#critical feedback

[weaselle]

if you want to give a critique to an artist, but are worried about how it will come across, a great way to be super chill with feedback is to do these 3 things

if you have access to notes or comments or messages already left, just take a minute to scroll through them a bit. If a hundred people have already said "you suck at writing relatable characters" maybe your well meaning advice to write more relatable characters isn't appropriate anymore.

use a compliment sandwich

use "I" statements

Compliment sandwich is easy. Find two things you like about the piece, and put your critique between them.

Example:

"what a great story, i really enjoyed the setting you've provided for it. I had a hard time making a personal connection with some of the characters, but I love the twist ending!"

So, sure, critical feedback can be hard to make palatable, but you see how two thirds of this is actually positive feedback. And the part in the middle is gentled by using an "I" statement, which explicitly does not say anything bad about the writing or the author -- not connecting with the characters could be a personal failure on the part of the reader, and this statement is phrased to acknowledge that.

That's what makes "I" statements a little trickier. The first step is simple, start your feedback with "I" to help you frame it innocuously

So like instead of "You Need to Write More Relatable Characters" or "None of the Characters Are Relatable" i might say "I Had Trouble Relating to the Characters" In this way you are not asserting yourself as anything but The Expert in What You Have Experienced (which we all know is true) instead of telling someone what they did wrong or what they need to do, as if you are An Expert in What They Are Doing

And it's better quality information. Imagine I said "You have trouble writing relatable characters" or "These characters aren't relatable"

But maybe this artist has had 100 comments about Relatable Characters and 78% of them are about how relatable they are. That means i'm actually wrong. They have written pretty relatable characters. So i'd totally be wrong.

Plus i'd be wrong in an accusatory way, and "this is what you should have done/this is how you've messed up" is something any artist getting feedback (especially online) has to kind of shield themselves against. Everybody has a way they would have done it "better". And you especially have to find a way to not give your energy to people are both wrong and antagonistic online. So being accusatory and wrong, even accidentally, even with the best intentions, is a great way for me to get ignored, or, if i catch the artist in a vulnerable moment, get clapped back. Or if they are new or very sensitive, hurt their feelings.

Whereas "I had trouble relating to the characters" is just, an accurate depiction of your experience. "I didn't notice the stop sign" doesn't necessarily mean there's anything wrong with the stop sign. Sure if a number of people say it, maybe do a little check up on the sign's visibility. But at the same time, "i didn't notice the stop sign" doesn't say the stop sign is wrong in any way, like, maybe you were just thinking about mashed potatoes and didn't notice the clearly visible sign, who is to say.

And that makes you helpful. Even if 78% of the responses that deal with character relate-ability are "these characters are so relatable" if, say, 17% of them are along the lines of "i had trouble relating to several of the characters, I didn't make a personal connection with them before moving on to the next character" it might help that author really dial in their characters for that story.

Now, just beginning your sentence with the word "I" doesn't make it what we're looking for, it's just a great place to start. What you're trying to make sure you do is Only Describe Your Experience, without giving advice or rendering judgement on quality or technique. Especially avoid anything that says "you should". Even indirectly.

You might be tempted to tell them something like "I feel like if I had more time with each character i would connect with them better" ... but this isn't actually the kind of "I" statement we want.

It's the same as saying "I feel like you should spend more time on each character" which is just putting "I feel" in front of a "You Should" statement, see how that works?

and If you say "My experience was i spent the whole story thinking about how you need to spend more time with your characters to make them more relatable" you're not really talking about how you experienced the story, you're telling them what they "need to do".

Avoid giving advice.

Even something like "I was kind of bored during the dialogue" is better than telling them what they should do. After all, maybe nobody else was bored during the dialogue. Maybe you were thinking about mashed potatoes and missed how good the dialogue was.

See a good I statement doesn't pretend to have the answers. Sure, taking more time with the characters might be a solution, but maybe there's a pacing thing I'm doing so i'd prefer to find ways of helping readers connect to the characters better in the time allotted.

"i had trouble relating to several of the characters, I didn't make a personal connection with them before moving on to the next character" alerts me to the issue while still allowing me to be the one to decide what to do about it. It doesn't say "I think you need to slow this down" it just says "i couldn't keep up"

And "I couldn't keep up" isn't accusatory or antagonistic or anything like that, so it's an easy more friendly way for an artist to hear feedback.

I did this example for writing because (looks at yet another long ass post) i love writing, but it's true of feedback on anything.

I hope people find this helpful. I didn't write this because of any bad feedback i've gotten (tho gods know i've gotten some bad feedback in my time).

I wrote this because i wish there was a more satisfying balance between critical feedback as the Monster as currently existing on most of the internet, and the Helpful Creature it could be.

I would like more people to feel comfortable giving critical feedback on my little writings. Like, I post poems and stories and like, idk, science and nature articles, and of course i am hoping for people to say nice things about them (and people do! thank you <3 ) but artists do actually often want feedback about the not great stuff too, if it's done politely. If i write a poem and nobody can figure out what it's supposed to be about, i kinda need to know that so i can grow as an artist.

And i feel like maybe there are a lot of people who are too worried they'll come off wrong or hurt someone's feelings, who want to make sure they aren't accidentally a part of the asshole hoard it's so easy to find in comment sections. And this is a great way to help make sure you don't accidentally come off like that. I hope it gives some people the confidence to leave some critical feedback on my writing in the future.

[animanightmate]

Someone is working their way through a bunch of my recent fics and leaving thoughtful (sometimes essay-length) comments on them. They're reading my latest long one at a steady pace and leaving comments on EVERY SINGLE CHAPTER, and I am holding this person's words in a death grip hug to my chest, because DAMN.

And I was already behind on responding to some similarly lovely comments, but am now so deeply in arrears that I'm going to have to dedicate some serious time to proper replies. (So far I've only responded to one where they politely pointed out a reference error, which I scrambled to correct, somewhat red-faced.)

It's also had me re-evaluate my stance on leaving comments. This person's dedicated, articulate enthusiasm is making me Feel So Many Things that I'd love to craft some better comments for fics that delight me. Even if it's one I keep re-reading. Hell, ESPECIALLY if it's one I keep re-reading!

Thing is, I love kudos, and no-one should ever feel obliged to comment, but, when people have the capacity to craft responses like this, it's just such a delight. So, readers, please just know that, when you do leave a comment, no matter how small, it means SO MUCH to us!

[daughter-of-the-clayr]

"jonathan groff and ncuti gatwa kissing is a big thing and well worth celebrating" and "rogue was not doctor who's first gay kiss and media pretending that it is is annoying and unfair" are two statements that should co-exist.

also i think people should be looking more at why the media is focusing on the "first gay kiss!!!!" and not on why it is such a big thing.

[nyehilismwriting]

Have you seen the recent comment made by Jelly Fish Field on your itch page for Project Hadea. I just read it, and found their view really interesting and extremely important criticism on how you've decided to write certain reactions. I love your writing a lot, so it was extremely eye opening what they wrote. What i'm getting at is, I would just like to hear your feedback on that specific comment! all love, and I do hope this won't be taken the wrong way!

I've seen it, yeah. and... okay, I've discussed my reasons for not using rape as a content warning before, and I stand by them; I'm not revisiting any discussion on what does and does not constitute rape. the content is warned for, by specifics of what occurs in the text, to give people the chance to make the most informed decision they can about whether to play. that's it.

as for the rest of it... there's things in there that I understand. I get being frustrated that you can't fully explore the extent of the operative's trauma, yet; I get feeling like the rest of the crew don't trust you, or like rohan is a bitch. they don't, and xe is.

the thing that I find disagreeable about a lot of these criticisms (and similar ones) is that I think they betray a fundamental misreading of the text: the operative is a war criminal. they are heavily armed, unstable, and trapped on a ship with civilians. they kill multiple civilians in chapter one; they might well attempt to kill rohan in front of everyone, and later succeed in doing so. they are a confirmed murderer, who by and large refuses to tell the civilians why they are so angry with rohan. this is by design.the focus of this story is very much about coming to terms with your trauma - from long before you meet rohan! you've been medically experimented on, had your personhood denied for a long time, and had any kind of human empathy stamped out of you. part of the point of the game is for me to explore how trauma can be expressed in ways that are deeply unpalatable - the operative is not a "perfect victim" (a phrase I loathe) and their trauma impacts the way they move through the world, drawing out reactions that aren't wholly sympathetic or empathetic, because their actions are often unjustified and cause real harm, or seem that way to those who don't have full context.

this is why joia is important, this is why your relationships with the crew are important. the crew aren't intended to be author voices, they're not the moral compass here or audience stand-ins: they aren't supposed to represent the "correct" approach to dealing with other people's trauma. no character in this situation is intended to be seen as perfect, but as a way to shine light on different facets of the story.

the operative is built a very specific way, for very specific reasons: this is intentional. they are a person who has been deliberately dehumanised, used as a weapon, who volunteered and fought for the right to be a scientific guinea pig for the war crimes company, in order to be of greater use to said company. they have had their bodily autonomy violated so habitually, for their whole career - they have been coercively used as a test subject by their employer - that they can't see it as an abnormal violation. this isn't to say it is justified, or to diminish the traumatic impact rohan has, but... it's not the operative's first rodeo here, even if it's the player's.

they're bad at processing their emotions. the operative Does Not Cry: this is a character choice I have made. this is because they have had that emotional response beaten out of them. the operative isn't capable of taking their own trauma seriously, because they're not equipped to deal with it. they can't look at it head-on.

likewise, nash isn't capable of being a gentle, reassuring, sympathetic person, much as they might want to; a big part of that relationship is the idea that the pair of you have to relearn to how to relate to one another in your new contexts, and that isn't a smooth process. nash also has reasons to be reticent with you that are yet to be explored - this relationship is undergoing development, with both of you as violent people who commit violent acts, and who relate through violence. your relationship is built on your capacity to commit violence together. they are not equipped to deal with violence affecting you in the way it might someone else, because you've both spent the last ten years being conditioned and trained to assault other people. part of the theme of this game is to explore the way these people might experience a uniquely traumatic violent event, and the effect this might have on their own capacity to endure and process violence again themself.

I understand that it might not be the way people want to play their characters, but it's the way the character is written, and I am doing that on purpose. all I'm asking is that you trust me when I say that this is not going to be swept under the rug, even in the least volatile relationship you can have with rohan. if that's not possible for you - if you can't trust me to do this - then you're welcome to stop playing.

[aq2003]

i think it is very silly to react to dropout's response like "why were people mad, you know the cast and crew are pro palestine" yeah exactly and if they weren't i don't think attempting to push a petition/boycott to them about this would do anything. the result of them acknowledging this was a net good. twenty thousand dollars

[yashley]

but I am just completely in love with matt for getting mic feedback 1nce and being like "--yes that was the psychic reverb of the solstice..........." "--a snake nearby is spooked and hisses.............." "--somewhere a ship's horn screeches". king i love u it's so so good

[savagechickens]

Bring It On.

And more feedback.

[chimaerakid]

(possible) final draft for my arcade charm! I want it to be double sided :) I'm also thinking about making it into a sticker design as well.

please please please give some feedback if you have any! I've never made physical merch before & I'm planning on using vograce to get them made ^_^

EDIT: Here's the final design!! also read the tags in that post for some extra info :-)

[sharas]

what’s funny about velma (2023) is that they’ve already tried a dark and edgy scooby doo remake. the first live action movie from 2002 was originally directed towards adults, and was rife with dirty jokes, drug references, and cleavage shots of daphne and velma.

you know why the final product didn’t resemble that at all? bc they realized early on that the edgy grimdark angle fucking sucked. they reworked the movie to be more family-friendly— still with a complex plotline, but without the gratuitous sexual references and adult jokes. they did end up keeping a few references to shaggy smoking marijuana (his love interest being named mary jane, for one) but they were super toned down so that they’d go right over the heads of any kids watching.

it wasn’t necessarily a kids movie. i was five years old when it came out, and i loved it, but it was fun for teens and adults to watch too. and even with the dated cgi for scooby, it still has a lot of rewatch value. ask yourself if you think anyone is going to be rewatching velma in 2043 the way people still watch scooby doo twenty years after it was released.

this weird trend of the past few years of remaking fun and campy media into something edgy and full of shock value (wednesday, riverdale, and that awful winx club series come to mind) is so boring and trite and misguided. if you want to make dark media so bad, write something original instead of borrowing the barest skeletons of existing media and distorting them until they’re unrecognizable. it’s such an insult to the creators to have their stories mutilated by people who have no understanding of or appreciation for the characters or audience.

[hellion-child]

like i dont want tim or oliver or anyone else involved in bucktommys storyline (not lou 💜) to feel awful, or scramble to cover their ass, or backtrack on the break up, or have bad things happen to their career, or anything else that angry ppl are saying— and they have a right to be angry! im angry!!

but i also just cant care enough rn. all i really want is for them to just understand why we are all upset and hurt by this. really understand that this is more than fans throwing a tantrum bcos they lost the ship war or whatever the fuck.

i just want them to understand

[dyemelikeasunset]

I'm having a moment of severe weakness/anxiety but I got a very shocking anon a couple days ago that said the way I draw Black people seems racist and I guess I just wanted to ask any of my Black followers if you've ever had concerns about antiblack insensitivity from me or my art

I've read up on caricatures so I know what to avoid, but maybe I missed something? I've also asked friends and they all said it was likely a troll since the anon used a slur, but I want to use it as a learning opportunity in case I sincerely fucked up

[physalian]

The Dos and Don’ts of Giving and Receiving Constructive Criticism

Some of these should be painfully obvious and yet. They come from experience.

Receiving feedback:

Do

Understand that a criticism of a character’s thoughts, actions, morality, and choices are likely not a criticism of you as an author, unless the character is an author insert

Understand that they are being paid to critique how successfully you told an entertaining story, not pander to your trauma dumping

Understand that critiquing a book’s success as an entertaining story means that how much you yourself connect with or love a character or scene or plotline is irrelevant if it doesn’t make a compelling narrative

You might have written your book for yourself. Your editor is a different person with their own human biases and perspectives. If you just want to pay someone to stoke your ego, make that 100% clear up front.

Stand up for yourself and clarify where necessary if some details were overlooked or if explaining outside the narrative can better contextualize anything confusing or lacking detail.

Stand up for yourself in what feedback you are expecting, and what degree of criticism you’re willing to endure. An editor can let more or less of their own views show depending on what you ask for.

Stand up for yourself if your editor delivers inadequate or useless feedback. You’re paying them for a job, and you deserve to have it done properly.

Try to separate dislike of a book from dislike of yourself. It’s not easy, but the goal is to fix your book that you’ve already spent a lot of time writing, and they’re only trying to help.

Remember that your author insert is subjected to the same level of criticism as any other character, and that you asked for this.

Keep an open mind and be prepared for feedback that you don’t like, because you can’t please everyone. Your editor should be able to tell you whether or not a scene or character, or plotline works separate from their own personal tastes.

Don’t

Argue with your editor over their religiosity or lack thereof and insist that adhering to genre expectations means they “worship the god of [genre]”. (really, argue with your editor over anything like this, e.g. their own sexuality, religiosity, gender, socioeconomic status).

Argue with your editor while still expecting more work from them as if your aggression will in any way positively impact their perception of your book.

Insult your editor’s intelligence for not understanding your jargon and attempts to sound smarter than you are.

Get mad when your editor sees right through your BS and calls it like they see it, specifically your self-insert Mary Sue protagonist.

Insist that the solution to better understanding your book is for that editor to do extensive homework on your niche topic. If it’s a niche book for niche audiences, hire an editor who’s already knowledgeable about that niche topic.

Equate a bad review and opinion of the book with unprofessionalism. These can overlap, but they are not interchangeable.

Forget that your book is probably meant for leisure and entertainment, and your audience is under no obligation to read “until it gets good,” when they can go do literally anything else. Your first job is to entertain, if you write fiction.

Giving Feedback:

Do

Pay attention to your client’s wants and needs and expectations. If they’re more sensitive to bad feedback, do your best and stay as objective as possible. You can’t please everyone, either.

Helpful feedback includes an explanation of why an element needs work and how it can be improved. Saying “I hate this” with nothing else helps no one and just makes the author feel bad with no direction of how to make it better.

Communicate beforehand how much of your own personality your author wants from you. Do they like personal opinions and your personal reactions to the text, or do they want it as impersonal as possible and solely focused on the structure of the narrative? This might avoid a mess.

Remember to leave notes of where things worked well to balance the criticism. Even a simple “this is good” highlighting a line or a paragraph or two helps keep authors motivated to keep writing. I firmly believe that no book is completely unsalvageable.

Make it painfully clear with no room for debate that criticism of a character is not criticism of the author, unless it's an author insert, in which case the author absolutely asked for it.

Make it clear that you are just one person and these are all suggestions, not laws.

Don’t

Let your own personal opinions cloud your judgment of whether or not someone with different tastes could enjoy the book.

Unless given permission, get too personal with the narrative and reach beyond what’s written on the page.

Do more than what you’re paid for. You’re an editor, not a therapist for the writer’s trauma dumping.

Forget to wrap up all your thoughts in a condensed format that the author can reference, as opposed to endlessly scrolling through the manuscript trying to summarize your points for you.

Walk away with absolutely nothing positive to say about the manuscript. Even if it’s awful on every front, the writer still tried and that deserves merit.

This is from my personal experience beta and sensitivity reading, and dealing with other beta and sensitivity readers. We are all human and these jobs are not one-size-fits-all and there aren’t really hardline rules as every author, editor, and manuscript is different with different needs.

Just some things to keep in mind.

But also, for the authors who do write self-insert Mary Sues: You are in for a very rude awakening if you expect anyone other than yourself to adore your book with zero criticism. If you really just want someone to proofread and look for typos, tell them.

[bg3-npc]

dash was going insane last night so I started keeping fucking notes I can be so normal about them look at how normal I can be do you wanna be normal with me it's fun

[pipinpali]

This will have a name eventually,,

—--

1/?? — Screwed Up

TW!: blood, injury, mentions of death, language, violence

Word count ~ 1000 words

—--

Randall crawled out from beneath heap of metal scraps and junk which was supposed to be the entrance of his home; evident by the old carvings on one of the pieces of cardboard from the couple of kids that liked to follow him around.

'These storms are more of a problem than I thought,' the smallfolk bristled. He sighed, deciding to get to fixing it later, and brushing away the feeling.

He was a busy man with deals to make and suckers to cheat. With his self-built confidence, he adjusted his scarf, tugged at his socks, slicked back his hair, and brushed off his coat. Content with his look, he made his way through town.

Unfortunately, travel wasn't the easiest thing in the homey town (which Randall had never learned the name of in all of his 9 years living there), in fact, it was one of the hardest.

Randall dashed towards the exit of the dark alley, stopping abruptly before he was cast in the light of the orangey last hours of sunshine. He peeked around the corners for the beast that made him believe the "man's best friend" title was bullshit. Good thing for him, all he could see was the metal rod in the ground and the thick chains that it was usually tied to. He was relived he didn't have to climb up the old downpipe today.

There was still dangers that Randall had to face, the most important being one of those big people. Despite the charismatic smallfolk's rather impressive height of 12.7 cm, amongst giants; he was thought of like a rat.

With that in mind, Randall carefully, cautiously, stayed near the towering apartment buildings, making sure he wasn't close to the middle of the sidewalk where all the foot traffic of a couple of people here and there was. Over the half hour or two he was scampering along, there were a few close calls of almost being spotted, but he prevailed and made it to his destination.

Readying himself, Randall jumped and caught his hands on the grooves of the decorated stone which acted somewhat like a ladder for the folks that visited. He climbed -- ableit with a bit of struggle -- up the massive building, one that was home to the Bright Market, the "hot-spot for money making." Heaving himself onto the back of the large, glowing sign that read something along the lines of "Pet-ee's," he was met with familiar sight of the bustling stalls.

Randall knew where he needed to be, as did the fools who accepted his offer. Little did he know, though; that it might be his last.

He walked towards the back of market, nearing the edge of the vast roof-top, where he saw the same brute of a man sitting on a makeshift bench; the one who asked for his services in the first place.

The conman leaned against a post, eyeing the client with his usual confident gaze, the phantom of an amused smile on his face. "So, you got the bits?" He inquired.

"I've heard from a friend that you have quite the reputation, Mr. Franklin," the toned man stated with his deep, gravely voice, his fingers tracing his whiskers.

Randall bristled. He didn't tell the man his last name. Things sudden felt a lot less safe. From the corner of his eye, he could spot a handful of others nearing where they were conversing. "...I see you have," he responded, attempting to keep up his charismatic demeanor, though; the change in tone made it known that he had a good idea as to what was going on.

"...They said they wanted the money back," the man said, finally making eye contact with Randall. He sat up at an intimidating height, slowly walking up to meet Randall at just a couple inches of distance. Something was definitely wrong.

The he dared to try and dart off to the side before things got messy- being gutted in the stomach, now pinned between the wall and the brutish man's arm before he could even get two steps away.

Randall struggled to get free, his legs kicking against the other's, searching for to get back to the floor as his hand scrambling to grab at his side for his dagger which had fallen onto the floor.

His eyes widend as the man drew back his arm; fist tightened.

Shit.

...

...

...

In his blurry vision, he squinted, trying to make sense of the growing lights and the loud growl that sounded louder and louder as a silhouette became more clear--

Randall had figured out it was a car before the very second he was nearly run over. 'Those assholes tossed me on the road while I was unconscious!' he realized. Before he could get too angry about it, adrenaline buzzed in his head. He needed to get somewhere safe before something killed him.

As Randall attempted to stand, a shot of pain in his legs knocked him back to the ground. He reeled, sucking in air before he let out a strangled cry. 'Don't do that again,' he noted to himself.

Pitifully and painfully, he reached out his arms and started pulling himself through the gravely pavement, his body scraping against the rough texture as all nine of his fingers grasping and a few prayers setting him on his way.

After a while, the smallfolk's sensitive ears perked up at another noise — this time not a massive car barreling towards him — but instead, it was the stirrings of rain. It didn't take long for him to pelted with the sudden downpour.

Randall idly thought about giving up, yet the illuminating, towering street light ahead, standing out admists the dark, filled him with an odd and unfamiliar sense of hope.

He was close, he could leave this okay.

With that, the now determined and drenched smallfolk trudged through the ever growing puddles, nearing the sidewalk. He thanked the gods that there weren't any big people out at this hour.

Randall was so determined, in fact, that he didn't pick up the final noise over the rain.

The most important one.

It wasn't until the light had flickered that the little conman's focus had faltered, the instinctual reminder to scan his surroundings only now ringing in his head. His mildly articulated ears perked up at the sound of something distant, almost sounding like scraping thuds...? It was rythmatic, a set pace. And like the car, it neared closer, and became louder.

Randall almost shrieked at the sight of two giant work shoes that appeared far too early and far too close, accompanied by two impossibly long legs, arms, and... -He couldn't run, he realized, nor hide. He was at the mercy of a big person of all things.

He was screwed.

—--

Next part -> coming soon! (Hopefully)

Wowie kazowie lookie here!! Me? Writing?? Impossible!

Im planing on making more of these but this is just here for now incase

their first meeting!! First time writing something like this,,

I made a drawing before right here of the final scene ,

[nalina-nw]

Gouache practice #1 - Agent 4

[ganondoodle]

(while i am crumbling into pieces from cramp pain)

back when they announced the totk masterworks book i said i wasnt happy about it bc it would either

prove they thought all this was good from the start and everything went as planned

show us that they had unbelievable better ideas and plans but for some unknow reason scrapped it all

as it stands now with the concepts i have seen ... they somehow did both, some things seemed to have been planned fro mthe start (the whole focus on sonau/zonai stuff for example, which i personally just dont like bc i liked them better as an unkown mystery you never get to meet) and other stuff (like ganondorfs concepts, or the infinitely cooler castle in the sky esque concepts for the sky islands, instead of some nonsensical, meaningless little stone crumbs) was much, much more interesting initially (together with the interviews that said they initially planned to have the battery be a magic meter and make the sonau more magic than tech- but then decided to build their stuff around modern electrical devices just so players would immediately know what it was an what it would do -why????? thats so boring?? and unecessary ?? and they still give you tutorials for it anyway, multiple times??!!- for some ungodly reason)

it makes me more and more sure that this game, that took 6 years to make with most assets already being there (the same time that botw took to make?????????), went through a similar development hell as that one final fantasy game did where the director decided to make it an entirely different game every few weeks bc he saw something cool in another game-

its the only thing that makes sense to me, why else would it be so weirdly ... unfinished, its full of grand ideas badly executed, or like i said in a previous post, like an alpha build (weird! did someone in charge also see cool stuff every few months and decide they wanted it in there too no matter what so everyone had to scramble to try and put it in making the whole jenga tower fall over and over??), just to test how far you can push things, with placeholders everywhere, the same cutscene pasted in where another should be and a placeholder reason to get players to go soemwhere (fake zelda) and rough ideas for puzzles etc, that was never finished, jsut highly polished (in looks, sounds and presentation) in hopes of it being 'good enough' or players not noticing (like, take the underground for example, the idea itself is fantastic and cool as fuck, but its feels like an idea that was never finished and just barely fileld with some things to try and cover up the fact that it was never done, like a statue that wasnt done being carved but ran out of time so they painted it anyway- take the base map and invert it, put some easily accessible points of jumping down into it in random spots to test if the game can handle it- no time left to actually get that idea anywhere more specific and well thought out/put together, so its left like that, put the same texture everywhere, barely modified copies of the same enemies, and some little reward spots that make no sense, modelling three types of trees and an enemy camp is way quicker to do than actually making an entire new map (they didnt have to make it the same size btw, just make it big but unique caves, put the gravity effect down there in enclosed spaces! makes it less weird to have randomly happen in the sky! etc) but its there!! its in the game and if they are lucky most players wont go down there enough to notice how meaningless and unfinished it all is)

knowing they would most likely never admit to it though, probably bc of their reputation, is just addign to the frustrations i have with it :I

(i just hate to not know the reason for things, if the devs, who are usually the ones being worked to the bone for things they know arent good, where put through that bc some executive big shot threw their tables around every so often or neglected their project bc they wanted to focus on something else first ... id like to know, i dont enjoy making up these conspiracy (?) theories .......... but i cant shake this feeling, its jsut makes no sense)