#do those choices matter a lot as far as gameplay is concerned? not really. but for a character-story? it's incredible.

[racke7]

So, last night I was thinking about FF14 and Skyrim again.

Specifically, my feelings of "I played this game all day - do I feel like I actually did anything today, or not".

If I manage to play Skyrim for basically a full day (instead of some random burst of an hour), I usually feel like I've "advanced the story" of that character, gotten better gear, established the character's personality a little bit (doing X instead of Y, prioritizing this quest over that, commentary through regular gameplay, etc).

So I don't necessarily feel like I "did a lot of things today", but it does feel like there's an "accomplished" feeling, kind of.

If I play FF14 a full day, I feel like-... It feels a bit as if I've watched a really long movie (especially if I played MSQ)? It's a sometimes-good movie, so I don't necessarily regret it, but... that's it. Between the queues for dungeon-diving and travel-time, a lot of the gameplay really amounts to "watch a cutscene".

So, I learn new stuff about FF14-lore, I might get inspired into creating a fancy new outfit for a class, and... a few numbers go up? The aftermath of playing FF14 really does feel as if I've spent the day watching a weirdly prolonged movie.

[kyouxa]

Diabolik lovers Chaos Lineage: Shin Tsukinami (Story 12)

In terms of the gameplay: The black choices lead up to a bad ending, the white choices lead up to a good ending. Please no reposting onto other sites, ask me before translating this into another language too! If you enjoy these translations, please consider supporting me on ko-fi.

Place: Abandoned house — Outside

Yui: (Yesterday I was apparently the first one to fall asleep. Was I really that tired though?)

Kino: How nice. C’mon, it’s hot now.

It’s some food I’ve been stealing beforehand, so please eat it as carefully as you can.

Yui: Kino-kun, thank you.

Shin: Did you steal things like this before us knowing about it too?

Kino: I might’ve taken some while you two were resting a bit.

For once, I wasn’t just playing around as you see.

Shin: No, that’s an extension of playing around, don’t you think?

Kino: Meanie. I only brought it with me because I thought that girl might be hungry to begin with. 

Yui: Really? Thank you for your concern then.

Kino: Ah, yeah! I also found something really interesting while I was searching for food!

I want to show it to Shin, so wait here for a hot minute. I’ll go get it.

*Kino leaves*

Shin: What could be so interesting? Well, whatever. I shouldn’t be surprised about anything that guy pulls up anymore.

Go on, you can eat without holding back now. You’re hungry, aren’t you?

Yui: Yep, after everything that happened, I really am. Thanks for the food! 

Ah, it’s hot… ! 

(The meat is really hot because it was freshly roasted… !)

Shin: You’re not a child anymore, so eat more calmly than that. Nobody’s taking it away from you after all.

Yui: Yes, you’re right. 

...Nn, it hurts… it looks like I burnt my tongue

Shin: Haa. Your clumsiness is showing, seriously.

*Shin gets closer*

Shin: Alright, show me your tongue. I have to check on it before it might get even worse.

Yui: Eh!? I’m fine, really! It’s not that big of a deal.

Shin: If it gets worse you’ll suffer deterioration. It’s better to show me yourself before I’m forced to pull your tongue out myself, right?

Yui: (Uhh… it’s no use, but I still hate it… let’s see)

Fine, I get it. I’ll show you myself.

Shin: What? I would’ve been fine with pulling it out myself as well.

Yui: No, thanks… ! Alright, Nn…

*Yui shows tongue*

Shin: Ah, it’s getting really red.

Should I take care of it? It would heal way faster like that, don’t you think?

Yui: Eh!? No! You don’t have to go that far, I’m fine.

Shin: You shouldn’t decline. I would be glad to help you out for the sake of it healing faster. 

Yui: T-That’s not...

Shin: Perhaps you would rather want to be bitten by my fangs than simply being treated? Well, if that’s so you could’ve told me earlier.

Yui: That’s not what I asked for… ! 

Shin: Looks as if the third wheel’s about to come back. I’ll settle this now or never then.

Nn…

*Shin kisses Yui*

Yui: Nn…

Shin: Kuku, your face is bright red. You’re still shy even if it’s just kissing.

If you don’t get used to it, there might be some difficulties in the future.

Yui: It’s embarrassing to me, therefore I can’t help it, okay… !?

Kino: ...Ahem, Ahem! 

Yui: Ah, Kino-kun! You’re back!

Kino: Yep, I’m back. Ah, don’t worry about me, just keep going.

*Shin backs off*

Shin: We can’t easily continue now. There’s nothing more we’re gonna show you either.

Kino: How lewd. Well, whatever. Apart from that, I want you to look at this. 

*Kino gets closer*

Yui: Ah, talking about it, you wanted to show us something interesting, right… ? 

Kino: Hm, yep! Tada, look at this! It’s a caricature of Shin! 

Yui: Eh? Of Shin-kun?

Shin: Uwah! Where did you get this from!?

Kino: I found it when exploring the Orange mansion. I brought it reflexively with me because it was kinda an amazing sketch, in my opinion.

Hey, did you draw this? I found it in Shin-kun’s room, but...

Shin: T-That’s...

Yui: But it looks really good. Did Shin-kun draw this all by himself?

Shin: It’s not like that. Because I had no time to do it myself, I let a familiar draw it for me instead.

Kino: Hmm, so it’s a portrait? As expected from a founder, they really act differently.

But even so, do you really like yourself that much? This portrait is way prettier than you actually are though.

Shin: Shut up! I mean, you’re not beautifaction yourself in person either! I at least let them draw me faithfully.

I’m totally fine with how this turned out. We have to talk about way more important things than that anyway. 

Kino: Yep, Yep. Let’s talk seriously about this matter from now on. Does any of you got something?

Shin: I… I want to regain my brother’s memory.

After I first got to observe the situation, I immediately felt as if it’s an impossible task. We met each other face to face several times, yet I haven’t noticed any change in him.

Yui: Shin-kun…

Kino: Well, guess so. 

Shin: So I think it’s best to find a way to get out of here first, before trying anything with him again.

Kino: Don’t you think that this is also difficult? We’ve just been looking around the mansions for now, that’s it. And even there were no clues.

Shin: I know that. I just want to get out of this ridiculous place if possible. Maybe his memory would come back naturally then.

...I thought that if I can’t somehow shake his memory, they might be able to come back themselves by any chance.

Kino: By chance, huh? Does that mean you actually cared about what I said yesterday?

Shin: ...Not really.

Yui: Yesterday? 

(I wonder what happened while I was asleep?)

Shin: So, what’s it? Do you think it’s the opposite? 

Kino: No. As you said it yourself, I think it would be quicker to get out of here first.

Shin: Thought so. What do you think?

Choices

1) What about Carla-san then? (black)

2) I want to know how to escape (white)♡ ♡ ♡

— What about Carla-san then? 

Yui: What about Carla-san then? You’re the one who wants him to remember the most after all.

Shin: It can’t be helped. I’m worried about my brother, yes, but I can’t let this be a constant priority that weighs on my mind. 

Yui: You’re right. As long as Shin-kun’s fine, I think it would be better to find an escape route first too.

Kino: Aight, it’s unanimous.

— I want to know how to escape♡

Yui: I think it would be best to find a way to escape from here first as well. Maybe Carla-san’s memory will come back once we escape.

Shin: Right? It wouldn’t make sense if we meaninglessly return home without all of their memories coming back to them. We, Kino and everyone else.

Yes, that would be a reason to postpone my brother. This is what we should aim for in the future...

Yui: (He’s speaking to us as if he’s entirely trying to convince himself about this)

(Maybe Shin-kun really wants to go and actually see Carla-san as soon as possible)

(I can’t get this feeling of them wanting to desperately kill us off either though…)

It’ll be fine, Shin-kun. I’m sure this won’t last too long anymore.

Shin: Yes, it’ll be fine. I know that.

Alright, unanimity agreed to it then.

Yui: Yes.

Kino: Okey-doke.

end Choices

Shin: That’s settled then.

Kino: I guess he’ll be able to manage his memory somehow or another. If I could go back to my original house, Yuri would probably help me for sure.

Yui: Yuri-san?

Kino: He’s my loyal servant. As soon as I get home from here, I’ll let him do some research in order to restore your brother's memory.

Shin: Yes, that would help a lot.

Kino: But, y’know… Even if we’re looking for an escape route, we have to first of all figure out how we were brought to this place 

Shin: It’s worse, especially since we know nothing about this place. If there are at least any hints somewhere...

Yui: That’s true. It was also one of the reasons we went into each of the mansions...

Shin: Seriously, did you notice anything?

Yui: What I noticed—

*flashbacks*

Yui: Ah! Speaking of that—

Shin: What?

Yui: Each of the mansions had the exact amounts of chess pieces on their chess boards

Shin: Now that you mention it, I do think I noticed one standing in the living room of the Orange mansion once...

Kino: Ah, there was also one in Scarlet’s mansion.

Yui: I remember there was also one in the Violet mansion. Besides, the floor of the church also has a checkered pattern of black and white marble—

Kino: Like a chessboard.

Yui: Yes!

Shin: I see. But what exactly does this have to do with this? Both are probably just there as decorations.

Kino: No, I doubt that it’s just for decoration… I see now.

Yui: Kino-kun, did you figure something out?

Kino: I wouldn’t call it “figure”. It’s just that I thought of something...

We were forcibly dumbed off in this unknown place and also got a fake memory. In my opinion, this all seems as if it’s definitely someone’s work.

Shin: So you’re saying there’s a mastermind?

Kino: Exactly. If there’s an ongoing game, there also has to be a mastermind behind it.

Us, as the players, were given those hints to probably keep this as interesting as we can.

Shin: Hah? In other words— ...Nn!

Yui: Shin-kun? What’s wrong? Why did you suddenly stand up?

*Shin sniffs air*

Shin: Hnff

Damn it! We’re surrounded!

Yui: Eh… !?

Ayato: Guess we finally found you, traitors!

Kanato: You did terrible things to us, remember? There is no way we would let you kidnap Eve and then join hands with the enemy—

Yui: (Ayato-kun! Kanato-kun! And—)

Ruki: —Shin, I get it now…

I would’ve never expected for my most trusted person to end up betraying me as simple as that.

Shin: Ru… Brother…

Ruki: A traitor, such as yourself, has no right to call me his brother any longer!

Yui: ...Nn!

Shin: It’s useless even if I’ll try to explain. But I never intended to look as if I was about to betray you or anything, I swear.

I know you were a good brother, even if you’ve never been my real older brother in the end...

Ruki: I’ve got no idea about what strange things you’re blabbering, yet the confirmation of you being here is fact enough.

It doesn’t change the situation, even if you start coming up with excuses.

Ayato: Hey, Ruki! Let’s take these guys out quickly!

Kanato: That’s right. Let’s rightfully punish them. I’ll tear them into pieces once I get my hands around them.

Yui: (What should we do now? If we’re doing nothing, they’ll start a battle—! Am I really not able to somehow avoid this?)

Kino: Shin, what do we do?

Shin: The only ones with fighting skills are you and me. It would be 3 vs 2...

Kino: Besides, it would be a battle while we’d also have to try to protect the girl from being taken away from us.

Yui: (What should I do… I’m holding them back from what they have to do because I’m with them)

Shin: We have no choice, seems as if we really have to confront our problems head-on and fight them.

Kino: Eh? That’s not true. If you transform yourself into a wolf, you could carry her and easily run away.

Shin: Hah? I can’t just do that!

Kino: ...Why not? Do you really have to complain about my strategy now?

Shin: My back is limited to only giving one of you a ride! I don’t know if you’d be able to get away without me helping you!

Kino: ...Nn!! What… why would you say something like that…

*Kino mumbles*

Kino: Ahh… I guess I have no choice but to save you as a repayment now too. 

Yui: ….. ?

Shin: So instead of running away, I’d like to break through this in our own ways...

Kino: No, we’re gonna avoid confronting them head-on and not fight them. We’re changing strategies.

Shin: Hah? Why change them so late...

Kino: Ready? When I’ll give you the signal, you have to run.

Shin: Eh? What do you mean?

Kino: With this, we’ll easily be able to get away right in front of them… you guys, close your eyes and noses! 

*Kino throws something*

Ayato: What the!? What did he throw!?

Kanato: A pouch… ?

Ruki: ...Nn! That’s not just a mere pouch. Close your eyes and hold your breath!

*pouch explodes*

Kanato: Ahem, Ahem, Ahem

Ayato: Ngh! What’s going on here!? I can’t see shit anymore! Ahem, Ahem.

Ruki: Kch… Ayato, Kanato can you see the enemy? 

Ayato: Don’t bullshit me! I can’t see anything!

Shin: Damn, that guy’s really something. But he saved us! We only have to run away now!

Yui: (Shin-kun’s voice!)

Where? Where are you? I can’t see anything! 

Shin: Over here!

*Shin grabs Yui*

Yui: (The one holding my hand right now… it’s Shin-kun!)

Kino: Hurry, both of you! 

Yui: (I also heard Kino-kun’s voice. I’m sure I’ll be fine as long as I follow the sound of their voices— !)

Place: Outside — Forest

Yui: Haa… Haa… Haa—

Shin: Haa… Haa…

Kino: Haa, Haa…

Shin: Kino, what was that about?

Kino: It was a wheat bomb.

Yui: Huh!?

Kino: I secretly made it when we were in the Violet mansion back then. All I did was wrap the smoldering wheat in a cloth, get it?

Shin: And you really made that yourself? You’re an unexpectedly shrewd guy.

Yui: Thanks to that, we were saved! Thank you, Kino-kun!  

Kino: I have to admit… I’d love to hear you praise me more, but we have to worry about running away first! 

Yui: (Seriously, it’s all thanks to Kino-kun that we’re safe right now. He’s a really good person after all)

[askmerriauthor]

Jedi: Fallen Order thoughts 1/?

So, having just finished what is apparently a canon entry into the current Star Wars lore, I'm left with some feelings about the story itself and some choices it made as a game. Spoilers after the jump.

I mean, it's a really impressive tech demo?

The game's developers are clearly trying to flaunt a lot of really impressive visuals and dynamic elements within the game. Some work, some don't. They're seemingly very proud of their lighting engine, the main character's hair rendering, the "no loading screen" transition between zones. All of which are commendable and fairly impressive on a technical matter. The problem shows up when they actually manage to interfere with the story, or when the game gets too big for its own britches. Some graphics-heavy areas looked amazing while others - the Wookie planet of Kashyyyk in particular - choked my XBone to the point that it rendered out a stuttering slide show and actually hard crashed my entire system.

So, like, presentation first. We'll discuss the story after that.

The game is very pretty, no doubt there. Excellent visuals and a number of specific scenes - done in mid-gameplay rather than as cutscenes - were genuinely impressive cinematic beats. There's two particular dream/hallucination scenes where our main character, Cal, has the entire setting around him transition smoothly into a different scenario as the player sweeps the camera around back into view and they both were used to great impact. There's a handful of moments where the game itself takes camera control away from the player to help tell the story as the player controls Cal's movements as well, and those are each stand-out beats. It's obvious there's a lot of intention behind this game to make something evocative, and I really appreciate that.

The story is the stumbling point, however, as well as how the presentation gets in the way of the narrative.

Ostensibly, "Fallen Order" tries to tell a found family tale where a group of misfits full of their own hang-ups and trauma come together to defy the odds and achieve something greater. Solid base right from the get-go. Love the trope, love the stories it can tell. The trouble is that "Fallen Order"'s dynamic loading system directly contradicts that story. Throughout ambient dialogue chatter given off by Cal throughout gameplay, the impression is given that he's spending time with the cast and developing that found family relationship. Idly talking about how he questions the cooking skill of the ship's pilot, or downtime spent alongside his fellow former Jedi on the ship. The issue is that the game's presentation never gives any opportunity for that to happen at all. The game's camera is perpetually set just over Cal's shoulder and never leaves his immediate presence. There's no point where the audience's view slips away in a "fade to black" transition where time passes unseen, or where we hop over to a completely different part of the story to see what another character or villain is up to. The only time the camera ever directly leaves Cal is to show the establishing shot of the ship or room he's currently inside and about to step out of.

There's no point of time where we're not directly observing Cal, so it becomes really obvious that, no, you sure as hell didn't question the pilot's cooking or spend time with your fellow Jedi because we've been here with you the entire time. Hell, Cal doesn't ever actually eat at all during the game and because there's no day/night cycle or transitionary period in the narrative, it makes it seem like the entire story takes place over a single day. The narration and dialogue wants to tell us that this is all taking place over a long period of time, and that these characters have off-screen interactions. But the actual presentation of the game itself completely defies that.

Like, for instance, something Star Wars itself does in its other forms of media is give moments where the scene wipes away, often when characters are traveling into Hyperspace. It's assumed by we the audience that the characters are doing stuff in the meantime of travel, like Obi-wan training Luke with a targeting droid or Chewie losing a board game. "Fallen Order" wants to show off its seamless loading times and has the entire process of choosing a destination, traveling to it, and arriving done completely on-screen in real time with no cuts. So the game itself unintentionally yet actively prevents us from having any reasonable point where we could assume the characters are having downtime moments together.

It just ends up being a really wonky choice as far as direction is concerned and, in the end, I suppose it can be overlooked. Anyone who really wanted to speculate on the found family dynamic of the characters could very easily just set aside the actual gameplay, after all.

As for the actual story itself, it's... I don't know. Meh? It's there, it happens, it's apparently canon. But the problem is that it's 100% pointless because the events of the story are entirely self-enclosed, do absolutely nothing to progress the setting, and firmly entrench the status quo at the end. Basically if Disney wanted to use any of these characters or events in the future, fans who played this game could go "Ooh, I know who that is!" for a bit of a continuity nod. But, at the same time, Disney could completely ignore "Fallen Order" entirely from here on out and it wouldn't make the slightest bit of difference to the setting. If you're going to make a canon contribution to a larger pre-existing lore, it should always expand the canon. It should always move things forward or open up different pathways to explore. "Fallen Order" doesn't do that at all. Its story renders itself pointless by the end and basically all the characters spend the entire time getting up to a point where they can have forward momentum... right as the credits roll.

This post is already running very long, so I think I'll save the actual narrative discussion for a follow-up post. I've got a particular bone to pick with the "illusion of choice" method this game uses and I know I can ramble a long while on that alone. I'll link back to this one after it goes up.

[mooglesorts]

man. it's weird, because there's a lot of things about me that are Very Badger Primary, to the point where i would probably pick it with a strong bird model over anything else at this point... except that i hate dehumanization. i saw primaries described recently as 'things you wouldn't be you anymore if you went against,' and more than just about anything else that's it. even when i think people are monsters, i can't see them as not human; i'd be hard put to define exactly what i consider a 'monster,' but it's more about like. good faith than personhood, i suppose?

it's not necessarily a permanent status to be one--people can change--but my deeply held instinct is that once you have done something monstrous you will always be a person who has been a monster by your own choices, and that it's your duty to learn how to accept that while still living your life, and act accordingly from thereon out. you have to reconcile that you are a person with the fact that some doors are closed to you now, and it's up to you to decide what you do from there.

just. like. even when i hate someone and as far as i'm concerned they can go fuck themself, even in the multiple Heavily Badger social environments i've been in over the course of my life--church, progressive circles, the way the structure of the internet kind of just affects you in general--even on occasions where i've gotten swept away and given in to the pressure to dehumanize (or perform it) for a minute, there's always, always been a voice in the back of my head saying this is a person. this is a person. this is a person. this isn't right.

unintentional dehumanization sets off my '...should we really be doing this? we are getting into not good territory here, it's time to pull up and start questioning' alarms. explicit, intentional, purposeful dehumanization sets off the whole ass tornado sirens. if people on my side are doing it it's enough to throw me into a system-destabilizing crisis, because NO NO NO I WANT TO GET OFF THIS RIDE, I WANT NO PART OF THESE PEOPLE'S MORAL SYSTEM, I FEEL UNCLEAN. it's a good way to make sure i will never, ever, ever trust someone again.

things that are Really Really Badger, off the top of my head (after the cut because Long and trauma talk):

[[MORE]]

---

-i've always loved playing adoptable games, pet simulators, etc? any game with randomly generated characters that are Yours Now and a Community, in a deeply badgery way. including games where they can die (the satisfying part is making sure they don't). except that, no matter how much fun the gameplay is, if it gets to the point where they start feeling disposable, and the only way to really keep playing is to stop humanizing them, i lose interest. it's super fucking depressing. it feels like part of me dying inside a little. i don't like it at all.

-i've always been drawn to fandoms and roleplaying communities. i was fiercely loyal to, and proud of, my first rp community on dragoncave as a 13-year-old. when my abusive mom found out about it and completely isolated me for half a year, the promise of being able to make it back to them--just sneakier this time--kept me going; when i finally got back and the group had drifted apart in my absence, it.... was absolutely devastating. i never really recovered from it. even then, i spent years trying to get the group back together every now and then, until i finally gave up.

-i am always keenly, painfully aware of the life cycle of a community. every time i hear the sentiment 'you guys are all great and i love this group' my stomach drops, because i know it's only a matter of time before things go sour or the group dissolves. rp groups, skype chats/discord servers, fandoms, you name it, i am always bracing myself or staying away entirely to avoid the inevitable and it hurts. and it hurts to see people taking part in a community i don't dare be part of, which makes lurking in fandoms... really rough. frankly, it takes me a lot of courage every time i express my appreciation for the shc community because i've been burned so many times.

-on that note: i went through some really traumatic stuff at the end of 2020 that completely turned my life upside down, and i was doing bad until i stumbled across the shc community. the moment i started engaging, it was a huge boost to my mental health, and my ability to cope with circumstances under which i was about to break down spectacularly. and it has been ever since! contributing to The Group Project and seeing other folks being friendly with each other gives me the happy feelings.

-i used to go out of my way to build and run spaces, mainly fandom and rp spaces, and took a lot of pride in engineering them so that they Functioned Well. unfortunately it wore me the hell down over the years for Burnt Badger Reasons, and now i'm too jaded, bitter, and exhausted to give a shit about being a mod/community leader anymore because of it lmao

-among those burnt badger things i relate HARD to the Red Ledger narrative. hoo boy.

-i wish i could find it again, but there was an mlp comic i saw once which went into luna's observations of what each element of harmony Means. with the element of friendship, she says that twilight has a massive amount of love to give; right now it's all focused on celestia, but when she learns to expand it outward she'll have grown into her full potential as a person, and she'll change the world. that struck a chord with how i used to feel, hard, and it's really stuck with me ever since. (hello, unhealthy snake model)

-emphasis on 'used to feel,' lmao

-got super invested in a really toxic '''mental health''' community at a low point in my life; exploded HARD trying to help everyone i could; got into vicious, protracted fights with the shitty mods for years about the harmful way they ran their community until i finally managed to go 'fuck this it's not getting better' and leave.

-had to numb myself emotionally to the people around me for a long time once i really started learning about mental health and trauma stuff, because now i was seeing signs of their pain and baggage everywhere i looked, and i couldn't handle not being able to help.

-the imagery with which i think about my bird primary is overwhelmingly negative. whether it's my actual primary or a model, i uh. i feel like a healthy relationship to one's primary doesn't involve associating it with gore.

-i saw a conversation recently about how birds think of morality in terms of 'if you can, you should,' and how that's scary for badgers because their definition of 'can' involves destroying yourself for the sake of that 'should,' and... yeah, that's a mood. that's a BIG mood. thinking about bird primary stuff is hard--and i had to pick up my lion model to deal with it--because it's so easy for me to spiral into a self-shredding spiral of other people are counting on you to do the right thing, how dare you pull back for your own health and sanity. how dare you turn your back for even a minute. how dare you rest. the work is never done.

which is... a very exploded badger approach to exploded bird morality. whoops.

-fix-it and time travel fiction in which Everything Went Right This Time and It's Going to Be Okay are one of my very favorite self-indulgent fantasies. i will enjoy putting characters through the wringer in all kinds of creatively horrific ways which may or may not end on a downer note, certainly, i love that shit, but i will also 90% of the time have a backup version of the arc or dynamic that's softer and lighter and Actually Healthy This Time. it's the dichotomy there that really gets me tbh, a story where Everything Ends Happily by default will mmmaybe pull me in? but stories where there's the constant shadow of this could end horribly, it's supposed to end horribly, and we got a happy fucking ending anyway are just... that shit will make me cry, man.

it's also why i kind of really hate stable time loop stories where it initially looks like this is going to be The Good Timeline this time around, but OOPSIE everything went to shit anyway! we're right back where we started, just like it was meant to be all along! it's a tired cliche by this point and an unsatisfying one for me, and it makes me roll my eyes every time.

-this is relevant to the bird vs. badger because like... my gut instinct is to prioritize people over systems. when shit hits the fan, when someone's fallen into the machinery and is about to get hurt, i don't feel right about it if i just let it happen. i'll break the machinery if i have to to keep it away from them; i won't feel great about that, and it might cause problems, but fuck it, we'll figure it out later. throwing people into the gears of a system when i'm convinced it's the only option makes me feel Awful.

-related to the above, another trope that really speaks to me in fiction is when a character defies the rules of reality through sheer force of will. no, this is not happening, i don't give a shit what the limits are supposed to be. i refuse to let this be the way things are. (there's that lion model.)

-i've just kind of... always wanted to be an Everyone Badger. it makes me sad how much of that i've lost over the years as i've gotten more cynical, but it's what i wish i could be.

---

doubtless i'll think of more the moment i hit send, and there are just as many things about me that are Super Bird Primary, but like... mamma mia that's some spicy badger. the main thing stopping me is the Can't and Refuse to Dehumanize bit. i also... hm. i think i can function okay without a community? they just help a lot, and it sucks when i'm confronted with one i don't have a (stable) place in. any thoughts? is it possible for a bird system's foundation to run so deep that eventually it overrides the bird?

[adastraperfortuna]

I Played Cyberpunk 2077

Ultimately, Cyberpunk 2077 is an excellent video game. It’s hard to talk about it without acknowledging the backlash that it received around its launch, but the backlash was directly proportional to the amount of marketing that it got. This happens to a lot of games – and frankly, a lot of my favorite games. If I were working at CD Projekt RED and I was responsible for the kind of marketing that resulted in the kind of expectations that they built for themselves, I’d have to take that sort of stuff into deep consideration. But, as someone who bought the game, enjoyed the game, and desperately wants to talk about the game, I’m not sure that it matters. So, to reiterate: Cyberpunk 2077 is good.

There’s so much game to Cyberpunk that it might be easier to start by talking about my favorite part of it that isn’t a game: the photo mode. I’ve joked before about my favorite gameplay loop in Star Citizen being “taking screenshots,” and that’s not my intent here, but some of my favorite games in recent memory have made it easy to look over the memories I made during their runtime. Interspersed within this review will be some of my favorite screenshots that I took – the inclusion of precise controls for things like depth of field, character posing/positioning, and stickers/frames helped to make my screenshot folder feel less like a collection of moments in a game and more like a scrapbook made during the wildest possible trip to the wildest possible city.

And what a city it is. Night City is my favorite setting in a video game in recent memory. It’s not incredibly difficult to make a large environment, but to make a meaningful environment where every location feels lived-in and the streets are dense with things to see and do? That’s a challenge that very few studios have managed to step up to. More than that, Night City feels unique in the landscape of video game cities – whereas a city like Grand Theft Auto V’s Los Santos is rooted in a reality we’re familiar with, Cyberpunk’s retro-futuristic architecture (and overall aesthetic) help lend it a sensibility that we’re unfamiliar with. It really feels like stepping into another world - fully fleshed-out, fully envisioned.

The environment is obviously beautiful and unique, but I was surprised by just how ornate it was. The thought and consideration that went into details as minor as the UIs you’ll encounter in and on everything from car dashboards to PCs and menus both diegetic and otherwise helps the entire world feel diverse, detailed, and cohesive. While everything feels of a kind and everything is working towards the same design goals, the sheer amount of variety was shocking.

The biggest thing that stuck out to me about Night City itself within just a few hours of playing was how vertically oriented it was. Not just in the “there are tall buildings” sense, though there certainly are tall buildings – I’m talking about the way that Cyberpunk uses verticality to tell stories. The first time that you end up high enough above the skyline to see rooftops will inevitably be during one of your first encounters with Night City’s elite. The hustle and bustle of street life fading away as an elevator climbs up the side of a building and you emerge into a world you aren’t familiar with was astounding. That claustrophobic feeling of being surrounded by monoliths isn’t only alleviated by attending to the rich, though – for similar reasons, my first journey out of the city limits and into the “badlands” will stick with me. Cyberpunk successfully manages its mood and tone by controlling the kind of environments you’ll find yourself in, and while that may seem like a simple, sensible, universal design decision, its consistent application helped ground the world for me in a way that made it feel more real than most of its contemporaries.

Something else that makes Night City feel real is how Cyberpunk implements its setpieces. In a decision that reverberates throughout the rest of the game, CD Projekt was clearly all-in on the notion of immersion and seamless transitions. While it was consistently surprising and exciting to find bombastic moments embedded in the world’s side content (one standout involves Night City’s equivalent of SWAT descending from the sky to stop a robbery in an otherwise non-descript shop downtown), it never took me out of the world. And, on the other end of the experience, the number of memorable, exciting story moments that were located in parts of the city that you had wandered by before helped make the world feel almost fractal, this idea that every building and every corner could house new adventures or heartbreaks.

One thing that did take me out of the experience, unfortunately, were a few of the celebrity (or “celebrity”) cameos. While I think that the core cast was well-cast, with Keanu Reeves as Johnny Silverhand in particular being an inspired choice, the game, unfortunately, wasn’t immune to the tendency to include recognizable faces just because they were recognizable. Grimes plays a role in a forgettable side quest that felt dangerously like it only existed because she wanted to be in the game. There are also an almost concerning number of streamer cameos (“over 50 influencer and streamers from around the world,” according to CD Projekt), and while most of them completely went by me, the few that did hit for me only served to disrupt the world. The only perceived positive here is that most players won’t have any idea who these people are.

Unfortunately, that wasn’t the only thing that broke immersion in the game. Due to what I can only assume are particularly harsh memory restrictions imposed by the game’s release on last-generation hardware, the game has some of the most aggressive NPC culling that I’ve ever seen. While NPCs don’t strictly only exist in screen space, it often feels like they do, as simply spinning the camera around can result in an entirely new crowd existing in place of the old one. This is obviously rough when it comes to maintaining immersion in crowded spaces on-foot, but it gets worse when you’re driving. Driving on an empty road, rotating the camera, and finding that three seconds later there was an entire legion of cars waiting for your camera to discover them, far too close to slow down, was always a deadly surprise. It doesn’t help that your cars take a while to slow down.

Cyberpunk’s approach towards cars in general is interesting. While I certainly had trouble with them when I began playing, I eventually began to get into their groove. If you want to learn how to drive effectively in Cyberpunk, you have to learn how to drift. After the game’s latest substantial patch, the team at CD Projekt finally fixed my largest problem with the game’s driving – the minimap was simply too zoomed-in, making it difficult to begin to make the right decisions on when and how to turn when traveling at speed. Now that that's resolved, however, whipping and spinning through the streets is fun, and the cars feel appropriately weighty. I’ll still occasionally boot up the game just to cruise around its streets and listen to the radio.

Speaking of the radio, did I mention that Cyberpunk 2077 has one of the greatest game soundtracks that I’ve ever heard? The radio is filled with great original songs from some pretty great musicians, but that’s not where the soundtrack’s beauty starts and it certainly isn’t where it ends. The original soundtrack (composed by P.T. Adamczyk, Marcin Przybylowicz, and Paul Leonard-Morgan) was consistently beautiful, moving, and intense. The world feels gritty and grimy but ultimately beautiful and worth saving, and a great deal of that emotion comes from the soundtrack. While the heavy use of industrial synths could’ve lent itself towards music that existed to set tone instead of form lasting memories with memorable melodies, the sparkling backing tones and inspired instrumentation helped keep me humming some of its tracks for months after last hearing them in-game. I’m no musical critic, I don’t know how much I can say about this soundtrack, so I’ll just reiterate: it’s genuinely incredible.

It certainly helps that the encounters that so many of those tunes are backing up are exciting as well. I was expecting middling combat from the company that brought us The Witcher 3, and while the experience wasn’t perfect, it was competitive with (and, in many ways, better than) the closest games to it than I can point to, Eidos Montreal’s recent Deus Ex titles. Gunplay feels tight, shotguns feel explosive, and encounter spaces are diverse and full of alternate paths and interesting cover. My first playthrough was spent primarily as a stealth-focused gunslinger, using my silenced pistol to cover up the mistakes that my feet made when trying to avoid getting caught. Trying to sneak into, around, and through environments helped emphasize how complex the environments actually were. While it’d be easy to run into a wealth of the game’s content with your guns loaded and ready to fire, that may contribute to a perceived lack of depth in the game’s world design. I’m trying to write this without considering what other people have said about the game, but this particular point has been something of a sticking point for me – there are individual, completely optional buildings in Cyberpunk that have more interesting, considered level design than some entire video games, and the experience of evaluating and utilizing them was consistently mechanically engaging and exciting.

The sheer number of abilities that the player has can be almost overwhelming. While leveling does encourage the player to specialize into certain traits, especially when said traits can also serve as skill checks for the dialogue system and some traversal opportunities, every trait houses a bundle of skills that each house a sprawling leveling tree. Far from the kind of “three-path EXP dump” that you’ll find in a great number of AAA titles, Cyberpunk’s leveling experience can be legitimately intimidating. It’s difficult to plan the kind of character you want to play as when you’re trying to project eighty or a hundred hours forward for a character that will be constantly encountering new kinds of challenges. I certainly didn’t begin my playthrough by wanting to be a stealth-focused gunslinger – in fact, I was originally aiming for a melee-focused hacker build. While I was drawn to what I was drawn to, hearing stories from other players about the kind of builds that they ultimately considered to be overpowered made one thing exceedingly clear: Cyberpunk is a game that rewards every kind of play, possibly to its own detriment.

Cyberpunk’s main story is notably short. I wouldn’t consider this to be a problem, considering the sheer amount of engaging, exciting, heartfelt side content, but it might be the core of the difficulty scaling plateauing so early on. As you progress deeper into the game you’ll find that almost every build, as long as you are willing to commit to something, is more than viable. Look around long enough and you’ll find people saying that every single build is overpowered. For me, that fed into the central power fantasy in an exciting way. By the time that I rolled credits a hundred hours in I was more or less unstoppable, walking into rooms and popping every enemy almost instantly. For others, this was a problem – it can be frustrating to feel like all of your work to become stronger wasn’t met with an appropriate challenge when the time came to put it into practice. This is a difficult problem to solve, and I don’t have a solution. I’ll fondly remember my revolver-toting, enemy-obliterating V, though, so I can’t complain.

Regardless of the scaling, however, the content you play through to arrive at that pinnacle of power was consistently, surprisingly robust. While the differentiation between “gigs” and “side quests” is confusing (word for the wise: gigs are generally shorter and more gameplay-centric missions that are designed by CD Projekt’s “open world” team while the side quests are made by the same team that made the main quests and are generally longer and more narrative-centric), both kinds of side content are lovingly crafted and meaningful. Of the 86 gigs in the game, every single one of them takes place in a unique location with a hand-crafted backstory and (almost always) a wealth of different approaches. These don’t exist separately from the rest of the game’s design philosophy, even if they are made by a separate team, and you’ll often find that decisions made outside of gigs will reverberate into them (and, sometimes, the other way around). I’ve played a great deal of open world games, and never before has the “icon-clearing content” felt this lovingly-crafted and interesting. While the main quests will take you traveling across the map, the side content is what really makes it feel dense and real. You’ll be constantly meeting different kinds of people who are facing different kinds of problems – and, hey, occasionally you’ll be meeting someone who has no problem at all, someone who just wants to make your world a little bit brighter.

It’s surprising, then, that one of the most obvious ways to integrate that kind of content in Cyberpunk is so sparsely-utilized. “Braindances,” sensory playback devices used to replicate experiences as disparate as sex, meditation, and murder, play a critical role in some of the game’s larger quests, but they almost never show up in the side content. You would imagine that the ability to freely transport the player into any kind of situation in a lore-friendly way would’ve been a goldmine for side content, but its use is limited. This isn’t even a complaint, really, I’m just genuinely surprised – I wouldn’t be surprised if they used them more heavily in 2077’s expansions or sequels, because they feel like an untapped goldmine.

Another thing that the game surprisingly lacks is the inclusion of more granular subtitle options. While the game does let you choose the important stuff – whether or not you want CD Projekt’s trademark over-the-head subtitles for random NPCs, what language you want the subtitles to be in, what language you want the audio to be in – it doesn’t include something that I’ve grown to consider a standard: the ability to turn on subtitles for foreign languages only. As the kind of player who avoids subtitles when possible, I went through most of Cyberpunk with them off. Unfortunately, a tremendous number of important cutscenes in the game take place in languages other than English, and I didn’t know that I was supposed to understand what these characters were saying until I was embarrassingly far into one of the prologue’s most important scenes.

NOTE: I was pleasantly surprised to discover after replaying the ending of the game earlier today that they've fixed this issue in a patch. Nice!

I can only complain about the game’s language support so much, because there’s something important that lies between the player and the story they’re there to experience: a fucking incredible English localization. Ironically, it’s so good that I can’t help but imagine that most players won’t even think about it. It’s easy to notice and talk about an excellent localization when it’s from something like a JRPG, something with a clearly different style from what you’d expect from a work made in English, but never once in my entire playthrough did I even briefly consider the idea that it was natively written in anything other than English. I knew that CD Projekt was a Polish studio, but I just assumed that they wrote in English and localized it backwards. The language is constantly bright and surprising, the jokes land, the characters have memorable quirks, everything feels natural, and the voice acting is legitimately some of the best that I’ve ever heard in a video game. Both versions of the main character’s voice were damn-near instantly iconic for me, landing up there with Commander Shepard in the upper echelon of protagonist VO. I can’t praise it enough.

That said, even if the localization was incredible, it’d be hard to appreciate if the meat of the story wasn’t up-to-snuff. I was ecstatic to discover, then, that Cyberpunk 2077 has an incredible story. Every great story starts with a great cast of characters, and Cyberpunk hit it out of the park with that. The core cast of side characters are some of my favorite characters in years. Judy, Panam, River, and Kerry are all memorable, full, charming people. Kerry Eurodyne in particular is responsible for my favorite scene in a game since the finale of Final Fantasy XV. The quest “Boat Drinks,” the finale of Kerry’s quest line, is quietly emotional and intensely beautiful. He, and the other characters like him, are more than the setting they’re in, and the way that the game slowly chews away at the harsh and bitter exterior that the world has given them as it reaches to their emotional, empathetic core consistently astounds. Night City is a city full of noise, violence, destruction, and decay, but you don’t have to participate in it. You don’t have to make it worse. You can be different, and you can be better. You don’t get there alone, you can’t get there alone, and Cyberpunk is a game that revels in how beautiful the world can be if we are willing to find the light and excitement in the people around us.

Of course, Cyberpunk is a video game, it’s an RPG, and the story is more than a linear progression of memorable moments. Something that struck me while making my way through Cyberpunk’s story was how expertly and tastefully it implemented choice. I’m used to games that give you flashing notifications and blaring alarms whenever you're able to make a decision that matters, so I was initially confused by how Cyberpunk didn’t seem reactive to the things I said and did. The game would give me a few options in conversations, I’d select one of them, and then the story would progress naturally. However, as I continued, I began to notice small things. One character would remember me here, a specific thing I said twenty hours before would be brought up by someone there, an action that I didn’t even know I had the choice to not take was rewarded. The game slowly but surely established a credibility to its choices, a weight to your words, this sense that everything that you were saying, even beyond the tense setpiece moments that you’d expect to matter, would matter. It was only after going online after completing the game that I realized just how different my playthrough could’ve been. While nothing ever reached the level of the kind of divergent choices that The Witcher 2 allowed, there were still large chunks of the game that are entirely missable. Three of the game’s endings can only be unlocked through the completion of (and, in one case, specific actions in) specific quests, and multiple memorable quests were similarly locked behind considerate play. This isn’t really a game that will stop you from doing one thing because you chose to do something else, most of the choice-recognition is simply unlocking new options for the player to take, but it always feels natural and never feels like a game providing you an arbitrary fork in the road just for the sake of making it feel artificially replayable. CD Projekt has already said that they made the choices too subtle in Cyberpunk, but I deeply appreciate the game as it is now – more games should make choices feel more real.

It helps that the dialogue system backing up some of those choices is dynamic and the cutscene direction backing those scenes up is consistently thrilling. The decision to lock you in first-person for the entire game was an inspired one, and it resulted in a bevy of memorable scenes made possible by those interlocking systems. There are the obvious ones – being locked in a smoky car with a skeptical fixer, getting held at gunpoint by a mechanical gangster with his red eyes inches away from your own and a pistol’s barrel just barely visible as it presses against your forehead, having to choose between firing your weapon and talking down someone with a hostage when in a tense, escalating situation. There are also a million smaller ones, situations where the scale of the world becomes part of the magic. The first time that I sat down in a diner and talked with someone I had to meet or the first time that I rode along through the bustling downtown of Night City as a politician sized me up will stick with me because the perspective of the camera and the pacing of the real-time dialogue interface combine to make almost everything more powerful. There’s so much effort put into it – so many custom animations, so many small touches that you’d only see if you were staring intensely at every frame. All of that effort paid off, and the controversial decision to strip third-person out of the game was ultimately proven to be one of the smartest decisions that CD Projekt has ever made.

Another decision that helped power an exciting, engaging story was how the game freely manipulates the time and weather during key story moments. It’s a small touch, it’s one that you won’t notice unless you’re looking for it, but every once in a while you’ll walk into a place during a crystal-clear day and come out five minutes later to discover that it’s a cold, windy, rainy night and you have a city to burn. Along with the first-person limitation, this initially feels like something that could only harm immersion, but when it’s backed up by a story that motivating and scenes that thrilling you’d be hard-pressed to notice it outside of the flashes of telling yourself that this scene or that scene is the best that you’ve played in a long time. This also helps avoid a problem that games like the Grand Theft Auto series consistently face – instead of letting scenes happen at any time, compromising direction, or doing something like a timelapse, sacrificing immersion, Cyberpunk manages to always keep you in the action while also presenting the action in its most beautiful and appropriate form. There are moments where it truly feels like it’s meshing the kind of scene direction that’d be at home in a Naughty Dog game, the gameplay of Deus Ex, and the storytelling of the WRPG greats, and in those moments there is nothing else on the market that feels quite like it.

I sure have talked a lot about this game’s story, considering the fact that I have barely brought up its central hook. The early twist (unfortunately spoiled by the game’s marketing), the placement of a rockstar-turned-terrorist-turned-AI-construct firmly in your brain after a heist goes wrong and your best friend dies, helps establish a tone that the rest of the game commits to. Johnny Silverhand starts as an annoying, self-centered asshole with no real appreciation for how dire your situation is, but by the end of the game he had more than won me over. Reeves’s performance was really stellar, and the relationship between him and V is incredibly well-written. More than that, his introduction helps spur on a shift in the way that you engage with the world. The first act is full of hope, aspiration, the belief that you can get to the top if you hustle hard enough and believe. After you hold your dying friend in your arms and are forced to look your own death in the eyes, though, things begin to turn. Maybe the world is fucked up, maybe it’s fucked up beyond belief. But there Johnny is, telling you to fight. Why? Every time you fight, things get worse.

But the game continues to ruminate on this, it continues to put you in situations where fighting not only fails to fix the problem, but it makes it worse. Despite that, it’s positive. For me, at least, Cyberpunk’s worldview slowly came into alignment, and it’s one that I can’t help but love. Cyberpunk 2077 is a game about how important the fight is, how important believing in something is, even if you’re facing impossible odds, even if there’s no happy ending. It’s a story that posits that giving up is the worst ending of all, that your only responsibility is to what’s right and to the ideals that you and the people you love want to live up to. The game uses every story it can tell, every character it can introduce you to, and every encounter it can spin into a narrative to drive that home. And, when the ending comes, it was phenomenal. All of the endings were powerful, effective, and meaningful to me, but I’m more than happy that I went with what I did.

Cyberpunk 2077 is an excellent video game. It’s not flawless, but no game is, and at its core it's one of the most fun, beautiful, narratively engaging, and heart-filled games that I’ve ever played. I couldn’t recommend it highly enough, and I sincerely hope that everyone who has skipped out on it because of what they’ve heard is able to give it a shot someday. Maybe they’ll love it as much as I do. Wouldn’t that be something?

[twilightknight17]

So I fell asleep last night before I could make the post, but I got P5 Scramble yesterday and I’m having a blast so far. ^_^

I’m probably going to go through it the same way I did my Royal playthrough, so if you don’t want to be spoiled, don’t click through on these posts!

Before we start, I just want to mention that I don’t really know anything about the story. Somehow I’ve managed to avoid spoilers for an entire year except for a few small things.

I do know the identity of (who I assume is) Kyoto’s Jail Monarch. (Monarch is kind of a weird, formal word. I think I liked Jail King better. Or... Warden? Warden might have been the best choice.) ANYWAY, I think I know their identity, and by extension, I have a vague idea of why Shadow Joker exists. Other than that... You’re getting speculation and bullshit untainted by later plot revelations. XDDD

I did find it funny that when I booted the game up, I got a “No save data found, unable to start game” message. Like... no shit, PS4, it’s a brand new game. But the little starting tutorial fight was cool, and I liked the opening movie!

The police briefing was...interesting. It’s good to see them actually being somewhat logical? Like... considering everything that happened the year before, it makes sense that they’d assume this is the Thieves again. They have no way of knowing that there’s no way to access Palaces anymore. This isn’t really the Thieves MO, though. Except for the guy who confessed to document tampering. The author shredding his work for no reason and the guy streaking through the criminal justice headquarters don’t seem like they did anything wrong. Those seem more like psychotic breakdowns.

But... I guess we don’t know if the police ever knew anything about Black Mask, or if Shido was convicted on only real-world crimes and not the metaverse hits he ordered. I wonder if that’ll get elaborated on.

Zenkichi’s introduction was him laughing at the streaking guy in the middle of this Serious Police Meeting, so I think I’m gonna like him a lot. ^_^

Anyway, the “higher-ups” really want this case closed, according to “Commissioner Kaburagi”, who I already don’t like. If you’re the police commissioner, Makoto really would be a better choice, holy shit. She’s already prepared to go after Akira, who is the only Thief they know the identity of, so I guess that’s fair. But still. Has he not been falsely accused of enough for a lifetime?

Although... if you’re gonna look up all his life details, can you maybe... share some? Just a few things? Hometown? How are his parents? Anything?

*

Coming back to Leblanc was cute. Got some Trickster’s Maze vibes from the initial text conversation where they were talking about how people kept not responding to texts, but I think it’s all good. Love that the Sayuri is still on the wall, and that Morgana’s been home with Akira.

Naming the app “Emma” is never going to stop being hilarious to me, because reasons.

Y’know, Atlus, this would work a lot better if he could like...respond to their curiosity. At least these dialogue options seem to suggest that talking things out with his parents went well. Even “I missed you” isn’t inherently negative. He’d miss them either way.

.......so when my boyfriend gets back from his soul-searching vacation, he’ll be welcomed back with open arms, right, Ryuji? Right?

Meanwhile, for summer break plans, Yusuke wants to go to Kyoto for a month-long art tour. Unless...

Never change, dear. Never change.

Nice of Sojiro to water my plant and keep my room from drowning in dust, but he really couldn’t have replaced the bedframe with literally anything other than the plastic storage crates? XD The attic looks so empty and lonely without the shelves of trinkets and plushies, and the TV.

So my reaction to this next part was literally, “LAVENZA, IT’S BEEN LESS THAN 24 HOURS”. X’‘‘D Akira really can’t catch a break. But Lavenza’s dialogue sounded actually sad that he was being dragged into this again. And she’s promised repeatedly that she’s going to be there for him. It’s sweet, even though my room is still a prison and she’s still using torture equipment. Iron maidens, Lavenza, really??

I’m a little concerned that Igor’s not around, though. Lavenza did the dream/reality/mind/matter speech instead. Where is he? I know he’s never around for spinoffs but considering my headcanons I’m very curious now. And why didn’t he like... tell Morgana that Lavenza said ruin is coming again? Even if we don’t count thirdsem events, Morgana still knows that he’s Hope, and he still has a bond with the Velvet Room. Talk to your cat damn it.

Oh no, she’s cute and Alice-in-Wonderland themed. I’m doomed.

She called it her “EMMA keyword” and I immediately blurted “what? keyword??” and then everything went directly to Hell immediately. Keyword was the key word, I guess. X’‘‘‘DDD

And you can tell it’s been six months, considering that these nerds got caught almost immediately. And got their hands bound. And got dragged to the throne room and forced to kneel!

...I’m doomed.

Someone at Atlus looked directly at this fandom and all the fanart of the interrogation and said, “Yeah, they’d be into that.” XD Steppy steppy. At least she’s not a rapist like Kamoshida, but jeeze, we keep getting beaten up and thrown in the dungeon by royalty. All we need is a princess and we’ve got a whole royal family!

Although, I suppose the prince didn’t bother with a dungeon. XD

I think it’s interesting that apparently the guards tried to take our Desires and failed. I guess being a persona-user means your mental state is stable enough that something like that can’t manifest.

Oh no, she’s cute. I love her. Another for the collection of Joker’s baby siblings. This is number... 5? She kind of reminds me of Jose, a little. I’ll be interested to see what she is, since she’s got amnesia right now. She can’t be just a straight AI.

But if she’s Yald’s mom, I’m also going to be majorly weirded out.

I really like the gameplay? It’s so interesting to see how the characters move and fight when they’re not limited to turn-based attacks. And I like being able to jump to different points and use them to ambush enemies. I don’t fully understand all of it yet, and it’s hard for me to keep an eye on things like status ailments and my teammates because everything is so chaotic, but I’m sure I’ll get it.

I did die to a miniboss, and when I hit “return to checkpoint”, it gave me the prompt to select a language for the voice acting again. I dunno what was up with that. X’D And I’m baffled by the concept that you can just leave the metaverse and come back and it restores all your health and stuff. No penalty. Time doesn’t pass. You didn’t waste a day. Have the kids finally learned that we are capable of entering and exiting more than once on the same day? Hallelujah.

...this boy is angry that we have to deal with the Jails instead of having a BBQ feast. Never change, Yusuke.

If you go by the crepe shop in Shibuya, Morgana still doesn’t think you’re a crepe person. I’m so tired, Morgana. It’s also a bit weird and forced that Iwai and Takemi are both out of town. We couldn’t have seen at least one of them? I know we’re not gonna be able to use those shops when we’re on the road, but we could worry about that then.

(Disturbingly easy to return a gold bar that you apparently bought off the dark web. Omg. That was hilarious.)

AND THEN YOU GET UP THE NEXT DAY AND ZENKICHI IS JUST IN YOUR HOUSE? SITTING IN THAT CHAIR? That is not the “detective chair”, sir, that is my boyfriend’s chair, and you need to move. At least he likes the curry, but jesus fuck. Sir, I have unresolved trauma of adults coming into my house to snoop into my business. Get out of my house. X’D

You give me a detective sitting in my boyfriend’s chair and then immediately send me to a taping of the same show in the same studio where I first met him. God, P5S, you’re trying to kill me.

Alice clearly knows that giving out the keyword is doing something. She’s being very deliberate about this. But I don’t think she’s actually aware of the Jail. Love that she’s so arrogant that she can’t imagine that Akira just... didn’t use the keyword, and that’s why she can’t control him.

So I guess the Jail Monarchs are called such because they’re imprisoning other people’s shadows in their distortions. So these are people that want control over something to the point that it distorted their worldview. Part of me wants to go off on a ramble about how this relates to Mementos or Apathy Syndrome, but I’ll wait and do that when I have more information. I’ve got some more of the dungeon to do, and I cannot wait to see Alice’s boss fight.

I’m having so much fun. I really missed these kids; they’re grea--

.......I hate these children. X’‘‘‘‘DDDD

[catflowerqueen]

Okay, so I finished the post-game (or at least, the parts of it I actually care about i.e plot and talking to characters to see their reactions), and am ready to give my final thoughts on the experience.

It was very fun, over all, and I liked it a lot. I didn’t feel as much of a personal connection as I did with Explorers, but that didn’t really take anything away from the experience. The overall plot I think was…. simpler, in some ways? Less complex, at least, despite the heavy topics. And I think it was shorter over all? I didn’t do a dungeon count comparison, but it seemed like it was shorter. Well, the “fugitive arc” seemed longer, I suppose, but that’s probably because it was slightly more complex in what was actually happening. Like—there was a bit of lead up to in where you technically weren’t a fugitive, but the circumstances surrounding the whole thing made it seem like you were away from home longer as far as gameplay went.

…I mean, I think that the original fugitive arc from Rescue Team was probably longer in terms of dungeons visited during it and implications given via the narration, but unlike other games in the series I’m pretty sure that was the only period where you didn’t have access to the hub for a major stretch of time, whereas other games had more times where you would have to be solely focused on your deposit box/Kangskhan statues and picking up stuff in the dungeons. …And, okay, you could cheat a little in Gates with Companion Mode, but in a way that just added to the feeling of how long the hero was gone, since it takes pains to make it clear this is a side-story type deal—that this is what everyone was up to back home while the main plot was happening. Which could then either add to or shorten the duration of the gameplay, depending on how much time you spent there.

Overall characterization I think was better here, although I don’t think that the partner, specifically, went through as much character growth as in other games? Like… they very clearly pointed out in Explorers at different points how much the partner had grown and changed, and there were also points like that in PSMD, but in Gates it wasn’t entirely clear? Like, there were some points where the partner talked about what their life used to be like… but it isn’t as though you actually saw that in-game. While it was clear to see friendships growing over time, and the growth in terms of acceptance of the hero eventually having to leave was clear… their attitude as far as the hero was concerned kind of seemed more static from day one? Like—the closeness was evident, it’s just that it basically went from zero to a hundred upon first meeting them and then just stayed there. I think there was more growth from the player’s end of things in regards to the partner.

And the Rescue Team partner was just very, very bland in general. There was a little growth during the fugitive arc—sort of—but… honestly, they didn’t add that much beyond being a way to provide exposition. Especially with how much they didn’t matter come post-game.

And I still feel like there was something weird with how Paradise and Post Town were treated. At some points it felt like your Paradise supporters were the closest to you and should have mattered more… but at other times there was a lot of focus on the Post Town inhabitants, and Paradise didn’t come into the equation. Which was especially jarring in the ending, where I think it was only the Timburrs who came to the party—and aren’t really treated as Paradise inhabitants, for the most part, though they would occasionally show up there—and yet Gurdurr’s response to the hero’s return was to break down in tears and need the screen to fade to black for a bit (which was actually extremely sweet). I think that the “travelers” to Post Town actually had more characterization than the people who were really inhabitants—bar the shopkeepers, who, as always, had reactions and some of them actually had little subplots of their own—which was… strange, considering how important they all supposedly were when it came to fighting the Bittercold. (And, like, I don’t really get why they chose Scraggy to be the move tutor. Considering Azumarill was just pulled randomly out of nowhere, I don’t see why they couldn’t have done the same thing with him. Or, hey—just made Quagsire the move tutor and let Azumarill do both the request board and party editing. Or leave the party editing up to you doing it yourself right before entering a dungeon—as when you were taking the magnagate paths—or having you go around Paradise and talking to individual pokemon, similar to how you did it in Rescue Team. …Though that admittedly probably would have gotten very annoying very quickly).

It was very cool, however, that you actually had to work to get the hero back. That it wasn’t just given to you like in Rescue Team or Explorers, and that everyone made a genuine effort and tried to think about what was best for hero, too. … And also that it was something I actually cared about, whereas in PSMD I felt like it was… half desperation for their own circumstances, rather than necessarily because they genuinely missed the partner? I mean—yeah, that’s kind of harsh, because it was clear that they were genuinely good friends, but… well, as in the tone of my other complaints about how the player got screwed over in that game, the partner was really their only tie to their actual past, and even then it was a tenuous one. So… I just didn’t care as much, I guess. …Also probably the fact that it was a lot simpler/more linear process and took less time to get the hero back in Gates. So… yeah, you had to work for it, and the work was satisfying, but it was also a short enough process that you wouldn’t get bored or frustrated during the duration.

The choice of what to make a cutscene and what to just keep as narration during specific plot points was also a little odd at times—I would have enjoyed to actually get to see a bit of the welcome back party after the initial glacier exploration, for example, and maybe even seeing you help building your house. (On that note—it was a cool little detail to see grass starting to grow around your house as the game went on.)

I think the gameplay mechanics were overall an improvement in Gates—though I do miss the IQ abilities just because of how rare it was to actually find team skills. It seemed more luck-based than anything, which does provide a challenge and leads to replay ability since it would lead to a different experience each time, but…. I don’t know, I just liked the other method better. It was nice to actually be able to utilize my recruits and see their growth, as well as getting to actually play as them and utilize different strategies in Companion Mode… but that also highlighted just how bad the AI and certain choices they made as far as attacking/not getting separated from the group were in comparison to how I remember the other games going.

I think as far as total experience with gameplay, mechanics, and story goes that I still like Explorers more—because it does feel like more of a challenge, after all, and that each new accomplishment, shop, or special episode that gets unlocked was due to your general efforts and hard work. Like it is a genuine reward, rather than something that just got handed to you. And the progression was clearer to see and made more sense than in Rescue Team.

So I guess my new order for favorite games in the series is: Explorers, Gates, Rescue Team, PSMD.

…I think I hit all the highlights, but I’m sure that I’ll probably think of some other stuff later, too.

Oh, also—I still think that the Timburr who speaks more formally has a crush on the hero (I mean—they actually cried, just like their boss, when the hero returned, whereas the other one was just happy. Which—yeah, people react to joy in different ways, and tears—or lack thereof—aren’t necessarily “proof,” but… I still think I’m on to something). Actually, I think a lot of the travelers also have/could easily develop a crush on the hero. Like… some of them, like Trubbish and Mienfoo, I think are just good friends with them. But I really don’t think Dwebble would have gone to all that trouble or felt that bad about things if there wasn’t a little crush or something going on. And, sure, maybe that just goes along with his overall personality—like he gets embarrassed easily or is a little vain or something, but… he addressed those letters to the player, not anyone else. Not even the partner. And, like, no one really noticed they were gone aside from the player/partner until right before Crustle made an appearance? But they expected that the player most definitely would notice. So… yeah. And they also cried when the hero returned.

[casualotptrash]

Why the Persona 3 FES vs Portable Debate Makes Me Want to Fly Into the Sun Pt. 2

Part 1 | Part 2 | Part 3

Hello everybody and welcome to Part 2 of this emotionally fueled rant. In my previous post I went over a lot of the changes that Persona 3 Portable makes from Persona 3 FES, and how a majority of them can make the game more enjoyable for certain people. This spawned from the comment I see a lot, which is that instead of playing Portable people can just play FES with a controllable party mod and it makes everything hunky dory.

Below I will go over the next thing that infuriates me about this whole discussion: the idea that FES is objectively better because it has cutscenes and is not done in the “visual novel” style of Portable.

To cut to the chase, Portable gets shit on quite a bit for its presentation and some choices available in the game. One of the most popular suggestions I see when someone is asking which game to play is to first play FES and then play Portable for the FeMC route, if they want to see that one. This is in order to get the “real” experience first, and I think that is some bullshit.

It seems people forget completely that Portable has a Male route option! Newsflash, it does. As far as I know, other than the gameplay changes I mentioned in my previous post, the Male route in Portable is exactly the same story-wise as FES. However, I assume this isn’t brought up because people who enjoy FES and don’t like Portable consider the FeMC route the only reason to do a run of Portable. Normally, this wouldn’t be an issue....but this isn’t really the case.

What elevates this into being a part of the reason why I hate this debate is because I see so many people essentially demand that newcomers to the game play FES first. They say it is the “real” way to experience the game, and they say that everyone will have more of an impact from FES and enjoy the game more. Like I said, I see this so often that it frustrates me. Shout out to people who are actually cool about the comparisons and don’t sound like they’re forcing the newcomer into either game. Anyway, there is one glaring, serious issue with this type of statement about FES.

It is completely subjective.

Surprise surprise, an opinion is subjective. Now I know that sounds obvious, but remember I’m talking about the issue where people act like FES is factually better than Portable. So much so that they say it’s the “real” way to experience the game.

I’m going to be real with y’all, I know for a fact that if I had played FES first I would have taken way longer to finish it, might have not even finished it, and definitely wouldn’t have enjoyed it as much. Thankfully I had a family member who got me into Persona, so when discussing which version I would play I decided P3P would be better based off of what he said, and he also happened to have the game on Vita.

I think the main reason that this statement gets thrown around is because 1. FES was the first of the two to come out, so it could be seen as the best experience by the people who played it first or became a sort of “classic” among the fans, and 2. it is coming from a specific crowd in the Persona fandom.

As anyone who steps into the fandom can see, people play Persona for a wide variety of reasons. Some play for the gameplay, and like to challenge themselves to beat the game on the hardest difficulty with one persona only. Others play for the social sim aspect of the game, and enjoy the dating, characters, and social links/confidants. Obviously the story brings most people into the game in the first place, but some might enjoy the story and the lore of the series the most.

I am not trying to knock anyone from any of those categories, but I think the reason that this statement about FES gets thrown around is because it comes from the first and perhaps third category of people.

For the first category of people, they think Portable is too easy (despite a harder difficulty than FES being implemented and the option to just use the tactics like FES) and prefer the FES combat. I have even seen someone try to explain the lack of direct control of party members by saying that the MC wouldn’t be able to “control” the party members and they would do whatever they want, aka the party members would have autonomy if they were real. I can see this being a nice little headcanon about the gameplay, but they also don’t mention that you can do the exact same thing in Portable and set party members to something other than direct command; so it’s not really applicable to the argument of why FES’s combat is better as far as the tactics are concerned.

I assume that the main gripe with the story of Portable from FES fans, aka some changes to the plot with the FeMC route (a rant for another time because the changes to the plot aren’t that well-done in the first place...so they don’t really change the story...) and the overall presentation of the story, is from the third category of people.

This is brought up with two factors: the lack of cutscenes and an overworld in Portable, resulting in a “visual novel” type of presentation. Like I mentioned earlier, this is a bad reason to say that one game is better than the other because it is completely subjective. Some people may really benefit from the cutscenes and overworld, while others might not care that much. That being said, I can understand the issue with the lack of cutscenes a lot more than the issue with the overworld. It makes sense that a cutscene could have a larger emotional impact, depending on if it is well done or not. However, I really don’t understand the problem with the overworld. I suppose it’s cool to see Port Island in 3D...but the mechanics are really not that different in Portable? An argument could be made that moving in the 3D environment makes people feel more connected to the locations, but like I just mentioned the mechanics aren’t too different so a player in Portable is still seeing all of the locations and “moving” around in it. The difference is that they��re just moving a dot instead of a character model. Now I do like the idea of an overworld better, and I agree it’s cool to see your model walking around and to see all of the party members in the dorm and such, but I think it is the weakest point to bring up when trying to say that it affects the plot in any significant way. Lastly, for the lore bits, I assume people in this category like the addition of The Answer, but even opinions on whether or not that is worth it are very divisive.

(Side note, I forgot this in my previous post but Portable also adds the fast travel mechanic like the one P4 has, so instead of needing to run everywhere like in FES you can just fast travel to locations)

However, this is still my subjective opinion on the matter so do with that what you will. Perhaps it does really affect someone’s enjoyment of the game, but claiming it will affect everyone’s enjoyment is just a false statement to try and spout.

If you’re wondering why I haven’t mentioned the second group, it’s because I believe they would either like Portable a bit more or not see much difference between the two. I personally fall into this category. To be honest I don’t think the visual novel style took that much away from the story itself, and I really enjoyed the additional social links with the male party members in the FeMC route. I think it gave them a lot more “life” per say, and elevated their characters from being good to great. I will agree that the lack of cutscenes made some scenes a little less impactful/cool, such as the MC persona awakening, but that didn’t negatively effect my experience with the game as a whole. In fact, Persona 3′s cast is actually my overall favorite of the three neo-Persona games, and in large part because of the additional characterization that Portable gives them.

Well...I think that’s everything I had to say? Overall, just uh don’t try and force someone to play either of the versions because of your own subjective views, don’t act like those views are anything but subjective, and let people come to the decision themselves based on facts about both of the games (Ex. They can decide themselves if no cutscenes would impact them or not rather than someone stating it will impact them less for sure).

I think this all really just boils down to needing a legit, definitive version of the game...but I’ll save that for later :)

(Last side note, I know emulation is a thing but why do people suggest buying/emulating/a mix of that for two games instead of just one game or the other? This is 100% me being lazy but that just seems like a lot of work when you could either buy one game and get the content, or buy another game and get the content in a slightly different way (barring The Answer).)

[aion-rsa]

Every Cyberpunk 2077 Controversy So Far

https://ift.tt/2L1A5cF

Cyberpunk 2077 may be the most anticipated game of 2020 but its long road to release can be measured by numerous controversies that have often attracted the wrong kind of attention.

From delays to questionable tweets, Cyberpunk 2077 can easily be considered one of the most controversial games in recent memory, and it hasn’t even been released yet. While time will tell if Cyberpunk 2077 can “usurp” The Last of Us Part 2 and become 2020’s most divisive game, the project is already at the center of several heated debates that are causing fans to take sides.

If you’re wondering where you stand on the game’s most contested topics, here’s a rundown of every notable Cyberpunk 2077 controversy (so far):

The Numerous Delays and Long Development Time

Believe it or not, there have only been three official Cyberpunk 2077 delays so far and all of them have happened in 2020.

Cyberpunk 2077‘s first official release date was April 16, 2020. While developer CD Projekt Red noted early in the year that the game was “complete and playable,” the studio delayed the game to September 17 as part of an effort to better optimize its performance.

On June 18, the Cyberpunk 2077 team announced via Twitter that the game’s release had been delayed again and was now (at least at that time) scheduled to be released on November 19. Again, CD Projekt Red cited a “huge number of things to iron out” as the reason for the delay.

Finally, on October 27, CD Projekt Red announced that Cyberpunk 2077‘s final release date had been rescheduled for December 10. This time, the team cited not just bug fixes and optimization as the reason for the delay but the challenges presented by their desire to release the game across so many platforms.

Before we dive into some of the other delay related controversies, we should point out that much of the fan frustration regarding Cyberpunk 2077‘s delays are closely related to the fact the game was revealed via a teaser trailer released in 2013. While we don’t know what the status of the game was at that time, the popular perception is that Cyberpunk 2077 has been in development for seven years. That means that each one of the game’s 2020 delays has stung some fans harder than they otherwise may have.

The Crunch Schedule

You can’t talk about Cyberpunk 2077‘s delays without talking about the game’s controversial crunch development schedule.

We’ve covered this topic before in greater detail (you can read our full report on this subject here), but the gist of the situation is that developer CD Projekt Red had previously stated that they would not force the Cyberpunk 2077 team to work through a crunch schedule. In September, though, CD Projekt Red boss Adam Badowski confirmed reports that the studio asked employees to begin working additional hours. In exchange for the extra work, they would be compensated with overtime pay and additional funds offered by the company’s profit-sharing program.

That information triggered two additional debates. The first saw those who opposed the company’s crunch schedule battle those who claimed the company’s employees were being fairly compensated for their extra work. While it was generally agreed the company was compensating its employees for overtime more than other game developers have done in the past (and that some employees anonymously stated they were fine with the schedule), many argued that crunch development is an industry problem which needs to be addressed whenever it appears.

Finally, there’s the matter of the game’s delays. The latest Cyberpunk 2077 delay was confirmed after the report of the company’s crunch schedule had broke. If the insinuation was that the crunch schedule was implemented as a desperate measure intended to ensure the game was released on time, then could CD Projekt Red have skipped the crunch schedule and just delayed the game a little longer?

The PS4/Xbox One Controversy

When news broke that the most recent Cyberpunk 2077 delay was partially attributed to the struggles of launching the game across so many platforms, it didn’t take long for some fans to worry about the PS4 and Xbox One editions of the game.

Why? Well, some people expressed their concern that the previous-gen versions of Cyberpunk 2077 may hinder the day one quality of the next-gen editions. CD Projekt Red has stated that the PS5 and Xbox Series X versions of Cyberpunk 2077 will benefit from day one upgrades, but the “full” next-gen versions of each title will not be available until a later date.

Others had the opposite concern and worried that the next-gen editions of Cyberpunk 2077 would be the “real” versions of the game and that the PS4 and Xbox One versions would suffer from serious performance downgrades. There’s currently no evidence which strongly supports that claim, but it does ring loud at a time when it’s nearly impossible to find a PS5 or Xbox Series X/S.

The Gender Tweet

One of the earlier Cyberpunk 2077 controversies involved this now-deleted tweet from the Cyberpunk 2077 Twitter account:

The tweet itself was sent in the midst of a greater debate over the use of that term and whether or not it had become a way to mock transgender people or those who sympathize with the struggles of transgender people. Basically, there was some concern that the Cyberpunk 2077 team’s use of that term was meant as an insult

CD Projekt Red deleted the tweet and issued the following statement regarding it:

“Sorry to all those offended by one of the responses sent out from our account earlier. Harming anyone was never our intention.”

As some noted at the time, this controversy was amplified by another incident in which GOG (a digital store owned by CD Projekt Red) tweeted a GIF of a Postal character urinating on a tombstone that read “Games Journalism” and “August 28th, 2014.” That date is believed to be a reference to GamerGate.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The Transgender Poster

Arguably the most infamous Cyberpunk 2077 controversy involved this in-game poster:

The poster showcases a transgender model advertising a soda with slogans could be interpreted as references to transgender people. Given that this poster was circulated shortly after the aforementioned tweets, some felt that this was another example of CD Projekt Red using transgender people as a punchline.

In an interview with Polygon, the CD Projekt Red artist who designed this poster, Kasia Redesiuk, explained her thought process behind it.

“Personally, for me, this person is sexy,” Redesiuk said. “I like how this person looks. However, this model is used — their beautiful body is used — for corporate reasons. They are displayed there just as a thing, and that’s the terrible part of it.”

Redesiuk also stated that she had no intentions of directly offending people but did note that she was aware the image was inherently provocative.

“I would say it was never the intention to offend anyone,” Redesiuk said. “However, with this image of an oversexualized person, we did want to show how over-sexualization of people is bad. And that’s it.

The Gender Choice Character Creator

Cyberpunk 2077 would once again find itself at the center of a gender-related controversy, but this one was a bit different than the others.

In an interview with Metro, Cyberpunk 2077 artist Marthe Jonkers explained that the game would not offer simple male and female gender options during the character creation process.

“You don’t choose, ‘I want to be a female or male character’ you now choose a body type,” Jonkers explained. “So you choose your body type and we have two voices, one that’s male sounding, one is female sounding. You can mix and match. You can just connect them any way you want. And then we have a lot of extra skin tones and tattoos and hairstyles. So we really want to give people the freedom to make their own character and play the way they want to play.”

While some felt that this was the company’s attempt to cover up for their previous actions, much of the blowback in this instance came from fans who saw this as an example of the Cyberpunk 2077 team “pandering” to critics. There is currently no information available that suggests the game’s character creation process was drastically altered in response to any such criticisms.

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The Animals and Voodoo Boys

The reveal of Cyberpunk 2077‘s gangs caused some to question whether or not the game was relying on racial stereotypes.

This debate focused on two gangs: The Animals and Voodoo Boys. Some fans felt that the “Animals” name was intended as an insult directed towards a gang that appeared to largely be comprised of people of color. As for the Voodoo Boys, there were concerns that the gang’s name, design, and background were designed to exploit racial and cultural stereotypes.

CD Projekt Red later stated that The Animals is actually a multi-racial gang and that that the initial portrayal of them as a gang that consisted entirely of people of color was based on the specific scenario of the gameplay demo they were showcased in. Cyberpunk 2020‘s creator also offered this response in regards to these controversies:

“As for the Animals–the WHOLE FREAKING POINT is that they think of themselves as POWERFUL, DANGEROUS, WILD ANIMALS. You’d have thought the Lady named ‘Sasquatch’ would have given them a clue…The original Voodoo Boys were a scathing commentary on cultural appropriation. I LOVE the idea that real practitioners of Voudon moved in and took back their turf. And they even got the Creole right…Who the (bleep) do YOU think you are to tell ME whether or not MY creation was done right or not?”

The Microtransactions

Earlier this year, CD Projekt Red’s Adam Kicinski caused a stir by implying that Cyberpunk 2077 would have microtransactions despite previous implications that the game would not.

“We’re never aggressive towards our fans!” Kicinski said during an earnings call. “We treat them fairly and we’re friendly. So of course not – we won’t be aggressive – but you can expect great things to be bought. The goal is to design monetization in a way that makes people happy to spend money. I’m not trying to be cynical or hide something; it’s about creating a feeling of value.”

The Cyberpunk team later clarified that statement somewhat with the following tweet:

Nothing changed. Cyberpunk 2077 is a single player game with zero microtransactions. One single purchase. No tricks. Don't believe the clickbait. https://t.co/qX0iZwsAf2

— Cyberpunk 2077 (@CyberpunkGame) September 7, 2020

The issue of microtransactions is typically controversial in and of itself, but the debate was amplified in this instance by CD Project Red’s apparent “anti-microtransaction” culture and outward consumer-friendly image. Furthermore, Cyberpunk 2077‘s multiplayer has been its own source of controversy due to the mysterious nature of the concept and concerns its development has further delayed the release of the Cyberpunk 2077 campaign.

The First-Person Controversy

It feels so quaint now, but one of the earlier Cyberpunk 2077 controversies involved the game’s first-person perspective.

In 2019, the Cyberpunk 2077 team confirmed the game would largely take place in first-person with third-person angles being used for certain cutscenes and driving sequences. This upset some fans who were not only led to believe the game would be third-person based on early footage (and The Witcher 3) but were concerned by the implications of a first-person game. Namely, they worried that the game would end up being a first-person shooter and that first-person cutscenes would not be nearly as “immersive” as the third-person storytelling featured in The Witcher 3.

Some fans also felt that a first-person perspective would limit the impact of the game’s character customization options, but CD Projekt Red later clarified that you’ll be able to see your character in mirrors and on the inventory screen.

The post Every Cyberpunk 2077 Controversy So Far appeared first on Den of Geek.

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[spookyspaghettisundae]

Things Below

Voices. Voices, everywhere. Emily peered out the window from the backseat of the patrol car. Locked in, but free to hear all these confusing voices. She could hear the thoughts of the people the car drove past, picking up fallout from the minds of people on the sidewalk.

“He gave me too much change. Tough shit, sucker. I’m not telling and I’m keeping it. Those stores are insured against this kind of—”

“I’m late, I’m late, I’m late; oh my god, I’m gonna lose my job. What about—”

“I forgot to lock the front door. To hell with whatever he’s saying, I’m sure as hell that I forgot—”

“Stop staring, dumbass. Jeeze, I think I need to jack off in a bathroom stall, otherwise she'll—”

Emily didn’t even care about reading the thoughts themselves. She used to figure people to be thinking drivel like this just by looking at them. No, the reporter wanted to see how well she could focus this ability—how well she could control it. As far as she was concerned, she had developed a superpower. With it, she could change the world.

Only one thing gave her reason for pause; gave her a reason to worry. If she wasn’t dreaming—if this all was real—then it meant the demon she had met at the delicate age of 21 had been real, too.

The edges of her vision turned into streaks, stretching into infinity, blending together in a wild blur of colors and shapes. She only caught glimpse of their faces, all unimportant and forgotten within seconds, but their thoughts reached her mind in fragments, like a rain of glass shards falling into a bottomless pit. Clipped, ripped out of context—like switching rapidly through radio stations and never hearing anything out.

Officer Stanton glanced back at Emily through the rearview mirror. Judging by his furrowed brow, he was concerned about her mental well-being. That was when she realized that her head kept bobbing erratically, moving on a constant swivel. She must have looked like a crazy person to this cop.

“Your nose,” he said after clearing his throat and training his eyes on the road again.

Confounded, Emily dabbed her nose, only to find blood on her fingers.

The splitting headache set in. Or it had been there all along, except that it now cranked the dial to eleven in the very second she stopped tuning in to the thoughts of all the passers-by. She muttered a short curse and a emitted a soft, nervous chuckle.

Looked like the superpower came with a little price tag.

But it had already paid off. Under other circumstances, she would have had to go out on a limb in trusting this “Officer Stanton.” Letting him lock her into the backseat like a common suspect or criminal. But what choice did she have? A bomb turned her apartment block into a blazing inferno, she woke up naked in a dumpster, and she had no phone, no money, and was now wearing the borrowed clothes of her friend Maria—who probably had her pegged as crazy and she should never talk to again.

Scanning Stanton’s thoughts had revealed a certain level of surprising purity. Blue-eyed, this shmuck hadn’t seen anywhere near the amount of horrid things Emily had seen in her time as an investigative reporter, looking into human trafficking and pedophile rings. He was as concerned as she was about Detective Tanner, her single only trustworthy contact in the police—who had gone missing.

Reading Stanton’s mind, Emily knew that this cop had his heart in the right place and was going out on a limb himself. She looked and sounded like a crazy person, had no identification, and lied to him first thing upon their meeting. He had a lot to lose himself.

And she couldn’t tell him everything she had witnessed.

“I was drugged and abducted,” she had admitted to him in that first encounter. Only part of the truth she could speak without sounding like she had lost every last marble.

The other part involved what she could only describe as a trip into hell, where she was hounded by an antagonistic demon she dubbed “Stinky Jim.”

Eight years ago, Emily met Stinky Jim for the first time, though she did not have such a name for the demon yet. Had she known it was real, she would have lost her mind. She would have been the Other Emily, the Lost Emily—the one sitting in a padded cell, rocking back and forth, gibbering, and disconnected from reality.

If her recent awakening—the event since when she could read minds and bend space itself—had taught her anything, then it was that reality itself was a strained, malleable concept.

Even human identity crumbled in the face of enlightened scrutiny.

Back when she was 21, working the sixth McJob in a row before she got smart, got her GED, and got into studying to become a reporter; she still hung out in a basement with the rest of the “gang.”

She remembered that night with stunning clarity. The edges on everything remained sharp. The dive in the basement of the home of Rodney’s parents had burned itself into the pages of her memory.

Her birthday—the night Emily turned 21.

Both on the surface and in all things below, she was a different person. Dyed her hair pink, piercings in her ears and on her brow, royal blue lipstick, torn heavy metal T-shirts. Loved ranting about politics, economy, and social justice; but never lifted a finger to do a damned thing about it.

Just like then. They were sitting in Rodney’s parents’ basement, sprawled out over ratty old couches and chairs with the TV set and old video game consoles, smoking weed, and the four boys listening to one of her many unnumbered tirades on LGBTQ+ rights.

“Shut the fuck up if you ain’t gonna do anything ‘bout it,” Chris told her. “Gay Chris,” as he was nicknamed, which didn’t bother him at all once they grew older—he wore the name like a badge of pride.

His voice cracked as he kept the smoke from the bong in his lungs and passed it on to Carlos, and Chris added, “The fuck do you know about any of that, straightie?”

That stunned Emily. That’s when everything clicked for her. When it all changed. Speechless, she silently agreed with him. Everything she knew about the gay experience was theoretical or secondhand, drawing from Chris’ experiences.

But that’s when she found her true calling.

She wouldn’t “shut the fuck up about it.” She refused to, because it would have been against her nature. She would do the legwork, and tell the world. She would relay the truth, even when it hurt, or when it got her and others into hot water. That would be her strength. Her destiny.

It would take till the end of that week and some feverish reading until she figured out that journalism was the way for her to go, but that was the same night when Emily really took the reins of her life into her own hands, and forged the path she now followed with furious determination.

Carlos chortled, then took a long toke from the bong before passing it on to Rodney. Emily remained silent.

With her most recent rant dead in the water, and the only active water being the one making the bubbling and churning sounds whenever anybody inhaled another hit from the bong, her thoughts drifted. The night of her birthday dragged on like many others in this very place, the matter of her birthday only standing out by the amount of weed they would have burned through by the end of the night.

She loved these boys like her brothers. Loved the countless nights they spent together, shooting the shit about their work, their messes of what could barely be described as love lives, playing video games together on the couch in this same basement and getting into swearing matches more heated than the actual gameplay, going to metal concerts together, or talking about philosophy and spirituality into the ungodliest hours of the morning.

Some time around 2 AM, Carlos had already passed out. He snored in the corner with a pile of empty potato chip bags and plastic bottles piled onto him like a work of art. Chris had gone home to get some sleep because of an early shift the next day. Only Jimmy, Rodney, and Emily remained. Stabbing Westward’s Ungod was playing back from the old iPod in a soft volume.

Rodney climbed back onto the couch and slid onto the cushions between Jimmy and Emily. His eyes were bloodshot from all the beer and weed they had been kicking back and he gave her a stupid grin.

“Got something special for this special occasion,” he said in a conspiratorial tone.

He unfolded his fingers and presented three little things. To Emily, they looked like stamps or pieces of perforated cardboard just resting on his palm, each of them marked with a pastel yellow smiley face.

Before either Emily or Jimmy could ask, Rodney said, “LSD, hoes. Lucy seeing diamonds—in the sky—or something. So, uh, anyway, how about we go on a real trip?”

Jimmy’s brow furrowed and Emily snickered at him. Buff Jimmy over there, the racing car enthusiast who loved tuning cars and speeding in them, accustomed to acting like the biggest badass of their little gang, was now all skeptical and intimidated by this harmless-looking drug resting in Rodney’s hand.

“Fuck it, why not?” Emily asked.

“Nah, I’ll pass,” Jimmy predictably said. “Y'know what, you should too. Also, I should get back home and get some sleep.”

Jimmy scrambled to leave, looking half asleep already, and muttered a goodbye to Carlos who continued to snore away, oblivious to everything going on now.

“Pussy,” Emily called out after Jimmy just before he flipped her off and closed the basement door behind himself.

Rodney and Emily got a good laugh out of Jimmy’s departure. Then Rodney turned his head and waggled his eyebrows at her, holding out the three slips of LSD still.

“I could put one back, or one of us takes two of ‘em,” he said, letting his voice rise sharply towards the end in challenge.

Emily squinted and then snatched two of them out of his palm.

“Happy fuckin’ birthday to me, I guess,” she said, grinning with him in challenge, wondering if he wasn’t going to chicken out himself.

She stuck her tongue out at him like she was about to lick Rodney’s face, then placed the two pieces of LSD on her tongue and retracted it. Swallowed.

“How long?” she asked.

“My dick?”

“Fuck you.”

Rodney cackled and told her it would take two hours. They settled on re-watching Scream—one of Emily’s favorite horror movies. They talked over the flick, as usual. Laughed as Carlos turned over in his sleep at one point, knocking over the pyramid of junk piled onto him without even waking up, and they both wondered loudly if they weren’t going to have a horror trip if they watched a horror movie while tripping on LSD, like the idiots they were.

The movie ended and Emily still couldn’t tell if the drug was having any effect on her system.

“Get me another beer, beer bitch,” she told Rodney, softly kicking him in his thigh while she drooped lazily over the other half of the couch.

He got up and went to the small fridge in the corner of the room. She blinked and wondered why he did that without giving her any lip. Even on her birthday, Rodney wasn’t wont to do what she told him to. Returning to her, he uncapped the bottle of beer and held it out to her.

She took it and looked at him in disbelief. Rodney himself looked befuddled. He blinked and looked around. Was the LSD finally kicking in for him? If so, why was it taking so long for her?

If him tripping balls meant he was a compliant little sheep, she was going to have some fun with this. She pulled out her flip phone and started recording a grainy video on the device.

“Hey, Rodney, why don’t you stand on one foot and spin around in a circle for the audience,” she told him, biting her lip and sensing that he would do exactly as told.

And he did. Almost stumbling over the coffee table and falling onto his ass in the process, he did exactly that. Emily covered her mouth to stifle a giggle. She stared at him through the display of her phone, making sure to capture his dumbfounded facial expressions.

“Rodney, tell the world how much of a little skanky whore you are,” she said, mouth agape with a grin so wide that it almost hurt her cheeks.

“I’m such a little skanky whore that I’d eat Paris Hilton’s ass with whipped cream and a cherry on top,” he said, slurring it out as if his consciousness slipped farther away into a trance or delirium with each additional word.

Emily burst out laughing, “You will never live this one down when the others see the video, dipshit.”

Yet something crept up behind Emily. A dark, foreboding sense of something alien and sinister. It only reached the back of her mind with a delay: she heard Rodney’s thoughts before he did or said anything that she told him to. Or rather, she projected her self into him and he complied, pliable like a piece of wet cardboard.

These thoughts made more sense now, in the present, when she knew she could read minds. But back then, she had chalked it up to the acid trip. The day after, she would go back to her normal life, letting the details fade away into oblivion, dismissing them as nightmarish nonsense.

Except for the knock on the door.

Not the door leading in and out of the basement, but the door to the boiler room. A room where nobody should have been inside.

The hairs on the back of her neck stood up and she stared at it, wide-eyed and terrified. Rodney followed her gaze because she willed him to pay just as much attention to it.

Knock knock. Again.

Or rather: THUMP THUMP. Deep, bass. Menacing.

“Rodney, go check on the clown hiding in there,” Emily told Rodney, not even thinking things through. She couldn’t even chalk it up to the booze and drugs.

All she knew was that she feared whatever awaited behind that door.

Like sleepwalking, Rodney approached the boiler room door. Twisted the knob. Opened it.

A soft red light glowed, engulfing him. A light out of this world. It flickered, danced—like flames. But no heat or fire awaited beyond the door. Only madness.

Emily walked there herself, intrigued by the mysterious light. Her whole body tingled with dread, yet she could not help but approach. She knew deep down, lurking beneath the surface of her thoughts, that something evil awaited there. Something that would drive her insane. She didn’t need to approach, should have turned and fled from Rodney’s basement. But curiosity won out over common sense.

She stood next to him and peered into the place beyond the door.

There was no boiler room there. Instead of the dingy little room with the big cylindrical something, some old plastic crates, and a bunch of pipes and valves—a flight of stairs stretched down, winding around a curve. The fiery red light flickered from the depths, beckoning her.

“Rodney, go lie down and sleep.”

He acknowledged her order, not speaking the affirmation out loud but just thinking it. Emily, however, didn’t even register how the thought had reached her like a spoken word. She could taste his dread riding on the back of those thoughts—salty, smooth, bitter, clamping his throat shut and cutting his breath short.

But her eyes fixated on these stairs. Made of obsidian, covered in strange, indecipherable symbols, bearing names on each step. Names of the lost and the damned. The forgotten and the famous. She could not read them, but she knew the names were important. She would read them again one day, but that was not this day.

Rodney laid down onto the couch and fell asleep within an instant. His thoughts turned into a soup of drugged dreaming and Emily shut them out, probing for any presence at the bottom of those stairs. To see if anything dwelt there, any things below.

“Come on down and find out,” something replied. Not in words, but thoughts. Smoky, crackling like wood in a fireplace, with embers rising into a dark and starry night.

Emily took her first step down those stairs in this other-space. Then another. And another. She tread down this path, and the stairwell narrowed as it twisted and turned on her way downward. She burned with curiosity to find what things lay hidden in the depths.

The door slammed shut behind her and something laughed. Something in a deep, bellowing baritone, like a monster straight out of some horror movie. The laughter died down into a chortle, egging her on to turn around and see for herself.

Fear overtook her and prevented her from turning to behold this demon. This madness. She knew it was there, right behind her. Fetid breath rhythmically struck the exposed skin of the back of her neck. The thing was huge, like a man two heads taller than her.

“If you don’t have the balls to look at me, then you better keep movin’, little girl,” the demon spoke to her, cackling some more. The words carried the air of a threat. “What are you afraid of finding down here, anyway?”

More laughter. Sinister. Knowing. Knowing her deepest, darkest desires, and secrets she would learn in the future

Her heart thumped against her chest, pounding so hard that it threatened to explode out of her rib cage any minute now. And whether she was tripping on the LSD, having an overly vivid nightmare, or this was indeed real, she dreaded turning around and instead continued on her descent.

“Welcome to the maze, Emily,” the thing’s voice crackled. Flames licked from its voice and the biting smells of charcoal smoke and sulfur filled her nostrils, stuck to her tongue. Way too real to be imagined, yet even now, she struggled to explain how this experience or even this memory could be real.

Because right now, she sat on the backseat of Officer Stanton’s car. But the vivid recollection of this memory sliced through time and space, reaching her in the now. The demonic presence still lingered, lurking behind her, occupying the space in her mind.

The unwanted guest renting one of the rooms in the mindscape of Motel Emily. The neon sign of vacancy flickered unsteadily.

Where the stairs wound down further, she reached a door branching out to the side. Or rather, the word “door” didn’t really cut it. It was a stone portal, covered in more symbols or otherworldly runes.

Without thinking, she pushed it open, hoping to find escape from this place, praying to reach Rodney’s basement again, or appear back in Stanton’s patrol car. The past and the present started bleeding together. Had she really experienced all this, back then? Was this the madness, overtaking her mind, surfacing now, tainting the present and overwriting reality?

“This is as real as it gets, bitch,” the demon said, cackling yet more.

The pink-haired Emily celebrating her 21st birthday and tripping on LSD didn’t understand what she saw beyond the portal once she strained herself, putting her legs and back into pushing it open, her nerves fraying with each inch accompanied by the sounds of stone grinding against stone.

Beyond that portal, she saw another Emily, stripped half-naked, handcuffed to a curtain rack, with some man with a painted face sliding a knife into her exposed back. Bodies of the dead and the dying littered the dark and ruined room of some derelict house in that place and Helpless Emily screamed in agony.

Younger Emily gasped and backed away from this scene of carnage and despair, recalling a memory of something yet to come, which Present Emily knew already and remembered as the time the Grinning Man came close to killing her.

The man with the knife, with the face painted to display a horrid grin over a face of cold and sociopathic indifference, turned to look at Younger Emily. She pulled, tugged at the portal with all her might, desperate to close it before something worse happened.

The Grinning Man, that serial killer, turned from Tortured Emily. He tilted his head, staring into the stone portal in disbelief, studying its frame. Before Younger Emily succeeded in fully shutting the portal, he approached with swift steps, ready to pass from one place into another.

But she slammed it shut just in time, just before she could decipher shouts from beyond the portal.

Worse, the demon remained. Right behind her.

She dared not turn around completely to look upon its horrid visage, but glimpsed it from the corner of her eye. Red like a devil, covered in spikes and horns and smiling at her with a maw lined with rows and rows of jagged, shark-like teeth. Blackened, knife-shaped claws opening and closing in anticipation, ready to rip her to shreds if she looked at it for too long.

It cackled again and Emily continued down the stairs.

“That was you,” it said. “That’ll be you, in the future. You fuck-up. Nobody’s proud of you, Emily. Accomplishing nothing of value. Only watching people die in squalor and misery. You are nothing but a worthless witness. A voyeur in a voyeuristic world.”

Hearing the demon speak in such a modern vernacular and imagining to be such a clichéd presence clashed in her mind, and she almost turned to confront the creature. But she read its thoughts and they mirrored her own.

The first time she realized that turning only meant embracing the madness, and ending up in that padded little room, all alone, locked inside her head with drugs—and not the sort that Younger Emily found fun.

Picking up the pace, she continued down the winding, hellish stairs. The walls drew closer together with each step, never moving, but converging in angles that made her descent more claustrophobic with each passing moment.

Present Emily knew she had to break free of this memory, because it was bleeding into reality. The demon was taking hold. She dabbed more blood from her nose and barely perceived the world outside the patrol car, rolling by. This memory was real, made even more real through recent realizations, and recalling it now was rendering it even more visceral than ever before. The knowledge of Present Emily collided with the memories of Younger Emily and they coalesced. They coagulated.

She passed by another stone portal, almost screaming at what she felt from behind it. Younger Emily did not know what awaited there, but Present Emily did not want to see it, and the two of them refused to push it open and look inside.

“Yeah, you keep walkin’, you hypocritical asshole. Eager to discover the truth, but just another chickenshit,” the demon said.

Instead of the inevitable laughter she expected to ensue, the demon growled with anger, reflecting a rage welling in her bowels, only overshadowed by the terror and fear now gripping her heart and driving her down the stairs, faster and faster.

“He’s dead, Emily. Julian’s dead, and it’s all your fault,” the thing snarled.

Its hoofed feet thundered down the steps behind her, keeping pace with ease, the hulking presence chasing her down deeper into this pit of insanity.

“No,” she finally dared to reply, but the demon mimicked her word, mocking her. Then she repeated herself, “No, that’s not my fault. Not like with the others. Not everything is my fault.”

“Maybe not directly, but what if you never entered his life? What if he hadn’t been on that parking lot, that day? He might not have had some crazy stalker cave his skull in with a two-by-four. So maybe it’s still your fault,” the demon growled.

“Shut up,” she said. Then screamed it. “Shut the fuck up!”

“Yeah, shut the fuck up if you’re not going to do anything about it, right, Emily?”

The demon’s voice reached a fever pitch and now chased her. She ran, taking multiple steps down the well in strides, pushing through the narrow pathways, wasting no time to wonder how the demon’s sheer mass could fit through here behind her. The stink of fear erupted from her pores in a sheen of sweat, the heat of this hell engulfing her, and the stench of burning flesh rising from the depths.

The stone walls wriggled. They were not made of obsidian anymore, but worms. Millions and millions of pitch-black worms, things that did not belong in reality but were all too real. Slippery, alive. Writhing, as the mass reached out to her like walls of tiny fingers covered in myriads of chomping little mouths, provoking a shriek of terror to escape Emily’s throat, and the demon to laugh its sadistic laugh at her.

“Run, Emily! Run away, you disgusting fucking coward!” The demon spoke in many voices, those of Chris, her father when he slapped her cheek, the monster on her heels, and even herself. They all blended together. One of many, many in one.

There it was again: rocking back and forth, drool dripping from the corner of her mouth. White, padded walls all around.

Was she truly there? Was this even real? Was her entire life just a lie? Figments of her imagination, trying to make sense where none was to be made?

The stairs split into different pathways and Emily knew what to do. Present Emily wiped more blood from her nose and stared at her bloodied fingers in disbelief. Younger Emily had discovered her destiny, was glimpsing horrors from her future. Of the three possible ways to go, she squeezed into the narrowest one, screaming silently as she felt the wriggling mass of worms engulf her with the heat of a thousand fires, causing her skin to blister and painfully peel back. She clenched her teeth shut and feared the things entering through any orifices but pushed forward.

She had to live. She had to fulfill her destiny. She remembered all the people who died, or rather, those who would die.

She could change the world, but only if she didn’t give in now.

“Shit, I’ll give you a tissue once we reach the precinct,” Stanton said. His offer; his words helped, centering her in the now. The words he spoke bled through into that dark place where Younger Emily found herself, an unknown voice from a stranger from another world, or another time, piercing the veils of different realities, and guiding her through this horrid darkness.

The demon grunted and cackled and choked on the worms entering its maw as it squeezed itself through the narrow, suffocating passageway, following Emily without fail. It clawed its way forth, causing a cacophony of disgusting squelching noises, and sensations that reminded her of bones snapping to the point of sharp edges bursting through skin and protruding from human flesh, and teeth gnashing on exposed innards with blood spurting out, gushing, and the reek of feces in the air.

Her eyes long clamped shut, she dared not breathe but had to, and felt first worms trying to wriggle their way into her mouth. She sputtered and spat them out with an angry scream, controlling the rage that drove her, clawing her own way forth, mimicking the demon’s motions. Or it mimicked hers.

The stairs went upwards and she ascended, pulling her way through the narrowest spot of these walls of worms, fleeing up the stairs. The demon tumbled, but then continued giving chase on all fours, like the beast that it truly was. Like the beast in the back of her head, the madness always just a few steps behind her.

“You can’t get away from me,” Stinky Jim cackled, only to abruptly choke on his words, gagging and coughing up more worms. Through rows of bloodied, gritted teeth, he said, “I am always with you, Emily.”

She tripped, fell, scraped her hands on the jagged edges of the obsidian steps, right in front of one of the names inscribed upon the stairs: Xerxes. Younger Emily blinked, did not quite register what it meant until years later, first dismissing this memory and experience as a bad trip, induced by popping too much acid and being tired out of her mind.

Screams echoed through the infinite, infernal stairwell, bouncing off the walls and curdling her blood until she realized: the screams were her own. The demon’s growling matched them, blended in with them, and she screamed in pain as claws dug into her back, lifting her onto her feet and pushing her up a few steps until she ran on yet farther, stumbling forth and upwards, ever away from the madness that followed her wherever she went, ever away from the things below.

The things below the surface of her mind. The horrid things she pushed deep down to still her mind; the darkness she drowned in whiskey and cigarettes even as she grew older.

This could have been her awakening but she skidded right past it. It wouldn’t be for years until she had her world turned upside down. Never realizing the power she held. The demon followed closely, keeping her blood pumping and the adrenaline flowing like fire in her veins.

She reached a stone portal at the top of the stairs and pushed it open. Instead of meeting resistance and stone grinding upon stone once more, it swung open with ease. She burst right through it and stumbled again.

Catching her breath, wheezing, lungs screaming but only pained sounds emerging from her lips, she looked around. There was no demon behind her. Younger Emily, with her pink hair, and her piercings, and completely stoned, stood in Rodney’s basement. Behind her was only the door to the boiler room.

Rodney slept on the couch, curled up into a fetal position. Carlos slept on the chair, sprawled out, still blanketed by some empty plastic wrappers. Static on the TV screen.

Emily ripped the door to the boiler room open, needing to know if that had been real, but there was no hellish stairwell behind it. Just the regular old boiler room that it should have been, reeking of oil.

The demon’s laughter echoed in her mind. She checked the time, noting how many hours had passed and chalking this whole experience up to a bad acid trip after all. She didn’t go home, afraid to be followed or stalked out there in the dark and cold and wet autumn streets, all alone.

Even though she found blood when she wiped her nose, Younger Emily figured it fit. Demons and hell weren’t real. She didn’t have the power to control minds or enter strange otherworlds.

She curled up on the end of the couch, wrapping herself in a smelly old blanket that Rodney should have washed weeks ago. Although she thought the nightmarish imagery and things she had just witnessed would keep her up until the other two boys woke up, exhaustion dragged her into the realm of sleep within minutes.

Emily sat in the back of Stanton’s car, finally escaping from this memory. She looked out the window, at the people in the streets of New Haven. Instead of reading their minds, scanning their thoughts, and testing the limitations of her newfound powers, she decided against any of that.

“I’m still here,” the demon said—Stinky Jim. He sat right next to her, just out of sight.

The fear welled up again, churning in her guts as if the monster gripped her stomach with a claw and twisted.

“I’ll always be with you, Emily. Just one step behind. You ever want the security of that little padded room—to surrender all responsibility, let the world sort itself out and sink into darkness while you drool in the corner—you just turn back. Let me take the wheel,” Stinky Jim said. He cackled again, showing no hint of mercy.

“Or you keep going deeper down, scratchin’ at those wriggling walls, and dive into those lakes of blood and shit and fire. Find out what’s beneath the surface. Drown in the secrets of those things below, or spit ‘em out and curse the world with your wretched knowledge.”

More cackling.

Emily clamped her eyes shut. She willed Stinky Jim to shut up.

She centered herself. Pushed away every thought. Blocked it all out—she had gained that much control over it now. Focused.

Breathed.

Pushed the demon deep down, where it would lurk. And wait.

With the things below.

—Submitted by Wratts

[bearpillowmonster]

Persona 5 Review (Palaces)

Now I think it’s be interesting to split up each villain and review their arcs. First is Kamoshida, I like the layout of his palace. Sneaking along the walls and such and they really give you the drive to get rid of him. This is one of the only ones I actually got all the will seeds, I found that you only get the accessory if you collect the three, I don’t think there’s any bonus for collecting ALL of them from ALL the palaces though.

After that, they introduce something called Mementos which is basically everybody’s palace, a compilative place of where small distortions go that aren’t big enough for their own palace. This is kind of used for side missions, it’s not that bad though, the dark sections can be annoying but I see why they were put in there. You visit it throughout the game and after each boss, a new section gets added, going farther down. This is also one of the places to grind and a quick way to grind is to mow down enemies with your van using the dash button, rather than going through the trouble of battling, you even get their mask. That’s only if they’re not too far down though because the farther down you go, the tougher the enemies. It’s funny because once you get tough enough, going to the higher entrances, making enemies RUN from you while you’re mowing them down, it’s a blast. I will recommend though that you don’t piss off too many and get alarmed because they’ll come in waves, one battle after another and if you’re deep in Mementos, it can be scary.

Next is Madarame, I like the setting of a museum and the boss (better than Kamo) but I will also say that it was annoying to traverse, it built upon the urgency by adding legal action into the mix. This is probably in my top 3 palaces, I just don’t have a whole lot to say about it.

Kaneshiro (sounds like Kamoshida) I feel like his character is very one way, an easy prey, I’m fine with that but I’m just saying that the depth was better for the previous two. The boss isn’t exactly my favorite, it’s a little different between 5 and Royal so I looked it up and am accounting for both of them. I do however like the style of the bank and the vault is one giant lock, the enemies are probably some of the most annoying though with the introduction of the dogs.

Alibaba. Now this palace is actually pretty cool because it changes the context and way you do things, again with the real life interference as well. What I really like are the little hieroglyphics puzzles at the end of each section, those things are my jam but while I appreciate the variety and setup, this was one of the weaker palaces. The boss was weak as well, more of just a sponge unless I didn’t play it right (maybe I was underleveled? I mean I don’t think I even died tbh though) because it was really cool when you used the arrows but really dragging when she was in the air.

I will say that I took a break after this arc (about 35-40 hours in) not because I was tired of it, far from it actually, I was having tons of fun but traversing the palaces just seemed off to me at this point so I thought if I took a break and got a fresh perspective when I came back, it would be better. It was hard to detach myself from it because I really enjoyed what I had played thus far but it felt good to get back into the groove of it after a break. This was both a good place to take the break given the hours spent and what the next palace is, and kind of a weird place because after Alibaba you take the field trip but I would still recommend you take a decent break at some point because...

The next palace is Okumura. Now I’ve seen some flack about this one, saying it’s the least favorite of the bunch, so you don’t want to have the previous build up of hours hamper your experience since it’s considered the worse. Honestly I don’t think it’s that bad (the palace!) now the boss on the other hand is a different story, I understand that a CEO is only as good as their employees and the idea to use them is pretty reflective of the palace itself but it’s annoying because if you don’t have the right type of persona then you’re screwed because they just flee or blow themselves up, it’s just left to chance sometimes. I think it would be cool to have a race against him with the timer rather than a battle. It made me so stressed, not because of the timer but because of the stupid robots, it was easily the battle I spent the most tries on, I even had to go back and grind and fuse a new persona to finally beat him. (I was almost level 40 so you might have an easier time if you did more persona work than I did) but you don’t get any All Out Attacks either apparently. Also the story (though a bit nit picky) is easy to complain about but it’s not as bad as they say imo especially since the characters explain themselves afterwards.

Casino Master. This was probably the only spoiler I got for this game but I feel I would’ve figured it out anyway and it didn’t even turn out to be that big of a spoiler. Also the addition of the “Crow” should’ve been the “Raven” as an Edgar Allen Poe reference, it would’ve fit the character better in my opinion. I don’t like that they use the same card mechanic from the last palace, it makes more sense with this one but still. There’s an enemy in this palace that was bugged for my play through and it was only that specific enemy whenever I encountered them, it would say something like “it’s groaning” (which it sometimes does with enemies such as Regent) but for this one it just kept doing it and would get stuck, I just had to button mash a bit and then they would attack normally but just a small stain I’ll point out, easily patchable I’m sure. As for the story, I’m not quite sure what makes the palace in the first place, what is the distortion exactly? Other than that, another in the top 3.

The boss is actually kind of cool, in a way it’s the opposite of Okumura but an actual boss instead of enemies. It’s probably my favorite because of the design and style. I’m not done yet but honestly when I got about 1/3 of the way through this game, I thought it was a 5/5 but I re-evaluated and the one thing that I want is a bit of gameplay variety even if it’s just the bosses. I’ve talked about this before but it makes everything feel samey and while I know more or less all turn based RPGs are guilty of the same thing (so I can’t really hold that against this game) this one just seems so different. It doesn’t wear itself out, for turn based, it’s not so bad but it just leaves you desiring one extra step, an extra something everytime to say “This is the fourth-fifth-sixth boss!” rather than just chip damage with no weaknesses, some kind of reward for playing the way you do perhaps.

Armstrong from MGS Rising (yeah I didn’t have a codename for this one). I really like the setup, probably the best palace to be honest, in a way it’s sort of a compilation. I could see where people could complain about it even if I haven’t seen anything. This palace also has the best music, it’s very fitting and stylistic. There’s a little bit of a barrage of mini bosses throughout, I kind of like it but the last one before the big boss is tough because it’s 3 different sections, one after the other but it’s kind of a tease/warning to say “Are you really ready for the real boss? If you had trouble with this, then you’ll have trouble with him.” 

Let's talk about the final final boss (for what’s known as the ‘true’ ending route) because I apparently did the ‘true’ ending after looking into it, it doesn't matter who you picked for a romantic route, it matters what choices you made at certain points in the game, the ‘true’ ending is just the longest, there are different points in the game where it could end and be the other good/bad endings so yeah. Let me talk about it without spoiling anything, Notice I said ‘true’ with quotes. I'm going to summarize this reddit post I saw, justifying it, out of context. The boss is idolized, he's made by the people, he didn't make the people and because he's pretending, we were sent to destroy him. (In the grand scheme of things (story-wise)) because it bothers me that they make him out to be almighty. It is a persona and personas are figments of imagination, they're amalgamations of how the characters perceive their desire/distortion, not the real thing therefore it shouldn't be blasphemous right? That thin line is what's making me knock this game a little more because its material is so concerning. Also you’re stopping people from doing bad things, that’s ‘just’, correct? You’re defeating the seven sins, that’s ‘just’ (at least that’s what the will seeds are called). I guess they wanted to try and make it a true question “Are the Phantom Thieves ‘Just’?” They ask it over and over and in reality, I ask myself the same thing.

You can buy as seen on tv stuff, the big thing I’ll say helped me was the cleaning spray so snatch that up when it becomes available, I think it’s also available in Kichijoji but it lowers your enemy’s defense and I didn’t have that move for any of my characters. Make sure you have everything done that you want done by the time you reach the final date after sending the calling card and beat the boss such as confidants, a proper persona, side quests and a good amount of stat boosters and stuff. I can't say too many specifics on what to bring because you're going to play different than I did so just fill in the blanks, have cans of whatever you don't have as a move because it's going to be a stretch of fights and there really isn't room to turn back.

[squidproquoclarice]

So here are some asks for you, sorry if you already answered that before: 1) So what was the moment you started to care for Arthur as a character? Most people seemed to have been pretty meh about him at the start of the game. 2) R* did an A+ just with him, but do you think there are any mistakes/inconsistencies in characterization or in his storyline, I mean besides him dying? 3) If you could design a mission DLC that takes place somewhere between Ch.1 to Ch.6, what would it be?

1.) Arthur’s a bit of a slow burn, it’s true.  It didn’t help that the trailers especially made him seem like just another angry violent white male antihero.  I did enjoy some of his humor in Ch 1 and concern for people, but a lot of things like his optional Greets to people passed me by because honestly I was too busy trying to figure out the damn game mechanics to dive too deep into optional stuff.So it really was into Ch 2 and 3, and especially when I started to see the journal entries and understand what a rich internal life this guy had, and the way he interacts with Strangers, both often being at odds with the person he’s presenting as this cold-hearted gang badass.  Much like when I got asked this question for Sadithur, I can’t say there was one particular “aha!” moment, but a whole bunch of smaller ones that added up.  Given Arthur keeps so much carefully hidden, it seems appropriate that seeing him truly takes some effort rather than having it handed to us in a single moment.2.) I have some complaints on inconsistencies in storyline (the Epilogue in particular feels quite railroad-y to almost everyone in it, and Javier definitely had his hand awkwardly forced due to RDR1.)  Arthur overall, I don’t have much complaint about his writing per se, but my complaint is how forced we are in his gameplay versus the richness of the character.  It’s an odd mismatch, particularly early on, where you can be playing a High Honor damn near Boy Scout in free roam, but gameplay and/or cutscenes are Arthur Is A Violent Bastard.  Plus there were missions like Spines of America and Gilded Cage that we could complete without any violence and showcase different talents, and I wish we had more of them.  I wish we had the option to just not shoot two dozen or more random faceless enemies sometimes.  I wish we’d had the option to escape Cornwall Refinery unseen after getting those papers, to get Eagle Flies out of Fort Wallace with only minimal stealth-based casualties, to rob the Valentine bank cleanly by safecracking, or to rescue Sadie from the O’Driscolls into the hot air balloon, without fighting yet another same old same old gun battle. There’s usually only one way to play missions, and no matter how carefully you play it initially, you end up in large-scale shooting massacres of frankly absurdly unrealistic numbers of enemies.  (If the VDLs had killed hundreds of people over the course of six months, the Army would have been after them.) I really wish that there was more than one way to succeed a mission, as there is in other games, because as is, saying the Honor system affects the game is kind of a half-truth.  It doesn’t affect how you can play missions, and it doesn’t affect Arthur’s outcome.  High Honor is by far the more satisfying and meaningful, in-character plotline, but in the end, your morality doesn’t truly affect your RDR2 experience in genuinely meaningful ways.  And given we’ve seen games with richly realized morality-affected gameplay, and player choice in mission completion of violence vs stealth or other options, it’s kind of a disappointment that such a complicated char is reduced to mere shooty-shooty-bang-bang so often in actual gameplay.  3.) I’m gonna advocate for my gal Sadie here and say I want DLC from her POV of what happened in that three weeks to month-ish when Arthur and Co. were away in Guarma in Ch 5.  So many people in the gang say admiringly that she was the one who led them and kept them safe and together, with some help from Charles, and it’s clear that having taken on that leadership role, she’s not going to just step back and say “Yes, Dutch” to whatever he demands.  I want to see Sadie as the capable, fierce, yet caring character she is who went from being a broken widow to the rock that supported them all.  I want to see what those weeks were like for the gang too, and what they went through in the chaos and uncertainty of what seemed like the total collapse of their family.

[gear-project]

My Thoughts on GGStrive thus far:

What people are saying about GGStrive’s game so far has me thinking of several older games for reference.

But the game that comes most obvious to mind is the original Guilty Gear X.

Why GGX specifically?  Roman Cancels were the core mechanic of that game compared to later games.

Neutral attack sequences were short, Risc (back then called the Guard Gauge) was more obvious, and Dust Combos were most memorable and considered a big payoff in that game compared to later games.

Woolie mentioned the idea of Dust Air Combos being the “big payoff”, which seems to be a relic left over from the Marvel Super Heroes games and X-Men: COTA the “Aerial Rave Combo”.

In those games, while you did have Light>Medium>Heavy routes on the ground, the biggest rewards were in fact air combos and even air loops and resets.

GGX’s equivalent to that were “Impossible Dust” and “Jump Install”... Impossible Dust being a relaunch cancel before a Dust “Homing Jump” is fully initiated... with Jump Install being a technique for extending a character’s jump cancel options by “storing a jump” while on the ground.

Back in the day, these were core elements to mastering how the game played, and I remember doing Dust Air Combo drills for hours, just trying to get patterns right or just nailing the timing of a “homing jump cancel” because of how strict the timing was.

As if those weren’t enough, you also had Faultless Defense Cancels, or FD-Brake as some people refer to it nowadays.  FD Cancels were especially potent in Guilty Gear X because you could use them to alter your Gatling Routes without necessarily using a Roman Cancel, making some combos possible that normally weren’t... though inputs were very tricky to achieve this, plus a jump cancel had to be involved as well in some cases (Xrd has something similar with Blitzshield-Cancel where you can cancel a Blitz Attack from any jump-cancellable normal).

In the early 2000s, not many people really understood Guilty Gear, so much of the gameplay goals and meta were still in the theoretical stages.

The characters were still being analyzed for frame data, which we wouldn’t get until a Slash or Burst encyclopedia years later, among other materials.

With GGStrive, or at least the “current conversation” on the topic, a lot of people seem to be hoping that the “damage output” remains the same as it currently is, despite the negative spikes of concern for things like command throws doing too much damage.

While I am inclined to agree that things like Tension and Risc (Guard Gauge) are important... other factors like Guts, Faint Status, Instant Kill status, clash offsets, attack levels, and other concepts still haven’t been implemented yet.

Daisuke said he “wants to keep things simple” but at the same time hide the more complex elements for players to discover... But a lot of that feels like a big “Risk” in and of itself... and by Risk I mean it’s a Gamble to remove and simplify aspects that are already relatively simple on their own.

While Instant Kills are certainly “situational elements”, they were also a “key element” in what defined and stigmatized GG in the first place.  Very few other games could let you defeat an opponent in the FIRST round, let alone the whole match.

For me, GG was always about “freedom”, the freedom to press whatever buttons you wanted, to act how you wanted, to jump and dash how you wanted... as the series went on, a lot of restrictions were put in place that forced me to “respect the other player”.

And while I get why that’s necessary, what complicates matters with GGStrive is the idea that they’re blending a lot of ideas together in to a huge overlap of concepts.  Perhaps Overdrives will replace Instant Kill, perhaps holding buttons down (negative edge) will replace charge attacks and attack levels, and so on...

And while I like the idea of having a somewhat “perpetual neutral game”, I’m not entirely sure I like the disrespect given to Blocking and Guarding.  Grappler players might know a bit more where I am coming from with this, but the idea that you get heavily punished for blocking or using resources to keep your opponent off you doesn’t feel as rewarding as it aught to be.

My idea of “neutral” is that of two players pressing random buttons hoping something will eventually land, and not necessarily something cunning or calculating like an extended short guard string that guarantees a set up.

The problem as I see it is, human thinking leads to “fixed plays” (set play in other words), rather than solid guesswork.  We make choices that we “know” are good, rather than making choices that “could be good, but might be wrong”.  There’s that element of “why choose rock or paper when scissors is the best?”

This is why I never had a problem with Danger Time, because it meant that “Rock, Paper, AND Scissors” were all the “wrong answer” potentially.

Instant Kills in the original GG could swap a player’s position with the other, so even if you were cornered, a well-guessed button press meant you turned the tables.

In fact, “Turning the Tables” was a core element to older GG games that so-far as I’ve seen, I haven’t seen happen in GGStrive yet so much.

If I had to put GGStrive on a scale, it would probably look like this:

Combo-Heavy >>>>>> <<<<<< Hit-Heavy

Most GG games would be somewhere in the middle, with games like BlazBlue being on the Combo end, and Samurai Shodown/Bushido Blade being on the Hit end.  GGStrive would be pretty close to Samurai Shodown or even Mortal Kombat 11 at its current stage.

Soul Calibur has a few elements in it that reflect what GGStrive is trying to do (short combos, but meaningful rewards when a counterhit is struck), but there isn’t that sense of being able to deal with a player’s overwhelming offense and turning that flow against them.

To me, I’ve always been a fan of the Martial Art known as Judo: the ability to return the flow of the aggressor back on to themselves.

I don’t mind heavy combos, I don’t mind blocking when called for, but I do want something meaningful and rewarding for blocking properly and waiting for an opening or gap in a player’s offense.

In GGX, reaching that 50% Tension state took forever, but I hope in GGStrive, achieving that 50% Tension of “Freedom” is more established, either on offense or defense.

[destiny-smasher]

Off the Hook

(copied from my Twitter thread here) So, yea! @SplatoonNA 2 has ended its run of content! A solid two year run! At this point it's possible I've played it as much as I played the original game, maybe even a bit more. But compared to a lot of people I've known since it's release, I'm definitely more of a casual fan. It's a fun game oozing with aesthetic and has one of the most solid gameplay foundations I've ever seen -- EVERYTHING about the game's mechanics culminates into a multi-layered experience where single, co-op, AND versus are designed to facilitate fresh shooting gameplay. EVERY single second of playing Splatoon multiplayer entails making choices. The story/Octo exp. have so many great level designs. Multiplayer and its ranked modes require different strategies. Salmon Run is THE most hardcore co-op I've ever seen. It's such wonderful game design. With that being said, now that #FInalFest #Splatpocalypse is over and the 2nd #Splatfest cycle has come to a close, I want to talk a bit about the single most important aspect that has impacted my life regarding the game: #OfftheHook

Rewind back to when these two were first introduced: I was unconvinced that I would enjoy or care about them as much as the Squid Sisters (who are actually, like, cousins? I think? nvmd) But two years later and these two warm my heart in a way VERY few fictional duos do. What's most interesting to me about this is that while there IS a decent amount of in-game banter between the pair over the course of the past two years, they have SO MUCH less actual character development/narrative than other couples (they are a couple don't at me)

Honestly, a lot of my affection for them has grown from the way the in-game presentation leaves enough context for us to read inbetween the lines regarding how well they know each other, how much they care about each other, how much they respect each other despite competitions. Seeing their interactions both before and after the #FinalFest, brief as they were, really solidified how these two VERY opposite personalities have had a positive influence on each other, even if we haven't necessarily witnessed it firsthand. I think this is part of what makes them so valuable in the mainstream (?) media -- they are a power couple who is ALREADY happy, proud, living their best lives for and with one another. In the current climate of the world, that's inspiring to see, whether you're 15 or 33. We still don't know much on the details of their backstories but we definitely know that Marine comes from a very bad place and Hime comes from a very privileged one, and their relationship seems to have helped them both grow into better people. Everything about their designs, their personalities, their CONCEPT as a BAND and how they function/perform their roles within it, everything about them embraces that sort of "opposites attract" aesthetic and I am all about it. While Callie and Marie are cute and great and I like them, I ADORE Pearl and Marina, because they went the extra mile to not only flesh them out as characters but ensure everything about their presentations, personalities, etc. embraces that "opposites attract" concept. 'well cool that's great and inspiring but yea lots of things do this so whatevs' Yea, you're right, but lots of media do not do this while also basing their entire core visual, gameplay, audio design SPECIFICALLY AROUND two sides battling against each other. EVERYTHING about Splatoon is about ___ vs ___ From the hosts welcoming you when you boot up the game, to the different modes you play, to the way everything is presented, to the AUDIO stylings of Off the Hook, to the core concept of the Splatfests themselves. And at the end of the day, it is fucking NICE to see the end result of ALL OF THIS ___ vs ___ be embodied by two characters who represent that who LOVE EACH OTHER no matter what and who make each other better because of those differences and not despite them. Yea, the Squid Sisters did this but to such a simpler, more surface level degree. They were the beta. Off the Hook is the fully realized version of it. If you don't believe me just LISTEN to Squid Sister songs versus Off the Hook. LOOK at the character designs. Read the dialogue. The fact that Off the Hook has hosted actual real life concerts - IN THE REAL WORLD - isn't just some indication of "people be horny for pop idols" (I mean that IS a thing, separate discussion I ain't educated enough on to get into), it's because they KNOW they have a good thing

Splatoon isn't just for kids, it's also for adults who are nostalgic for the aesthetic of BEING a kid, and the fact that Hime (20) and Marine (18) are young adults -- INBETWEEN kids and adults -- cannot be a fucking mistake, either. Anyway, this is all to say, I am so impressed in a way I rarely am in that the Squid Research Lab was able to take the mechanical design philosophy of Splatoon 1 and EXPAND upon it, fucking OWN IT 100%, make sure that everything about Splatoon 2 embodied the concept. Green versus Pink, Pink versus Blue, Gold versus Silver, Ketchup versus Mayo, Chaos versus Order, we can have fun arguing over the most mundane preferences or the most basic, broad-sweeping aspects of existence, but at the end of the day we CAN be better for it. We CAN be made better, we CAN grow, not despite those differences but BECAUSE we hash them out, because we argue, make our cases, see the other side's passion, etc etc. It's my favorite message/theme any piece of media can discuss and Splatoon 2 causes such an emotional reaction from me because the CRAFT of it is so passionately detailed and embraces this theme in every. fucking. layer. of itself. So yea, #Pearlina is a goddessdamn inspiration to me that I will probably carry with me for a very long time, and Splatoon as a franchise is so fucking impressive for how young it is. I hope the years to come incite as much warm fuzzies as other long-time Nintendo series have. The fact that the final artwork we got shows the pair swapping the iconic components of their attire -- their headgear -- is just such a beautiful and fitting sendoff that wraps a lovely bow on the whole thing. As far as I'm concerned, they are now engaged, will happily wed.

[morshtalon]

Shin Megami Tensei

(Definitely part 3 of a series of posts on the entire franchise)

For the end of MegaTen II, Atlus pulled out all the stops in terms of who you'd meet and what their importance to the lore was. While the ending arguably did leave some room for further escalation, by choosing to continue the story as it was, they'd be agreeing to keep being derivative works in relation to the books that originated their backstory. Sure, it was hardly the case anymore, what with the extreme departures MegaTen II took from the novels, but still. I guess the relative corner the writers got themselves backed into, combined with the clamor to have a more independent franchise on their hands, prompted them to scrap their established continuity and kick off a new one of their own. Whatever the real case was, it was definitely a smart choice, and thus was born Shin Megami Tensei, a way for them to keep their profitable series going. Also probably a much better game than a MegaTen III would have been.

Anyway, with a new continuity, possibilities were endless. They could better retread grounds they had already covered in the previous two games (well, really just MTII, since the first one barely even had anything going on), and expand upon ongoing themes while not having to worry about the usual expectation for a sequel in terms of magnitude and impact. Given that, it's unsurprising that, in comparison to MTII, this game dials things down a notch, relegating most of the more classical power fantasy stuff to the third act and preferring to engage in more character-driven events while leading up to it. None of the final enemies in SMT are as powerful as the ones in MTI and II (in story terms, actual battle stats notwithstanding) and the influence of cosmic forces that would have been enemies fought directly in the titles so far takes on a distant, more psychological approach (for the most part), unable to be challenged by the player. This helps build them as respectable overarching threats, and keeps the setting more subdued and the stakes higher, since it feels like characters are acting under the banner of things so powerful the player shouldn't even think themselves able to scratch them. It's good not to stat things sometimes, and it's quite impressive that they exercised this restraint way back in 1992.

For the demons that ARE fought, though, the artists really put their all into it this time. Even compared to games in the series's near future, I think this is the best looking they would be for a while. I mean, sure, Majin Tensei later on would have more detailed graphics, but I feel the art itself was worse there, with some weird proportions and a lot of palette swaps, while this game keeps things more consistently good overall.

Naturally, one longstanding tradition of the franchise introduced in SMT was the philosophical axis of Law vs. Chaos and the branching story that allowed the player to sit in any one point of the spectrum, with a modified final act depending on your decisions up to a certain point and where in the axis they would leave you once this point is reached. This system was partly a logical progression of the two endings from MTII and partly a way to integrate gameplay significance into what was already the grand point of SMT's storyline. While a good idea on paper and certainly innovative for its time and context, the warring faction-based story meant that as far as the plot is concerned, Law vs. Chaos pertains more to which of the factions you're appeasing with your decisions rather than any particularly lawful or chaotic behavior. There are some things that shift your alignment that have to do with being lawful or chaotic, but those lie mostly outside of the plot, in small actions that only serve to bring things one way or the other on infinitesimal increments and are meant more as an extra level of thought put into the system to label certain actions that were always there. The parallelisms between one faction and the other (i.e. temples that are identical in functionality; quests that consist of killing the other faction's quest-giver or vice-versa), together with certain easily exploitable ways to shift the alignment variable any way you want (so that you can play the game being entirely chaotic up to the crucial point where your alignment is locked, then right before that, exploit the mechanics to bring yourself to Law without having done anything lawful throughout the rest of the game), make the whole alignment system feel arbitrary, or at least the actual coded-in gameplay layer of it. I feel like maybe having only the unrepeatable story decisions actually affect alignment could help mitigate this somewhat. Then again, as I said, the story stuff doesn't feel much like the player being lawful or chaotic, so... I don't know.

Regardless of which path you take, you are going to get into a lot of fights. The game plays basically exactly like MTII, with an overhead top-down overworld and first-person dungeon crawling once you enter an area. This time around, very few areas are safe from enemy encounters, which makes sense since you're mostly just walking around Tokyo and a lot of first-person areas are just sections of the city that are populated (and besides, all of Tokyo is under threat from the demons). It made me realize that it's actually the typical RPG that opts to be nonsensical about the no-monsters-in-towns rule, but I'd be damned if that's not a smart choice on the part of the typical RPG. There are so many random encounters in this game, it's a common occurence for you to get several 1-step fights in a row. When I play an RPG, there's usually a point where I get really bored of always fighting enemies, then I finally escape the dungeon I'm in or go into a town and it's a big relief, like I can finally walk around and talk to people without having to stop dead in my tracks to fight the same enemy I already proved I can beat five hundred times before. Not so much in this game, and you'll definitely be crying out for an Estoma or a Fuma Bell most of the time. If you even know these two things act like repels in Pokémon and realize how useful they are.

If you don't know, however, you're going to need a lot of patience, because once again the game is very easy. Aside from, once again, a difficult earlygame, especially if you didn't put the right stat points into your protagonist (read: vitality and speed), the same basic problems from the previous two games' core concept of walking around and fighting dudes can be found here, but this time guns have ammo. Ammo doesn't actually count how many bullets you have left, it's just an extra thing you can equip that gives your gun attack an extra property such as more damage or a status effect. Thing is, status effects have an absurdly high hit rate in this game, work on most bosses, and there's a type of ammo that causes the "enthralled" status effect, which makes the target attack their own allies. Once you've got your hands on it, the game has been effectively turned into an interactive movie, even easier than the NES ones. Even without it, magic always seems to go before physical attacks, and both lightning and ice spells can stop an enemy for the current turn, so you'll likely always find a way to trivialize encounters within your disposal if you're just playing the game normally, even if you didn't realize it. With good speed, lightning or ice spells at your disposal and some status effect ammo, nothing will ever be able to stop you, no matter how hard they try. Once again, it's a preparations game, and that auto-battle button will get an intense workout this time around. I actually cleared the entire final dungeon under the effect of consecutive Fuma Bells, because of the combined effect a high encounter rate and the knowledge that the bosses could not stop me had on my brain. It's all about knowing which things are actually useful and which aren't, so it's actually just about struggling until the point you figure it out, then blazing through the game's fights half-asleep.

Still, battles notwithstanding, I think the exploration is more masterful than ever this time around. There isn't any significant portion of the game where you're clearly going after McGuffins, the whole story is pretty tightly paced and the balance between open-endedness and plot progression is well kept. There is a clearly evolving status quo for the entire setting of the game, and each time a major change happens new areas are made available while others are locked away. You can feel the effect the events of the narrative are having on the whole scenario, and the progression creates a bit of a disorienting effect as you attempt to find your way to the next significant location (which can and very well may cause you to get hopelessly lost on occasion, but that's part of the experience, I think). It's a pretty admirable blend of elements working together to create a continuous experience. This bleeds over into the characters themselves, who have evolving arcs and, for the most part, continue to be relevant and to have all sorts of crazy things happen to them through the course of the game. Consider it a much more mature attempt to do the sort of character-based revolving scheme that Final Fantasy IV also tried to do.

Overall, this is a game that further plays around with story concept brought over from MTII, experiments somewhat with new ways to go through some of its story beats, and creates a character-based narrative that goes through admirable amounts of change, to the point you can feel the whole cast working through their arcs as things escalate and reach a fever pitch. The gameplay is significantly less refined, though, and, admittedly, even the respectable things in SMT have struggled to stand the test of time, especially when you consider what later SMTs and SMT spinoffs would go on to do. I think this earns the original a 6.5 out of 10, my first non-integer score. It's damn respectable and admirable for 1992, but it has so many outdated things in it that it's hard to actually get oneself into the proper mentality to admire it unless you actually make the conscious decision to play the series in chronological release order. But who would be masochistic enough to do that, right?

[zdbztumble]

So What to do About it? (KH III Spoilers)

Complain about something enough, and you may end up hearing from somebody: “well, what would you have done differently?” No one’s asked me that about Kingdom Hearts III, but I’m bored at work and eager to dodge emotional problems, so that’s what we’re getting into tonight, kids!

Note: I’m going to limit myself to changes I would make to KH III only. A number of its problems are the culmination of trends begun much earlier in the series, particularly DDD, but I don’t want to get into hypothetical changes to five different games, none of which were as flawed in degree, or as painful an experience as the story of KH III was.

To start out with, the first change I would make to KH III would be to make cuts. A lot of cuts. Because there’s a lot in the story of this game that didn’t need to be there. On the chopping block would be:

- Maleficent. She’s my favorite Disney villain, and I love her role within the KH series, but Maleficent (and Pete) had no role in this story. A tease at a potential future game and a promotion of KH UX are no reason to include a character. And, if a character - even a favorite one - has no good reason to be in a story, they shouldn’t be.

- Roxas, Xion, and Namine. Again, they have no real role to play in this story. Namine doesn’t do anything except summon the Lingering Will (and we’ll get to that), Roxas isn’t needed to complete the roster of Seven Lights, and the whole point of Xion’s tragic death was that she was gone for good. She comes back into the story from nowhere, while Roxas and Namine are only present to give Sora and Kairi some semblance of a quest in the front half of the story; they both want to find a way to let their Nobodies live as real people outside of their hearts. But Sora and Kairi didn’t need any additional motivation to do things in this story, because they’re already motivated by the far more consequential goal of stopping Xehanort on a macro level, and by the desire to keep each other safe on the micro level (as poorly reintroduced as that idea was.) They also have very little (and in Kairi’s case, no) role in restoring their Nobodies in the game as-is.

The idea that these characters could, or at least deserved to, exist as their own persons was first introduced in DDD, but it was presented as more of a desire on Sora’s part than something that could practically be done. There wasn’t a wealth of build-up to this idea in previous games that needed to be paid off. And as I’ve said before, Roxas and Namine choosing to return to Sora and Kairi, no longer existing as themselves but as a part of their true selves, was a wonderfully bittersweet aspect of KH II and a noble sacrifice on their part. Even with the stupid retcons concerning Nobodies and hearts pulled by DDD, that sacrifice is still valid, and Roxas, Namine, and Xion all remain distinct enough from other Nobodies and replicas that their choices and losses remain valid. Without any good reason to undermine that sacrifice, it shouldn’t be.

That said, while I would cut their revivals and presence in the larger plot, I would make use of them in the game...but we’ll get to that later.

- Ienzo and the other ex-Organizers. If Roxas and Namine go, then these guys might as well too. Ienzo is the only one who actually functions in the plot, and other than researching means to restore former Nobodies, he has no role to play. Any residual exposition that he gave out could be given to other characters. I would cut Ansem the Wise as well, but secret endings of previous games and my self-imposed rule mean he has to stay.

- Demyx. Again, without Roxas, he has no role to play. Vexen’s role would also change significantly, but...well, we’ll come back to that.

- Riku and Mickey updating their Keyblades. What was wrong with their old ones? And what value does the idea of re-charging Keyblades, or arbitrarily getting a hold of new ones, bring to the table?

- The mystery girl. Both of them. When it comes to Nameless Star - I do not care about Marluxia’s long-lost sister. There is no bottom to the well of how little I care about the pasts of any of the Organizers, especially any that tie into KH UX. If you do, then more power to you, but a game that’s meant to be the culmination of so many stories does not have the time or space to tease something like this. Leave it in the mobile game.

Subject X is a trickier issue. When that idea first came up via Ansem and “Ansem,” I thought they might be talking about Kairi, and that the story might finally be at least hinting at something of her past. It took me until last night to realize it, but Kairi’s past is the one plot point directly tied into Xehanort’s schemes that isn’t resolved in KH II. When Xion finally appeared, my first thought was that all the talk about a girl with no memory was actually about her all along, which I could’ve figured out wasn’t the case even before getting the Secret Reports if I’d thought about it for more than a minute. But that the mystery girl is actually a character who has never before been mentioned or had any role in the plot, and is probably yet another reference to KH UX, is absolutely ridiculous. If it wasn’t bad enough that Kairi’s past is going to be left unexplored, a key detail of it - that she was in some way a victim of Xehanort’s experiments before turning up on Destiny Islands - is re-purposed for another character who does not matter to this story.

I would be sorely tempted to modify this material so that the mystery girl who the Ansems discuss actually is Kairi. If this game really is the end to the Xehanort saga, and Kairi’s past is directly tied to Xehanort, it’s the last chance to get into it. But even if the story saw all the cuts I suggest here through, it would still be a very crowded story tasked with paying off a very complicated plot. So unfortunately, if we’re assuming that every other game in the series stays the same as it is, Kairi’s past is still a casualty of poor decisions in those earlier games. The mystery girl material gets cut - completely.

- Chirithy. He’s cute. He’s also not necessary. Cut him.

- Replica Riku. Repliku living inside of Riku, and Riku becoming aware of that, is the closest thing to an arc that Riku has in this game. His character arc, at least as far as the Xehanort saga is concerned, really reached its conclusion in DDD. In KH III, he remains throughout the stoic chief supporting figure to Sora and King Mickey, not counting Donald and Goofy. But I can’t say that I found that a bad role for him, or that I find him being set and constant in who he is to be a bad thing. And Repliku suddenly re-entering the story, in its finale of all times, through truly convoluted and confusing means, was just not worth it to give Riku some small measure of an arc.

- The chess frame. This put a metaphor on to the entire conflict that I didn’t like, and made the whole thing feel much smaller than it should. And, if you cut this, then you also cut...

- Eraqus. Again, the chess frame lessens the story, and Eraqus turning up to talk down Xehanort takes a lot away from the actual protagonists of the story.

Alright, so that’s everything for the chopping block, which already clears out a lot of narrative real estate. So besides what I would’ve left out, what would I have changed? Well...

- Show Kairi’s training. Axel’s too, but Kairi’s the one who’s been a main character from the beginning and started getting built up since the end of II as a Keyblade wielder. And I would have used her training as the tutorial. In the spirit of the prolonged Roxas segment of KH II, a mix of cutscenes, tutorials-as-in-time-gameplay, and tutorials-as-Dives-to-the-Heart would illustrate Kairi’s training, give some context for her thoughts and feelings (which I imagine would be an outgrowth of her expressions of wanting to be part of the adventure from the end of II), and introduce the idea of the Final World. In KH III as it is, it just sort of appears; here, Kairi could find her way there from the Dive to the Heart stained glass, and be confused and a little disturbed by what she finds. At the end of the tutorial, a cutscene could show her summarizing everything for Sora in a letter and actually sending it to him, and we’d cut over to Sora reading the letter (and conveniently, the letter carries over the choices you, the player, made as Kairi about which powers you wanted.)

- Improve Sora’s recovery. Motivating Sora’s reset to Level One by the events of DDD is one of the game’s better notions, but it’s not executed very well. Sora regains most of his abilities, in their basic form at least, within the first level, and the Power of Waking becomes an exercise in repetitive cutscenes until it suddenly needs to start working. I would spread out when Sora regains certain abilities and when he acquires new ones (though he’d get everything within the first World Map), and I would wait to bring the Power of Waking up until much later in the game, so that it isn’t hanging around the plot like an albatross. And he would get Glide some time before the Badlands.

- Multiple parties. The only Final Fantasy game that I’ve played is XIII. I don’t remember much of it, but I do remember that, at various points in the story, you control different characters. That was an ensemble cast; Kingdom Hearts is meant to be centered on Sora, and I wouldn’t make an even division of time spent with other parties. But I would give Riku and Kairi one Disney world each, and Aqua her own level. And the way I would do that is...

- Motivate the Disney worlds. III as-is is easily the worst game in the series for integrating the Disney worlds into the larger plot. This was frustrating as a failure to execute the founding concept of the series, but also because there were plenty of openings for how to integrate the worlds they chose, either through story or through character and thematic ideas. To wit:

Olympus: Admittedly, this one is motivated, by Yen Sid sending Sora off to it to try and regain strength. And, had they preserved the training/tournament angle on this world from previous games, that would have made even more sense. But I like that they went in another direction with Olympus this time, as that was rather played out. So I suppose I wouldn’t change all that much here, other than improving the dialogue, reducing the number of abilities Sora regains, and have Herc’s talk about Meg trigger some recollection of Kairi in Sora. I’d also emphasize a line from the movie: “A life without Meg would be empty.”

Twilight Town: If you cut Roxas from the game, then this world doesn’t really have much point other than the Bistro and the shops. Given that, I’d just as soon replace it with Radiant Garden as the hub world, relocating the Bistro mini-game and the 100 Acre Wood to there. Any exposition that can’t be delivered by Yen Sid, Mickey, or Chip and Dale, can be delivered from Radiant Garden by...Leon, Yuffie, Cid, and Aerith. Nomura may have been right when he said that original characters from Kingdom Hearts could take the place of these three as sources of exposition, but the fact is that Sora has more of a relationship with them than he has with the ex-Organizers that displaced them, and their presence would mean that the Final Fantasy elements of this series get some real representation. They wouldn’t have much to do; they would in essence be making cameo appearances, which I’m sure some would find unsatisfying; but those cameos would at least be justified by the story and the setting.

The Toy Box: Here is where Vexen would come into play. Have him back as a non-Norted member of Organization XIII, unrepentant, building replicas for the Xehanorts. He’s the one who put the toys in a split world, as study subjects for building his replicas. He would be the member of Organization XIII appearing in cutscenes to taunt Sora and attempt to pit the toys against each other. And he’s the boss battle in this world. That’s right; you’d actually get to fight a member of the Organization before the Keyblade Graveyard. A cutscene following his defeat could reveal that he’d obtained sufficient data from his research for the replica bodies of the various Xehanorts who need them to be perfected.

Kingdom of Corona: Here’s where the multiple parties come into play. I’d let Kairi be the one to explore this world. Let her have a Gummi ship, and be on her way back to Master Yen Sid’s from training. She can sense that there’s something wrong in the nearby world of Corona, and she and Axel can check it out. Kairi can be the one to relate to Rapunzel’s feelings about setting out into the wide world, she can recognize in Rapunzel the light of a Princess of Heart, and she can realize on her own that the Organization (via Marluxia in this case) is seeking out new princesses, as incentive for the heroes: “fight us like we want, or we go after these innocent people.” (A cutscene from another game where Yen Sid and Mickey discuss why they have to play into Xehanort’s plan wasn’t enough to clarify this point IMO, nor was the idea of “seven new lights” given enough motivation. Kill two birds with one stone here.) Kairi would also take note of Eugene’s sacrifice, and Rapunzel’s revival of him. As for what Axel would be doing here...I suppose he could hang in the background, existential about his second chance at life.

(I would hold off on Riku and Mickey’s sojourn into the Realm of Darkness until here. By mentioning one of the factions peopled with a member of the Destiny Trio but not showing it until the first World Map is complete, you can build a certain amount of suspense, and avoid the problem of Riku and Mickey’s story dragging throughout the first two acts. This would also eliminate their check-in with Yen Sid from the first World Map, and thus eliminate Sora’s check-in at the same time as well, cutting down on repetition.)

Monstropolis: Play up the fact that Vanitas is after negative energy, in particular the screams of children, more. This is one of the few things about KH III that I think could’ve done with a bit more exposition, or more specifically, exposition spaced throughout the level.

Arendelle: I would make Riku and Mickey’s retreat from the darkness a more rushed and hurried affair, so much so that they have no time to make it to Yen Sid’s and end up diving for the first world they can. That world would be Arendelle, and you’d play as Riku. That connection Sora made between Elsa’s treatment of Anna and Riku’s of him and Kairi? Riku’s the one to make that connection, and he actually talks to Elsa about it. And Elsa is your battle partner, at least for the final boss; I would probably structure it so that, after Anna’s sacrifice, the darkness overwhelms Hans, and Elsa joins you in fighting him as Skoll. In the aftermath of that, she can break down crying, revive Anna, happy ending, etc. And Riku and Mickey can deduce the same conclusion that Kairi did about the princesses - Larxene wouldn’t blurt it out. Seeing the sisters and their plight could also re-energize and re-motivate the two of them to head back to the darkness in search of Aqua.

(The cutscene after Arendelle is where I’d probably introduce the Power of Waking. Sora and Kairi would be the ones checking in with Yen Sid, Mickey and Riku heading straight back to the darkness. On the basis of what Sora saw in the Toy Box, he could also ask if it’s possible for Roxas to get a replica body of his own, and Kairi could ask the same about Namine. And Yen Sid could tell them...no. That Roxas and Namine aren’t the same as regular Nobodies, and that they chose to become a part of Sora and Kairi again. And this could have a real impact on Sora and Kairi, as it hits them that not everything can work out the way it should be, that not everyone can get a happy ending in this story at this point. And it could affect Axel by further deepening his ambivalence about his second chance, when his one friend [that he can remember] is lost forever while he lingers on, recompleted but alone.)

The Caribbean: I would re-work the adaptation of At World’s End to include more material concerning Will and Elizabeth, for thematic purposes; I want Sora to make a connection between Will’s death, and his possible future with Kairi. But I would adapt that material, and everything taken from the film, more freely than the game did as-is. I’d also cut the Kraken as a boss, and instead have Davy Jones be the opener to a Heartless-possessed Endeavor as the final boss. And instead of teasing the Black Box concept, I’d have Luxord trying to recruit Davy Jones as a Xehanort host. Jones is already a being without a heart who can walk and talk and function the way the Organizers can; why not make that connection? Jones would refuse, of course, and Luxord’s desire for the chest is to gain leverage on Jones to comply. When that whole plan fails, he sends the Endeavor against Sora and the others. And, by the end of the level, you could have a cutscene where Luxord makes his apologies to a hooded, shrouded Master Xehanort (tease him before the final level without seeing him outright), who assures him that they’ve been able to find another thirteenth.

San Fransokyo: This one is tough for me, because the further away I get from the game, the more this world baffles me with the sudden appearance of Dark Riku and all the blather about hearts and data. I suppose I’d just try to simplify things down to simple taunting; instead of talking about data, Dark Riku (revealed as the thirteenth just set up in the previous world) just wants to prove something to Sora about pain and loss, which would let that reviewer’s perceived theme about what makes a heart whole come into play.

- Overhaul on the Anti-Aqua fight. I would not have had Aqua or Ansem appear before this point in the game. Riku and Mickey’s encounter with Anti-Aqua can be her first appearance, and it can be preceded by an encounter with Ansem the Wise, warning them to turn back. When Aqua fell to the darkness is thus left as something that happened at an indeterminate time between the KH 0.2 and now, not something that arbitrarily happens right after we see her just as she normally is. Sora can still rush in to save the day, but I would change that fight so that it’s Sora and Riku together who combat Aqua, and Riku who first greets her when she awakens. Ansem would be saved from the darkness too, and take his place back at Radiant Garden, mingling with the FF characters, Merlin, and Uncle Scrooge and Little Chef.

- Yensid warns Sora. After the rescue of Ventus and the big group conference, have Yen Sid hold Sora back and explain the consequences of misusing the Power of Waking, a bit more clearly than Xehanort did in the game as-is.

- No Saix talk. In the whole “respite” sequence, I would do without Saix and Axel meeting up. If Roxas and Xion, and Subject X, aren’t here, most of that material would be rendered meaningless anyway. Instead, I would have Riku and Axel talk about being lost to darkness and about second chances. Riku would be at peace with where he’s ended up; Axel would be more ambivalent.

I would also have Riku talk to Sora and Kairi, briefly, before leaving them alone to have their moment with the paopu fruit.

- Revisiting Worlds options. From this point on, when you revisit worlds, you can choose which party you visit them as: Sora, Donald and Goofy; Riku and Mickey; Kairi and Axel; or Aqua and Ven (and later Terra.) If you visit a world as a party that didn’t visit that world, the characters there will drop some line of dialogue like “friend of Sora’s, huh? You’re welcome here.”

- Toggling against the swarm. Instead of having the group all split up, everyone takes part in fighting the massive swarm that meets them when they first land in the Badlands, and you would toggle between parties. You’d start out fighting as Sora with Donald and Goofy; at a certain point in the fight, you’d throw over to Riku and Mickey. At another point, you’d toss to Aqua and Ven, then to Kairi and Axel, finishing back with Sora to use that awesome train attack.

- Maze first, then death. A wholesale rewrite of the events surrounding the battles in this section of the game, basically. The swarm that you just finished battling as all the different parties is replaced by another swarm, of multiple Demon Towers; they just won’t stop coming. Here is where Yen Sid appears to hold them at bay, and where Donald and Goofy stay behind to help as the Keybalde wielders press on.

Our heroes are greeted by Organization XIII, who immediately raise the maze and separate the seven into smaller groups. You, the player, would jump around to each one. I would do this to give individual heroes a bit more agency in resolving their personal stories before moving on to the final resolution. Riku would defeat Dark Riku on his own; you could fight as Ven against Vanitas, and as Aqua as she (and Ven) succeed in awakening Terra (a moment in the fight triggers the Lingering Will to suddenly appear, instead of having Terra inside the Heartless); Sora could join up with Mickey to take out Luxord; and Kairi and Axel could handle Marluxia, Larxene, and Saix. (Yes, I changed the arrangements of bosses. It doesn’t matter all that much. And outside maybe Luxord and Saix, no faux-pathos at their deaths.) 

The casualties would begin in the maze. I might have Ven and Vanitas both fall, after Terra is restored, so Ven can point out that he kept his promise before fading. Axel and Saix could go down together (and I admit that’s recycling Axel dying a noble death; I don’t know what else to do with the guy.) Just to play up Xigbar’s sliminess, he could snipe Mickey as the survivors make their way through the maze, and Aqua and Terra could stay behind to fight him, giving you a turn to play as Terra; the cutscene at the end could show Terra and Aqua wounded, unable to go on. And the very next cutscene could cut back to the Disney characters holding back the swarm. Here is where Donald can use his Zetta Flare, with a much clearer need for that drastic spell on-hand to motivate it. Sora can sense Donald’s fall, and the others, as he presses on, so that he’s already angry and distressed when he, Riku, and Kairi face the three Xehanorts together. And unlike with the other Organizers, you need to beat all three before the cutscene triggers.

Said cutscene would have all the combatants exhausted as Master Xehanort declares that he has his twelve keys and just needs the one more. The heroes can declare that they won’t give him his thirteenth clash; I might give the lines for this to Riku, the one of the group who had fallen into Xehanort’s schemes in the biggest way before. But Master Xehanort jumps in to land a blow against Riku, making for the thirteenth clash with darkness. That creates the X-Blade, and Master Xehanort uses it to summon the Demon Tornado and sweep everyone left away before he turns to Kingdom Hearts. But in this case, it’s Kairi who tells Sora not to give up and is the second-to-last to get swallowed. 

- Play as Kairi in the Final World. If Kairi’s supposed to escape falling into darkness, and if she’s meant to be the one holding Sora to life, go ahead and run with that. This would pay off her discovering the Final World during the tutorial earlier. She (via inference and text boxes explaining things instead of a random cat creature) collects the various pieces of Sora, depositing them in his translucent body. Two of those pieces can be Roxas and Xion (I told you I’d work her in somewhere). Kairi and Sora, and even Roxas, wouldn’t know who Xion is, but she could trigger something within Kairi that allows a telepathic conversation with Namine that gets into questions about hard choices and the greater good - something Kairi hasn’t yet had to deal with, but Namine, a part of her, and Xion, built out of memories of her, have.

Once Sora is fully restored, he becomes the player character again, but it’s Kairi who comes with him to rescue the others, not Jiminy Cricket. She’s your battle partner as you make your way through the worlds saving everyone. Master Xehanort (not the Young version) can still turn up to give Sora another warning about the Power of Waking - and Kairi takes that to heart, more than Sora does. The sacrifices and deaths from the Disney worlds come back to mind, just as they did in the game; only this time, Sora and Kairi have both made the connection prior to this point, and this is just brings it back to mind.

- One battle, two trios. When time resets, it’s after the X-Blade has been formed. Sora turns the time power against Xehanort, and he, Riku, and Kairi follow him while the others hold shut Kingdom Hearts. In the course of this battle, there can be a moment that triggers a cutscene where Riku is severely injured and blasted through the portal back to the outside world. Caught off-guard, Sora is about to be struck down, but Kairi takes the hit. (As I said, I don’t object to the death itself; it’s the execution. This would let Kairi have a chance to shine as a character, throughout the game and in the boss battles, and would tie in more directly to the thematic threads in the chosen Disney worlds and pay off the conversation just held with Namine.) Sora hits a point of despair here, but Donald and Goofy join him for the final stretch (an injured Riku could have enough strength to return to Scala ad Caelum and bring the two of them with him.) And there is no bullshit last-minute redemption for Master Xehanort; he gets wiped out.

- SHOW. SORA’S. FATE. The single biggest flaw in the game as-is, and the one that would most need to get fixed. Have Sora go back to the final world, find Kairi, and have a scene between them. I would have Kairi not want Sora to use the Power of Waking to save her; she would point out its risks to him, and that she made a choice to keep him safe (see that callback there?) In response, Sora would bring up Herc’s line about an empty life. Kairi would be in the same boat, so they’d both be at a standstill. In the end, Sora persuades her by quoting her; that he trusts her to believe that he won’t fade away, and that she’ll keep him safe, even in this. So, as he readies the Power of Waking, the final cutscene is triggered, and you can have that final shot of Sora and Kairi holding hands as he fades away - only now, it’s motivated. And you have not just a bittersweet ending, but a hook into a future game that would be nearly impossible to write Kairi out of.

- Xigbar =/= Luxu. You want an epilogue and a secret movie? Fine. But don’t pull this shit.

And there you have it. Would this be a big improvement on the game we got? Yes, if I do say so myself. Would it be good? I don’t know. Since it assumes everything else in the series stays put, we’re still left with a lot of the problems that III was saddled with, not the least of them being too many characters even with the cuts I made. There’s no clear way that I can see to give everyone a meaningful payoff. But it’s what I’ve got, and it at least keeps the original threesome all prominent and sends Sora off with more grace.