter 9: The Interrogation 

Talk about fucking tense! This scene is a real challenge, in either difficulty. Unless you don’t care about the android self-destructing? 

I don’t have much else to say, it’s not a bad scene but there’s not a lot of substance to it. The ‘the day will come when we will no longer be slaves’ line is...the start of the truly terrible writing choices in this game.

Chapter 10: Fugitives

Not a bad scene. Getting to choose to steal a bunch of stuff is fun, and the fact that you can steal all this shit and then go and sleep in the car is pretty funny. I don’t like the house or Ralph, just because it’s another chance to put a female character at risk from a male character. 7/10 I’m never picking the house. (Also did you know you can fail to steal from that guy in the laundromat and he wakes up lmao)

Chapter 11: From The Dead

Ok this is going to be kind of a controversial opinion...but I’m tired of this scene. While it’s true that no scene in the game holds up on the 20th watch/play, this scene lost most of it’s shock value on the 3rd watch. Now that being said, the sound design in the scene is brilliant. And putting the audio processor back in does still give me chills, but the rest of the scene? I mean, I guess cannibalising other androids is a pretty powerful story action. But the fact that you can take all of the things you need from dead androids if you search hard enough kind of ruins that for me. 

Also idk why but everyone collectively thinks that Markus screams when he reaches the top of the slope and I have no idea why.

Chapter 12: Waiting For Hank

Boooooooring. Ok, getting beat up by Gavin after refusing to make him coffee is mildly interesting. But the fact that Hank just hates you in the scene is honestly quite tiring. Like, his opinion of Connor will inevitably go down at least once, you can’t avoid that. Also there’s nothing to explore in the office so...

Chapter 13: On The Run

Both versions of this scene are very tense. And not in...a super fun way. Like ok, Kara has that empowering woman moment where she cuts her hair, great, but the rest of the scene isn’t that good. (And the version with Ralph is downright disturbing.) 

Chapter 14: Jericho

Oh god let’s players cannot do this part. And the amount of time I’ve spent watching people run around clueless because they weren’t paying even the slightest attention or follow the obvious path, makes me hate this chapter. I also hate it because the gameplay isn’t very interesting. Markus’ precog is mildly interesting, but that’s really it. (The end of this chapter has some pretty stunning visuals tho)

Chapter 15: The Nest

Ok, the opening conversation with Hank is cute if Connor is trying to be nice. Though the actual chase is pretty tense. The music is on point as always, because the composers for this game were very overqualified for the job. Also the fact that you get punished for not saving Hank both amuses and vexes me. You don’t catch the guy because you were a shitty partner. But what was the point of taking the risk with Hank if there’s no reward? (Yes I know he still ends up in evidence lock up but that’s hardly reward enough for risking your partner’s life)

I mean okay the pigeons flying through the roof is pretty funny, but the investigation in the apartment isn’t all that interesting. Also I’ve just realised I haven’t mentioned the Zen Garden once but honestly most of the scenes there aren’t that interesting anyway.

Chapter 16: Time To Decide

Wow where do I start on how uninteresting this chapter is. You learn very little about Markus’ companions, you get to have a conversation with a magical minority, and you get a line about an android being dragged behind the back of a car. (After reading the wiki about James Byrd I feel genuinely sick and could not be more disgusted that this was used so clumsily in the game.)

Chapter 17: Zlatko

His name sounds like a brand. Also this is my least favourite Kara chapter. They go to his place for almost no reason (just so they can get caught) and we get a 20 minute scene of Zlatko being a cartoonish monster of a man. Also this has been pointed out and now I can’t stop thinking about it. Why is Kara scared of Luther when she sees him? Like...??? Anyway re-finding her memories is boring, finding Alice is also boring, and hiding from Zlatko is just stressful. Nothing interesting to the story happens here, except that Luther joins Kara and Alice.

Chapter 18: Russian Roulette 

Perhaps the shortest chapter in the game. It’s not like...super boring, but it’s not interesting either. Also don’t forget to notice the picture on the table or you’ll have no chance of getting the good ending later! Seriously, they should have made it a requirement for the scene to move on if it’s going to be that important.

Chapter 19: Spare Parts

The whole freerunning thing at the start is lame. And the fact that you have to grab the android and then release him to get the best outcome is confusing as hell. (I have seen many folks fuck this up.) The part where you sneak around in the guard house is actually kind of cool. Also North go down if you’re nice to people....I love this game.

Chapter 20: The Eden Club

Pity the lesbian sexworker androids!!! In all seriousness though this is a chapter I do not like. The endings are unfulfilling, the whole storyline is gross, poorly written and very Cage-esque. (Also why would you make the two android lovers the same model?! Just make one of them one of the other 8 female WR800 models you have!) I mean I guess I can say that the glowly design of the sexclub is nice or whatever.

Chapter 21: Pirate’s Cove

Ok this is a personal one but I don’t like this chapter. Something about the family dynamic between the three falls flat for me and so the whole scene being about them makes it...ehh. Also Kara under threat again! Woohoo! The scene on the carousel is kind of cute and the scene composition is nice, but the fact that all the Jerrys are standing around watching is a little weird. Also bait us with rA9 crap why don’t you! we’ll just never learn anything about this i guess

Chapter 22: The Bridge

I like this chapter to be honest. I know Pirate’s Cove is meant to be relaxed but I find this chapter more relaxing. Even if it ends with a gun to Connor’s head. I mean it’s not that hard to not get shot really. And seeing Hank start to care and question their mission is interesting. I don’t know, I guess I just like the visuals of the snow and the bridge. (Anyone notices that it goes from raining to snowing like three days later, wtf)

Chapter 23: The Stratford Tower

Now this one is complicated. Because I like the breaking in and getting up to the broadcast department part, I even like the pre-speech tension. Markus carrying the weight of history and knowing his words will shape what people across the world think of androids. 

The music as he gets ready to start the speech is....just so good. But then he starts talking and.....mmmmm press x for civil right yes please! Press square to end slavery? Absolutely! God...the writing in this scene is Bad. Which is a shame! Because it squanders the carefully crafted tension built up until this point. I like the energy going into this scene, the idea that they’re about to take a stand, make history. But it is unfortunately ruined for the sake of a poorly executed racism allegory.

Chapter 24: Public Enemy

Ok, going to investigate the crime scene of what you just did as Markus is pretty good. Its not an original idea, that was the opening sequence for Indigo Prophecy, but it still works I’m not going to lie. Also the cop from the Hostage showing up to thank you if you saved him is cute. The fact that Hank is starting to question Connor and look for signs of deviancy in him is also nice! Also I hate it but going after Simon gives you a more cohesive storyline if you’re going for a deviant Connor route. (Can I get an F for Simon? He can die so many different ways)

Chapter 25: Midnight Train

Can’t believe that the chapter about the underground railroad is literally called Midnight Train. Yeah the dialogue in this? Shocking, terrible, absolutely unforgivable. Rose I am so sorry this happened to you. Also a cop arrives to....put Kara in peril at the hands of a male character again! Can’t go a chapter without that!

Chapter 26: Capitol Park

Hmmmmmmmmm. ‘We have a dream’? ‘I can’t breathe, but I’m still alive’? Hi, yes, hello? David Cage is doing it again, yeah he’s co-opting black history for his story about androids, somebody needs to stop him. Why did no one stop him.  

Ok, most of this chapter other than that is ok. It’s not particularly good, but it’s ok. (wiLL yOu bE gOoD oR eViL?!?!1)

Chapter 27: Meet Kamski

Ok this man is so creepy and emotionally manipulative and as a narrative tool I’ve actually come to love it. Like the tone of this chapter is such a breath of fresh air. Maybe it’s just the fact that they added a new character after such a long time and that he knows more than he ever lets on. rA9 baited again...

Also this is Connor’s turning point in a way. You can still choose to change your path later on, but this is the real moment of truth where a character pushes him to reveal where he’s at. (Also the fucking MUSIC)

Chapter 28: Freedom March

Oh no. I’m so sorry Markus you deserve better. I hate this chapter if you can’t tell. The combo of the black history slogans and the jesus music is too much for me. Also the good ending is locked behind Simon being alive/Spare Parts success route??? Also F for that random android who’s name is John that we hear about twice.

Chapter 29: Last Chance, Connor

I usually keep a low profile with Gavin so I miss out on the beatdown unfortunately. But having the option is hilarious. If you don’t sacrifice at the march, Simon is alive, interrogation bad end, Rupert and the Tracis escape....can you even find Jericho?

Just a thought, anyway this is short but tense chapter. Don’t hate it.

Chapter 30: Crossroads

Kara’s part of this is dumb as hell. The Alice twist literally destroys the storyline but anyway...

Markus has very little to do until the end. His version is ok, but Jesse’s line delivery leaves something to be desired. (You’re one of us....)

Connor’s is easily the most interesting of the three concurrent stories at this point. Going in to capture Markus/North, chasing them through the hold if ur a machine..very good. 

And....going deviant. Okay yes that still gets me, I did actually shout YES!! out loud the first time I witnessed it. The music’s slow build in the scene, and most of the dialogue (if you choose carefully) swells to this point and...and..it happens!! 

Like idk I’ve only been slowly building up to this for 9 hours, sue me.

Chapter 31: Night Of The Soul

I like this chapter! Or Markus’ version anyway. Connor’s...well the Hank version is just sad. The Jericho version is fine.

But Markus? Visiting Carl’s grave or the man himself is such an emotional moment for the character. And the single humanising moment he’s had in several chapters. The conversation is so weighted with his doubts and fears and Jesse Williams gives a beautiful performance! (Also as I’ve said, the alarm system saying ‘welcome home markus’ kills me on impact)

Chapter 32: Battle For Detroit

Is a good chapter. What, did you expect me to say it isn’t? Cause it is. Or some versions of it are.

The tension in all three characters stories, regardless of which version, is perfectly hit at this point.

Kara’s....ah fuck idk I mean the border version is ok? The others....kind of suck? The guy letting them through with high public opinion and Markus doing a peaceful demonstration is kind of cute and sort of makes sense in a way.

Markus’ versions (both in which he is alive) are pretty cool. The revolution is hard, and I do like that it ends with him saying that they haven’t won, they’ve only started a war. The demonstration is kind of dumb, and I actually prefer them getting shot and then the news anchors suggesting that maybe androids are people in their own right that humans refused to acknowledge. (Feels more real, ya know?) Also black folk song!! Why??

Gonna be real, most of Connor’s versions of this scene are pretty good. Cyberlife tower is tense as hell but he’s a fucking badass. Machine Connor on the roof gives us the best line in the game. ‘What’s up lieutenant, ran out of whiskey so you came here looking for trouble?’  

So that’s some of my thoughts on each of the chapters of dbh, I could go into more depth but my eyes hurt and I’ll probably hit post limit soon.