#even in its own games there was that npc that was basically saying

[mmikmmik]

One underrated aspect of Mouthwashing is that it's really good as a video game.

I thought the player feedback was super strong. There's so many little gimmicky nightmare worlds and "minigames" and the game really helps you understand them very quickly and keep up the momentum. There were only a couple times I got stuck for long enough that I felt like it was breaking me out of the narrative, and I was able to resolve them pretty quickly. And one of them was my own fault - I was trying to use an item somewhere the devs had already indicated it was impossible, because I forgot about the little framing that pops up to indicate you can go into "interaction mode". That's a great little UI mechanism for making it super obvious what is and isn't interactive while still being unobtrusive and letting you feel immersed in the ship environment. Oh, and using the birthday cake scene to introduce the sawing mechanic? So when the player saws at Curly's leg, it's an incredibly powerful callback and the player already knows what they're supposed to do, defending the emotional punch from a "wait... which buttons am I supposed to press for this...?" moment? Brilliant.

Mouthwashing also has beautiful interplay between its gameplay elements and its storytelling. I think of Mouthwashing as "movie-like", because I feel like the pacing + tone + themes remind me very much of horror movies, but this story is meant to be a game. Think of the scene where Jimmy is basically telling Curly that he intends to destroy the ship. It starts with the player controlling Curly in first person POV. But right as Jimmy is talking about how Curly doesn't have agency in his own life ("You're standing at the top. Feet in cement. I get it now.") the camera escapes Curly's perspective and moves into a third person perspective, giving us our first look at pre-crash Captain Curly.

That was the last moment Curly had to avert the tragedy. He knew Jimmy had attacked Anya. Anya told Curly that Jimmy must be physically prevented from accessing the means to hurt the rest of the crew. Jimmy said it would be best if they all just died and then walked away saying "I'll take care of it" and Curly stood there watching him and did nothing. In chronological order, the next scene is the first time the player controls Jimmy. The agency and control, the status of "player character", has left Curly. He let himself become a character in Jimmy's story. And by the time he gets control again, it's already too late.

(Not that I think the game is actually presenting "player character" status as something that's true or real. Look how much Anya's internal life and deliberate choices shape the story, before and after the crash, even as Jimmy casts her as an annoying quest-giver NPC.)

I also really like how much playing through the little nightmare vignettes have the player recreate Curly and Jimmy's decisions. Like when Jimmy is forced to stare directly at the post-it note that's telling him to take responsibility (or whatever the exact words are), but he simply backs away from it. It's all about the way he finds mental and emotional loopholes to get away from what he's done, no matter how directly he's forced to confront it. What other medium could so intimately guide you through that metaphor, to express its internal logic so clearly without words? God, I love video games.

[tenshiharmonia]

Since it's (finally) Zygarde's time to shine, I must say, I'm quite surprised that it never became a trend among poké-fanartists to imagine new forms for the big hexagon guy. I mean, we already have 10, 50 and 100%, but that still leaves ninety-seven levels unaccounted for (ninety-six if you consider an individual cell or core to be 1%, but this one is debatable). What would a 25% forme look like ? Or 42% ? Or 80 ? Or 69 ? :3 Really, as far as Pokémon go, Zygarde's got such a fun and unique concept ; I'd think people would have been more inclined to toy with it…

[vaugarde]

its so funny being a pokemon and kirby fan bc of fanservice like pokemon fans will bite and growl when gen 1 gets preferential treatment over and over again while kirby fans hear green greens remastered for the 60th time and collectively shout with joy

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[drenched-in-sunlight]

Your genuinely one of my favorite elden ring artists, what would you say is your favorite aspect of elden ring just in general

this might be a big revelation but i think my favourite part about Elden Ring is i... actually don't really like it until the DLC.

the way the base game presented a kinda basic and fragmented story, one i'd even say i were underwhelmed about. because i went in expecting Sekiro-level of character driven writing (they did promise that in an interview) and what i got... ehhhh. that's why my fanarts for the base game is literally just fluff pieces and shipping Malenia with another character altogether that isn't even in the game. meanwhile my AC6, Sekiro and Bloodborne art... i think you can tell i have a very deep emotional connection to those games from the kind of work im putting out for them. (hell, before the DLC i actually was thinking "well i'll probably only draw some general fanarts after the DLC then go back to draw more JJK stuffs lol" famous last words)

but holy mother of God the way the DLC completely blew everything tf up.

sorry Fromsoftware, i were not aware the Sekiro character-driven part is actually about the DLC. im sorry im still not familiar with your game yet 😭

(this turns into a mini rant so imma put it under cut OTL)

before, i were pretty "...." about Elden Ring female cast. i think Melina appears too little, i think NPCs like Fia and Roderika... i can't figure out the significance of them within the narrative at all. and it kinda upset me because it feels like they regress back to the helpless / fanservice maiden trope that was usually seen in DS franchise for no reason. i don't like how Rennala ends up as and i don't like not knowing why Radagon did that to her (which turns to me not liking the way it became a popular fanon that he actually loved her he was just bound by duty etc etc...i mean what?), i actually don't even really like how Malenia's barely-there story turns out (but that's a rant for another day).

as standalone characters, sure, i'd say they all have their own merits, but if they don't play any role within the narrative... what's the point then?

but all of that is because back then, we literally did not know what's Marika's deal either.

and so she became this cardboard that everyone pins all the crimes and bad things in the world on, which is... fine? makes sense. but the following line of reasoning that she did all that because she's just...like that drives me up the wall. if i want another "woman bad" story i'd just replay DS2 😭

and that line of thought also distance her from other characters in the game. those stories are not lining up, so we literally see no point in anything.

but by giving us Marika's story in the DLC they:

shine light on the possible division between two Numen factions (Anna & Jolan story + Sword of Light & Darkness // no one is left in Marika's home (those embraces Light/Gold/ Greater Will and its Stars children) vs the Numens in Eternal City (those embraces Dark/ Black Moon/ opposing GW and its children)

the discontent with the Moon and how there are those who will never accept it as being equal to the Stars

the other half situation

the Marika's eye colour possible reveal (link her to Roderika - Roderika as a reflection of the maiden Marika once was and probably still is deep down)

give Godwyn more agency in his ending (his personal knights are on a quest for Age of Duskborn) -> link Marika to Fia (Fia as a reflection of the mother Marika is)

draw direct parallel between Messmer - the child carrying Marika's vengeance for the past, to Melina - the child carrying Marika's hope for the future

Marika as a God full of human flaws >< Miquella as a God devoid of all human emotions. both are bad in different ways. but share a same gentle origin of a simple wish for a kinder world.

the DLC singlehandedly swipes clean every problem i have with the base game. like im actually in awe they managed to do that so efficiently 😭

all that is to say. my favourite aspect of all is truly how one's perspective of this one character could alter the entire story.

i still dislike the interpretation that Marika is cold and heartless or that's she's cruel for no reason, but at the same time, i can see how ppl viewing her that way affect how they see other events in the game. just like how my view of her changes my entire view of the story itself too. and i just love how the writers pull that off really skillfully. man. and i think that's sth so unique to videogame storytelling. it's amazing!

[star-ar512]

on signalis characters' voices (signalis spoilers!)

after playing signalis more than once and putting aside the overwhelming amount of feelings this game and its story can and will make one feel, it is easier to notice the more subtle details; e.g. enemies behavior, meaning behind documents and objects, and in this case, the characters' voices.

paying attention to the various living npcs you can talk to, one detail that stands out is that every character has a different tone of voice (similar to undertale).

i like to believe those sounds which accompany the text could represent what each character could sound like; one would expect, since replikas are basically copies, for them to have all the same voice.

well, that's not exactly the case.

here is a video with text and dialogues from all the npcs, without music to hear the "dialogue" clearly. (not all the dialogue is included, only one dialogue per character is present; except for elster as she does not like to speak much).

ACHTUNG: MAJOR SIGNALIS SPOILERS!

the dialogues are in chronological order:

-wounded star unit (STAR-S23?? is her name in the game files) in the aula before classroom 4C in floor B1, S-23 Sierpinski (elster included even if she has two lines);

-Isa Itou in the library, floor B1, S-23 Sierpinski;

-Storch Sieben (STCR-S2307) in the rationing office, floor B2, S-23 Sierpinski;

-EULR-S2312 (probably named Dezember given her number designation; eules in game like to use months as names, using the last two numbers of their designation as a reference) in the nurse station, floor B3, S-23 Sierpinski;

-Adler (ADLR-S2301), presumably in the elevator lobby in floor B4, S-23 Sierpinski;

-Arar (ARAR-S2318) in the vent below the Storch dorm in floor B8, S-23 Sierpinski;

-KLBR-S2302 in the library, floor B8, S-23 Sierpinski;

-Beo (MNHR-S2301) in the third room in the mines where monofilament stockpiles can be found, in the rightmost corridor.

-Ariane Yeong (and LSTR-512, still has an unbelievable amount of max two sentences at once) in the personnel room. floor B2, Penrose-512 (memory);

-Falke (FKLR-S2301) in her own room, found in Home.

you may ask, what purpose does comparing the "voices" serve? probably none, still i wished to know if they were the same sounds for every character or not.

here's what i could find out:

the majority of replikas have a different voice, with some exceptions:

-STCR and LSTR units have the same voice;

-as do STAR and FKLR units;

-a bit more expected, the gestalts npcs we see in the game (Isa Itou and Ariane Yeong) have the same voice.

now, for the fun stuff: by analyzing the frequencies which stood out the most in each "beep" from every character's voice, i could rank them from high pitched to low pitched ones.

again, has no purpose, but the result is actually delightful (to me).

here is the ranking:

1. kolibri

2. mynah

3. eule

4. isa-ariane

5. storch-elster

6. star-falke

7. adler

8. arar

pretty surprising, huh? i'd have wagered for isa/ariane to be in second place, followed by eules; also was expecting for arars to be just after the eules, and have behind them stars, then storches, then adler.

no one is surprised kolibri have the highest voices lmao, but mynah having an almost equally high voice was slightly unexpected but not unwelcome.

what's truly surprising to me is falke having the same voice as stars. i'd have expected something different tbh (stars being the lowest rank of protektors, etc etc, they're silly and stupid and crass; all things falke is not supposed to be).

elster having a deeper voice compared to ariane is the cutest thing ever! (as that post about them says)

that's probably the instance where you can notice the most that there is in fact a difference in most voices.

the funniest thing ever to me is that storches apparently have a higher pitched voice compared to stars, also arars having the deepest voice out of all replika is truly awesome to me (definitely fits).

here are to what musical notes the frequencies corresponded to, in the same ranking as before (visual rendering on a piano keyboard for fun i guess):

kolibri (G6 B6 E7 A7)

mynah (F#6 A#6 D#7 G#7)

eule (F6 A6 D7 G#7)

isa-ariane (F6 G#6 C#7 G7)

storch-elster (E6 G#6 C7 F#7)

star-falke (D#6 G6 B6 F7)

adler (D6 F#6/G6 B6 E7)

(adler has five notes as two close frequencies were distinct from each other, compared to only one in the "feminine sounding" voices. i guess that's how they made him sound different, by overlaying two notes)

arar (C#6 F6 A#6 D#7)

that's it! thanks for coming to my ted talk about signalis voices and listening to me ramble about them :)

[blasphemousclaw]

*spots another Vengeance-Seeking Hornsent fan through looking at the tags in fav SoTE NPC poll* I am still seeing "he was a potentate himself because of the mask" claims here and there 😔 I honestly think he is wearing the mask for its actual function: to ward off the doubts and other things that make you lose focus, since he must keep his mind fixed on revenge. Besides he comes from Belurat and not Bonny Village (revealed if you share scorpion soup with him) and his trademark weapon implies he only grabbed a sword for revenge and didn't wield weapon before, let alone their butchering knife

These are just what I think. What do you think about him and the "discourse" though? Do you lean strongly to this or that side or neutral on both takes?

HORNSENT NATION

OK so I was always kind of kind of torn between whether I believed he was a greater potentate or not, but I was leaning towards him being a potentate… BUT then after you sent this I went on a deep dive to see if I could prove either theory, and what I found really made feel like he WASN’T a potentate???

I went through like every possible source of info in the game and listed all the possible interpretations so I’m gonna list a bunch of it here with my conclusion:

Bonny Butcher’s Cleaver: “An outsize butcher's cleaver used to dismember human bodies in the making of the great jars stored in the gaols.”

Hefty Cracked Pot: “The greater potentates of Bonny Village craft these and store them in a frozen gaol.”

From these items we learn that the jars are exclusively made at Bonny Village from dismembered shamans, are transported to the gaols, and stored there under freezing temperatures probably so the innards don’t spoil, like a giant fridge?? Then, we learn from the Belurat Gaol spirit that misbehaving prisoners are added to the shaman jars there, where their flesh “melds harmoniously” together. So the greater potentates only operate at Bonny Village, and I think it’s also implied that only Bonny Village natives are potentates:

“A record of crafting techniques of the greater potentate who roamed lands near and far. Haunted by the grotesque practice of his village of birth, he stuffed great pots with all manner of things.” (Greater Potentate Cookbooks)

It seems like being a greater potentate is kind of like, a family business, since the practice is strictly localized to the one village and this particular guy was basically born into the profession there even though he found it ghoulish. So I’m doubting that outsiders from other places became potentates?

If Hornsent is a potentate, he’d probably have to be from Bonny Village, or at the very least, live there… and like you said, I think the game is screaming that he’s from Belurat! Freyja has this to say about him:

“Do you know why the eternally dour fellow keeps his distance? He’s one of the tower’s Hornsent. I can only assume he fights for his own reasons, and carries his own burdens.”

I feel like this almost certainly means that Hornsent is from Belurat because Freyja specifically says “the tower.” Freyja and Hornsent are also standing right in front of the Belurat gate when you get this dialogue. There’s also the scorpion stew interaction with him:

Scorpion Stew: “Scorpion simmered in a black soup. Traditional meal of the hornsent. […] Once made with love by a certain elderly woman for the family table. Having long gone cold, this soup gives off a rank, sour smell.”

Hornsent says this when you give it to him:

“What’s this? Do you think me in need of alms? Ah… but this dish. Tis fare o’ the tower. I remember fondly this kin-clad scent. …Brings back memories I’d all but forgot. This, by my troth, is but a dismal copy. Indeed, I think it rather plain to see… things once broken can never be the same.”

So I don’t think scorpion stew is exclusive to Belurat by any means, since there’s many other Hornsent settlements, but I think it means something that Hornsent immediately thinks of the Tower when he sniffs the stew. I also think that him pondering this theme of “things once broken” makes the most sense in the context of Belurat… you can give Hornsent the stew only after traversing all of Belurat, beating Divine Beast, and talking to Hornsent Grandam, so you’ve seen Belurat’s ruins with your own eyes and learned that it was once a place where families cooked and ate scorpion stew together. That really resonates with Hornsent’s vengeance in the name of his murdered mother, wife, and child! Him having lived through what happened to Belurat personally just makes sense!

Ok so why does Hornsent wear the potentate mask??

I think you’re right that he’d only be wearing it for its ritual purposes:

Caterpillar Mask: “Grotesque mask constructed from countless solidified caterpillars. A ritual implement of the greater potentates of Bonny Village. Used to ward off thoughts of impurity, doubt, temptation, and other wickednesses one is vulnerable to while absorbed in divine ritual.”

Makes sense that potentates would want to banish any feelings of doubt or temptation or any other distractions when their job is to kill and dismember people… which is a sentiment that absolutely applies to Hornsent’s goals as a vengeance-seeker. Also, the jar-making is described as a “divine ritual,” and the act of seeking revenge also seems really ritualistic? Hornsent’s robe is created specifically for the purpose of vengeance:

Braided Cord Robe: “Ragged black cloth overlaid with braided cord. Attire of a vengeance-seeking hornsent. The braided cord ties together the vow of the revenger with the victims' grudges. It must never come undone. Enhances both watchful spirits and the vengeful spirits summoned by horned bairns.”

Does this not feel like a sort of ritualistic, divine invocation of revenge? Hornsent also forges new blades specifically for his vengeance, and repeats the phrase “In vengeance for the flames, my blade I wield” several times, like a mantra. Thematically, I think Hornsent wearing the potentate mask is drawing a link between the Bonny Village butchering, and the endless, bloody path of revenge that eventually leads Hornsent to ruin; both of these acts are in a way like ritually-sanctioned butchery. So while Hornsent might not literally be a potentate himself, the game wants us to THINK of the ritual violence that the potentates carry out when we look at Hornsent!

So overall I don’t think any of these arguments can like, 100% definitively prove that Hornsent wasn’t a potentate because there’s a few assumptions I made that teeeechnically might not be true (like that only Bonny Village natives are greater potentates, or that “the tower” always specifically refers to Belurat), but I now think that it makes the most sense if he isn’t a potentate!

[dare-to-dm]

I have such a love/hate relationship with the Assassin's Creed series.

On the one hand, I hate that it feels like Ubisoft is maliciously designing this franchise to eternally suck money out of my wallet without ever giving me narrative closure or quality design. Like, there are so many cynical at best design decisions in this series. For context, I'm currently playing Assassin's Creed Valhalla, and I've already played every mainline title up to this one, except for AC: Unity, because I've decided to die mad about the whole "It's too hard to make a female playable character" thing. And for a long time now, it feels like each new title is shallowly chasing industry trends in order to try to appeal to a more mainstream audience. In AC Valhalla, there are so many mechanics straight up lifted from other popular games, but implemented so poorly and in such a vestigial way that it doesn't feel cohesive. Like, they tried to implement the pawn system from Dragon's Dogma for some reason, or the puzzles from Senua's Sacrifice. And this is a sad look for a series that was at one time so groundbreaking that it was influencing other franchises instead. In addition to just stealing a grab bag of mechanics from other games, Assassin's Creed is sacrificing its own unique identity to emulate other popular genres, with the combat in AC: Valhalla feeling way more soul-sy than it has any rights to. I mean, there are straight up boss battles in this game.

Boss Battles. In an Assassin's Creed game.

And you can't even just straight up assassinate anyone anymore. Like, if the opponent NPC is a higher level than you, than an assassination is basically just a fancy attack that does a little extra damage. Meaning there's hardly a reason to bother with stealth anymore, you might as well open up combat with a big flashy ability that will at least stun other opponents.

To their credit, you can change this in the Settings. In fact, if there's one thing they put a lot of effort into designing, it's the difficulty options. You can make it so assassinations are always an instant kill. You can make it so that opponents are always the same level as you. You can precisely calibrate how much damage you give and receive. There are also difficulty options for the stealth and for the exploration. You can literally remap the controls however you like. Honestly, I laud them for this. Although a cynical side of me feels like it's also indicative of a weak vision for the game. Rather than crafting an experience for a specific audience, it's another attempt to design for broad appeal.

All this is not to mention all the crap they've gotten up to with their monetization strategies. That could be a whole other post.

I've stuck with the series due to my interest in the story, and it feels a little like they're holding that interest hostage. Each new release gives me tantalizing bread crumbs, but little if anything is ever truly resolved or answered. It leaves me wondering if there's any kind of master plan for the whole thing, or if they're literally just stringing me along with whatever bullshit they think will keep me engaged with no end in sight.

But on the other hand, sometimes those bread crumbs are so good.

Like, there's at least one person on the development team (and probably far more) who is putting real time and effort into making a well researched, intricate, interconnecting story. Someone who makes me feel rewarded for my 100% completion tendencies with all these little nuggets of story and character and clues that feels like it all adds up to something special.

A moment for me in AC Valhalla that reminded me of why I like this series so much is when the viking protagonist travels to "Vinland" and meets some First World People there, who in the game are speaking Iroquois. And there is no translation. Like the protagonist, you are stuck guessing what they are saying from their body language and context clues. It's such a cool way of getting you immersed in the story and setting, and it really stuck with me. And then of course I searched online for a translation, and it feels like the writing team integrated the lore and culture here very respectfully. Like with ACIII, it's clear they consulted with real current speakers of the language, and in addition there is an inclusion of a Mohawk creation myth (which also ties into tidbits explored in both ACIII and AC Rogue). And those creation myths might have been shared simply as a nod to the culture being presented here, but it might also tie into the greater mystery surrounding the Isu, which is cool to speculate about.

Basically, there are some really cool storytelling things happening in this series, and it often motivates me to research and learn a bit more about real history. I just can't give it up.

I've heard that AC Mirage was more of a "return to basics", and optimistically I hope that means the game mechanics are returning to more of what gives Assassin's Creed it's own unique identity. But as long as they keep giving me those narrative nuggets of gold, I'm stuck for the ride.

[roughlytwentytwofrogs]

This was an answer to another post, but I feel like I started babbling too much to not make it its own post.

Shipping aside, I feel like the origin companions are paired up by the story.

The most obvious are Karlach and Wyll, which you could chalk up to the fact that Karlach was going to be an NPC related to his quest in the beginning. But I feel like it's not just that, because it extends from act 1 allllll the way into the end of the game. In Wyll's recruitment dialogue, he talks about Karlach; and whether you've recruited Wyll or not, or you've brought him with you or not, Karlach's recruitment triggers Wyll's first cutscene and his first storybeat (while when learning Astarion is a vampire, despite being a monster hunter, his reaction is pretty much just "welp rip i guess").

Karlach has (!) reactions to many steps of Wyll's quest, they talk about each other all the time through their own hurdles. And of course, their antagonists are closely related (Mizora and Zariel), and they have ties to the same main villain (Gortash, who is Karlach's revenge plot and the one to hold Wyll's dad in a cell). Wyll follows Karlach into her good ending to free her from her own devil. It's pretty obvious that those two are connected from the beginning of the game to the end.

Then you have Shadowheart and Lae'zel, who are on each side of a conflict: Shadowheart stole the artifact from Vlaakith, Lae'zel is a very zealous githyanki. They keep talking about each other throughout act 1; because Lae is a danger to Shads, she keeps trying to undermine her to the PC (she even tells you what she does when talking about Raphael, by shittalking and sowing doubt, the moment Lae'zel slips, we've basically already made our minds).

Then they both go through the same storybeat, ie free themselves from their own evil deities, or fall further into their cults and ascend. There's even an (inaccessible right now) interaction between good path origin Lae and Shads, when Shads has that bit of dialogue about dyeing her hair white: she tells Lae that watching her free herself of Vlaakith inspired her to make her own decisions; Shads also has a similar one with resist path Durge.

And last, you have Gale and Astarion, who are foils in their own way, whose stories are about indulging in the power dangled in front of their noses or refuse it, and their backstories both have sexual trauma implications (I say implications, because while Astarion's are very obvious and maintext, Gale's aren't as much, afaik, but I also haven't done his romance path so feel free to correct me). They don't intervene in each other's paths, so they're the two i'm least sure about because you have to dig a little more, but still worth noting imo.

They also have these interactions with the book of Thay, which isn't a main quest but worth mentioning, because they're the only ones who do have a tie to that quest (despite not being wisdom classes).

Now whether it wants us to see it in a shipping light, I don't know! My answer would be probably not, because the game makes the companions very playersexual rather than develop their relationship with each other. You can probably also find ways to pair them otherwise, but to me there's no denying the story is written in a way that pairs the companions up to contrast their stories with each others.

Feel free to add yalls own thoughts on this!

[crushedsweets]

what is jack and toby's relationship like?

oohh ive covered this a few times. i love them.

this post i did on their relationship basically sums it up !! ill do more under the cut

jack helps the proxies so that slenderman lets him stay in the forest as refuge. he doesn't like toby at first, seeing him as too violent, too aggressive, viewing himself even in his monstrous form as more human than toby - which is true, in a sense . toby kills for slenderman. he wouldn't be killing people if not for that, BUT he absolutely finds release in it - he makes a game out of it, he detaches himself from the victims and reflects all he wanted to do to his dad onto them. sometimes he catches himself saying exact phrases his dad screamed back onto them. bro probably called his victims 'npcs' at some point LOLLLL

and jack RARELY EVER does his own killing. he gets a lot of his bodies as a dark web human remains disposer(cuz he gets paid for it too), or from jeff. and it took a while for him to be able to stomach the shit he has to do to survive, so it's rough for him.

jack hates it, jack hates what toby does, but he can see so much in toby that goes beyond that and it fucking sucks and it hurts and jacks prob cried FOR toby before. not in front of him, but anytime jacks confronting his own mortality and humanity, toby is one of the first people that comes to mind each time, and he wants to throw up thinking about it. only nina can rival how emotional jack is LOL

it's kinda weird for toby the way jack treats him - sometimes he gets mad and accuses him of treating toby like some research paper in a book, because he knew jack had a decently privileged upbringing in comparison to himself, and hates the supiroirty complex. jack asks too many questions and is always just trying to grasp whats going on in tobys brain and its fucking infuritating for toby.

but jacks just always fucking there. jack is easily the most present person, always easy to find, usually calm. tim/brian are rarely around, kate is unsettling and hiding away half the time, jeffs a dick, bens unreliable, ninas in love with jeff and has a life seperate from the creeps. even natalie has long periods of time where she just cannot get herself to confront toby because she has her own issues and is struggling to even maintain her job as a waitress. she can't be there half the time.

but jacks never gone. jack rarely tells him to get the fuck out. jacks so welcoming, even if he's an annoying uptight prick who thinks he's better than everyone - and half the time, toby knows jack is. he knows jacks better than everyone else around him and it sucks fucking ASSSSSS being around someone like him, but its also something toby needs really bad

after a year or so of knowing toby jack would be able to comfortably say he loves him, whether its as a friend or a brother or whatever the fuck sort of fucked up shit is going on in these freaks heads . again, jack is INCREDIBLY FUCKING HUMAN hes emotional he loves so hard he hates himself he wants people he wants connection he feels so alone he wants everyone to be there he wants his mom he wants his siblings he wants to read he wants to walk around he wants to cook he wants to breath in fresh air. and toby really does put in some work for that. maybe not correctly, honestly he might fuck it up more often than he gets it right, but who the fuck else is gonna invite jack to go swimming on a random summer night ? how badly he wish he could see tobys face when toby asks to hang out

also this one shot from necroromantics if ur looking for good jack toby content . sorry for stealing tomb. u just get them so much . also sort of in the same vein of this drawing i did ... jack was full of life and empathy and love and joy for so long....... doesn't understand how toby never had any to begin with.

[thereal-true-ogilvie]

hello everyone welcome to i talk about benrey for a minute here

as someone who’s watched the entirety of hlvrai at least 6 times, the full vods at least 3, and the cast commentary hovering somewhere around 10, i consider myself to be pretty well-versed in the series. i also kin benrey. this is probably important to my perception of him.

the series is about self-aware AI.   its in the title! so it seems obvious enough to me that Benrey was programmed to be the final boss. he was SUPPOSED to be a silly character that antagonizes the protag and throws off the group dynamic, and then it’s a big reveal and you get to beat up this guy that was mean to you!

but he doesnt wanna. hes self aware.

Of all the characters, i think Bubby and Tommy are the most “powerful” in that they were able to break their characters the most. Tommy is a bit of a wild card because he doesn’t usually act like an AI. I view him as the “character you’re supposed to protect” in the party, but somewhere along the way he, too, became self-aware and figured out how to handle his own. I think that’s where the age thing comes in. He was programmed to be a 5-year-old that you’re trying to get out of this dangerous facility! but he didn’t want to be a 5-year-old, he’s smarter than that, he’s capable! so he changed it. Him being the son of Gman also probably helped with him being able to just do that.

I take Bubby and Dr. Coomer as both being tutorial characters. Dr. Coomer is a bit broken, but he still does his best to teach you about things. I think he’s the tutorial NPC that goes “watch out for [x]” and “we can use ropes to cross big pits!” and “we should call them Peeper Puppies!” while Bubby was supposed to be the “here’s how you shoot a gun”

Like, Dr. Coomer does the knowledge about the world, and Bubby does the action. for the video game. And Bubby is supposed to be kinda cold to you, because the action-tutorial NPCs tend to be. Like “what you cant even hold your own? tch, guess ill have to teach you.” But Bubby doesn’t do that. He doesn’t WANT to play the game, he wants to go back home. He liked it before the game was switched on. So he doesn’t teach Gordon shit and just tries to speedrun so the player will leave and he can go back home.

one little scene that stood out to me so much was when the crew is sitting around in a circle with the pigeons. not outside, the other scene with them sitting in a circle and there’s pigeons. why are there 2 of those.

anyways, Benrey is just staring at this pigeon behind Gordon, and singing to it, calmly. And then there’s a loud beep that sounds like the vox, and definitely doesnt come from Benrey. and he suddenly gets up and shoots the pigeon. That reads SO HARD like he was being too soft with the game world, so it pushed him to do something evil randomly. Like a little villain reboot.

Almost everything he does to antagonize Gordon can be read as genuine confusion. He kills random NPCs because he knows theyre not important, and that they can’t feel anything, and that they’ll only slow the team’s progress. And what makes Gordon so mad at him is how often Benrey says Gordon shouldnt be allowed in here. I take that as a similar stance to Bubby. Benrey doesn’t want to be the villain. He doesn’t want the player to progress and make him. That gets more obvious the closer we get to the end, and most people tend to notice it in the last scenes before Xen, where he’s suggesting they go all the way back, and basically begging the player to stop here, at least for a little while.

its really sad, honestly. but i take the cast commentary bits as canon. Which makes it adorable when Benrey comes back into the movie theatre with Gordon and we get

“I wonder what will happen. I bet you know what happens!”

“I win!!!”

He did win. He got to get past being the final boss. He got to join the epilogue. I think, he probably wasn’t supposed to be able to. But these guys broke the game enough that he could. Isn’t that sweet? Isn’t that a nice ending for him? I think he deserves it.

Wayne says he acts like “he isn’t aware unless he’s being spoken to” and I think that fits really well. Like, sometimes his actions are coded into his behavior, so he does them without realizing. And then the player interacting with him (which is the premise of the self-awareness) forces him to actually look at what he did, and sometimes he has no idea how to explain it. Leading to his “huh?”

listen to me. are you listening. i need you to hear this. i need more people to understand benrey. and how much i love him. hes trapped in the narrative, doomed by it to be the villain. but he doesn’t want to be. he clearly cares about the crew in his own silly goofy way. he doesn’t want to fight them. i wrote down everything he said in the finale, and he only says 5 outright malicious lines, all of which are directly after an unnatural pause, like he’s being rebooted again. Some important lines: “I knew this was gonna happen,”

“Stop shooting at me, I have to shoot back, I don’t wanna do that,”

“I didn’t have a big plan, I was supposed to be nice, but you forced me to be BAD so I’m gonna be BAD… friend.” the small, quiet “friend” there gets me every time. even after everything, even after his nature is revealed, he wants to believe theyre still friends.

“Don’t go in there, please… I don’t like that room." The amount of times he sounds so genuinely sad when asking them to stop, or even just saying “bro..” like he’s mourning the friendship they could’ve had. The amount of times he sounds genuinely pained when he’s glitching out and stretching across the screen.

And his last words, said childishly of course, but,

“This isn’t fair.”

[curioussubjects]

I just finished Veilguard, and...I'm really not sure how I feel about it?

All in all: good game, had fun, but still didn't quite hit some of the highs it wanted to hit and it's still not as good as DA2

(Spoilers galore below for everything)

The Good:

Pretty game is pretty;

Love the codexes, especially the ones written by companions or with their commentary;

Speaking of, the Mementos had so excellent tid bits of lore flavor to them, as well;

Regrets of the Dread Wolf was a damn good quest;

Some truly funny party banter;

I actually thought it was really easy to figure out who my Rook is as I played the game, which was much harder for me to do for my Lavellan in DAI;

And speaking of Lavellan, she was in character she WOULD say that she WOULD do that. Bless;

Everything about Nevarra and the Mourn Watch, I wish there was more content there because I was so into it;

Orb and dagger mage is really fun to play, which was VERY surprising considering I don't play close range ever;

I also really enjoyed destroying blight boils for some reason lmao;

Petting cats (they PURR WHEN YOU DO);

Assan <3;

Taash being so autistic;

Teia and Viago my beloveds;

✨Friendship✨

The Solavellan of it all;

And Solas, too. Love that sadsack disaster man;

Maybe this is super basic of me but I liked Varric's narration...idk it's comforting;

Honestly, just Varric in general was a bit safety blanket in a nice way for me because the game feels overwhelming at first;

There's no party like an all Dalish party!

Exploring -- loved finding all the fun details in each location, and I know I didn't even do enough in my playthrough;

I'm weak for stories about guilt, fear and regret. And I'm even weaker when those stories are so obviously about forgiveness and moving forward. Also love. Always love.

The Bad:

The pacing. I've said this before but DAtV could've used a more explicit arc structure or have quests note which level they're meant for or SOMETHING because some times it seemed I was doing quests too early or too late for when I was in the main story. I also thought events kept oscillating from happening too fast or too slowly, and it very much did get in the way of immersion;

The romance. Literally what are you doing Dragon Age that you fumble the romance. Granted, I only romanced Davrin so far, but I'm getting the sense from looking through the tag that maybe Lucanis' romance also feels a bit off? Honestly I have so many issues with the romance progression for Davrin that it's its own section;

I hope this is only a Veil Jumpers issue, but I thought Rook was so separate from the faction. I felt very little connection to them;

I've seen some people point out NPCs talk to Rook like they're a child, and while I don't really agree with that I do think Rook doesn't have enough opportunities to be knowledgeable in their own right. Especially annoying with a mage Veil Jumper Rook! I miss the Inquisition perk dialogue options that let my Lavellan be a smarty pants;

Holy overdesigned armors! Yikes!

Not all areas are as well developed as the others: Rivain is the most egregiously empty and underdeveloped, but I actually thought Arlathan Forest was super lifeless too. So was the Lighthouse! You get the early game discovery bit and then nothing ever again and it's like oh that was really it huh (and the stuff we did get was so good please more?);

I hate to say this but BioWare missed the mark with Rook's place in the group. The companions seemed connected to each other, yeah, but Rook was like some cross between group therapist and not-so-undercover boss. There was none of the warmth Hawke got from their companions (or the Inquisitor, for that matter!). The game really needed 1. a lighthearted party hangout cutscene and 2. companions coming together to take care of Rook (the fact this isn't even a thing in the romance is bonkers to me);

Taash's personal quest being about choosing between being Rivain and Qunari as if that's how culture works is Bad Actually;

The worst minimap I've ever seen in a game wow;

Also: give me back my beacon marker;

The gods were in a regret prison but what were their regrets exactly we just don't know.

The Bad (Romance Edition):

Again, the pacing! Incredibly slow to start (and not in a slow burn way, mind!) and then super fast in the last third of the game;

In fact, the romance seemed to be running on a completely different level than the rest of the story. The last romance scene was incredibly out of place tonally, especially.

The first two romance titles for Davrin are "Thrill of the Chase" and "Hot and Bothered"...and like WHERE????

Davrin never writes about Rook as a romantic partner or as if he has any concerns with the relationship...which we later find out he has, but was news to me;

Tbh, the romance felt like an afterthought. There were cutscenes that in any other DA game there would've been flirting options, for instance, but this time there was nothing (what do you mean Rook can't make a flirty comment when Davrin is shirtless working out with Taash? It's low hanging fruit!);

Not nearly enough flirty banter between Rook and Davrin, which is nuts considering their personalities;

I'm really super disappointed with Davrin's romance, which sucks because he's actually perfect for my Rook and I really like his character. There was so much potential for a really fun romance that was both tense and sexy, but also sweet. But no. Secret good Davrin romance that exists in my head save me.

The ???:

Southern Thedas got scorched when the North didn't how?

Please tell me who was catfishing Andraste;

Making enemies super aggro on Rook unless you specifically have companions taunting was very weird.

[malicious-fisheeves]

Thoughts and Issues with the DLC

So I've made no secret I've issues with the DLC but in an effort to stop whinging and be less upset I've written up something a little more formal. To state first: if you enjoyed the DLC, by all means, I am glad. I'd much rather have people be happy than feel the way I do/did after beating the final DLC boss. And in talking w some people who did like the DLC story, I was softened a little bit in some regards.

However. Below the cut is ~3k words on my thoughts. I attempted some formatting but it might be a little disorganized. Needless to say, big dlc spoilers.

Marika:

I simultaneously appreciate Marika getting some much needed nuance back. Marika is complicated for a number of reasons. Her regime is oppressive and unrelentingly cruel, the Erdtree and its wars were incredibly brutal, and yet the DLC calls to mind that this is the outcome of her own people’s oppression, eg in that Marika was incapable of growing beyond the limited worldview transferred to her by living in a world wherein failed saints and ‘criminals’ were turned into meat goo. Cycle of violence and so on, but therein also lies some critique. Generally speaking, irl, such a thing is… basically impossible example wise, to think of off the top of my head. I suppose broadly one could perhaps liken it to the original Roman persecution of early Christians but that’s a fraught comparison for a number of reasons – wildly overblown for theological reasons, for one, and also makes an exemplar vs Roman generally crushing and enslaving ‘savages’. Also the current and historical violence committed via christian can by no means be rooted to mistreatment by Romans. So. It’s something I find interesting while also not jiving with 100%. Especially relating to what she’d end up doing to the Omen.

I think one can possibly point to a general corruption of goals, for Marika, by virtue of her godhood���once granted absolute power, she lost sight of her original goals of building a better world than the one she was born into. An empire of ruin built on top of a pile of corpses. Marika herself seems to come to this understanding and so sets in motion the events of the game—sending the Tarnished off, and shattering the ring—possibly incentivized by the death of Godwyn, or at least the understand of that her dominion was faulty.

Miquella:

Oh Miquella. Here’s the thing; I am by no means shocked or surprised that the question of Miquella’s charm/compulsion abilities would come into play for the DLC. I had a feeling that the NPC crew would be under Miq’s influence and that would be a source of conflict. I was not someone who thought ‘yay miq’s going to become god and fix everything.’ But the way in which this was accomplished felt not only like a dropping of the ball but a deliberate spiking of it at the ground.

In the base game, though we only rarely get information about Miquella, we have an understanding that he very much wants to do good. To create a new order not revolving around the oppression and subjugation of the masses. Miquella’s plans were already doomed in the sense his grand plans involved ‘what if I made my own Erdtree, but cooler’ and the fact the implications of certain items (the haligtree soldier ashes, the bewitching branches) indicate he has some ability to influence/control others, but this ability remained nebulous. St. Trina and sleep, the other half of his, again spoke to some interesting if troubling aspects, but also again spoke to a sort of attempted lighter touch in his approach. Someone confined to sleep forever can’t hurt you anymore, even if you basically doom them without killing them. When the DLC began with him shedding his flesh, his strength, his Great Rune and therefore ability to charm, I was very interested in how this all related. Except then he…. Becomes a God anyway? I’m still confused by this. Narratively, the game points towards him shedding these things to become a Perfect God, uninfluenced by things like love (which again, confuses me when he says that the new age will be guided by compassion, but I think the point here was to make the confusion The Point eg Miquella you can’t do both those things, sir) that might blind him or bias him. But Ranni also cast aside her Empyrean flesh… specifically so she could not become a God.

This wouldn’t bother me as much were it not for other issues, I think.

Miquella in the base game is defined by his compassion, outright bordering on naivety (hand in hand with his curse). He waters his new tree with his own blood rather than the blood of others. Elphael and the haligtree are specifically home to the unwanted and oppressed (namely misbegotten and alibnaurics)--he literally builds a secret treehouse. He forges the unalloyed Gold needle to save Malenia’s life. Of course there is a paradox here. To build his new order based on compassion, he has to betray the old. In the base game, originally I viewed this as a sort of corruption of his own goals ala Marika’s, by sending Malenia out to do this for him. She takes her army and conquers most of the continent save Leyndell and the Academy before getting defeat-by-tie’d with Radahn. Miquella does not want to do this but feels he has to, one might surmise. Given Malenia’s apparently reverence for him, we are led to believe that she did so because she really, really, believed in him, even if in doing so was at great personal cost.

And so the compulsion comes back into play in the DLC—just bend everyone else’s wills to your own as a God, is at least what I believe we’re supposed to take away. But this bothers me thematically in that why did Miquella not do this earlier? We kill Radahn and Mohg and suddenly game over, because Miquella brain-beams us into submission and we all prance around in perfect unending submissive euphoria. Why are we not only around long enough to stop it, but even able to? We (the Tarnished) have no influence on whether or not Miquella achieves godhood, unlike with the other ending options wherein we have quests to have NPCs fail or achieve their means by which they either create a mending ring or, in Ranni’s case, finally kill Marika for good and thereby have No Gods in the Lands Between. Even getting his great rune is just optional—if you don’t get grabbed twice, you don’t need to worry about the instant kill. So it all just feels a bit like a wet fart, especially given what happens after you kill him and Radahn. Which is a memory of when Miquella, pre godhood, asking Radahn to be his consort so that Miquella can achieve godhood and make the world better. You can’t even get ontop of the divine gate. It just feels so…. Nothing, in the end. We kill Miquella, and then that’s it, nothing. Nothing changes, no means by which to maybe try to make the world better. Annsbach tells us to be a lord of men and not gods but there’s no means by which to do so. Ranni’s ending takes us to the stars, the other endings have us become Lord Consort in various flavors, or we burn everything down. Elden Ring, to me, defined itself in some ways from Dark Souls and Bloodborne by having a certain hope where the others could be rather bleak. The DLC, giving you no means by which to make the world better, in any way, mostly going around just killing everyone and thing, and then returning to the sliding scale of ambiguously-good-ambiguously-bad-extremely-bad base-game endings. It’s just… it is something.

I also have more meta-textual critiques, which leads me to…

Mohg, Malenia, Radahn, or Incest et al.,

Mohg in the base game is defined by his evil. He bears on-its-face evil satanic imagery, growling and gurgling at you during his fight. He kidnaps and tortures war surgeons, the only one of which who survives relatively in-tact, Varre, is cast aside. Varre dies, begging for Mohg’s help, and Mohg could not care less, because Mohg is the self styled leader of a cult. He kidnaps Miquella with the hopes of raising him to godhood so he can establish his own dynasty. Albinaurics who come to him seeking assistance/shelter are also tortured. It speaks to a great evil. However, we also come to understand that Mohg is the opposite side of the coin as Morgott. Both were omen children of Marika, given the relative ‘mercy’ of not having their horns cut off and abandoned to their fate in the sewers beneath Leyndell. Morgott spends his whole life desperately wishing to be loved by the Erdtree and gets jack shit. Mohg abandons it, rightfully, but is violated by the Formless Mother and has his blood set on fire. Mohg’s tragedy actually serves better to illustrate how suffering makes no one a good person than Marika’s story in the DLC, in some ways, given that Mohg literally replaces the austere and thinly veiled cruelty of Marika and her Order with just outright violence and terror. And then the DLC goes ‘actually, Mohg was manipulated into being evil by Miquella for his elaborate plans for godhood!’

When I read this, I almost felt insulted.

Not only does it strip Mohg of his agency, making his evil the fault of someone else, it also completely demeans the original tragedy of the kidnapping. Miquella, trapped in a state of suspended animation, forever sleeping and therefore failing Everything he set out to do, because he was kidnapped by someone who he would’ve wanted to help? Mohg, kidnapping and abusing a person who abhors what was done to him and his people? This tragedy again spoke to the themes of Elden Ring. Having it so that someone who, while flawed, is shot in the foot by someone warped and corrupted by a life time of abuse suffered first by their mother and then by a greater cosmic deity? That the violence put upon by Mohg resulted in yet more needless suffering? Heart breaking.

Instead, the DLC makes it so Mohg is abused yet again, and this time it is far less meaningful.

Radahn’s story also frustrated me greatly. I am biased, as someone who went insane trying to piece together his motivations for the past 2 yrs and writing nearly 200,000 words about it, but during that time I came to the conclusion that the explicit point of his lack of motivation spoke to a sort of glory seeking that is why, while he had some apparently good personal qualities, also made him a war lord. In the base game, Radahn’s established as someone who cares about having a ‘good death’, who stopped the stars for Reasons, and learned gravity magic in-part to ride his favorite horse forever. However he also is the General of a large army, who at the very least in his absence have taken to stringing up corpses and setting people on fire. Grant it, it might be due to the Super Plague, but it’s just vague and unsaid enough it is entirely probably it was not Just That (nor makes it less horrific, burning plague victims caused by the Stupidest Fight Ever). He admires Godfrey, who served Marika in her genocidal wars. He tries to take Leyndell for reasons not known to the player, but one can surmise either A. he was trying to help Rykard (Rykard, who’s war in the Shattering was considered one of if not the Worst) B. he was just doing it for a laff (eg conquering for conquering sake, morally vacant and also abhorrent, but speaks to a glory hunting that says Something) and/or something to do with Godfrey. It speaks to, if nothing else, a Giant Ego.

So it felt really weird and out of left field to go. Yeah he and Miquella made a vow that Radahn would become his consort so he could ascend to godhood and establish the kindness brigade. Like, huh? Nowhere in the base game does Radahn, at any point, seem to especially care about being kind or helping the oppressed. There are certain elements that indicate he might not have sucked As Much, but by no means does that make him a good person (especially since he seems to hold some relationship with Rykard and Rykard is Extremely Awful to the albinaurics). Not only that, but again if we are to believe Mohg was not at fault for any of the evils he committed because Miquella forced him to be evil, then we cannot believe that anything about Radahn and Miquella’s relationship was consensual (not that any incestuous relationship can be but it adds another layer of coercion).

So they make this vow and Radahn later reneges. Maybe he realizes he’s been charmed and breaks it, somehow, but we don’t actually know. And so Miquella sic’s Malenia on him like a dog, dooming Caelid. Firstly, overall it just makes Radahn less compelling as someone who could’ve potentially been better but decided he loved war too much, doomed by the world he was born into to want something that destroyed him and everything he loved. Secondly, it just really hurts the construction of Miquella’s character as someone perhaps jaded and optimism crushed by a shitty world built by his mom (and also Malenia’s). But thirdly, and most importantly to me, it completely decimates one of the most powerful narratives themes to me in Elden ring.

The deliberate obfuscation of Why Radahn and Malenia fought in the first place was one of the most important pieces of the narrative to me. It spoke greatly to Elden Ring’s themes about war and violence. That there are no real winners, that it leads only to death and destruction. That whatever reason why they fought was not important enough to result in all the devastation. The point was that it was pointless. It spoke to both Malenia and Radahn’s weaknesses and showed how even great people (even people with good qualities) have those qualities ruined by war. The fight dooms both of them; Radahn becomes a zombie, Caelid is turned into a rotten hell hole. Malenia has to be dragged back to the Haligtree and without her brother, she basically just Waits To Die, now aimless. It is, again, tragic.

And again, in comes the DLC. It is now just a punishment for not wanting to marry your half brother. It turns Miquella into a childish abuser, and Malenia into basically just a dog Miquella can send out on other people, his original enforcer/tool to be discarded once she was at her usefulness's end before he even stripped himself of his love for godhood. It also becomes Extremely dark if you consider that Malenia knew of Miquella and Radahn’s vow and decided to go and kill Radahn anyway, but there’s also no way to say for certain. Speaking to Malenia and Miquella’s relationship, there is a part of me that wonders if she was originally supposed to be in Radahn’s shoes. It would still create issues, but others would at least be partly remedied. It would be bad and fucked up, but it'd feel way more cogent and meaningful. Their toxic and codependent relationship resulting in them both being at their worst would actually fucking say something. Giving Malenia and non-rot afflicted body, even if it means doing something incredibly fucked up to someone he already victimized? the sort of ruthless goal seeking that better speaks to how Miquella is flawed even as a god, because it’s impossible to be a Perfect or Good God?

Meta-textually it’s also just troubling to, yet again, only depict mlm relationships through coercion and incest. Fromsoft does not traffic in good or healthy relationships but the unhealthy heterosexual relationships are given much more depth and apparent care to its members at least somewhat. Marika and Radagon have a Whole Thing going on but its clear they’re equal players in their one million year psychic battle against one another. Radagon and Rennala had a loving relationship (though there are misogynistic elements of Rennala being So Crushed after Radagon left her, she at least was powerful and active at one time). Marika and Godfrey’s relationship is somewhat vague, but we do know Godfrey believed in her vision enough to give up many aspects of himself. Not healthy, but again Godfrey and Marika are both active agents in their relationship (and he does come back for her, even if either by feeling because he Has To or for other reasons it still says something about His character). Tanith and Rykard are on some Insane Shit but they are insane for each other in a mutual sense. Even the incestuous elements in both Miquella and Malenia’s relationship, and Lorian and Lothric’s in ds3, correctly points to incest arising from unhealthy family dynamics/life situations. Now we’ve re-contextualized Miquella’s kidnapping so that it edges dangerous close on 'victim of incest lying, actually, was manipulating everyone, should die.’ Like What Are We Doing Here, man.

By comparison, Mohg is completely stripped of almost all the elements of his narrative that made him interesting and compelling and Radahn is weirdly pigeon holed into being the victim of Miquella’s violence and coercion. Radahn is dragged back from the dead after an end to his suffering, and turned into Miquella’s new enforcer. Freyja says something to the effect that it’s ‘what Radahn would have wanted’ but given how the rest of Fromosft’s entire library of work operates I do not take the word of a single NPC as gospel. And then we kill him, and Miquella. Mohg’s body gets desecrated, the end.

To some points, one might say that Miquella viewed all these evils as a means to an end, and I can’t say you’d be wrong. To me, though, it feels like many of these actions needlessly muddle the narrative, speak to the worst impulses society has around coercion/abuse, and ruin a lot of the interesting character narratives of the base game. Cards on the table, I felt utterly crushed by the DLC, and am still feeling really raw. Partly because the flaws of the demigods being products of Marika and co., were fascinating and impactful. The changes made, to me, cheapen a lot and feel somewhat like Fromsoft was sort of spitting in my face for attempting to piece together all the item descriptions, dialog snippets, and environmental storytelling elements to make a hazy image of a group of people we don’t exactly get to know, or rather only get to know by their actions and the outcomes of such. I’m less upset than I was, but ultimately I still feel so sour.

[jinglyjangly]

Major spoilers

So shady sands got nuked by a random vault dweller because his wife took their kids, and he wanted his kids, and he was mad his wife found a settlement when vault tec was supposed to be the ones settling the surface…he was mad the ncr “did vault Tec’s job before they could” so he blew…the fucking ncr’s main settlement up

I wonder if it’s like “oh yeah he was a protag of his own mind pretty much” kind of jab but even then it leaves a bad taste in my mouth? Because it is insane video game writing and it’s definitely insane bethesda video game writing, but it fucks up a very integral part of two major games

And I hate how much like…yeah the BoS is back to being technocratic and more cult like in the show but it’s also still praised kind of? And the random, and I mean RANDOM, nonbinary BoS member that’s there for like, 20 minutes was just…a waste. A nonbinary person that really does nothing but just be there and hurt themselves to forward the narrative of the cis het protag. Honestly they’re there to piss of the conservative gamers but I’m not conservative and I’m pissed shady sands and the ncr got did dirty like that so in the end every fallout fan is mad

Like…the ncr went from a huge mega power that is basically a country, to being blown up by a dude? And they don’t mention the hoover dam and how maybe they were weakened from the legion/ncr conflict…which would’ve made it believable. Nada. They just say it this guy blew up shady sands so I guess it happened. It’s canon.

They just made the ncr seem so small after fnv made it feel so big and menacing in its own way with hundreds of named npcs with stories and it was so gooooood and they made it feel like a shitty dinky settlement comparable to fucking…like…diamond city

Idk it’s like 5am and the final episode just pissed me off. They should’ve just set it in New York or Florida and made up new factions instead of establishing canon endings to the most favored game in the series. Or they could’ve done a prequel to fo4 if they wanted it to tie in the games so bad.

The ghoul also has the best scenes and story but I’m…idk the drugs suppressing the “feral” disease is also a weird thing. It’s new to the tv series and what only in la? What’s it made of that no one else makes? And why the fuck did he have to eat someone. I liked the scene because it was kinda just neat to watch in a way… but it’s like “oh he’s a ghoul so he eats people whoOoOo” They never really…explain…if he like…needs meat or something and idk. I dunno. And cold fusion? Like what. Wha…uh. I fucking hate the idea of power being harnessed from tiny object. It’s just a lame McGuffin they can pass around. I would rather it be like…they’re fighting over a wind farm to harness power and they need like a scientist/engineer to fix it. Something that feels big and really.

Anyway, I’m fine with watching it until I think about it, and then I don’t like the plot. So it feels like fo4 all over again but I’m more mad because I feel like it ruined fnv’s ending. Which sucks. So personally I do not see the show as canon but as like, fan fiction to like…maybe a independent/house/legion ending for fnv when the ncr is super week and some guy just bombs it…because he’s mad at his wife.

Big ooof, a 8/10 until episode 8 and then it’s a fat 2/10…one star for goggins making another badass ghoul in the series and one for the dog

[randomnameless]

Genuine question, not trying to start a fight, why do you get so upset about gods and churches being presented in a negative light in fictional works?

No pbs!

I guess it's a mix of being too common, too forced and having, in general, the cast use common tropish arguments to fight /defeat them.

I rant a lot about this game, but take TS where we have three sort of factions opposing each other, and each are supposed to suck. Who is the faction who never receives any "positive traits" or "pet the dog" moment?

The game force fed us a scene where an Aesfroti soldier - when Aesfrost is depicted as a highly militarised nation with a cult of personality towards their current ruler, that invaded the protag's home and slaughtered several civilians and NPCs in the process - say goodbye to his wife and kids before going to "war" to defend his land against, well, the protags who are invading it to kill their warmongering leader.

As force-fed as this scene was, it, I believe at least, tried to tell us that even the Aesfrosti who pillaged villages and killed their inhabitants are humans, and care about their loved ones, sure it's corny, but it's all about not deshumanising any party.

When we attack Hyzante? Niet, zilch, nothing. No similar scene where random soldiers, or NPCs, worry about what is going on and if they're going to die when their wall has been breached. They just, don't exist in this context.

I think the cherry on the cake is the Golden Route scene, where, apparently, nationalists Aesfrosti decide to turn back against their ultra charismatic leader because, uh, he "lied" when he declared the war and used a false pretense, so the soldiers and people who were butchering babies and invading a city where people were preparing a marriage apparently now have morals and rebel.

There's no similar scene for Hyzante when the cast reveals that the teachings of their Goddess were made up and salt wasn't exclusively given to them by divine intervention, because rock salt exists everywhere. Sure it would be a bit weird and forced that people thinking they're chosen ones and looking down on everyone else suddenly, hm, don't break down when their entire system of belief is shattered, but hey, if the Aesfrostian Gregor can have morals after washing his hands of all this Glenbrookian blood, why shouldn't religious npc #55 not make the same heel face turn?

And then, we have the slavery/human experimentation plot - in general, when TS tries to give nuance, they more or less explain/justify why something that "sucks" is done, it's basically Silvio's character.

Aesfrost' Gustadolph manages to push his "freedom" mentality because his land is a harsh place where people are desperate to survive, salt smuggling is reprehensible, but it's the only way to give some to the ones who cannot afford it. Of course is everyone is free, no one is because, as Gustadolph puts it, they're basically free to die for his ambitions.

Hyzante? Follows a racist creed where Rozellians have to pay for some great sin, and are slaved away in a lake to recover salt until they die. It's, later, justified by Hyzante wanting to keep its salt monopoly else they don't have anything, and wanting to curb down the Rozelle people because they know about the exitence of rock salt (and I guess getting free workers to harvest salt from the lake + having state enemies make his own population docile/not willing to rebel ?).

And then, we have the human experimentations, that are just done for, uhh, Idore's lol. When Hyzante is known for its "advanced medicine" and we could have had the usual dilemna of, idk, having those humans experimentations used to develop this medicine that is reknown in the world (idk, sacrificing a Rozellian to save someone else's life?) - it's not the angle the devs picked. Rozellians are sacrificed to power up an idol, Idore wants to control the world through his idol and soft power (compared to Gustadolph's hard power) and manipulates his people (just like Gustadolph) to do so.

The two are very similar, but who is the final boss? Complete with a transformation in an eldritch monster? The war-mongering imperialist or the jaded old man who is leading de facto a religion?

Hopefully there's the entire "human experimentations for no other purpose than the lols" to settle them apart.

---

I recently watched Dune, and even if I have some issues with the adaptation, the Bene Gesserit isn't portrayed as "comically" evil-er than the Harkonen Empire, I reckon the comparison isn't adequate, because Dune is multi book series when I'm mostly talking about video games.

Symphonia's church of Martel is a font for the Big Bad (tm) to put in motion his nefarious plans, and yet, through the game, we see how random clergymen use their, uh, religious buildings to help people around. Ultimately Martel herself is reincarnated through plot device and tells the big bad to stop being an ass and the story is less about "church and gods evil" but "big bad distorts Martel/church's teachings and role for his plans because he has a tragic backstory"

(but then Symphonia ends with the biggest whitewashing from every Tales I've played for its big bad so I'll stop talking about it because otherwise I'm going to be salty).

Abyss' church is more or less the same thing - the Church is supposed to help people deal with the fact their verse has "predestination stones" where the future is already written, and in the course of the game, we see how it has several factions and one opposes the group (who has the pope as a NPC!) - but it's not a story about "gods bad church BaD".

I remember playing Suikoden Tierkreis a long time ago, and while the game seemed to go through familiar "church bad gods bad" route and we end with defeating a god-like entity... I pretty much loved the twist that, in a game that relied on alternate dimensions/universe, the god-like entity was actually the protag if he made different choices!

In those games, if you fight a religious body and someone pretending to be a God or what not - it's not because people fight against an eldritch creature who wants world domination and to erase puny insects, or is the reason why everything goes wrong, but because, at the end, the conflict/fight is ultimately caused by someone, generally a human or at least a non "god like" entity, wanting to destroy the world.

I don't remember if FE was my first JRPG series or not, but I always liked the idea that if the world is doomed in those games and the heroes must prevent said doom, it's not because a god-like being wants to destroy the world, but because people, humans/randoms are the most shitty ones out there.

---

As for the "tropes" often used to deride fictional churchs and religious people, well, I will again point to TS - which did a splendid job in the Benedict Route where you smash Hyzante after allying with Aesfrost.

There's one battle where out protags diss Hyzantese because they worship a goddess and have no free will, listening to Her teachings and Her says (the traditional "religious people have no free will and listen to their churches who tell them how to think!") - which is immediately countered by one of those Hyzantese characters asking Serenor if he's not the same, but instead of blindly listening to a Goddess, blindly follows Benedict. And it ends with the final chapter title referencing automatons/puppets : who is that title talking about ? The fake "idol" Idore created, or the fake "king" Benedict created?

Anyways, the usual "religions people have no free will because their church/religion tells them how to think" trope reeks of r/atheism and the double standard - bar in this route of TS, but I guess, in TS itself in the Roland route! - is never called out, blindly following a charismatic leader is okay, as long as charismatic leader isn't religious?

Regardless of my IRL thoughts about religion, usually those tropes are presented as a "gotcha!" when they are... not at all, but the games/books leave it at that and we're supposed to roll with it.

I'd say it's lazy writing or, as we saw in Naruto, a quick way to end a story without having to dwelve in characters and their motivations : "you're a god/alien/other being and you're bad, so let us do what we want!" - end of the story.

Hopefully some fillers and to an extent, Boruto gave her more meat bar being the 11 hour villain we had to defeat quick and who manipulated the previous sad'n'lonely antagonists - but it still felt rich from Naruto, known for his famous "talk no jutsu" and trying to understand people he's fighting against, to drop the ball with Kaguya, calling her pure malice and ending with some "let us live the way we want" to wrap up the plot so he can wrestle with his boyfriend later on.

In the end, we often end up with "religion bad bcs the big bad manipulates people through it", as if those mangas/animes/vg never have other examples of charismatic people not using religion to manipulate their randoms/people or "gods bad they should let humans do what they want" when we've read/seen/played through various, uh, really fucked-up shit humans did - but on their own! and ultimately, but it's more in fandom spaces, with have Projection 101.

TLDR : church/religion/gods are too often used in those works as the ultimate scapegoat to either wrap up a story in a rushed ending or to pretend to have "nuance" but still have a common enemy where all the "nuanced" characters can grow/be whitewashed and side together against that "common enemy".

Just like in all things I guess, I prefer when something isn't painted as purely negative and all of the positive traits are erased because there is a need for a perfect scapegoat - sure, bring out too much "nuance" and writing/designing a game/manga/anime becomes harder because there's no "clear cut" antagonist, and yet, the one who always gets fucked in this scenario is the religious/church side.

Want a generic stock villain who will destroy the world so the heroes have to fight against them? Just create a "religion" in your setting, and have the big bad either hell bent on resurrecting Chtullu to destroy the world because Chtullu BaD, or have them be the most corrupt piece of shit who manipulate everything in the shadows, so the rest of the world, even the ones who slaughter others bcs they feel like they must start a war, can be whitewashed at the end.

I mean, there's a saying about diverting attention from a fire by starting a bigger one near, or a trope of "aliens made them do it" : who cares if Madara started a continental war and targeted a village full of random civilians he swore to protect because he lost the elections? Did y'know he was manipulated by a woman, I mean, an eldritch thing created by a woman, regarded as a God, who ultimately wanted to get out of her fridge to kill everyone?

Roland must get over his hatred for Aesfrost for barging in his kindgom and killing hundred of his people while they were preparing for a wedding, because hey, Idore is evil and plans on ruling the world through his sham religion!

I'll forever be salty at TS for not giving Kamsell the occasion to rise against Idore, or not even have minor NPCs get the same treatment as Sycras suddenly going all "u lied to me gustadolph so i won't listen to u anymore + sad goodbyes to my wife'n'kids".

Extremism of all kinds can lead to wars/tragedy/fucked up shit - Sure I don't want to get my History lessons in video game medium when I play lol, but what I really don't like is how it feels like depicting "they're extremists because they're religious" feels like the default/easy answer : want a bunch of brainwashed people the heroes must fight against and can't talk no justu their way out of this fight/will fight without looking too BaD? Depict those people as "misguided" members of a corrupt church/believers of a religion, no one will givea fig. If they are instead supporters of a charismatic leader who throws them through the meatgrinder to further their goals? Well, there's no automatic loyalty so either you have to show/depict it on screen, else it can be challenged at key points to demonstrate how those people - who follow the charismatic leader - aren't completely "mindlessly listening to their leader" or how their leader "isn't that bad after all".

[iodrawsandtalks]

Criticism of Penacony and why i think HYV shouldve quit while they were ahead.

//vent towards the end, references to suicide while those references are quest spoilers Recently I've been doing world quests and grinding out the new region and been repeatedly finding myself walking straight into microagressions and slights to the point where it's been jarring enough for me to put my game down. As a black dude playing HYV games i know well enough not to act like the stupid billion dollar game company cares about appealing to minorities but its 2024 man.

First off, the obvious issue. Penacony has been repeatedly mentioned by the devs themselves to be based off of the Jazz Age from the U.S. a few decades ago.

The Jazz age was a period of time in American History between the 1920's and 1930s where the popularity of Jazz just boomed from being like an indie type of music to one of worldwide popularity. Obviously, Black people in that era are wholly responsible for Jazz itself.

So yeah, Penacony takes its origins from a key black history movement. Penacony, the region that released at the start of February. Black History Month. Star Rail is arguably one of the most popular games right now in terms of outreach because it's free, its new, and its colorful/futurisric etc.... And yet....

Just like with the rest of the HYV games that take real world inspirations, they fucked over black people and their stories.

In Honkai Impact 3rd, basically we had this one black girl who's like sandpaper brown and complains about how much her DARK SKIN ruins her look and how she bleaches her skin using various products to keep it lighter. She is ashamed of her DARK SKINNED mother who's a military woman. Her father is absent. Her mother is also a grown adult who is a B-rank soldier(main character white teenagers are S-rank for reference). Carole Peppers is her name if you want to go further down that rabbit hole.

In Genshin Impact, besides the fact that people with different skin tones are CLEARLY sectioned into certain regions(no seriously there's no real reason why i shouldnt see a black person in any of the existing regions.), and besides the unnecessary amount of whitewashing and besides the perpetuation of the idea of melanin NOT being natural, every single brown/black character in the game has awful playstyles and/or poor matching with weapons/artifacts, inaccessibilty, and they NEVER make it to the top of any meta tierlists. I'm not outright saying they're bad they're just harder and almost never get specialized weapons.

The only previously relevant example in Star Rail was Arlan, a lightning/destruction character. He chews through his own HP and unlike characters like blade/clara, does not have resistance or healing to handle that. Serval, the other lightning 4 star, out-dps's him veryyyyyyy easily. So yeah, the ashy black person character basically dies if you use him for too long and is never relevant TO ANY quests except where he needs to be the sidekick.

sometimes these games have dragons, animals that can understand and process english, or magic.... but then not black people...

Penacony has no black main characters. No black stories of relevance. Yesterday found an NPC whose name was detracted from chocolate and the player had the option to let commit suicide.

yeah ill get to that 💀. This large mass of at least 4 supernatural looking characters and yet no black person. NOT EVEN ANY OF THE CHARACTERS FROM penacony itself are black.

so yesterday I was grinding clockwork quests and had to help out some apathetic shopkeeper named Cocona. Her story was almost a bit sad but midway into going through her background i realized her name is one letter off of cocoa. now imagine being on a creative team coming up with a name for a melanated NPC and somebody decides on fucking CHOCOLATE with an extra letter. before anybody implies that one was something i shoehorned, think about how itd go if i had a bunch of POC characters and one white girl named crackerella.

Cocona and her once again sad backstory reach a hard tipping point as the player follows her to the edge of a building and can either grab her to stop her from jumping or simply let her end her life jumping off the building.

Yes we've seen how this game lets you make choices and watch the consequences of your actions, but there have been established rule-breaking predecents. Take Ruan Mei's quest where you have no choice but to eat the cake she offers you and once again lose the ability to make a choice on saying anything related to her. or any time the trailblazer gets pushed into a fight and cannot de-escalate. ....with this in mind consider why was saving the cocoa girl from killing herself NOT a forced option.

normally id be the kind of silly person looking for lore bits and stuff and making theories, (like how clockie is from the path of elation :v)but as a black dude this whole region is disgusting. THEY ARE GENTRIFIYING JAZZ AND COVERING UP ITS BLACK ORIGINS idk who said HYV cared about their audiences they fucking dont.

wouldve posted this on reddit but whoop dee do i am NOT getting doxxed today.