#as like game as in something you hunt

[witherbythesword]

if the theory of sam reich being replaced by .. evil wizard dalton reich (and i cant believe i am partaking in this discurse) is true..

i've seen some people asking the question about what those childhood tapes mean. Well i am one of the ancient ones that owned vhs tapes and you know you could replace whats stored on those tapes with overwriting it with new material but it would slowly degrade the quality as the magnetic tape the information is stored on isn't necessarly made to be re-recorded on indefinetly which would also explain the degrading quality of the gamechanger episode.

So my theory is that dalton reich wants to erase sam from history and to do this he is slowly erasing any proof that could hint on sam and dalton being two different people. One thing he appearantly needed to do is overwrite these old vhs tapes of sams childhood.

[caitlynmeow]

Honestly the way I look at it all three daughters think they are Alcina’s favorite.

Bela: She’s the eldest and her mom’s helper. Alcina trusts her with big tasks and praises her a lot for it. She’s the only one who can do these things and the fact her mom trusts her and only her solidifies this believe.

Cassandra: Alcina spends A LOT of time with her. She knows all what’s happening with her, knows about her hobbies and interests and indulges her. Her mom trusts her abilities to the point where she lets her do things she normally doesn’t allow. But she only allows her to do it because she trusts her like that.

Daniela: To Alcina, Daniela never does anything wrong. Ever. She is her little angel who minds her own business, often staying in the library reading her books and not bothering anyone. She is harmless, and Alcina always tells her that she is special and to continue being herself. That one day she will grow as strong and capable as her sisters but for now she can continue doing what she loves.

It’s because of this that each one thinks she’s Alcina’s favorite. While in reality, Alcina loves them all the same. Each daughter has her merits and she focuses on that.

Oh, and one way to get Alcina livid is to mention ‘middle child syndrome’ and watch her explode in anger because her middle daughter is not neglected or overlooked. On the contrary, she pays more attention to her so that she doesn’t feel left out and it might have resulted in said daughter getting used to the excess attention thus feeding her dramatic streak.

[sun-e-chips]

It’s Christmas morning and your parents actually got you that 7ft tall robot jester you’ve been raving about and now you have to awkwardly unwrap them in front of the rest of your family.

[front-facing-pokemon]

[moonscape]

op turned off rbs but is this about that dark past fangame that everyone is now lauding as basically pre-canon explorers despite it literally being just a fangame that also happens to be extremely racist with some of its messages

[northern-passage]

i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.

...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?

[...]

Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.

Most games either:

allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.

immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.

But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:

Why don’t the police investigate the murder at a later date and track down the player then?

Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?

Why doesn’t the victim’s son grow up to become Batman?

We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”

Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?

This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)

These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)

Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.

[...]

Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.

You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?

Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.

When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”

[...]

In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.

But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)

[...]

It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]

Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.

[warlordfelwinter]

thank you, bioware, for not making the evanuris just boring hot elves. thank you for making ghilan'nain whatever the fuck this is

[necrotic-nephilim]

i love your fics and the ideas you describe for the ask games. i'm especially fond of your takes on the rarer pairings and i always smile when i see your posts in the ship tags <3

and don't stress too much about not posting anything, real life is important and participating in fandom should be fun, not something you have to force yourself to do. god knows fandom burnout is real, especially if you feel like people are expecting something from you. just keep doing what makes you happy :)

ghgfhgjhkjhjhg this was so sweet, thank you so much! i *love* talking about rarer rarepairs, especially if it gets other people to ship them too. the popular ships are fun and all, but i truly love spreading rarepair propaganda.

that's very reassuring, thank you <3 i've loved everything i posted here so far and have not felt pushed to post anything i haven't enjoyed, but sometimes i forget i can like. use this blog for whatever i want and not *just* headcanons/fics/mets/etc lol. and i also forget i don't have to rush myself. it's annoying to want to write and either not have time or not have the words work. i used to run a fandom blog in my teens that got very large and felt like a chore and i was so stressed about the need to perform and the numbers and all of that. like if a fic didn't do well i saw it as a personal failing and forced myself to write popular headcanons just for the numbers game. was not fun or sustainable in the long run and i think it contributed to me no longer having any taste for the ship i primarily wrote for. so for too long i treated existing in fandom like a job lol. i've mostly gotten it through to myself that this is a space for me, but i occasionally forget when i'm so caught up in all the things i want to get to for this blog. my to-write list is a mile long and i need to be bonked with a paper towel roll, i think. so it's very kind of you to say this bc the reminder is nice <3

[acquiescest]

irt the lrb what would you say if i said liam & noel spent new years 2023 together in paris

what would you say if i said liam bought the house in france (the one with noel's name carved into the walls) in march 2023 and that month noel talked about wanting to spend several months in paris

which could mean nothing

[sysig]

Having fun, more and more! (Patreon)

[in-fair-verona-we-set-our-scene]

I do think Withers has a really subtle background character arc in bg3. Because at the start it is really clear he doesn't want to be here and he's being forced to clean up his mess by Helm and probably Ao. He doesn't really care either. Everything ends so nothing really matters, he'd like to go back to his paperwork now please.

Except he's stuck babysitting a bunch of traumatized dumbasses as they stumble into dealing with the most recent bad idea of his three fuck-up disappointments. So he brings them back when they die for a pittance, lets them pay for some vengeful ghosts to come back as flesh and blood to wreak bloody vengeance on the Absolute, and starts to... comment, on what's going on, as he follows them on their adventure.

Next thing you know Withers is like, doing things unprompted. He refuses to bring back Alfira (or Quil) but that's an act of compassion, keeping the poor girl from the Urge and letting her rest, his actual duty as a god of death. He tells Arabella to follow her destiny and does that thing to make her grief go away which honestly freaks me out but seems to be him trying to help her. He shows up at Moonrise and prompts us to consider why the Dead Three would want a bunch of soulless illithids that would give them no power, getting us to think of the big picture.

And by the end (especially if you do a resist!Durge playthrough) Withers is actively interfering and seems genuinely invested! He brings Durge back from the dead, free of their father! He encourages us before the final fight with the Netherbrain! He's real fucking smug that the Dead Three lost when he never seemed to care about the destruction they caused before! He throws a reunion party and many of his lines are genuinely touching or kind! Especially if a companion died permanently! He has tea with Gale's mom and Tara! He's like, socializing and shit! Yes, everything is temporary and we all die, but there's great beauty in fighting for that precious time and living it to the fullest!

Basically Wither's character arc is this meme, all because Helm made him go outside and touch grass.

[thelaughingmerman]

POV he is making you look at his wedding ring.

[icewindandboringhorror]

I have found a beautiful perfect humble rock specimen that is light yellow with a weird dark yellowy brown lining, somewhat resembling a chunk of smoked gouda cheese... effervescent

[sentientcave]

Hm hello October Scorpio, how many Walmarts have you considered burning down… 👀🤭

For legal purposes, zero. But between you and me, I wouldn't be sad to see them all go up in flame.

[gilfrespecter]

Listening to coinstar by the growlers and thinking about mel so hard I get nauseous

Ridiculous stream of conscious in the tags apologies but not really

[kobochajunkbox]

Copypasta'd a charming quote I saw from the Mad Max game (2015) to search the source and-