#but those are optional. they're for the Player and not the story

[apollos-boyfriend]

i'm actually like. kind of obsessed with the underlying selfishness of the traveler. thoma suggested they could help with the whole Vision Debacle in inazuma and they just. shut him down. because of course they did, the traveler isn't here to help people. they're good at it, sure, and end up finding themselves in that situation more often than not, but they don't care about any of it. all they want is their sibling back. the second they do, they'll leave all of this behind. none of these people matter in the end, they're all just a means to getting back their sibling. nothing else matters.

[butchvamp]

okay i've played a bit more and i have a lot of thoughts about Taash and the way gender is being handled overall in this game...

first i will say the positives which is that i do really appreciate the attempt at incorporating trans characters both in the world as companions and allowing us to make those options in the cc. and as someone who also writes dark fantasy stories with trans characters i do understand how difficult it can be to incorporate these identities into a world that doesn't necessarily have the same language as we do; but overall the way they've approached this feels very... i've seen some people call it unpolished but i actually feel the opposite. it's almost clinical (therapy-speak in general has been a main criticism of this game) and it's way too polished, in my opinion, which is what makes it so jarring to see.

there has been a trans character established in game previously, there is already a precedent for these identities to exist in this world, and they have never used this language before. the way Iron Bull talked about Krem felt far more realistic and integrated into the world of Thedas comparatively. was it perfect? no, of course not, but i chafe at the idea that it needs to be perfect, anyways. this is another problem the game has; past characters have had their flaws completely ironed out (Isabela is now a paragon of friendship and returns cultural artifacts instead of looting them, Dorian has multiple codex entries wallowing about how he used to defend slavery, the Crows have suddenly become a big found family-- on and on and on) and while i have my criticisms of some of these flaws (Dorian's pro-slavery rant in inqusition still makes my eyes roll) i dislike the way they're handling these changes and just expecting us to ignore all of the lore and worldbuilding from previous games. and all of this "political correctness" only for the game to still be so racist.

which brings me back to Taash.... Taash is very strange character, lacking agency around both their gender and their culture. they are simply a mouthpiece for the writer. while yes, it should always be made undeniable that your character is trans or gay or xyz, Taash really does only exist to be nonbinary. and to be clear, a nonbinary character like them could be very interesting, if their writing wasnt so... white. we know that the Qun has different ideas about gender than Rivain (and elsewhere) and this could have been a very interesting exploration of that; however, it is obvious that the Qun (and Taash's mother) are meant to be depicted negatively, and ultimately it ends with the player (not Taash) choosing between their two cultures. their gender is clearly far more important to the writer and the only facet of their identity they seemed willing to explore, which makes me question why even make this character qunari to begin with...

Neve and Rook are also the two that spur Taash into exploring their gender. this, on the surface, is not a problem for me. i'm playing as a trans Rook and while the dialogue was again very overpolished and clunky i found it kind of endearing. but the way Neve is used as this "foil" for Taash really rubbed me the wrong way. this assumption that Neve has no complicated feelings about her gender or being a woman (which i highly doubt considering the world she lives in & how misogynistic it is) and the implication from Taash that she only dresses the way she does for her mother/other people (which Neve doesn't even get to challenge) is extremely narrow-minded. Taash is the Only character that acknowledges gender; so far, even when flirting with other characters, it's only been Taash that i've been allowed to specify with that my rook is trans, despite Taash already knowing that from our previous conversation (i hope that this changes once i lock in with a specific character so feel free to correct me if it does).

but no one else really seems to have an opinion except that Neve drags Taash around to meet Maevaris, and we get the very goofy note that's just a list of modern gender identities and their definitions. i do partly sympathize with the writers here; again i've had to find a way to incorporate lgbt identities in my own writing and it can be difficult depending on your audience. i understand wanting to be very clear and concise. but this is... just goofy. and this desperation to be so correct around gender while simultaneously writing such an offensively racist narrative is really frustrating.

there's also an inconsistency that comes from this with Taash's character-- they are portrayed as this rough but awkward character that is bossed around by their mother, they are bashful with flirting early on and are almost child-like in comparison to the other characters. and then suddenly you get a scene with them where they very directly ask if you want to have sex and suddenly pin you against the wall. this scene was so jarring to me i referred to it as a jumpscare because WHERE has this character been this entire time? i want to see more of this, more of this character who takes what they want and knows exactly who they are (which they even say multiple times when you first meet them... but then need Neve and Rook to hold their hand about it?)

i do really like Taash, i like the idea of them, of this very self-assured and almost cocky character who is also a little silly, this person who is so sure of who they are but has to deal with their mother undermining them while also navigating a culture they feel disconnected from, and i also like that the player can help them through it... but the execution is awful, shallow, and racist. the idea that someone can only choose One culture is so offensive and also a laughable conclusion when compared to their coming out as nonbinary. the writer clearly understands that people don't exist within these little boxes when it comes to gender, but can't wrap their head around it when it comes to someone's culture-- which is also a very important part of a person's identity and often contributes directly to their gender and how they feel about it. all of these different characters have different experiences, come from different places, Davrin and Bellara are Dalish and even have differing opinions on what that means for themselves, but the game doesn't touch on any of it. all we get is a lecture from the writer that is completely removed from the world it's presented in.

i wish i could understand what it was this character was meant to convey. i stand by saying that it doesn't need to be perfect; i know there are people that had problems with Krem in inquisition, but at least Krem was his own person. Taash doesn't even get that here... i harp a lot about character agency when i give writing advice on my other blog but it really is so so so important for marginalized characters-- both gay, trans, and especially characters of color-- to have their own agency around their identities that is completely separate from the player & player choice, that allows them to exist as their own person within the world you've created, and i think Taash's character and story is an unfortunate example of exactly what not to do.

[prokopetz]

So, you've mentioned before that TTRPGs always have an expected "mode of play", that is, the basic concept from which the gameplay loop is derived. I admit I have little experience with this kind of thing, but I'm having trouble wrapping my head around the mode of play of Lasers and Feelings. Like, what's the unifying thread between Lasers and Feelings, Radical Catgirl Anarchy, and Lily is Girls With The Ability? Or between L&F and something like Speeding Bullets, for that matter? Is it just that they're all rules-light shitposts? Or is it based on, like, the tension between the two different ends of a dichotomy?

One-page games can be tricky in this respect because they just don't have the bandwidth to explicitly state many of their assumptions. They necessarily depend on the players (and the GM, if present) bringing the "correct" set of assumptions to the table regarding how the game ought to be played.

Still, there's enough there to draw certain conclusions. For example, in a typical Lasers & Feelings hack, rolling the dice gives a pass-or-fail outcome (with optional complication) for a discrete physical, mental, or social task. This frames a session of play as a sort of narrative obstacle course: the story consists of overcoming a series of well-defined obstacles in order to arrive at a particular goal. That might seem like a fairly banal observation, because that's how a lot of tabletop RPGs frame a session of play, but we need to make that explicit to contextualise the next step.

That next stop, of course, being the approaches.

One of the baseline assumptions of any tabletop RPG is that you're going to use it to tell the kinds of stories about which the rules have something to say – indeed, a tabletop RPG has to assume this, because if you're not telling the kind of story about which the rules have something to say, you're not playing the game!

To that end, a Lasers & Feelings hack is usually going to give you a pair of approaches to roll against, each consisting of a set of ways of conceptualising the obstacle in front of you. I'm not using the term "conceptualising" just to be fancy here; in Lasers & Feelings, the GM (if present) describes the obstacles, but it's on the player, not the GM, to decide "this is the kind of obstacle which can be overcome with [insert approach]", and nobody gets to tell them they're wrong.

Thus, a Lasers & Feelings hack assumes that the story of your game is going to consist of a series of obstacles (see above) which can usefully be conceptualised using at least one of the game's two approaches. A game where your approaches are "the power of friendship" and "the power of unimaginable violence", for example, probably isn't one that you'd want to use to play out a scenario inspired by Jane Austen's Pride and Prejudice, because those approaches aren't useful ways of conceptualising the kinds of obstacles such a story is likely to present – and if you used it anyway, the story would rapidly stop being a Pride and Prejudice pastiche.

All that in mind, it might be more accurate to state that Lasers & Feelings as a framework presents meta-expectations; the framework provides a set of mechanisms for a particular hack's chosen approaches to direct play, but you have to look at what that hack's chosen approaches actually are to pin down what that direction is.

[txttletale]

what are some things you like about fnv?

so much! i like the character writing, i think every companion is well-written and compelling--i like the extremely tight and overarching but (mostly) unforced focus on theme. 'let go, begin again' gets said verbatim maybe a bit too much in dead money but it's also the theme of all the other DLC and every individual companion quest and the most popular of the four main story paths and i think that kind of broad coherence really shines. i love the quest and world design, i love how many different skills will pop up in conversation because it lets you genuinely roleplay, getting the option to e.g. tell dog the cage must be locked from the inside or bypass difficult combat encounters because you have a high lockpicking skill makes you feel like your character is an expert lockpicker in a way that just being able to get optional loot sometimes just doesn't--i love how you will be directed to important or interesting locations from multiple quests, how all these places interconnect.

and i also deeply love how fnv's world is a world of history and people, not of facts and lore. you can kill caesar and kimball and their factions don't just explode without them--and you will hear multiple, contradictory takes from people in the world about how those deaths will impact those factions. if you kill caesar, house says it won't matter at all, boone says he has successors, ulysses and some NCR guys say it'll collapse the legion, and you never really get to know for sure. and so much about the world is like this, stuff you can get endless perspectives on and no single authoritative 'neutral' information. and in that line i love how the world is more than those people! how the world is much more than you., as impactful as the courier can be, the world reacting and moving and changing is prioritized over absolute player freedom to Experience Content--i love that, for instance, if you're vilified by the NCR before House gives you the quest to protect kimball, he just says "they're not going to let you get close to them, we'll just have to let him die" and then you can't do that quest and kimball dies! little shit like that makes new vegas' world feel real instead of warping around wikis and lore bibles and the protagonist.

so yeah i like a lot about fnv! i am a bit more vocal about my criticisms just bc quite frankly i think all of the things i like are things most people like and i see people saying basically all of this every time the game is brought up while i don't see people talk about the stuff i think is weird/bad as much. and i'm naturally inclinced to like, say whatever i think my more original trhoughts are so i'm not just adding to a chorus. but i do love fnv a lot

[guided-by-stars]

It baffles me when I see other people going through Stars and Time and they get frustrated when 1. Bonnie pushes Siffrin into the tear, and 2. Siffrin doesn't find the key in the Head Housemaiden's office and they get softlocked. There's frustration that comes out in other points as well, but those are the two situations where I've seen it be the most intense. I've seen people yell at Bonnie, yell at Mirabelle, yell at Siffrin, genuine anger and annoyance, some people will hold grudges. Say that this choice is stupid, try to find a way to avoid looping back. Usually at that point, I know I'm not exactly going to have the most fun watching them play.

I think some people trap themselves in the expectations of the medium. They're approaching it as a game first, and an expression of art or a story with people in it second. It genuinely surprises me sometimes when people treat characters as...characters, and not people. Do you not try to immerse yourself in the world and circumstances when you engage with media? Take it seriously? I see people try to justify these deaths. Most people aren't frustrated with the rock death, because they justify it as being a tutorial. At the same time, people who are already grumbling about having to go through Dormont again on loop 1... I'm not sure if this experience is for them. Considering on my completion file I ended far past loop 200... Acts 3 and 4 alone often have so much PURPOSEFUL looping, sometimes all the way back to Dormont.

People justify the softlock as a "tutorial" for the icon that shows when you cannot progress that loop...but at that point it had already been shown how tutorials were not made to be obtrusive. The fighting tutorial was centered around Mirabelle's own anxiety, an anxiety that progresses and grows throughout their journey through the house. The Bonnie taking down an enemy tutorial? That's not locked to any fight, it happens the first time that Bonnie has the chance to do so, it could happen anywhere! Adrienne could have easily coded it so that the first time the player was softlocked, the tutorial for that icon would play there. That's not the point of it. The point of it was to show how self-depricating Siffrin is, at that point in the game. How he puts so much of his self worth on his role as the trap disarmer and the key finder. How he blames himself for everything. How he sees himself as a failure. If you could just figure out where the key was if you tried really hard or something, you'd miss all of that. Almost everything in this game has a point and the point almost always is to show you more about the characters.

The game is meant to make you play through it countless times. It's meant to show you the experience of Siffrin, someone who has no choice but to go through it countless times. It's not for padding, it's not to be mean spirited or unfair or difficult, it's to give you an EXPERIENCE. When you want to fast forwards through text but you have a feeling that something might have changed and you stop just in time to see new dialogue, when you notice Siffrin's smile fading from act to act, when you make sure to pick up every souvenir from Dormont every time you loop JUST IN CASE you need to use it somewhere in the House, when you are so thrown off by the rock in the Death Corridor that you become paranoid and check every pillar afterwards just in case... and then you get the Memory of Pillars for your troubles.

When you check Loop's advice for quests you've already completed, just to see what they say about it, when you select text options that are already greyed out because you want and hope and desire there to be more to the conversation...maybe this time? When you do the friend quests again in Act 4 and you don't skip through them because you have a feeling Siffrin will be feeling differently now, and he does, and it's an entirely different experience this time. When you get the Bright Flower and you forget to give it to your party and then you go to talk to the king and see you can offer him the flower? When you bring the flower with you every loop after that just in case there's another person you can give it too and then you realize you can give it to the Head Housemaiden? That's what ISAT is about.

[simonisferal]

view me as a god — self aware (yandere) wanderer x gn reader

warnings: self aware au, reader is viewed as the player, reader is obsessed with genshin in the beginning, codependency (aether and wanderer), wanderer develops a victim mentality, traveler is a goat, aether is he/they (you'll know what I'm talking about)

notes: wanderer lore spoilers to those who haven't read, that one event in 1.6 spoilers to those who haven't played; if my account were self aware, i'd actually kms — the characters don't need to see my bio 😭 / i didnt know what team to put him with so i used my own / congrats king on your second rerun 🙏

it was never intended to be taken this far. this little game you've played for years without end had begun to take your social life away and left you in the dark, the only light you saw was the one on your screen.

the sweet voices of the characters , the beautiful scenery and designs, and the story of the fictional world was so alluring you barely slept. thank god your career had the option of working at home so no other potential coworker could've said something about your disheveled hair or your unpleasant smell.

your life was as perfect as can be as long as you see a picture or anything related to your video game! codependency? what is that? shh, you can survive an hour without it!

fuck. once in his many lives, he had never felt so cold. what was wrong with him?

with every name he gained, another tie to his joints tightened its grip on the wanderer, trapping him from the pleasant feel on calmness but the name the traveler gave it felt so pure and warm like a toasty fireplace during the snow. the puppet hadn't felt any warmth in his body since niwa's irreversible death as his still-beating and bleeding heart has been put inside the chest of wanderer. but now it was gone, just like the other feelings of happiness and sweet childish dreams.

"traveler? why'd we stop?" xiangling asks as she helped bennett sit down beside the anemo statue of seven in windrise to heal his injuries as quickly as possible. layla helps the poor boy eat something she packed into her inventory.

the traveler could only stay silent before letting out a small whisper as the wind slows down, the statue of seven only shining so dimly, not like it does when it feels something — someone greater. "i don't feel it anymore." they sit down on the broken stone steps leading to the statue.

"feel? feel what?" layla mutters, laying her head on the globe she keeps near as she rests her eyes. the traveler doesn't respond as they look through their bag for something. they obviously panic, their chest falling down and rising up quicker than a rabbit's. their golden chest plaque dims ever so slightly, just as the windrise statue's light. "the, uhh... uhm, the wind."

of course the idiots fell for it, wanderer thinks as he hears the collective agreement from his party. he doesn't bother setting down his hat as he sits beside a totem near the staircase, not bothering to show his respect to the anemo god or his peers. they're just there to help him please them, to eliminate any obstacle in the traveler's way as their form of appreciation for what they've done for their accounted nations. but they, not the traveler but they weren't pleased.

is that the reason wanderer couldn't feel their warmth? he didn't attack fast enough, hit hard enough, dodge quick enough? was he not enough for the person behind the stars? the dweller who called "earth" their home?

"why are we in windrise, if i can ask?" layla sits beside the traveler. her curls curl around her while her golden accents let out small hymns. "to... to uhh...heal bennett. i do feel very bad for him with his bad luck and all..."

wanderer knew it was a white lie. sure, bennett had been hurt badly even with layla's shielding and guoba's defensive demeanor towards the poor child and his bad luck was only getting worse with the amount of constant traveling the party did but really, all the traveler wanted to do was rest and wait for that feeling.

the feeling of being monitored, not as a prisoner but as a fragile thing, to be cared for and used as a hollow doll—no need to lift a finger unless told to and loved for their hard work—the work they didn't even do. to be drowned in affection, suffocated with praises, and shot with care and pity. something that the wanderer despised so much but craved so badly.

not by anyone, no. no one, no mortal or god could make him feel this way, but something hidden, someone hidden behind a mask, the stars, and celestia itself was waiting for him, wanting him, caring for him like he was.

when he couldn't dodge an attack, he was healed instantly. when he had no energy, it was replenished right before his eyes. when he wanted to be stronger, he became just that. it was a complicated choice between his morals and integrity or his selfish desires and temptations.

bennett didn't heal as fast as he does when the greater person behind the screen is there. he blames it on his bad luck but both the traveler and wanderer know what's really wrong. his pale face slowly turns back to his tanner complexion as time moves forward and everyone decides to rest up a bit before the night ends.

it's been too long since the feeling went away.

"[wanderer]! is it okay if you're on watch duty?" that name. it felt like a childhood lullaby, something the elderly women of tatarasuna would sing him to sleep when he was awoken by nightmares. that name was his, something he held to with genuine pride, not like his other disdainful names that were given by cruel people or joking jesters.

"alright." there's no sigh, groan, or remark afterwards to everyone's surprise. it only happens once in a blue moon and you know damn well that they took it to heart.

layla and xiangling slept beside bennett while aether sat where he was with his eyes closed. there was a moment of silence where it was just beautiful.

the crystalflies didn’t hide from the characters, an anemo one landing on layla’s nose and on the top of the wanderer’s hat. the wind blew ever so softly and for a moment, the wanderer could feel that warmth again.

“what’s up with you?” the traveler asked. his eyes stayed close but they were attentive like always.

“nothing.”

“liar.”

wanderer frowns and slightly turns his head to see them. a smile grew on their face and they sat up, opening their eyes and looking directly at him. “you felt it, didn’t you?” the wanderer looks away.

“do you always ask dumb questions?”

the traveler beside him stifles a laugh. “they’re not dumb,” they pause. they have a visible frown painted on their face now. “you know, don’t you?”

“what? that there’s some being out there controlling us, that the world shifts to their liking, or that you can practically see their face written in those damned stars?”

they stay silent. how’d he even know? was it that meteorite from long ago? “yeah, i guess.”

the wanderer scoffs at his companion's vagueness. “i’m tired of being a vessel.” that was obviously a lie. he can’t remember the last time he actually enjoyed serving someone, let alone helping if it wasn’t for his own personal gain. it felt nice being used (which is something he never thought he’d ever think).

aether sighs, leaning on the totem. they closed their eyes, "wake me up later then."

the wanderer scoffed. "i'm not your alarm," he says but he doesn't complain any further, simply watching over his teammates, the ones you assigned him, with a faint frown on his face. just where were you?

you quickly sweep your phone off of your desk once you come back from an errand. it was only a few minutes but still! you need your game to thrive at work, remember?

it had been days to them. they were at windrise, where you left them, your whole team. thank the gods. everyone was awake and ready to be used as characters.

you continued what you were doing prior to your errand, collecting crystalflies and flowers for your characters' ascensions.

wanderer didn't tell anyone he felt your warmth.

he shouldn't, he couldn't—wouldn't. no one else had suffered like him, it was unfair for those who didn't deserve it to bask in the sweet feeling of your muse. everything bad happened to him; nothing ever bad happened to anyone else.

nahida was right; he needs help!

your help. you were the only one who could help him, help the poor wanderer who had cried and groveled at your feet centuries ago, begging for a god greater than the gods to take care of him and help him—you!

you put him through all this pain to help him in the end, right? to free him, make him truly himself and not part human or puppet but himself again.

his salvation wasn't leaving him; he wouldn't let it happen.

[leidensygdom]

Hasbro's CEO is, once again, expressing interest in using AI at WOTC

Not surprising, but I think his own chit-chat about it (directed at shareholders, of course) is quite the read (derogatory):

"Inside of development, we've already been using AI. It's mostly machine-learning-based AI or proprietary AI as opposed to a ChatGPT approach. We will deploy it significantly and liberally internally as both a knowledge worker aid and as a development aid. I'm probably more excited though about the playful elements of AI. If you look at a typical D&D player....I play with probably 30 or 40 people regularly. There's not a single person who doesn't use AI somehow for either campaign development or character development or story ideas. That's a clear signal that we need to be embracing it. We need to do it carefully, we need to do it responsibly, we need to make sure we pay creators for their work, and we need to make sure we're clear when something is AI-generated. But the themes around using AI to enable user-generated content, using AI to streamline new player introduction, using AI for emergent storytelling, I think you're going to see that not just our hardcore brands like D&D but also multiple of our brands."

This directly fights against WOTC's already very weak claims about not wanting to use AI (after massive backslash from players anytime they had tried to get away with it), and does paint quite the bleak future for DnD and Magic the Gathering. AI usage doesn't really benefit the consumer in any way- It's like a company known for nice homemade cakes trying to tell you that factory made cakes are actually also good and you should be buying them too. The cakes aren't better. You can get those cakes elsewhere. The only person benefiting from factory made cakes is the one selling them, because they're the one saving time and money by making them that way.

But short-term benefits (through firing large portions of their artists and replacing them with AI made slop) outweighs any attempt to maybe get some trust from their already alienated consumers back. I also find it kind of incredibly funny and pathetic how this man claims to play DnD with about 30 to 40 people and "how every single one of them uses AI". I'm not entirely sure this guy is even aware of how DnD groups are usually sized, and how you would not have any physical time to do anything if you somehow played with 40 players on the regular (that'd be about 10 games!)

Anyways, as always, there's nice TTRPGs out there that don't absolutely despise their customer base nor are obsessed with cutting any remains of humanity out of their product to save a few cents. Play Lancer, play Blades in the Dark, play Pathfinder or Starfinder 2e if you want the DnD experience without the bullshit. Plenty of options out there that deserve your money far more than DnD.

[riding-the-sunset-bird]

I'm still riding a high from Baxter Week last month so I just wanted to gush about how much I adore Baxter and his DLC! No specific rhyme or reason, but it is a nice break from my usual dives into the code!

Also, I won't be saying anything negative about Cove nor Derek; I don't need nor want to do that. I'll be comparing them to Baxter, but only for contrast/showing the skillfully written differences between them (example: Cove does [x] and Baxter does [y] to account for multiple player preferences).

(might go without saying, but there will be spoilers for basically his entire DLC)

The Background

I actually had no interest in Baxter when my MC first met him in the game. He was fine, I was neutral, but what it came down to was that I was one of Those People who just wanted time with Cove and excluded others (if it's not obvious, I always got a cold Cove unless I used the Cove Creator).

That all changed, funnily enough, during the Cove Wedding DLC. On a whim, I agreed to let Baxter give my MC dance lessons and prodded him on his disappearance after Step 3. Getting a hint of Baxter's underlying problems piqued my interest and I'd had the Baxter DLC downloaded before I even hit the reception!

After the Cove Wedding DLC was over, I rolled back to a save right before Soiree and got to romancing.

Zero regrets.

The Setup

As a character, Baxter is so beautifully designed as both a contrast to Cove and someone to fill out the gaps that Cove and Derek leave. He also completes the "comfort level" of love interests that I had in my head, where the MC can be whatever they want but each guy seems to have a particular comfort level themselves (Cove being Nervous, Derek being more Relaxed, and Baxter being Direct).

When if comes to their actual engagement through the family, Baxter has only brief mentions of his parents, Cove's story is partly connected to his parents whilst still giving focus to one-on-one time, and Derek's family is front-and-center to his conflict. It's all about how much time a player wants to invest in the character versus the time they want to spend with others.

Likewise, Baxter's route features a relationship that ends and gets back together again, Cove's route is a relationship where he and the MC always live close to each other, and Derek's route is a long-distance relationship past Step 2 and before Step 4.

Baxter's undeniably a controversial character, I imagine due to possibly being based on the "playboy" type, which tends to be someone who flirts with anyone they find attractive whether the recipient likes it or not, won't take "no" for an answer, and lies to their dates that they're serious about them when they actually don't care for them at all.

The game cleverly subverts this right out of the gate when Baxter first meets Cove and the MC. Baxter does find the two attractive and initially flirts with the both of them (a great start to confirming that he's pan), but backs off and apologizes the moment he notices that Cove is uncomfortable. He adds as well that he wouldn't mind having a summer fling, but that it's not his core reason for wanting to get to know and spend time with them.

So already, the player is made aware that he's forward but considerate, takes Cove's discomfort more seriously than even the usual residents of Sunset Bird (who enjoy teasing him into embarrassment), and has non-serious flings with a priority on simply having fun connections over the course of his time with them.

He, like Cove, will only propose a relationship with the MC in Step 3 if the MC expresses interest first (the only difference being that the MC expresses the interest in Cove to "the game" while talking to Lee, whereas the MC expresses interest in Baxter by talking to Baxter directly).

This gives the MC a powerful opportunity, as Baxter is a character that the player has the most options in interacting with. He begins as a total stranger, similar to Cove, and the player can decide whether he stays that way or becomes more than that. Even down to the optional moments he appears in, the MC only has to interact with him in Hang and Late Shift, both of which lets them avoid further interaction by going home early and rejecting his invitation to his house/telling him not to come to their workplace respectively. The only mandatory instances of seeing him are the Step 3 intro, a brief goodbye in the ending, Hang, and the very beginning of Late Shift.

Whether it be strangers, friends, friends that fell in love after they met again, a friendship or fling that started well and ended horribly, a fling that turned into genuine feelings in the end, or two people that love each other all the way through, Baxter's route can do it all. In Step 4 as well, the MC can choose to be calm, professional, upset, or angry about seeing Baxter again, which all lead to different conversations/narration with him, and the end of Step 3 makes him the only love interest where there can be a technical "break up."

This is also a rare occasion where the MC, due to Cove not being a fan of Baxter, can form a relationship outside of their normal range. Baxter doesn't live in Sunset Bird and isn't connected to anyone the MC knows - neither Cove's nor the MC's friends and family - at the time of meeting him, fitting the narrative of the MC starting to look at things beyond their little neighborhood and even the people they're close with. It can be further emphasized in Soiree where the MC starts to gain a bit of independence and can end up dancing with a younger Baxter, foreshadowing that little peek into the wider world from a mysterious stranger who's there and then gone.

Something else that's fascinating is that Baxter, due to him leaving at the end of Step 3 and meeting the MC again during Step 4, is the only love interest where players see virtually all of the MC's interactions with him. It does leave out the gaps that Cove and Derek have that can be neatly filled with headcanons, but that ultimately depends on what the player prefers. Point being is that the MC's experiences are the player's experiences when it comes to Baxter: whatever time they spend with him, the player also spends with him.

So already, the setup for Baxter and his route are really strong for me, but the content of his DLC isn't limited to just him.

The Content

Baxter's DLC introduces a total of two new characters and extra content for Terry and Miranda, both of which were absolutely welcomed by me. I was hyper-focused on Cove in the base game, but the Baxter DLC made me appreciate the other characters more.

Even the moms, who already got plenty of screen time, are shown to be rather nosy and gossip-y in Sightseeing (something not showcased overly until then), which ends up being the perfect encouragement towards the MC learning more about Baxter. Then, if the MC meets the requirements and agrees to Baxter's fling, Noelani in particular is stunned into silence. If the MC was upset with Baxter over what happened, then both moms will show a rare coldness to him as well.

These are all things one would miss out on with other interests, due to how the whirlwind relationship and drama in Baxter's route are designed.

Then there's Terry, who becomes Baxter's friend more directly in the DLC whether Baxter is convinced of that or not, and is given more to do in every best way. Baxter's version of Hang allows for more focus on Terry's relationship with Miranda, partly with more hints towards his crush on her but also seeing Terry interact with someone who's "like him." Cove and Miranda are described as "shy" and the MC can be equally as much, allowing for new facets of Terry's character to come through by Baxter's being there.

Even after Baxter goes no contact and Step 4 makes the shift to focus on his relationship with the MC, Terry's friendship with him isn't forgotten: Baxter laments that Terry isn't calling him by his affectionate nickname for him anymore.

Terry getting attention from being Baxter's friend doesn't exclude Miranda from getting any either; far from it. If anything, she gets more than Terry, both with an expansion on her family in the form of her brother (and eventual brother-in-law) plus a moment dedicated to giving her a birthday party. As if that weren't enough, she gets a mini-plot in Step 4 concerning her relationship with Terry and her role in his life.

Seeing more of Terry and Miranda was in every way a case of "thing I didn't know I needed until I had it." Maybe it was the Cove tunnel vision that persisted for so long, but when I first got to re-experience Terry and Miranda in Baxter's version of Hang, it was great and I was so happy any time they were on-screen.

They aren't given extra time just for the sake of it either; they're expertly woven into the overarching story of Step 3 and the themes of Step 4.

Step 3 centers on adulthood with the MC and their friends growing up and having to face the fear of growing apart. The step already does a good job at keeping that a focus, but Planning expands on it in a way that feels almost criminal not to have in the base game. The already high stakes feel even higher when put up against the last birthday party they'll be able to plan before everyone goes off on their own.

Then, Step 4 balances Terry putting forth so much effort for Miranda with her worrying that she's not doing enough for him. She doesn't need to worry, obviously (Terry loves her for every reason), but with Step 4 focusing so much on relationships, self-reflection, and trying to make up for past mistakes (both real and perceived), it's just a cherry on top of an already fantastic story.

Meanwhile, Jude and Scott, despite only appearing for Step 4, are easily some of my favorite characters in the game. They're adorable, they can be sweet with not just Miranda but the MC too (the player has the option for the MC to see them like honorary family/big brothers), and the way the groom's cake ultimately ties into helping bring Baxter and the MC closer again while serving as a callback to Planning is perfection. One may think little of Miranda's initial mention of them (probably assuming that it's just a little bit of character introduction to show that she has family who has things going on), but it all comes together in the end.

The DLC additionally has a potential bonus (depending on player preference) in that it is benefited by most other DLCs. The other DLCs are not required to enjoy it, but they add that little bit of extra flavor.

The Step 2 DLC adds Birthday and Soiree. Birthday is Miranda's birthday party when she's fourteen and before she officially becomes the MC's friend, meaning you get the development of seeing the difference in the MC's and Cove's investment in her party then versus now, as well as how her taste in parties has grown. Soiree allows the MC to possibly meet Baxter earlier than Step 3 and add to the "fate"/"destiny" angle if the player so desires.

The Step 3 DLC obviously allows for more Baxter in general with Boating and Late Shift, the former showing a much needed reaction from Lee if the MC is dating him at the time. It's also a good "starter DLC" for people who aren't sure about Baxter, allowing them to choose to interact with him if they want to get to know him more (as I mentioned before).

Derek's DLC lets the player meet Baxter in a different way during Soiree, something that can be brought back up with Derek in Step 3 and then again in Step 4 (to which he'll joke about the MC's meetings with Baxter in five year increments).

Even Cove's Wedding DLC can have advantage, bringing a soft conclusion to Baxter's story for those who don't want to play Baxter's Step 4 but still care for him, and/or something more dramatic following how he ends off Step 3 with the MC.

So one doesn't just get Baxter content; there's quality content from others and it can be further added to with other DLCs.

Not that the Baxter content isn't worth it all by itself either because I adore this man.

The Man

I'm a simple woman. Give me an intelligent man with simultaneously zero braincells and I am in.

I don't even like "playboy" type characters normally, but Baxter is actually charming and tries to make things clear to the MC from the beginning. He falters during the Step 3 ending but not because he was trying to keep it a secret; he genuinely didn't expect the MC to try to press him and deemed himself unworthy of their company.

I'd seen more than enough of rich boy plots where the rich boy is a perfect do-no-wrong type and it's everyone else's problem that they don't like him. Baxter, however, is a flawed character who not everyone is going to like (which is absolutely 100% fine and valid) and him being rich is not just something that influenced his self-esteem but also what he ultimately gives up despite having relied on that financial safety net for his whole life, showing a deeper sense of awareness as he got older.

I don't normally like fate/destiny stories either, as they often feel as though they're taking agency from one or both characters involved (in terms of forcing them to love/be in a relationship with each other), but Baxter's route isn't like that. It's the player's choice to have that dance in Soiree (which they can just as easily turn down), their choice to form a closer relationship with Baxter outside of the disinterested Cove, and their choice to choose Baxter's Step 4 when they have already one guaranteed "safe" option in Cove's Step 4 and a potential other "safe" choice in Derek's Step 4 if they have Derek's DLC.

The player is the fate, which coincidentally went into my first playthrough, as my MC was initially designed for Cove yet ended up being perfect for Baxter.

Baxter is so absolutely delightful and absolutely stupid at the same time. From his openness to be questioned by the MC followed by this assumption that he's like a stranger to them (meanwhile the MC and Cove being best friends/crushes right out of the gate if the player so chooses), to him talking about the play he and the MC go to while not seeing the obvious parallel to his own issues, to openly admitting that he doesn't want to leave the MC while making the decision himself to go no contact.

He unconvincingly uses the cupcakes as an excuse to not get more intimate with MC, he wants so badly to spend time with the MC that he's willing to risk letting them see him in his useless morning state (and is surprised when it goes wrong, at least in his mind), and tries to convince himself to not stay attached to the MC during Step 4 despite being unable to help constantly reminiscing on their time together.

At his core, he's a funny, charismatic sweetheart who wants to be loved, to be touched, to have someone in his life (even just a friend) that he can make happy, but his upbringing and deep-seeded insecurities make him cynical to the idea of being in a genuine relationship with someone. This causes him to constantly sabotage himself before he can make any progress. It's why he can prefer flings: he can use his money to make a passionate, pleasant time with his temporary partner, but not so long that he feels they'll find something disappointing in him.

Low-risk, high-reward.

This, of course, ultimately backfires by the end of Step 3, and it's perfectly structured to set him up for Step 4. The brilliant foreshadowing of him being skilled with planning events in a pinch, to Jude and Scott's long-distance relationship and Baxter claiming that they won't stay together, to Baxter insisting that it's unlikely for he and the MC to meet again (made funnier if they'd already met again before, if the MC saw him in Soiree), then Step 4 hitting where he's not only a wedding planner planning Jude and Scott's wedding, but accidentally/unconsciously putting himself into situations where he's "stuck" with the MC.

That starting instant where Baxter reacts to the MC in the restaurant, initially shocked and then having to bring himself back into a professional persona, apologizing for his immature self but sticking to only focusing on the wedding?

Not just a wonderfully-written hint to the player as to what they're in for, but very much a "I'm not stuck in here with you, you're stuck in here with me," situation. It's all about making Baxter as uncomfortable as possible so he can reflect, flying in the face of his thought that he could control everything and project what he thought about himself onto others. He can give advice to other people, but refuses to give the same to himself because he held himself to an impossible standard.

Once he finally figures that out, he's feels extremely guilty and apologetic towards the MC and everyone else. Him unloading all of his emotional baggage and work to do better is so satisfying after seeing it affect him in key moments like Drinks, Planning, the Step 3 ending, and finally Step 4. Underneath the facade he (weakly) attempts to put up for himself is a teasing gentleman who hates mornings, wants to see everyone around him be happy, and feels blessed just to simply have a relationship with the MC (real or temporary).

This isn't even talking about Baxter's perspective from a meta standpoint, adding layers on top of what's already there in the canon and adding even further when considering Baxter's appearance in the sidequel Our Life: Now & Forever.

The MC can learn in Sightseeing that Baxter had a crush on a kid who was doing ballet lessons while he did ballroom. Those who know anything about Now & Forever know that this is kid is Qiu, who's one of the two potential love interests there. Naturally, Baxter wouldn't have had a chance with them, as the only person Qiu can possibly fall for is the Now & Forever MC.

Baxter confesses in Step 4 that he's naturally drawn to the people who are "wanted by everyone else," which translates to Qiu (who is widely popular during Now & Forever's Step 1) and the MC (who is liked by most characters in the game and automatically crushed on by at least Derek). In the Cove Wedding DLC specifically, he adds that he is simply someone whereas Cove is the one.

Because here's the thing: in the eyes of the base game, he's not wrong. Cove is the game's focus, taking an active role in every step and being the first that the MC meets out of the potential love interests. He's the only love interest in the base game and his Step 4 is not just free, but the default.

Meanwhile, Baxter is just someone. He's a person who shows up in Sunset Bird for a single step - only showing up thrice - and then is entirely gone without his own Step 4. His DLC costs more than any of Cove's Step DLCs and the player already knows Cove, already has spent two steps with him, thus has far less incentive to get Baxter's DLC over Cove's own Step DLCs.

Then, despite Baxter appearing once in Cove's Step 2 DLC and twice in Cove's Step 3 DLC, most players won't experience the former (either due to focusing on Cove or not wanting to dance) and Baxter can be largely excluded in the latter if he happened to leave a bad first impression on the player.

And let's take it a step further. While Derek, like Baxter, doesn't have a Wedding DLC like Cove does, Derek can get into a marriage pact with the MC as early as Step 2, he can be dating the MC throughout nearly all of his Step 4, and the MC can agree to them moving in together before the ending.

Baxter has none of that. His DLC's story is steeped in drama and the earliest the MC can properly get together with him is after the wedding. There's no chance at a proposal (such as what can happen with Cove's Step 4, where they MC can date and then propose within an equally short timespan), no opportunity to move in with him, nothing.

He takes time, work, and actual money to get into a relationship with, whether platonic or romantic. It's a level of investment that not everyone would be willing to put in for someone, especially when only one Step 4 can be chosen out of the whole bunch.

Baxter's insecurities come from a very real place. His parents treated him like a child, all while expecting him to behave like someone their age, and they deliberately picked a town for him to go to that was near the ocean he feared (where it was unlikely for there to be people his age around) to keep him in check. In his mind, he's "broken" and incapable of being with anyone long-term.

Furthering that, there's a joke he makes about "being too late" if the MC and Cove are in a relationship by the time he appears, back when he wouldn't have considered himself a worthy partner anyway (also a bit of out-of-universe humor over how the MC couldn't get together with him whether they wanted to or not, due to being unable to break up with Cove). Despite that, he's pleased as punch to see the MC dating/married to Cove and hopes the best for them regardless of his potential attraction.

Baxter puts forth so much effort to try and make the MC's last summer in Sunset Bird memorable with the thought that he won't be seeing them ever again. The potential relationship he can have with them is the most stable he's ever had and it scares him when they make him feel wanted and important. All the while, he's convinced that the MC's friends and family are "better" than him and he'll only bore the MC if he remains in contact with them.

With his DLC, the MC - the player - get to prove him wrong: an MC who is liked by everyone and loved by up to three different interests, but end up choosing him in the end. Cove and Derek are "easy" and the MC has undoubtedly spent more time with them in comparison to Baxter - who would feel that either guy could make the MC happier than he could - but they have the chance to show that he is the one that makes them happy.

Baxter is so absolutely amazed to be in a relationship with the MC that he willingly takes in all the shocked reactions and potential backlash from everyone else due to his five years of going no contact. He's regretful when he finds himself back in old habits and eager not just to message the MC multiple times per day after they return home, but also to take time off to go visit them after his Step 4 is over.

I think that makes for an incredibly special experience: to have someone who comes last out of the three possibilities, doubts his true potential, and eventually realizes how misguided he is. It's not about who got the most time with the MC, or who got "dibs" on meeting them first, or what can be accomplished the quickest in their time with them.

It's about the MC forming a bond with someone, picking him despite the difficulties/limitations because they love him that much, the work he's willing to put into it in return, and finally the happiness that comes out of it.

For those reasons and even more, the Baxter DLC is by far my favorite.

[magua-vida]

SLAY THE QUEEN THORN

I was inspired by Abby's sketch of a hypothetical Queen version of the Princess, so I tried my hand at it with a few vessels, including this one. I... ended up drawing something akin to a fashion design concept art rather than a practical design that won't be tiring to draw over and over after a handful of sprites later. I also had to use a bit more artistic license growing unnatural poppies on the dress and the thick twirly prickly noodles.

some explanations behind the process

For the "mended" Thorn, I pretty much just removed the foreground thorns and added the dirt.

rambling/fangirling/screenshots below:

The Thorn is one of my favorites. If I had to choose only five vessels to offer to Shifty and there's no replayable feature, she'll definitely be one of them. I'm one of those suckers who's into Hurt/Comfort stories. Almost like a masochist for those fics, you could say. If the climax to an Action-heavy story is the defeat of one party, then the catharsis of Hurt/Comfort is when the two characters... well, comfort each other- either due to hurt from each other or someone else. In The Thorn's case, she started off rather innocently, Damsel-like, but not quite. She still had caution. It was until she was literally stabbed in the back that she learned that it was a mistake. And when Long Quiet offered sincere regret and admission of fault, she stabbed him... but she didn't feel the relief she thought she'd get from it. I think many relate to having been betrayed and/or betraying someone they trusted, and the scratches are felt by many players.

The thorns curve inward, as if it's more painful to leave her than it is to approach her.

Poppies grow around along the bramble. Many mistook them for roses because they're red and there are brambles (tbh, I actually dunno if they're brambles or briars, I looked them up and I got confused, forgive me, plant enthusiasts ;.;) that grow around the patches of those poppies. Death and romance~

This brings back to Chapter 1 where Hero was kinda-sorta-maybe-definitely crushing on the Princess and wants to give her the benefit of the doubt, not only because of feelings, but for a reasonable cause of wanting to rescue someone who possibly may actually be a victim of circumstance.

Look, I have reasons why Thorn route is one of my favorites and it definitely doesn't have anything to do with both characters having massive trust issues and the capability to change themselves for better or worse and the emotional moments hitting me like a lovely diamond-dusted dagger. Both of them are rather cat-like with pointy ears too.

I appreciate that you're still given the options to leave or stab Thorn, as if the situation isn't pitiable enough. Even her tiara looks like a crown of thorns. It's as if she views the thorns as both a form of penance and a defence mechanism to protect herself from being hurt again, even though she's hurt by her own making this time.

I chose for the Long Quiet to save her and leave the cabin together.

This part stabbed me the most. Even when shown genuine help, she shrinks back.

This part burns a bit of the jadedness away. Trust is a scary thing, so is love. How can you be so sure that you won't be hurt by the one you love again? But just like what The Prisoner says, it's about trust- blind trust. Thorn looks more human than her previous self- less animalistic, softer. A part of The Damsel returns, even in the music.

I recall weighing on whether I prefer the version with the Voice of the Cheated or Voice of the Smitten. I vaguely remember wondering if there was an option to ask her if it's okay to kiss her. I guess the ideal would be is to have that choice, but I suppose the climactic moment calls for it and she doesn't mind it, at least. It's like the option to hug Astarion from BG3, but you're not sure whether he'd be comfy with it after being hurt so much. He gave approval for it too~

As much as Thorn is one of my favorites, I'm not attracted to her and any of the vessels. Instead, I ship her with the Long Quiet- the character himself. I don't really see myself AS the Long Quiet, more like choosing what actions on what he does and I separate myself from him a lot for many reasons. It's a bit like the Harry situation from Disco Elysium in terms of seemingly blank-slate protagonists.

Instead, I kinda put myself into her situation to feel how she felt in this route. The poppies not only felt symbolic of her nature as part of the Shifting Mound, but also specifically the end of the mutual treachery you've inflicted on each other, potentially beginning anew on a path of healing.

==============ramble-bramble over===================

[justdiptych]

The original Fallout had one group of raiders. That was the name the game map gave to them - 'Raiders' - but they were in fact known as the Khans. They were a relatively minor faction, being tied to quests in the first town the player is likely to visit, but we learn a lot about them in their brief appearance.

Many of the Khans are given names and dialogue, and will tell the player about their history - including how they came from the same place as the people of Shady Sands, Vault 15, and feel entitled to share in the town's wealth. Some see their raiding life as a way to claim control of the post-war world - ruling through strength and fear, believing that old ideas of morality died with the rest of the world. Others treat it as just another job - they support their group by trading, maintaining equipment, preparing food, and other everyday tasks.

In short, the Khans are a fully-realised community, as much a part of the story as any other. We learn that their brutal leader, Garl Death-Hand, took command after killing his abusive father. The player can kill him, or negotiate with him, or impress him with acts of cruelty, or even challenge his nihilistic views by convincing him that they're his father, back from the dead. Killing Garl and destroying his compound is treated as the best choice for the region as a whole, and is confirmed to have happened in the next game in the series, but it's certainly not the only option.

Fallout 2 has two groups of raiders. One - again marked 'Raiders' on the map - turn out not to be raiders at all, in that they're not attacking towns to steal their wealth. Instead, they're a mercenary company, hired by a disreputable businessman from one town (New Reno) on behalf of another town (Shady Sands again, now the capital of the New California Republic) to harass a third town (Vault City) to convince them that they need outside help in maintaining their defences. It's part of the game's major subplot about the three societies competing for control of northern California and western Nevada.

The other group are the New Khans, founded by Garl's son Darion after the original Khans' defeat. These Khans aren't nearly so fearsome as their predecessors - they mostly operate in secret, hiding behind a group of squatters who have moved into the ruins of Vault 15 and pretending to help them restore it for use. Darion is wracked with resentment over what happened to his father's crew and guilt for having survived, and his gang ultimately present little real threat to the outside world.

What I'm getting at here is that, in the world of Fallout as it existed in those early games, 'raiders' were not a major factor. There was one group who conducted raids as part of their regular economic activity, but only against particular communities - Shady Sands saw them as raiders, but to the Hub, they were just traders. Raiders only existed in a particular context - they had particular interests, beliefs and opportunities that would not always be possible or applicable.

Most of the games' conflict came not from the existence of raiders but from bilateral political and economic competition between groups with overlapping but not identical interests, which was reflected in their respective ideologies. We see this in Killian and Gizmo fighting to control the future of Junktown, and in the Master's attempt to reshape the world with the Unity while the different groups of New California try to retain their independence.

We particularly see it in Fallout 2, with its three-way battle for economic domination between the constitutional democracy of the New California Republic, the mafia-ruled narco-state of New Reno, and the elitist technocratic slave state of Vault City. Which of these groups continue to rule and expand, and which crumble, is what ultimately shapes the region's future - with control of Redding and its gold supply as the linchpin.

While the Enclave are the story's primary antagonists, they're chiefly characterised by their refusal to engage with this new socio-economic order - they believe that all outside authorities are illegitimate, and all outsiders non-human, and their only plan is to release a bioweapon into the atmosphere and kill literally everyone on Earth but themselves. The Enclave's defeat is necessary for New California's survival, but, otherwise, they change very little about how people live their lives. They're like Darion's New Khans on a larger scale - relics of a fallen order, robbed of their purpose, hiding in an old bunker and driven by nothing but resentment of having been left behind.

I might, in future, talk about the contrasting depiction of raiders in Fallouts 3, 4 and 76, and about New Vegas's use of raider and bandit groups like the Khans, the Legion, the Fiends and the White Legs. For now, I think I've made my point - that raiders are not a fact of life but a product of a particular place and time, and much less relevant to the universe of Fallout than other forms of competition and violence.

[mintnoodles]

Spectre's new chapter was so interesting as an ending for the story the player and her weaved. Rambling and spoilers for Slay the Princess' arching narrative, Spectre's route and her new chapter under the cut. Tiny mention of Witch's unique Ch 3.

It is SO fun seeing how things are from the Princess' POV, both in general and for how you got to this third chapter!

'The Princess and the Dragon' (PatD) is the perfect title. It's so clever to have her come first. She's the protagonist, this time, of either a tragedy or a nice tale of redemption. Rather, if you leave together, you've played a route where she's the one who rizzes you.

To get to this point, you (or TLQ) have to be the Princess' villain. You're seen as cold and opportunistic to her. You come in and kill her with no hesitation. Then, after she dies she's wary but tries to reason with you to come to her POV, only for you to betray her and kill her. You've been antagonistic to her all the times you knew her (but not enough for her to give up on you!) A villainous dragon with potential to turn face.

Some players might not see their roleplay that way (understandably, this is a videogame and people try to pick options that seem right to them). I remember being suspicious of the Spectre the first time, because uh. She's a spooky ghost wanting to takeover your body. In a lot of routes she's highly antagonistic to you too! You might be open to hearing the Princess, but still tend towards mistrusting her words. PatD turns that reflexive distrust around and continues the Princess' attempts to have you see her perspective (just wanting to go home, not being happy with her killer) by literally making you see things from her perspective.

First of all, after the strife and violence of Ch II, this lovely track plays.

With the strings and wind instruments, it sounds peaceful, airy, a little playful, like a new beginning. It sets the stage for when you and the Princess wake up, alone together. It's one of the few times in the game you can just talk with each other, no Narrator to interrupt or filter the world. And it's fun seeing them get along. To TLQ, this is the Princess you've distrusted and killed twice, and now you've realised she's charming, and it feels right to be together.

And then your body traipses down the stairs, slowly coming into view. And the Princess describes it like it's routine: the sound of the blade, and the thump, thump, thump of a horror monster arriving. That's not a Hero, that's her Dragon. Opportunity gives you a freakish grin and dangles the blade. Surprise! You actually get to see yourself, after just little glimpses and shadows and mirrors that go away too quick.

The player/TLQ realises they're terrifying. You're at the behest of an inscrutable monster who decides what he'll do to you. You have to wait and hope for ages while the monster's voices talk back and forth and back and forth to come to a decision to kill you, with a knife twirled in his hands. That's what you've been for Spectre, and she still gave you a chance.

When you return to your body, you can choose to finally drop the knife. If you do, the writing cheekily points out that it's your big symbolic moment. For the story, that's Spectre finally winning you over. You reflected on what you've done and seen her perspective. To me, it really felt like you were playing a narrative 'obstacle' for Spectre to tackle. It's a counterpart to those routes where TLQ works to leave the cabin with the Princess. In a few of those, you offer your hand first. IIRC, here it's Spectre who holds her hand out to you. She's even got enough narrative agency to chuck the knife herself. It's a neat perspective to round things out. You're Spectre's Thorn route.

And I think it's a nice angle to look at relationships. This is one where you listen and take a hard look at yourself and the assumption you're right/the hero. If you don't, you hurt yourself too :]

[eventideluminary-games]

It is finally spring again. The grass is growing, birds are singing, and it's the perfect idyllic day to have your sister's coronation! You hoped everything would go well. It did not. In under 10 minutes, you went from being your sister's heir to your sister's killer. Or so your kingdom suspects, considering they're now on a manhunt for you. You have to figure out who really murdered your sister and fast, but be careful. You're not quite sure who you can trust these days...

ON HIATUS

Under the Eyes of Themis is a current WIP and new interactive CYOA novel, with a focus being on the characters, their interactions with each other, and their storylines. It's inspired by many JRPGs/RPGs. It's being written in ChoiceScript

Note: Because this is still a WIP, some names of characters or places may change! But feel free to send asks or anything!

Genre: Mystery, Romance

Rating: 18+ (sexual content, language, extensive talks about death, a semi(?) graphic death scene (i'm not good with rating graphic gore sorry), etc)

Tracked Tags: #under the eyes of themis, #eyes of themis, #uteot

Demo (1/19/24, ver 2.1.0) || Romance Options || Side Characters || FAQ || Tag Navigation || Pintrest

In Under the Eyes of Themis, you are taken to the fantasy medieval-esque world of Runnet. Here, you play as the youngest child of the Diamant family of the Grasslands kingdom. Your older sister, Adalia, just happened to be born 10 minutes before you, which makes her the heir to the throne. Not that you seem to mind anyways.

The year is 1344 and the winter has recently melted away into spring, the favorite season for those in the Grasslands kingdom. The former queen, your mother, has passed away about a month ago. As your mother's heir and the oldest, your twin sister, Adalia, is coronated as queen, summoning emissaries and people from all places to recognize her as Queen of the Grasslands.

At the end of the coronation week, Adalia is poisoned and killed during the last feast. As you try to grapple with the loss of your twin, you are suddenly accused of poisoning your sister, a maid having found the vial hidden among your clothing.

You are chased out of your kingdom and manage to get help from the other lands in the area. You and your group travel across 8 lands to clear your name and figure out who framed you and killed your sister before you're arrested for a crime you didn't commit!

Play as a male, female, or non-binary Royal

Customize the way your Royal looks in the story. Will they keep their natural look or decide to change it while on the run?

Your Royal has a semi-set personality in the beginning, but you choose how being on the run affects them

Explore the world of Runnet and the 8 lands situated on the continent

Choose to romance 5 different companions: a fun and flirty Prince, the not-so-ladylike-Lady with a penchant for picking fights, the brightest Scholar of the land, a shy Farmer's daughter, or the loudest Assassin you've ever seen (or heard)

Chase leads, find clues, and talk to locals to figure out who poisoned your sister and who's framing you

The Accused Royal - You! (player determined)

You are 24 years old. You are the youngest child in the Diamant family. You are a prince/princess/princep. You have an older twin sister. You can choose to be male, female or nonbinary. You can choose your first name but your middle name is set.

If you play as a male, the middle name is set to: Florian

If you play as a female, the middle name is set to: Floriana

If you play as non-binary, the middle name is set to: Flor

Appearance: player determined. It's said you resemble your mother most, in terms of facial structure. Female and Non-binary Royals have the option to be identical twins with Adalia.

The Queen for a Week - Adalia Elcina Diamant (she/her)

Queen Adalia is better know to you as your twin sister. She is kind and nice, if not a little bossy. She would've made a wonderful queen... It's a shame she drank all that poison.

Appearance: player determined. Has the option to be identical twins with a female or non-binary Royal.

The Crown Prince of the Woodlands Kingdom - Alceste Claudius Emeraude (he/him)

Alceste is a 24 year old man. He is the crown prince and heir to the Woodlands kingdom. Alceste is flirty and fun-loving. He likes to tease the Royal and especially, Larisilla. He is the oldest of 4 children and consistently entertains the group trying to break the tension. He seems to have a problem with taking things seriously, but behind his playful attitude and flirtatious charm, you can see something darker swirling around in his eyes. Wonder what that's all about...

Appearance: Alceste is about average in height (5'8) and has smooth, blemish-free olive skin. He is average in terms of his body, not quite muscular but not lean either. He has a bit of a chubby stomach and still retains some of his baby fat. His hair is dark brown and looks fluffy. His eyes are dark green, similar to the woods that surround his home.

The Future-Lady of the Dustlands' Council - Larisilla Cornaline (she/her)

Larisilla is a 23 year old woman. She is the daughter of the first Head of the Dustlands' Council. Larisilla is not what is expected of a lady, finding more joy in picking fights and training with her swords than learning about politics. She is uncharacteristically serious and always wears a permanent frown. She has the tendency to rub people the wrong way, being blunt and, often, rude. Still, Larisilla will always stick up for you, so it's good she's on your side... Right?

Appearance: Larisilla is a tall woman, standing at around 5'10. She is muscular and has tanned skin dotted with beauty marks. Her frame is elegant in nature. Her eyes are a dusty red, reminiscent of the mesas of her homeland. Her wavy brown hair is short, cut into a shoulder-length bob. She typically ties her side-fringe back with a cord of leather.

The Head Scholar of the Palmlands' Scholar's Hall - Dionys Topaze (he/him)

Dionys is a 26 year old man. He is the leader of the famous Scholar's Hall, located in the Palmlands. As expected, he is polite and intelligent. Dionys is kind and eloquent. He tends to be quiet while other are speaking, but will gladly entertain you on the various areas of his study. He is said to be the Brightest Scholar of the Palmlands, a title which he doesn't really like. Dionys has the tendency to accidentally speak down to people, but he doesn't mean it. You're lucky Dionys' current area of research is law...

Appearance: Dionys is a very handsome man. He is tall at around 6'3 and lean, not as visually muscular as the others. He has smooth dark skin and long braided black hair that falls to his waist. The braids are decorated with golden clips and charm. His eyes are gold as well, reflecting the dunes present in his homeland. He has a pair of gold rimmed glasses he sometimes wears for reading.

The Farmer's Daughter of the Fieldlands - Somnia Disthene (she/her)

Somnia is a 25 year old woman. She is a humble farmer's daughter from the aptly named Fieldlands. She is a bit shy and quiet, but don't get it mixed up; she isn't scared or afraid. Somnia is a bit intimidated from all the important political people in the group, but she is insistent upon being helpful. She has a wealth of practical knowledge, notably that of a seasoned healer. You're grateful she's eager to help you, so you ignore her questionable slip ups. After all, who else would have the knowledge of making poison...

Appearance: Somnia stands at about average height (5'4). She is heavy-set/fat with the muscles and strength of a woman who has been working fields since she could walk. She has light skin smattered with freckles and long loosely curled blonde hair falling to her mid-back. Her eyes are light blue with bits of grey speckled in them, similar to the rivers that run through her homeland.

The Assassin of the Floelands - Enyo Perle (he/him) or (she/her)

Enyo is gender-selectable. They are 22 years old. They are a spy from the northern Floelands. They are loud and full of energy, quite different than what you would expect from a supposed assassin. They are eager to please and a bit naive, unaware of most things happening in favor of playing with their knifes. Enyo is open about their job as an assassin. Despite the group being a bit wary around them, Enyo does the best to fit in. But is it enough? After all, an assassin's still an assassin...

Appearance: Enyo is about average in height (5'7), if they are male, and short (5'3), if they are female. They have a slender form with no visible muscle definition. They have clear pale skin. Their hair is black and straight falling to their mid-back. M!Enyo keeps his hair tied into a ponytail while F!Enyo braids hers. Their eyes are a light grey, almost white in color, mirroring the snow abundant in their homeland.

[gristlegrinder]

part of what makes IBS so fascinating to me is its position both within the world of Tyria and the story it was trying to tell, and the larger metatextual circumstances surrounding its development. because, like, The Icebrood Saga is a story that's, IMO, largely about placing individual actions in complex systems of power, and what happens when those systems begin to unravel.

-> Can you help us deal with Bangar? Aurene: He's a part of a larger web. Strands connecting to strands. Cut one out and nothing changes, not really. Aurene: It's hard to explain. But seeing how those strands connect... Taking one life won't solve your problems. (x)

so, like, you have Ryland, who talks about "playing his cards right" but has really been dealt a bad hand from the start and can only keep playing bad cards - the one decent play he gets in Turnabout to try and get out of the game gets interrupted by an arrogant bastard killing Cinder, and it's downhill from there. it's not necessarily that it was always going to end the way it did with him, but you're fighting an uphill battle against his upbringing, against his relationship with Bangar, against all cultural context. he insists that Jormag didn't coerce him into anything, and that's true; he ends up as Jormag's champion because, at least from Ryland's perspective, there's really no other option by the time he has the bow in his paws.

likewise, you have Braham, wrestling with being the norn of prophecy, slowly (slower if Champions didn't have to be rushed out of the door, I imagine) coming to terms with what exactly that means. he knows from the beginning that either Jormag dies, or he dies. he knows this, and knows that it's always going to end one way or the other. the prophecy unfurls, and Jormag awakens, and it becomes more and more obvious how it's supposed to go. He bonds with Primordus, because there's really no other option by the time Jormag is threatening to freeze the world ten times over to ice their brother out of existence. and sure, it might still destroy him even if Jormag doesn't kill him, but he doesn't get the luxury of thinking about that.

and then you have the Commander, who should be in control of the narrative, because in-universe they're the Commander and out-of-universe they're the player character, but there are multiple points where that agency is taken away from you - Smodur bombs the bunker and interrupts your negotiation, Ryland puts a bullet through Smodur's skull. you're always going to try and save the farm, but not every problem has an easy solution. the Legions are built on centuries of war and violence and hypervigilance against external threats; Bangar is not an isolated bad actor but a product of that system, and the gears of the war machine churn on both sides of Drizzlewood. you (and Aurene) are largely an audience to the family tragedy - tragedies, plural, both the relationships between Rytlock/Crecia/Ryland and Jormag/Primordus - as they break down.

"The Balance" isn't sustainable in its current state, but there isn't really a good alternative at this point. you can't back down when you're three dragons in (we tried that after Mordremoth, and Balthazar wouldn't have it and Kralkatorrik couldn't stomach it), and Jormag and Primordus (mostly Jormag) are threatening to escalate as the encroaching void eats away at them both. there's this real sense that they just have to make the best of a bad situation, and hope that the damage is minimal. the universe itself is on a cresting wave and it's about to crash, heading into End of Dragons.

so you have all of that, and it's also the chapter of GW2 where the developers are hit with major studio-disrupting internal problems and a fucking global lockdown. your story gets interrupted, there's not much you can do about it, but you have to keep going and make the best of it, even when the fate of arenanet itself seems uncertain.

what happens in the aftermath, after the dragonstorm clears?

[northern-passage]

just found one of my favorite pieces of writing advice when it comes to interactive fiction, i think if you've read literally any of my work, it will be pretty obvious how much i use this in my own writing. i actually couldn't remember where i read this for the first time and on a whim i went through my twitter likes and found it in a thread. i'm going to transcribe it for ease of reading, but this is all coming from Alexander Freed (@/AlexanderMFreed on twitter)

he has a website here with other compiled writing advice about branching narratives and game design, though he never posted this there and hasn't really updated recently (but still check it out. there's some specific entries about writing romance, branching and linear & other game writing advice)

original twitter thread here

It's Tuesday night and I feel like teaching some of what I've learned in 15 years of branching narrative video game writing. Let's go in-depth about one incredibly specific subject: neutral / fallthrough / catchall response options!

Player ownership of the protagonist in choice-based branching narrative games (a la BioWare, Telltale, mobile narrative games, etc) is a vital aspect of the form.

The ability for the audience to shape a Player Character, to develop that character's inner life in their own mind, is unmatched in any other medium.

The Player determines the character's actions and THE MOTIVATIONS for those actions. The character's psychology can literally be as complex as the Player can imagine. However, this works best when there's enough space for the Player to develop those motivations. No game can offer enough options to support every interpretation imaginable; much of the character has to live in the Player's head, without necessarily appearing on the screen.

That's complicated. We're going to unpack it.

Generally, when presenting choices to a Player, we want those choices to be as interesting and compelling as possible.

But compelling, dramatic choices tend to be revealing of character. And no game can support hundreds of options at every choice point for every possible character motivation a Player might imagine.

This sort of narrative CANNOT maintain its integrity if the Player is forced to constantly "rewrite" their characterization of the Player Character on the fly. You want your Player to feel like they have more than enough viable options at any given moment.

At the simplest level of writing, this is where "fallthrough" responses come in.

In the examples above, each moment contains a response which furthers the story but doesn't imply a huge emotional choice for the Player. The Player is asked to choose A or B, agree or disagree, but can sidestep the issue altogether if desired.

These "neutral" responses are vital if both A and B don't appeal to the Player... or if, perhaps, the Player likes A but not the WAY A is being expressed. Milquetoast option C works for anyone; thus, the Player is never forced to break character because of a lack of options.

Questions work well for this sort of neutral option. Tacit agreement and dead silence also serve, in certain sorts of stories--as a Player, I know what's going on in my silent character's head and the game won't contradict it.

The important thing is that I'm never forced to take a path that's outright WRONG for my character. Even if other characters misinterpret the Player Character's motivation, my character's inner life remains internally consistent.

"Neutral" responses aren't the only ways to go, though. Some responses are appropriate for any character because they're tied to the base character concept.

Here, for example (from @/seankmckeever's X-Files), the Player is a marine on a mission. The Player can respond abrasively to her partner's fear or look into the issue (out of compassion or genuine belief), but our fallthrough is actually the TOP response.

There's no version of our marine who would absolutely break character by picking "Stay calm and on mission." It's not blandly neutral; rather, it reinforces aspects of the character we can be sure of and gives the Player an option if nothing else works.

Different sorts of narratives will use different sorts of fallthroughs. A comedy might treat the option to say something funny as a fallthrough, of sorts--it's entertaining and will never violate the characterization the Player has created.

In a quest-driven RPG, a fallthrough response can often boil down to "How do I move to the next step of this quest?"

That said, the strongest moments in a narrative will often have no "fallthrough" response at all. They'll work by creating multiple responses that, by overlapping, cover all reasonable Player Character actions while still leaving room for the Player to ascribe motivation.

[barbwritesstuff]

I find it really funny that my blood moon mc was all calculating and level-headed, but my vampire mc is super brash and makes the worst possible decisions (and is also pretty cheeky while werewolf mc leaned more towards dry humor) even though stereotypically werewolves are hot-headed and vampires are calculating. How set are the mc personalities? Because it felt kind of natural to go this route based on the first couple chapters in each book. They really feel like their own separate developed characters. Are there any notable differences in how you write their personalities?

I never intended to give the MCs their own distinct personalities. I tried really hard to write them as 'blank slates' so players could project their own characters onto them.

However, I found it impossible to leave them entirely blank. I can't write a story starring a character I know literally nothing about.

And so, I gave them both a couple of non-negotiable traits. Things that allowed me to give the character presence in a scene, while leaving enough up to the reader to decide.

Blood Moon's MC is:

Competent, caring, and has killer cheekbones. They're clever enough to puzzle things out and aren't afraid to use some rougher language to get their point across (hence the fuck fuck fuckity fuck moments). Blood Moon's MC also has a dry, witty sort of intelligence which allows them to be a little sassy, if the player wants to choose those options.

Thicker Than's MC is:

A touch more pessimistic, persuasive (going to far as to be manipulative if the player chooses certain options), and pretty damn smart. They're much more likely to think strategically and to react to situations quickly. However, they're not as steady as Blood Moon's MC is, reacting more emotionally at times. They also have mummy issues.

Which, now that I think about it, pairs well with Blood Moon MC's potential daddy issues.

Thicker Than's MC also has their own fuck fuck fuckity fuck moment which I'm not taking out no matter how many times people point it out.

Anyway, all this to say, I never intended for these characters to even really be characters, but they sort of emerged as characters despite my best intentions. The player's choices still matter a lot though. Both MCs can be shy, sassy, suave, or strong-silent-types, depending on what the player chooses. They can focus more on problem solving or interpersonal connections. They can try to be leaders in their communities or stick to the sidelines.

Part of the magic of writing IF is I can see all the different ways these characters could go... and I love hearing what players thought and felt while making those chooses, filling in the blanks of those characters.

[felassan]

Snippets from shinobi602, cut for length.

Comment made after the character trailer, before the gameplay reveal:

"I know I sound like a broken record at this point but I'd really wait for the gameplay footage before writing it off. I agree that the tone of the trailer isn't how I would have personally revealed the game lol. But it's definitely a mature story...(with classic DA humor of course) I think people will come around when they see it in motion." [source]

Comment made before the gameplay reveal:

"I just got a sneak peak at the gameplay being shown on Tuesday. A small sample, but enough to get a good taste. It feels like a much better Inquisition to me. Absolutely not Fortnite or Overwatch." [source]

Comment made before the gameplay reveal:

User: "Maybe this gameplay showcase is going to show us all the character creator options, the RPG mechanics and skill trees, the expansive dialogue choices you can make, the minute to minute gameplay and how the world works." Shinobi: "You won't get all of that. But it's a solid chunk. This is just the first step in a long several months ahead. They have to save stuff for more beats down the road too or else you run out of gas lol." [source]

Comment made before the gameplay reveal:

User: "Very excited to see a glimpse into that for the gameplay reveal, hoping the game's beginning is as memorable as the other entries" Shinobi: "It is a massive boost in quality for the series. I'm not talking art style or anything, but just in terms of sheer quality and technical fidelity. Really hard to keep my tongue bitten lol, but I'm excited to see what everyone thinks tomorrow." [source]

Comment made after the gameplay reveal was teased:

"Yup, that's what it looks like, but there's so much more goodness. Looks amazing imo." [source]

Comment made before the gameplay reveal:

"it feels like the ME2 of Dragon Age." [source]

Comment made before the gameplay reveal:

"Oh just wait. The hair tech is phenomenal in this. Even I was thinking "aye is this a Bioware game!?" lol." [source]

Comment made before the gameplay reveal:

"They look different but to be honest the more you see them, the more you get used to it. I love the way Harding looks now. It's more stylized, but also a huge boost in technical fidelity in Frostbite." [source]

Comment made after the gameplay reveal, before the press who saw the demos at SGF shared about what they saw:

"Pretty much every person I've talked to across a dozen different media outlets, ~95%'ish, has walked out of the private demo sessions with glowing praise." [source]

-

"I don't mean there aren't any open ended areas to explore. But it's a tight game, with a focus on not wasting the player's time with bloat. They took a lot of that feedback from Inquisition." [source] [re: the game not being open world in design]

-

One preview from a large outlet basically boils down to 'Bioware is back'. [source]

-

"I'm optimistic. From conversations I've had, they are genuinely serious in trying to make a Bioware classic here. They do not want a repeat of Andromeda or Anthem. I can only go based off what I've heard obviously - haven't played it. We all have our opinions on the combat, but they learned a lot of hard lessons since Inquisition, taken a lot of feedback to heart, and want this to feel like that tight, structured high quality experience we used to get from them. Andromeda and Anthem came in hot at launch. I felt some warning signs before those came out, but here? Right now they're just polishing. It's all polish from here to release. I'm really hoping this is the start of their return to form. That team's been through a lot, I hope it works out for the best." [source]

-

User: "I think there certainly is a decent contingent of legitimate dissatisfaction or concern around the game, but I'm not sure that that's an overwhelming segment, but I do think it's something BioWare in EA should not and cannot ignore." Shinobi: "They've definitely taken notice. There's a lot more to show between now and launch." [source]

-

"One thing I'm particularly happy about and can't get over is how much better the hair rendering is. It might be a small thing to some but it looks incredible. It's in another stratosphere compared to DAI." [source]

-

"Everyone in the previews was gushing about how robust the CC is in Veilguard so there might be a decent chance to make some wild Qunari designs." [source]

On the Next Mass Effect:

"ME will look very, very good. Don't worry." [source]