#for making the best combat system in the franchise and one of the best i've ever played full stop

[canadiangold]

hi it's me again to remind my long-suffering followers i still love Mass Effect in ways best saved for the privacy of a locked bedroom

[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.

[octolich]

I was Scared for Dragon Age: Veilguard.

I take it back, we are so back. The release date trailer fixes so many of the anxieties of this post, Im keeping it up because I ain't no bitch but consider this an archive post of sorts. Ima make a new one glazing the new trailer but for now this is absolute cinema. Nice going Bioware! Still not pre-ordering tho, fuck EA. I want to say before I state anything, I'm still buying the game, I just want to warn fellow DA Fans to be cautious about this game and its potential quality. I could be wrong and this could be game of the year, best in the franchise. I've just got a weird feeling about Bio ware's marketing that I want to get off my chest.

This is just a personal opinion and warning from a Dragon Age Fan. Disagree? You're probably right. Your opinions are valid and don't let anyone tell you otherwise.

SPOILERS FOR DRAGON AGE SHTUFF.

TLDR: Bioware has been very sneaky with marketing as well as dodgy choices in design that I do not agree with. They keep on talking about how this is the best game in the franchise and how the characters are the most in-depth yet, but I personally am sceptical. I could be wrong and this could be game of the year, best in the franchise. I've just got a weird feeling about Bioware's marketing I want to get off my chest and warn others about. We're treating breadcrumbs as buffets. They refuse to show anything substantial off and rely too much on "The games good, trust me bro. we've got nudity!"

I love Dragon age Inquisition to death. Played through it multiple times over the course of 7 years (Necromancer homies rise up). I played Dragon age Origins a wee bit and really loved the freedom and gritty setting which was a complete 180 for what I'm used to from DAI. I didn't play dragon age 2 (sorry besties I'll try it at some point) but I've heard it introduced a lot of controversial concepts but ultimately "modernized" the franchise.

Now, I actually didn't mind the trailer! I was jamming to the bombastic song but found the dialogue in it to be extremely corny. It definitely is a major shift in tone from the other trailers but hey! Maybe it won't be like that in the game. Marketing can mislead the perception of a game through the trailer like with Dead Island (amazing trailer btw) But then I saw the gameplay preview.

I was quite shocked to see Minrathous! I loved the city's whole MagicPunk theme and with the floating Archon's palace in the sky? Even though it looked a bit... off, I still liked it. The city looks old, and powerful. I absolutely love that. But then we get to the immediete problem. The Demons. I believe I heard from somewhere that the artists designed them this way to be similar to that of the human nervous system. What I presumed to be despair demons looked creepy with this artistic vision, but the pride demon??? It just looked goofy and not intimidating at all. They really traded how unique each and every demon looked, and went with floating kool aid spirits?

Moving on, Dragon age Inquisition has 8 slots for abilities you can fill in, allowing you to combo them and have a wide arsenal at your disposal. But with Veil guards 3? It was an immediate red flag. Now, I heard from Bioware that Rook can have an ultimate ability, but that is still 4 out of the original 8 you could bring. Companions are said to have a fixed 5 but can only bring in 3. BUT, Bio ware has been said in the game informer to be encouraging combining abilities with other companions, and not with just your own arsenal. But I still don't like the change.

A 60 second cooldown though??? either the fights shall be long, or you'll be a sitting duck spamming basic attacks waiting for your cool spells. I suppose there would be ways to reduce the time with cooldown reduction perks, but again, I do not vibe with this. aswell as following to comment this:

Now, Im no expert on game design, but I loved the combat in DAI AND DAO, yes it had its flaws but I find it was a highlight, now a flaw of the games. To say that Combat was "Uncharitably meh" I find spits in the face of the philosophy of combat in the previous games. DAI was all about about levelling up to build complex arsenals of spells to combo with, and unlocking specializations which further added spells to play with. DAO was all about freedom, you can be a necromancer/pyromancer/blood mage/spirit healer and it would work! Im afraid that Bioware has forgotten why this was fun and risk the chance of making combat one of the worst aspects of Dragon age Veilguard.

Now, instead of Bioware talking about gameplay, they love to talk about companions, throughout all of the game informer articles they talk about Romance, nudity, character creation (I admit I'm a bit hyped about this one though), and the companions.

Again, the wordplay of how Veilguard is even better than all previous dragon age games doesn't sit well with me. Are the previous companions also not complex? Is Dorian not a man who's constantly fighting between hating his father and loving him, while this love is also reflected for his home land? Is Morrigan not a woman who is on a fight between the discovery of ancient magic, the love of her warden and son, as well as the fear of her mother?

I just find it so strange that they focus so much on the companions in these articles, while also keep quiet about the gameplay, spare the game preview (Basically a vague tutorial) and a few pictures. Now, again. They could actually be the best in the entire franchise. I could eat my words and these companions could shake the very foundation on what it means to be a companion, but I just don't buy this narrative bioware is trying to feed us.

"These followers or companions don't exist by themselves" "Your assembling a family." "Everything you do ties into the critical path" "things are done towards a goal." "In Origins things are done just to do them."

https://www.gameinformer.com/exclusive-video/2024/07/19/the-making-of-dragon-age-the-veilguard (blue text is excerpts from this video. There's more but I can't be assed putting every quote into this. You may watch it yourself if you wish to see more)

They continue to use flowery language in these statements. How complex they are, how they're their own people. But where's the proof? these are all just words at the moment. In the 20 minute preview, I wasn't sitting there immersed in Minrathous, (still pretty gorgeous though, love you concept artists and 3d modelers xxx) or sitting there amazed at the characters. I'm just a dude sitting there watching some Batman Arkham knight look ahh combat.

The Video used above is just so much yapping, with re-used footage from the gameplay preview, trailer and images previously released. There is nothing new they are adding or introducing, only saying "The Characters and Story is good, trust."

Honestly? My theory is that this entire campaign is damage control. Lots of people who viewed the trailer immediately hated it (to be fair most of them haven't touched a single dragon age game in their lives) and the gameplay preview was a mixed review at best. After mass effect andromeda? I don't trust them. Not one bit.

I am going to buy the game and either enjoy it or hate it. I don't prefer gameplay over story, I'm a mix of both. I think one cannot exist without the other. I am just extremely worried for the future of not only Dragon age, but Bioware as a whole. I have a feeling that after this, if this game flops, Bioware is headed for the guillotine by the hands of EA (bunch of pricks).

One thing I will say is I like the skill trees!

This type of skill tree I think outdoes Inquisition's skyrim style perk tree, and really leans into the way Origin's does its abilities and perks (which I like more and Inquisition). From the looks of it, you can twist into what type of mage you are, as well as specialization. Control Death Caller? Burst Spellblade? Or maybe mash Control/Sustain together? It really beckons the imagination. THIS is what I want to see. Instead of words I want action! I want snippets! Not reused footage of the trailer or game preview, I want hard proof of how great this game is!

Not only that, but I do have to admit. the New UI puts all of the previous games to shame. I'm a big fan of the prismatic purple UI they've got going on.

I got to hand it to the Artists and graphic designers, It feels like the artists have fully realised their creative vision. I've never wanted a MagicPunk city until I saw Minrathous. I admit its a small thing to like about, but its the small things like these that can elevate a games quality. If there's one thing that I find that Dragon age Veil guard does better than the rest is the UI.

I post this out of love, not hate. I'm terrified that my favourite franchise is going to turn dogshit thanks to questionable choices. Bioware is doing nothing to comfort these fears by pumping out bloated statements like how the characters are the best in the series, and bringing up transmog and hyping up the character creator. Like, yeah? where is it then? are there no snippets? You're willing to post entire skill tree's why not post the character creator? or a sneak at the transmog?

After mass effect andromeda, my faith has been lost on bioware. But I still love the dragon age games. I just wish they do it justice. I will still buy the game, and leave a positive or negative review depending on the quality. If its good then ya'll have full permission to clown on me!

Im uh, still new to Tumblr so I don't know how to end this. Treat yourself to some water, maybe order just eats? Just treat yo self! Thanks immensely for reading this, hopefully you've learned something from this rambling. And hey! If you disagree, that's more than welcome! Your opinions are just as valid as mine. and I'd love to hear what you think and love about Dragon Age. Who knows? we might agree! (Lucanis is so handsome its not even funny)

[loz-furbies]

Thoughts on Tri Force Heroes

(spoilers I guess)

Let's start with a little introduction for those of you who aren't familiar with this game because personally I knew nothing about it a month ago. So this is a primarily multiplayer game that has very little to do with the Zelda franchise in terms of gameplay and gives the impression that it was started as an unrelated project and later got some Zelda paint slapped on it for brand recognition and getting to reuse ALbW assets. The story is about an evil fashionista who has cursed a princess to wear an ugly jumpsuit. Link shows up, teams with two other colour-coded Links with unspecified origins, and starts collecting the crafting materials that allow you to break the curse. Gameplay-wise you select levels from a menu screen and then do some puzzle and combat challenges with two other players, or take turns controlling each Link in single player. The unique gameplay gimmick is that the Links can carry each other to form a totem pole or toss each other around.

I see this game ranks very low in "Best Zelda games" lists, if it's mentioned at all, and I can see why. I'm primarily interested in the characters and the drama, so if I had been following the franchise at the time of its release, I probably wouldn't have been excited about a multiplayer game with a self-awarely stupid plot either. But it is not the time of the release and my verdict is that this is a pretty fun little game if you allow it in your heart. Though it looks a lot more fun in multiplayer and some things are really frustrating or close to impossible in single player but it is what is it, at least you can clear the main story on your own and just stay away from the time limit bonus challenges and such.

As a dress up enthusiast, the craftable costumes are of course of great interest to me, and some of them actually look cool, though most lean towards the silly. And if there's one thing people know about this game, it's usually that you can dress Link in Zelda's dress or a cheerleader mini skirt too. And if you're categorically offended that there is an option for Link to wear a skirt, fear not, because the game forces you to do that to clear the story. I thought that you would craft a copy of the end boss's outfit for the princess to wear to break the curse, but I should have seen it coming that of course Link is the one who wears to cast the curse-breaking spell.

The random craft material prize system was pretty frustrating, I played one level over ten times for that 1/3 chance for the rare prize and didn't even get it. And it totally discouraged trying any of the bonus challenges too, because what's the point if you're just going to get the common prize anyway? However getting the Linebeck outfit (which lets you see which treasure chest contains the item you want) was a game changer and completely busted when combined with the power of the rupee outfit (greatly increases rupee drops). I've now collected most of the outfits that are realistically available for single player, and I think I'll check the daily rotating store for the few missing materials for a while longer to see if I can get the rest for completion's sake. Still pissed that some of the outfits are essentially locked behind multiplayer rewards though.

Some final stray thoughts:

A shoutout to the tailor npc who makes the costumes for you, I thought it was a lot of fun how into she is in her craft

In general the outfits were a great gameplay mechanic since their unique effects substantially changed how you play, but also you can only get one buff at a time

Some of the music is really good.

The puzzles were greatly improved from the previous Zelda multiplayer in FSA which had a lot of "I didn't even know I could do that" moments

Overall pretty good boss design (except for Moldorm single player)

The ending where the NPCs celebrate by lifting Link up in a totem was a perfect way to wrap up the game

[twistedtummies2]

Which do you like most: Obey Me, FGO, or Twisted Wonderland?

You'd think this would be a hard question to answer, but it really isn't. And the answer probably isn't a surprise. I'm gonna put a Keep Reading here though, because I do ramble a touch. 'XD

I'd say, of the three games - which, so far, are the only games I have on my phone (because I barely have room for them, let alone any more) - Twisted Wonderland is my favorite, Obey Me is my least favorite, and Fate/Grand Order is right smack in the middle between them. Now, for all you FGO and OM fans, this does not mean I dislike either game. FAR from it. I really love Obey Me's sense of humor, and the characters are very fun. It's also the one of the three where your choices really do dictate the way things progress; most notably in forming relationships with the characters. In FGO, some of your choices have an effect on the gameplay, but most of them just seem to MAYBE give you slightly different dialogue. Twisted Wonderland really is just "slightly different dialogue if you choose X vs. Y." However, I'm not a huge fan of the "dance battle" system, and it's the one of the three that's most explicitly focused on forming relationships - specifically romantic ones - with your cast. Despite all the otome and gacha titles I've looked into, and how much I love romantic relationships with my characters, actually PLAYING romance-themed games isn't quite my speed. I make an exception for OM. XD With FGO, I love it mostly for the reasons I love the Fate series as a whole: seeing all the characters reimagined from history, literature, and mythology come together, and how they are portrayed. Whether I love them, hate them, or even just don't have strong feelings about them in general, the simple concept is just one that I really, really love. I mean, how often can I say I got to battle the Knights of the Round Table or heroes from Anceint Greece with the help of Professor Moriarty and Vlad Dracula? That's just something I love in general, and Fate - for all its ups and downs - does some really interesting stuff there. HOWEVER, I've always felt the lore of the entire franchise is...well...EXTREMELY hard to follow, and I also have what might be termed a love/hate relationship with the combat system. FGO relies on a lot more strategic thinking and planning than the other two games, and - unfortunately - a lot of the characters I love most AS characters aren't necessarily the best ones to use in combat on a strategic level. Plus, once you know and have the characters who "break the game," you don't have a lot of reason to use other ones: why use someone who can't get the job done as easily when you can just thoroughly own the competition? And when those characters who can do that job are ones I'm not as interested in as others, it creates a mismatch of interests, so to speak. Twisted Wonderland, of the three, is just the right kind of game for me: I love ALL the characters, it's challenging enough without being obscenely complicated, the lore and background of this world is just bonkers enough to keep me entertained, it clearly has shipping on the brain but isn't super overt about it...really, the only problem I have with TW is that, of the three so far, it feels like the one where I have to do the most grinding to get a lot done. And, to be honest...I don't really mind grinding in TW, most of the time. I don't love it, naturally, but it can just kind of happen in the background while I do other things. With FGO and OM, you can't really do things that way: the grinding itself requires some attentiveness that I can't always afford, which is part of why, in both cases, I haven't gotten through as much of them yet.

Again, I should stress that I do enjoy all three games. But I don't need to be tied to a chair to immediately say TW is my favorite. It's not the perfect mobile game, or game in general, by ANY means, but it's one of those games that's perfect for ME, specifically, if that makes sense. FGO is where I wanna go if I want something challenging and strategic; OM is where I wanna go if I want something more colorful, comical, and slightly mellow in comparison; TW is a good blend of both. Plus, as much as I love stories themed around almost Faustian concepts, as well as how much I love classic literature, mythology, and various parts of history...TW is the world of the Disney Villains, and Disney in general. And that fandom is one of my absolute biggest places of expertise. I don't know all the characters and myths featured in Fate; I know EVERYONE'S source in TW, and I LOVE everyone's source in TW. One thing all three of these have in common is that they have PLENTY of EXTREMELY kinkable, crushable characters, with a large number of canon big eaters and/or canon preds present. XD

[gamerdog1]

Devil May Cry Review

Last year, I adopted my little PS2 from a Value Village. I lovingly took it home, gave it a gentle bath, and spent at least a dozen hours carefully swabbing it's insides of dust. All this, so I can get the experience of playing popular and longstanding game franchises, like God of War, and Metal Gear Solid, where they began. The things we do for love, I guess.

Since then, I've been on a bit of a side-quest in life, sort of. A quest to discover why popular pieces of media got so popular, by experiencing them first-hand. I have this drive to learn about what is beloved, to join in the fun of fandom with others, and so when I saw a lot of fanart of white haired brothers with magic swords, I got curious. One thing led to another, and after many, many hours, I have some thoughts.

Devil May Cry, for the PS2, is a very interesting case. For one, its the accidental sister to Resident Evil, as it was originally intended to be the third installment in that franchise during development. Yet the two could not be more different, in terms of gameplay style, visuals, and execution as a whole.

Where Resident Evil is all about forcing the player into difficult situations , Devil May Cry feels a little more lax. Resident Evil makes the player slowly take in the atmosphere, learn about the lore, and use their knowledge of the map to their advantage, while Devil May Cry prioritizes snappy combat over exploration and puzzle-solving.

The focus on combat is what everything in DMC revolves around, for better or for worse. There's a variety of visually interesting moves you can pull off, and more to unlock by trading in currency gotten by killing enemy monsters. More upgrades means more cool moves, means more interesting combat, and more ways to tackle bosses.

At times, though, the complexity of the combat system left me feeling overwhelmed. This is one of the few games where I had to read the manual in order to play, as there isn't any tutorial, and combat can be punishing in early stages if you aren't fully familiar with Dante's moves.

Even after learning the ins and outs of the controls and combat, I still got my ass handed to me by the first boss, and every one after that. Each one felt like a massive hurdle, and forced me to really learn how they worked in order to even stand a chance. In the moment, I was frustrated, but looking back now, I haven't had to work this hard with a boss in years. Spending hours sitting on my couch, going over the attack patterns, it was almost meditative (if not for the occasional shouts of expletives here and there on my part).

Devil May Cry, as a whole, isn't incredibly difficult, as long as you know what you're doing. The game is about figuring out your enemies' weaknesses and the best ways to exploit them, not just rushing in and hoping you'll live. Figuring this out is the first challenge, the second is the underwater controls.

Apart from gameplay itself, DMC is pretty interesting. The gothic architecture is a bit of a far cry from Resident Evil, but carries over it's grim tone and atmosphere. Colors are muted, music is oppressive and heavy, and everything lends to this feeling of grandness and fantasy. It really makes the player character stand out, which is great when you're getting ambushed by ice lizards, or something equally monstrous, in one of the many grand halls.

This review also wouldn't be complete without talking about the main character, who is a delight to be around. Honestly, Dante is the reason I picked up this game, and the reason I kept coming back to it, even after countless GAME OVER's. His snarky attitude, stylish coat, and cockiness make him a fun character to see interact with others and his surroundings, and really help him stand out from the holier-than-thou demons he faces. He's always got something to say, isn't afraid to speak his mind, and just wants to have fun, and really, who can blame him?

The story of the game, though, left a bit to be desired. Yes, its epic, and gets better in the second half of the game, but for a while, the game felt aimless. Why do I need to get these magic items, to unlock these doors, to do these tasks the game sets as mission objectives? In most games, they usually directly tie into what the player character is doing, and help facilitate a progression of story. For example, when Jill finds Richard in RE1, and has to get him an antidote before he dies, its not just a fetch quest; it teases the snake boss, establishes Richard as a character in the game's world, and depending on whether or not you save him, it affects future gameplay.

In DMC, though, each mission feels like homework, an assignment to do before a deadline or else. Sure, its a good way to show players the next objective, and as a neurodivergent person I love having clear and concise instructions, but it kills the mood. I never felt like I was exploring the castle, discovering new things and furthering the plot. It felt like I had a to-do list from the game devs, full of tasks that rarely were related to the plot, and usually just meant 'go here, get the thing, bring it somewhere else'. It would've been nice if the quests explicitly furthered the plot, but at least they told me where to go.

Don't get me wrong: I don't hate this game. I actually liked it, but there were lots of issues I had with it that soured my experience. Unforgiving bosses, overly complicated controls, and a lack of story immersion made me feel like this game was an experiment with this style of gameplay on Capcom's part. If this had a bit more polish, or maybe a tutorial, I might try playing on a higher difficulty. For now, though, I'm excited to see what's new in the sequel. I've heard its... rather infamous. Exciting.

[rudojudo]

So there's a TTRPG work in progress meme going around and I've been tagged by @theresattrpgforthat and I love talking about my ideas! With the release of Giant of Light, I've got a few going, I'll borrow the cooking metaphor @bleongambetta came up with:

Front Burner (actively in progress, I know what I want the game to be, spend some time in the document at least once a week):

-Free Lunch for Magic Users

Fantasy post-post-apocalypse in rural New England. Players are fast talking conmen with a teaspoon of magical talent, inspiration from Fallout and Discworld.

-4AM in Santa Carla

Lost Boys game where you're one of the background vampires. Hopefully a one-page game.

-Hero of Tomorrow

Superman hack of GoL.

Back Burner (I think about it often, I make notes when I have an epiphany, but major mechanics are still open):

-Demon Castle Dracula

My tribute to Castlevania; a mapping/exploration game using a Tarot deck.

-Sentai Squads (title subject to change)

A competitive game based on Super Sentai/Power Rangers. Each player manages a team that's trying to be the most popular team while also saving the day.

-V/H/Essence

Be a movie monster! A thesis on Queerness and mental illness in modern America, also a bit of a World of Darkness deconstruction.

-Pegwarmers

Metafictional game about The Tranformers (or toylines in general); fight to make sure that you have enough fans that you're in the next reboot of the franchise!

-Journey to the Quest

Optimistic Shonen Jump adventure! Play as a powerful child overthrowing oppressive regimes with a card game battle system. Theoretically first in a trilogy.

Still on the Prep Station (I have an idea here, but probably one or two mechanics at most, several don't even have titles):

-plUnderworlds

GM-less existential adventure game about being the last survivor of a dead universe.

-Cooking Competition Game

Mario Kart meets Cutthroat Kitchen. Improvise a dish and mess with your opponents.

-Demonbrain

Anime combat game about having a spiritual parasite. Less JoJo's, more Venom if the symbiote was looking to escape.

-Wasted

"Hi, I'm Ishida Mitsunari and welcome to Jackass!" Time travellers are stuck in a deathless purgatory dimension where the odds no longer make sense.

-Fighting Game Game

Built to replicate my favorite mechanics from fighting games and in service to the wild, expansive lore of the best fighters.

13! Seems fine. I'm not tagging anyone else to do this, because everyone I know well enough in TTRPGs has either done it or has said they're trying to step back from new game design. But I'll answer basically any questions about any of these!

[apple-pecan]

Marvel's Spider-Man (2018)

admittedly, i've been pretty apathetic about playstation's IPs since around the early 2010's. a lot of their dozens of good franchises like parappa, jak & daxter, sly cooper, and wild arms have been put to pasture solely so they can milk last of us for all it's worth, and maybe throw some other series like god of war and gran turismo a bone every now and then. i played a lot of third party games on the ps4 but rarely would i bother with any of sony's offerings.

however, one fateful day, sony announced "we're going to publish a spider-man game inspired by the absolutely GOATed PS2 Spider-Man 2. it's gonna be a PS4 exclusive, and we're having the ratchet and clank devs make it" and my instant reaction was "... yeah you fucking BET im buying that shit". i got it close to release but unfortunately for my insufferable weeb self, Dragon Quest XI came out a few days earlier on the same fucking week and i ultimately put way more time into that game and barely touched Spider-Man. 5 years later, with the """remastered""" version on PS5, i set out to rectify that and i am very glad i did.

think of the aforementioned treyarch PS2 game and imagine that with a way WAY higher budget, and you essentially have this game. it starts off with a bang as you immediately web swing your way through new york city to storm fisk tower and put a stop to kingpin. a very fun first impression, and once it's over you can just swing all over new york with some really fun movement; i know when i first got this game i spent most of my time with it just moving around from building to building, it was that much fun.

combat is essentially arkham combat, which was the style at the time, especially for super-hero games, but it feels more tuned up and engaging than what that would usually imply; my favorite thing to do is to air launch enemies and combo their pathetic asses in mid air like im playing MvC. ah, the good old days. sometimes you have to use stealth to progress, but they've made it ass simple so you wouldn't get frustrated, and in most cases it's entirely optional...

...except for the periodic times where you have to play as MJ during the main story. and maybe miles morales too. these are much slower sections where you have to sneak around enemies and distract them to get to the goal, and if one sees you, it's an instant game over. these missions aren't my favorite, obviously, and i DID groan every time one of them was about to start, but i've seen way worse mandatory stealth sections in games (suck my ass wind waker), and some of them have fun twists like MJ being able to lure enemies so spider-man can capture them and web them up on the ceiling.

tying it all in is a captivating and fun story that sure, while some parts you can see coming from a mile away even if you have even just basic spider-man lore knowledge, it still doesn't make it any less engaging. the last third of the game is particularly intense, with impossibly high stakes culminating in a tragic final boss fight and a very bittersweet ending. two scenes of the ending in particular had me on the verge of tears, something i absolutely did not expect jumping into this game. simply put, if you liked the 2000's sam raimi spider-man movies, you'll enjoy this plot quite a bit too.

all this being said, if you own a modern sony system (or now, even a PC that can handle this game), it's a no brainer, you HAVE to play this, especially if you have any fondness for the franchise it's based off of. this is the best spider-man game i've played yet, and this is coming from someone who played BOTH PS1 games!!!! play it!! or, more likely... you already have. i mean, it IS the best selling ps4 game of all time so... aw heck PLAY IT AGAIN THEN

9/10

NOTE: i dunno who's idea it was to make j jonah jameson into an alex jones-esque insane radio show host, but whoever it was, i just wanna say... FUCK YOU. at least you can turn it off in the settings XD

[baphomet-media]

2022 Games of the Year

Hello everyone! 2022 is officially in the can, so it's time for me to rank my top 10 favorite games that I played this year. Here are the groundrules:

Any game I played and finished (whatever that means for each game) this year for the first time. Games that I have played before but only finished this year for the first time are eligible.

If I don't finish a game during the year, as long as I finish it before the end of January and a majority of the playtime was in the last year, it counts.

Ports, remasters, and alternate editions of a game count as the same game, but full remakes do not.

Only one game per series. Same franchise but different series is okay.

Without further ado, let's take a look at my favorites this year!

10. Resident Evil Village (2021)

Genre: Survival Horror Developer: Capcom Publisher: Capcom System Played On: PS5

Everyone's favorite giant undead mommy makes 2021's followup to Resident Evil VII a chilling adventure. Unfortunately, I wish Lady Dimitrescu and her mansion comprised more of the game, instead of being relegated to merely the first third. However, we did get the genuinely horrifying basement area immediately after. All in all, a fun survival horror romp that brings Ethan Winters's story to a close. I'm excited to see what the Resi franchise does next, as it's clear they've got their mojo back.

9. Catherine Fullbody (2019)

Genre: Puzzle Developer: Atlus Publisher: SEGA System Played On: PS5

In this enhanced port of 2011's romantic survival puzzle game from Atlus (the creators of the Shin Megami Tensei franchise and the Persona series), you guide the hapless Vincent as he navigates the perilous waters of romance in the waking world and a devious climb up a wall of blocks each night in the dream world. While I hated Vincent at first, I liked that he can be redeemed by the end, based on your choices. The puzzle gameplay is also incredibly deep and punishing on harder difficulties. Unfortunately the game waits way too long to actually teach you proper strategies, but it's still fun nonetheless. The story has many more twists and turns than you would expect from the premise, too, and even includes some not-horrible queer representation, to my utter astonishment.

8. Final Fantasy VII Remake (2020)

Genre: Action RPG Developer: Square Enix Business Division 1 Publisher: Square Enix System Played On: PS5

I've been a casual fan of FFVII for years now, and this year I finally got around to playing the remake after a replay of the original. While there are a few rough edges (unnamed NPCs all have the exact same face, for example), it's a really fun take on the FFVII story that really digs deep on some of the plot points that went by a little quick in the original. Of course, this only covers the events in Midgar in the beginning of the original game, and a sequel is due to follow someday. Most notably, Remake makes changes to the story that has me eager to see where it will lead. The action combat is fun as well, and I enjoyed being able to control and customize all the main characters.

7. Eastward (2021)

Genre: Adventure Developer: Pixpil Publisher: Chucklefish System Played On: Xbox Series X

Eastward is an incredibly moving adventure game starring John, the silent-but-reliable protagonist, and Sam, his mysterious child sidekick, as they make their way inexorably eastward across a land ravaged by a mysterious Miasma, meeting all sorts of wacky people who are doing their best to survive. The game features a Zelda-like play style, but with an art style and melancholy tone that occasionally can be quite humorous reminiscent of Mother 3. The game is gorgeous, charming, and often heartbreaking. Unfortunately, I found the story was a tad on the obtuse side, and I wished the ending and some of the behind-the-scenes events had been explained a bit more clearly.

6. Pokémon Violet (2022)

Genre: Monster RPG Developer: Gamefreak Publisher: Nintendo System Played On: Switch

While I also finally played the previous generation's Sword version this year, I thought Violet (my choice of the two versions) edged it out. I want to say up-front, yes, it definitely has its faults. The game looks and runs like hot garbage, especially compared to other games on this list, and is sorely lacking post-game content, being the first Pokémon game in recent memory without a Battle Tower or equivalent. However, the open-world format, while a bit clumsy, fits the franchise well, and there are some honest-to-Arceus good story moments in these games, especially in the endgame. While the game could have benefited from an extra year of development and a more powerful console, I think it's still worth playing and beating.

5. Persona 4 Golden (2012)

Genre: JRPG Developer: Atlus Publisher: SEGA System Played On: PC/Steam Deck

While I had played the original Vita version of P4G, I'm ashamed to say that I never actually finished! This year, I spent a ton of time getting to 100% completion across three playthroughs. While the game's abysmal handling of multiple queer characters is just as if not more painful today, I found the game to be a ton of fun, as protagonist Yu must investigate a series of paranormal murders in the small fictional Japanese pastoral town of Inaba, recruiting the help of eccentric classmates to infiltrate a bizarre TV world and rescue potential victims. Along the way you learn to use the various small-town amenities to aid you in your quest and become friends (and maybe even lovers) with various townsfolk. Compared to the later Persona 5, and especially Persona 5 Royal, I found P4G to be less hand-holding, trusting me more as a player to plan my limited time and resources. If you're a fan of JRPGs, Persona, or Shin Megami Tensei, this is a must-play.

4. Lost Judgment (2021)

Genre: Action Developer: Ryu Ga Gotoku Studio Publisher: SEGA System Played On: PS5

2021's sequel to the Yakuza/Like A Dragon spinoff Judgment sees us once more follow loose cannon detective Yagami as he investigates a series of murders with strange connections to both a high school in Yokohama as well as a bizarre sexual harassment case in Shinjuku. As before, Yagami investigates by interviewing witnesses, following targets, and using a host of high-tech detective tools to find the truth. Of course, his fists and feet are also just as valuable, with the Yakuza franchise's staple brawling combat across multiple fighting styles in huge open cities. Also as expected of the Yakuza franchise, there is a king's ransom of side content both serious and lighthearted, particularly in the new school clubs which Yagami can participate in, from a skateboarding club where Yagami does his best Tony Hawk impression, to a robotics club where you take place in a strategic battle of the bots. My only gripe is that this sequel feels a bit less personal to the main characters, leaving Yagami feeling a bit like an outsider through the whole story, but still a great game that innovates on the Yakuza franchise.

3. Super Lesbian Animal RPG (2022)

Genre: RPG Developer: Ponett (@slarpg) Publisher: Ponett System Played On: PC/Steam Deck

You ever have a story that comes out of nowhere and jaw-punches you with just how made-for-you it feels? While SLARPG may seem like just a cutesy RPG-maker game at first blush, this indie darling full of strong, complex, queer female characters really had me feeling seen as a queer female gamer, myself. The story is a heartwarming modern fantasy that focuses a ton on flawed characters learning to grow emotionally under the pressure of having to save the world. In addition, the combat system has a ton of unexpected depth with unique character abilities plus interchangeable spellbooks that each have their own abilities. Also, finally a game that will let the lesbians kiss! Ye gods that was so satisfying. My only complaints with the game are some inevitable RPG Maker jank (as a recovering RPG Maker veteran, myself), and the fact that the short-but-sweet runtime has left me rabid for more!

2. Digimon Survive (2022)

Genre: Tactical RPG/Visual Novel Developer: Hyde Publisher: Bandai Namco System Played On: PC/Steam Deck

Digimon fans (of which I include myself) have been clamoring for a really good game for decades now, and I personally think Survive is it. The game features a cast of middle schoolers (notably older than Digimon's normal heroes) who find themselves stuck in a strange alternate world inhabited by spiritual monsters called Kemonogami (the titular Digimon), and must fight for their very survival and a chance to return home. The game's dark tone and moments of character growth were extremely moving and refreshing for Digimon, which usually caters to a much younger audience. Some may not care for the extensive Visual Novel content for the story or the tactics-lite combat system, but I found them both to be engaging, and I enjoyed both befriending all the characters and recruiting all monster species. The game has multiple endings to explore as well, the true ending only available on NG+. However I kind of felt like it made the alignment-based endings feel a bit moot. Still, this game is a triumph for the Digimon franchise and I really hope we'll see a Survive 2 someday.

Honorable Mentions

Before we get to the #1 spot, I'd like to take a moment to highlight some other games I played this year, from smaller indies to larger games that didn't quite make the cut, but still are worthy of your time:

Grapple Dog (PC) - Fun GBA-style action platformer with cute characters.

Echo Generation (Xbox) - Stranger Things-esque voxel RPG with tons of lo-fi 80s vibe.

Elec Head (PC) - Indie puzzle platformer where you toss around your battery-powered head to solve electricity puzzles.

Shin Megami Tensei IV (3DS) - Main-series SMT monster RPG with mind-bending story and world where you're forced to choose between law and chaos, but neither choice is truly right.

Persona 4 Arena Ultimax (PC) - Arcade fighter sequel to both Persona 3 and Persona 4 with a surprisingly deep and emotional story.

Shantae and the Seven Sirens (PC) - Indie darling Shantae is back on another adventure platformer on a sprawling island home to seven titular sirens who have gone missing.

Super Kiwi 64 (PC) - Tiny retro 3D collect-a-thon featuring a zippy little kiwi bird.

Rainy Season (PC) - Tiny story based game about being stuck inside your small Japanese house as a kid during a rainy day and using your imagination.

Lunistice (PC) - Retro 3D platformer with tons of PS1-era charm.

Crisis Core Reunion (PS5) - Remake of Final Fantasy VII's PSP prequel Crisis Core on modern consoles. Looking very smooth, but the new voice acting is a toss-up at best and still relies too heavily on the same grindy missions as the handheld original.

Civilization VI (PC) - I finally got into CivVI this year and may have developed an unhealthy addiction to this turn-based civilization building strategy icon.

The Complex: Found Footage (PC) - This creepy short walk through the infamous Backrooms is sure to send a chill down your spine.

And at last, here's the (probably unsurprising) game of the year!

1. Elden Ring (2022)

Genre: Action RPG Developer: FromSoftware Publisher: Bandai Namco System Played On: Xbox Series X

As someone who is already a die-hard Souls fan, this is really a no-brainer. Elden Ring takes the legendary Souls formula and blasts it open to a massive open world. Somehow, eleven years after Skyrim started the open world craze, in an era where such games are passé, Elden Ring manages to create a triumph of tough-but-fair combat, deeply detailed vertical level design, and a subtle-but-deep world and lore. I've sunk hundreds of hours into this masterpiece of a game across multiple different playthroughs, each somehow still fresh and fun. This game will be a huge icon for many years to come, especially if From decides to create some DLC down the line.

So what do you think? Do you agree with my picks? Think some other games should be on the list? What were your favorite games this year? Let me know~!

[gaymer-hag-stan]

Happy 26th anniversary to Dead or Alive!

Dead or Alive features and impressive, fast-paced fighting system with a focus on countering your opponent's strikes, beautiful graphics (whenever a new Dead or Alive is out it's easily the prettiest fighting game amongst the competition) and beautiful, interactive environments.

Dead or Alive may have gained infamy due to its Xtreme spinoff series and Koei Tecmo focusing heavily on promoting the female fighters' sex appeal over the games' combat system and mechanics, but there was a time when casual perception on the series was much more positive.

Team Ninja seems to be thinking of rebooting the franchise but, honestly, I don't think that's necessary at all; Mortal Kombat and SoulCalibur had to reboot because they drove the series' stories into a dead end. Dead or Alive has neither featured a decisive, end-of-the-world type of battle, nor progressed the timeline to a point where veteran fighters are out of commission and have been replaced by younger ones. Dead or Alive 6 wasn't even that terrible a game, it was okay at best and just mediocre at worst. It still looked gorgeous as always, gameplay was solid and if you could figure out how the story mode'a confusing timeline works, the story does make sense and, if rebooted, will be forever left on a cliffhanger. Kasumi and her clan had just made amends after all these years, Helena had taken control of DOATEC and we should have seen this two parties finally take the fight to Donovan. But alas, it seems Team Ninja thinks otherwise.

Whatever lies ahead, I'm glad they reassured us that they haven't completely put the series on hold, I was afraid it would be a lot longer until we finally heard anything new about DOA.

Anyway, I've rambled on long enough. I fell in love with DOA and its characters ever since I played DOA2 with my cousins as a kid and I just hope the next entry in the series, whenever it may come, does enough interesting things to give DOA some momentum like it had in the early 00s and get things going again.

Happy birthday DOA, you crazy hot mess

#26YearsWithDeadorAlive

[spongebobafettywap]

So personally ? Wolverine is Sabretooth's son < Wolverine is Sabretooth's brother. (Say Maz, what's the match result for that question so far ?)

If I had to pick the better poison between the power level classification for mutants and the mutant group one... Yeah the mutant groups are better for one BIG reason :

I'm saying this as an anime/manga reader but for as insane as power scaling gets for them, I think it is still better handled than for comicbooks. Like you can make an actual top of the best swordmen/experts in hand in hand combat/runners/magic users... within each anime. You really can't do that in X-Men comics because, even within the franchise and under the same writer for a run, plenty of characters simultaneously hold the title of "best at X thing" and many characters have that skill/power as part of their skillset/powerset so that no longer becomes a unique trait/skill within the franchise. In anime, you can say someone is the best at something due to natural talent, pure dedication and love for the craft, years of training, lifestyle or all those four things at once and it can become a trademark for the character if no one else has the skill or is on their level but in X-Men comics... You really can't ? Like take a mutation that tied to being smart or strong or skilled at something, you can't place any of the mutant characters as the best or most skilled in those things even tho they are powers granted by the X-Gene (that the classification is all about), even for "normal" skills like hand to hand combat or swordfighter you can't make a proper list. Sometimes mutants with hundreds of years in training get beaten by someone not even a tenth of their age or experience. The power classification system means jack when writers decide to break the rules or throw a plot device that nullifies the power level of a character and knowing about it in the first place ends up creating plotholes and doing a complete disservice to the character

I don't think anyone has been in full favour of Sabretooth being Wolverine's father. One person said if it happened earlier on it would have made sense but now with all the stories we got it won't really work. I've been the only one to say it has some potential but even I think siblings works the best for them.

One person I think prefers them being unrelated.

I can understand all these points of view for these two they're one of the few where I'm open to whatever relationship is decided on. As father and son its interesting but I feel that we kind of got that idea executed with Wolverine and Daken with them both being similar but opposite moralities. Though I would say I think Romulus might be a better candidate for being Wolverine's father. Siblings works the best for biological relation due to their backstories being similar and it also has a different familial rivalry compared to the prevalent parent and child rivalry in X-Men.

That's a good point about Power Scaling in anime. I'm not really a fan of those topics because it ends up undermining some characters that don't have as many victories and anytime you try to search for content with these characters you get forum posts of missing contests of "who would win, whose stronger?" These topics are fun in small doses when it's actually well thought out but threads about them are so boring. You are right that in Manga/Anime the characters usually have similar or at least comparable powers and skills so it's easier to make a system that ranks them. But what is an Omega Level Telepath to an Omega Level Elemental? Does it really make sense to have them in the same power level when the output of their power is totally different? Technically Telepaths would probably outrank everyone at that level as they can use mind control to disarm anyone.

[randosrandomrhetoric]

Final Fantasy Games Ranked

Now, to get a few rules set up. This will only be ranking 13 of the 15 mainline entries of the series. So this means that all spinoffs, such as the best game in the franchise, Final Fantasy Tactics, will not be included. Neither will sequels, such as X-2, or the MMOs, 11 and 14. The reason for the latter is that they can vary WILDLY patch to patch, and I'm not super familiar with the changes. Now let's get on with the List.

Number 13: Final Fantasy 2

I know I'm not the first to call this the worst, and its reputation speaks for itself to most. Those of you not familiar with this one, I'm not sure where to even begin. We can say that it's the poor story, unremarkable cast, or the baffling leveling system. The fact of the matter is, there's just really nothing to like about this game for the most part. Some of the ports and remakes try and fix this, but there's just so much fundamentally wrong that there's just no really correcting it. So, unless you're trying to complete every game in the series, I say just avoid this one.

Grade: F

Number 12: Final Fantasy 3

Now, this is where things get hard for me because, aside from 2, every entry has a lot to offer and has a lot to criticize. I've struggled to put this one here, but only because I feel its negatives are just a bit heavier than its other siblings. This game started one of the best RPG systems that I love for FF: Changing Jobs at any time. The biggest complaint is that while it started this, others perfected it. The story is fairly decent, if not standard. 4 warriors of light journey to protect the crystals. It's just a more in-depth version of the story of FF1. The ultimate thing that kills this game for me is the absurdly difficult final dungeon. It goes from a pretty difficult game to REALLY difficult without you grinding like crazy. So if you want to see the start of the proper job system, check this one out. Otherwise, it's passable

Grade: D+

Number 11: Final Fantasy 12

How mad are some of you right now? I know what some people are thinking: How is this on here before 13?! Hear me out. This is one of, if not, the best looking PS2 games ever made. It's got great Cut Scenes, the character models are great, and the environments and cities all look amazing. So what do I not like about it? Nearly everything else about this game. You have 2 main party members who are completely pointless. The gameplay can be tweaked, even a lot of the bosses, to where you don't even have to touch your controller. People can say 13 plays itself, but 12 literally can. Aside from Balthazar, every character in this game lacks charisma, or any strong traits at all for that matter. The license board is a poor idea as well, I have to get permission to equip a feathered hat? If not for the spectacle of this game it'd be lower for me. A lot of people like this one, but I say skip it.

Grade: C-

Number 10: Final Fantasy 13

Even to this day, this is a gorgeous game and a shining example of 7th gen graphics. So, how did it get here? This is one of the most divisive games in the franchise. The positives of the game? An interesting take on the job system, gorgeous visuals, and really well voice acted. The paradigm shift mechanic is pretty neat, and it's what makes it more involved than 12's combat system. The negative aspects? Again, I have to say: Everything else. With the game being mostly just hallways, one of the most unlikable casts in franchise history, as well as my least favorite character period. Looking at you, Hope! The story itself isn't bad and has some nice ideas. The cast at least feels connected to the plot as well. These very small and minor things are what put it above 12 for me. Another one that if you're not a hardcore fan, you should pass

Grade: C

Number 9: Final Fantasy 15

This is the game that I struggle with the most to place, but I feel like it can't sit anywhere else on this list. While this game started as a spinoff, it developed into a full-fledged entry. Due to a troubled development cycle, this is one of the most flawed games of the series. A lot of these flaws were kind of ironed out in subsequent patches and DLCs, but upon release, this game was barely more than mid. Needless to say, the game is beautiful, with the best summon spectacles in franchise history. A mediocre story, with a small but honestly great cast of guys, keeps this from being any lower, but not good enough to get higher. If it weren't for the absolute slog that is the back half of the game, this would definitely rate higher on my list. It's definitely worth a playthrough if you're into Final Fantasy.

Grade: C

Number 8: Final Fantasy

The game that started it all. Admittedly, from a technical, storytelling, and graphical standpoint, the previous games were better than this, but I just couldn't bring myself to not take its legacy into consideration. The gameplay is simplistic, the narrative is barely there, and there's so many things that have been improved on. Despite all of that, there's still this aura about the game knowing not only did it revolutionize RPGs on consoles, but started the juggernaut that is this franchise. While it may be antiquated by today's sensibilities, and many will find it hard to go back to, I can't help but recommend that people should at least get eyes on this, just to see how far the series has come. So, for nostalgia sake, I recommend checking this one out.

Grade: C+

Number 7: Final Fantasy 8

We now are at my least favorite of what I refer to as: The Classics. For a PS1 game, this game looked amazing, a running theme admittedly, and has what is one of my favorite systems in an RPG game ever, the Junction System. This system is also, what ultimately leads to its downfall. This is by far the easiest game in the franchise. With enemies always being your level, to the awesome powers your GFs get, and the sheer exploitative nature of the Junction system leads to a cakewalk of a game. If the story was better, or if it had a likable MC, this game would be so much higher. Squall is just so unlikable. Even after he "grows," he still just comes off unappealing to me. With the story just going from "Let's fight this sorceress!" to "Now let's fight another sorceress who's from the moon!" and finally,"Let's fight ANOTHER sorceress…from the future!". The game is just inconsistent. I hate to love it, it's got Triple Triad for God's sake, and I recommend this one.

Grade: B

Number 6: Final Fantasy 4

Now, a lot of problems I have with 8's story are present in this game as well. It's "Gotta protect these 4 crystals!" To "Oh no, we failed but there's 4 more crystals we have to get, but in the underworld!" to finally "We gotta get those OTHER crystals…from the moon!". Coupled with the 3 or 4 instances of "Hey we got an airship! Oh it got destroyed, but we got a new one!". Combined with the constant coming and going/deaths of multiple party members, this game just feels like it's jumping through hoops to tell, admittedly, a good story of redemption and accepting your past. With likable characters and good twists and turns in the narrative. These factors are what puts it over 8 for me, despite it having a much more basic gameplay.

Grade: B

Number 5: Final Fantasy 6

We have now entered the hallowed Top 5! Here on out, there's not going to be a lot of negatives to really complain about. With a very diverse cast of characters, several with their own mechanics, one of the greatest villains in gaming history and with one of the most iconic sounds in gaming, there's a lot to love here. So what puts it below the others? That honestly boils down to me not playing it when I was a kid, so I don't have as much nostalgia for it. This is one of the greatest SNES games of all time, and should be experienced by everyone. It has a great story, memorable fights, and one of the most memorable scenes in gaming: the opera. Combine all of this with amazing sprites, cool old school effects, being able to suplex a train, there's no reason anyone should not play this. Especially since the pixel remaster is out, I can't recommend this one enough.

Grade: A

Number 4: Final Fantasy 7

And in this corner we have the towering behemoth known as Final Fantasy 7. A dynasty unto itself. With multiple spinoffs, animes, a big budget CGI movie, and so much other merchandise. It's not really hard to see why so many people love this game. I know for myself, this was my first RPG proper, that I played. With amazing cut scenes, for its time, the charming, if not silly, Lego style sprites, to the bombastic story, and its now iconic cast of characters, including another of the most notable villains in gaming. This game has had more of an impact than any other entry in this franchise, and it shows with the recent full blown remake on modern day consoles. While it may have garnered an "overrated" status by a lot of people these days, and it does have its flaws, such as the poor translation being a highlight, there's just always been something special about this game for me. It was my first JRPG love and maybe that has blinded me, but hey, I've had more than my share of fun, so who cares. Very much recommended.

Grade: A

Number 3: Final Fantasy X

This game may have gotten this high due to my own cherished memories of playing this with my, now deceased, brother. That being said, I feel its placement is also justified by the game itself. With one of the strongest casts, an interesting leveling system in the sphere grid, being the first fully voice casted, looking absolutely stunning, and one of the best stories in the series. This game was the peak of turn- based combat, with the ability to switch members on the fly, each character's weapons having unique advantages against certain enemies, and the ability to manage your turn order with certain spells and abilities. Hell, I even like Blitzball, but to hell with the lightning dodging minigame. I'm also a sucker for a more jovial protagonist, rather than the broody ones the series has mostly consisted of. Easily one of the most emotional games in the series, and it comes with a big recommendation.

Grade: A+

Number 2: Final Fantasy 9

Hands down my favorite protagonist and cast of characters in the entire series, save for a certain red headed monk stand in. There's not really any negatives I can pick out, although some may find the art style a turn off, though I do not. With a fun system of learning skills from equipment, and the character all harking back to the classic jobs, such as Zidane is a Thief and Freya is a Dragoon, it feels like a love letter to the classic Final Fantasy games, after years of the more kinda Sci Fi fantasy style. With a more whimsical, yet still mature enough story, this game embodies everything that Final Fantasy games stood for, for so long. For the longest time this was my favorite in the mainline series, but several years ago I went on a journey through the entire franchise, and I found a new king. Being as it's the only one left, it's obvious which one I'm referring to.

Grade: A+

Number 1: Final Fantasy 5

Here it is, the big winner, FF5. Now I'll be the first to admit that the gameplay plays a huge part in this decision. Now that's not to say that that's the only merit for it, far from it. With one of the most adorable scenes in the franchise, where everyone is enamored by a party member's sleeping face, a great recurring boss, to the best death out of all the games, yes even better than Aerith's. Combine all of that, with the best implementation of the job system outside of Tactics, which I am an absolute sucker for, it makes for my game to play in the whole series. Discovering this game for the first time was something, as it was not available in the states till its release in the ps1, which was not the best port,I didn't play it till the Steam release. If you like Final Fantasy Tactics, this is an absolute must play. If I could only pick one to play ever again this is mine.

Grade: S

[froglesbianphd]

I've been thinking about how the world of one piece would make a great setting for a ttrpg campaign (I'm aware there are already several out there). I don't know if dnd 5e would be the best system for it, maybe a skinned version of star wars 5e? I think it would have to be a system with well defined combat rules which is a point in favor of 5e. I've played a good amount of different ttrpgs and I've not been as satisfied with any combat experience as I am with 5e. I've never played star wars 5e though, when people play it are they playing as if the events of the movies/franchise are happening off screen? Or is it just like heres the setting and classes and types of aliens you can choose from and the game plot is totally unrelated. I suppose it differs from gm to gm. I really enjoy character creation it's like my favorite component of ttrpgs so I wouldn't want to just play as the characters from one piece, which removes that as an option. Easiest game play would be to have your players be a rookie crew and you progress towards the end of the grand line in the same way the strawhats do. Most ttrpg parties are like between 4-6 players though which I think probably isn't enough for a full crew but you could do what they do in skyjacks and have a bunch of npc crew members and everyone gets like a secondary character. The only issue that comes up with that is sometimes your main and secondary characters have to interact so you're talking to yourself. Still fun though. I would definitely want to set it during the events of the show. The way news travels in the world of one piece you definitely could get away with just mentioning the major world events through news paper articles. Hmmmm....

[doomboogie]

Uh 2021 Games List A Whole Year+ Late

Whoops, forgot about this since time hasn't been real for the last couple of years. I rank based on enjoyment of a game, not if the story or gameplay are particularly great, and to me a 3=pretty good. But it's a vague and nebulous system, it's all fake anyway. In order from March to December 2021:

Pillars of Eternity II: Deadfire - ?/5

Obsidian Entertainment, 2018

A more quippy and light-hearted tone than its predecessor, it feels like a tabletop game with every character trying to outwit each other and make the snarkiest comment. Some people like that, I don't so much. The true interesting story of colonialism is kneecapped by the generic main plot involving gods that already had their time to shine in the first game. Combat is more polished and fun and the AI improved and the environments are gorgeous. Companions are interesting but have underdeveloped sidequests and awkwardly implemented romances, and some companions just drive me so crazy I couldn't stand to even hear them. The PC's background and opinions never felt relevant, even in places that they really should have been. I never finished this game, as the main plot simply could not grab me enough once it was all that was left. I loved PoE 1, but despite my disappointment with Deadfire I admit it's not a bad game, just not my jam. I didn't rank it because I want to revisit later, I think I can enjoy this game just not right now.

Persona 5 Royal - 1.5/5

Atlus, 2020

Much needed gameplay improvements and social additions are undermined by a thematically inconsistent final act and questionable character writing. The new characters are clunkily forced in resulting in a love 'em or hate 'em feeling, and a lingering thought that perhaps they should've been saved for a spin-off rather than tacked onto an already complete game.

Persona 5 Strikers - 3/5

Atlus, 2020

The Persona series' strongest sequel (Eternal Punishment doesn't count) focusing on the friendship between characters and slight rehashing of original game themes with a twist. The new characters introduced far exceed Royal's new additions, and meld into the exhisting cast with more ease. Overdone tropes and a particularly bad moral lesson regarding child abuse give a mixed-postive takeaway.

Ghost Trick: Phantom Detective - 5/5

Capcom, 2010

Oh, to live in a world where Ghost Trick got a million sequels instead of Ace Attorney. A fun puzzler with a cute gimmick and fascinating characters with stellar music and the best animation on the DS. A few eyeroll moments in the last hour may harsh my vibe a bit, but not much. Like most wacky detective games, it's more fun playing with other people instead of alone.

Vampire the Masquerade: Bloodlines - 4.5/5

Troika Games, 2004

Considered a classic for a reason, with a myriad of roleplay opportunity, tons of interesting characters, and some of the best voice acting I've ever heard in a game. The latter half of the game is much less polished and a combat slog, but the first half more than makes up for it. I didn't appreciate the very aged early 00's humor, complete with some edginess and off-colour "jokes" - Chinatown is a bit of a Yikes. Still great fun, jank and all, and deserves a modern installment. Pour one out for the almost surely dead sequel; this franchise is truly cursed. On my biannual replay list.

Deus Ex: Human Revolution - 4/5

Eidos-Montréal, 2011

Adam Jensen is by far the most interesting protagonist in the Deus Ex series, and you can feel that this game's world is on the precipice of massive upheaval and change. It's the calm before the storm, and then when the storm hits it hits so hard. I love how there's no good ending in this game, I love how much it leans into media personalities influencing the minds of a populace, and I love the gold filter! Maybe I like this one more than the original Deus Ex because it takes place during the growing period between a modern world and the cyberpunk dystopia it's destined to become.

Deus Ex: Mankind Divided - 3/5

Eidos-Montréal, 2016

Opposite of the original Deus Ex, I expected this game to be bad due to its reputation. Perhaps that lowered expectation allowed me to be pleasantly surprised by it instead. The story isn't the best, and it desperately needs another game due to the abrupt ending, but the gameplay is a blast. Felt nice unleashing on the police once night fell. Prague is so so so fun to explore, probably one of my favorite game hubs I've ever played in. Still hoping for that third game to close out Adam's story.

Deus Ex - 2/5

Ion Storm, 2000

Maybe I'm just too much of an radical but nothing this game said felt very mindblowing or earth shattering. The gameplay was passable, stealth was fun, but I think I was just too late to the party on this one. The fandom needs to chill out on reccommending this to everyone as "the best game ever made", because it just creates expecations that won't be met. I obviously chose the "Dark Age" ending; I was surpsied, it assumes the worst of humanity and thinks we'll go back to the dark ages from losing technology that didn't exist prior to the 1910s. But again, maybe I'm just too much of an radical and can tell when the leftist ending is written to appear worse than it really would be. Honestly this feels like a game that a lot of libertarians built their entire personalities off of.

Crusader Kings II - 3.5/5

Paradox Entertainment, 2012-2018

A fun rpg hidden in a grand strategy game, and this wonderful combination has spoiled me for every other grand strategy. Base game is servicable but restrictive; DLC and mods are what make the game shine. Massive timesink game, never truly ends. The total for the many packs of DLC is quite expensive; I'm not a fan of Paradox's business model. Score lowered due to the DLC prices as well as bizarre mechanics with some inter-religious stuff. Does anybody actually take part in the Crusades in this game? I sure don't. Too busy plotting against my liege.

Bloodborne - 5/5

FromSoftware, 2015

I loved this game so much that I started a second character while still in the middle of my first playthrough. This game was the gateway to FromSoft titles for me, after years of being on the outside looking in. It's no longer my favorite Fromsoft title, but it will always have a place in my heart. Fighting the Bloody Crow is in my top 10 game moments, easily the most fun duel I've ever had. Also, the singing eyeball creatures are singing the Hunter's Dream melody! Marvelous.

A Plague Tale: Innocence - 1.5/5

Asobo Studio, 2019

If this were a tech demo that ended at the battlefield level I would have been far more entranced and liked it more. This game goes off the rails so hard in a way I can only roll my eyes at, and that's not accounting for the poor pacing and bizarre story choices. What could have been a simple story of survival and family turned into a circus of rats and murder. I don't understand how this is a darling for so many people.

Life Is Strange: True Colors - 1/5

Deck Nine, 2021

Goddammit. I wanted to like this game so much. Alex's powers are the most interesting of the LiS bunch, even if they're not explained all too well and often change the rules. Alex herself is fine enough - she's a bit of a dick, and has a personality that I enjoy seeing. But the game falls apart when it comes to story - the most interesting parts (Alex's past, her relationship with her brother and parents, the core mystery) are pushed aside in favor of larp sessions, aimless wandering, and a forced musical interlude at a festival. When the plot finally wakes back up it dives into a non-twist that was so predictable I was hoping it was a fakeout and then goes straight for completely ridiculous acts of human survivability. Alex should have died multiple times over in the last few hours of the game but miraculously walks off fatal injuries with nothing more than some aspirin and self-righteous spirit. This would be fine on its own, but the series has established what is and isn't survivable - characters in the first two games died from something that Alex shrugs off. The individual characters are some of the most interesting in the LiS series, but the story is easily the worst. I keep thinking of how good this could've been. Maybe next time Deck Nine will get it, but I'll miss Dontnod being at the helm. Also maybe I'm petty but I fucking *wish* there were small towns in the Colorado that were this diverse and inclusive where someone could get by on a meager wage. Ugh.

The Sims 4 - 2?/5

EA Games, 2015

Really only playable with mods and all the DLC. Can't believe it's still on live service in 2023.

Darkest Dungeon - 3.5/5

Red Hook Studios, 2015

Darkest Dungeon is probably my most "pick up, get bored, put down" game I've ever played. I like the conceit, I like the setting, I like the classes. I hate the grind. Even on Radiant Mode it becomes a slog after a while, but I was determined to see it through to the end. Which, as it turns out, wasn't to far off from my last "put down" spot years ago. I still think the grind is to the game's detriment, and overall I'm not a fan of vaguely Lovecraftian horror - Bloodborne is toeing that line for me - and the final four part dungeon has a brutally harsh gimmick that can blindside a player. However the final boss of this game was delightful. I kept Reynauld and Dismas in my rotation the whole game, and sent them both to the final boss. Only one returned. It was a heartbreaking moment, but a fitting one. I think the series should have ended here, to be honest.

Outer Wilds: Echoes of the Eye (DLC) - 3/5

Mobius Digital, 2021

As I write this I'm replaying the DLC, in hopes to enjoy it more than in 2021. Unfortunately I don't. The delightful puzzles and poignant moments are undercut by the unforgiving traversal of the new major area, a long return time, and a tedious stealth mechanic. The DLC itself is the length of a full game, and I commend Mobius for their creativity in an entirely new area in an already jam packed game. All that said, less fun Outer Wilds is still Outer Wilds, and that comes with a good time regardless. I just hope next time they leave the inky black stealth sections on the cutting room floor. Bummer we can't really tell any other hearthians about our discoveries :( I know Riebeck would like to learn about it.

Baldur's Gate Enhanced Edition - 3/5

Bioware (1998), Beamdog (2012)

Baldur's Gate is an odd game to me. I played through once, and found it aged and not that great; I used to have this rated as 2 stars. But I couldn't stop thinking about the game and ended up replaying a few months later and enjoying it a lot. So, I guess I like it? I don't know, maybe it's kind of like a sugary candy where you don't like it much but you keep eating because the sugar is addicting. Perhaps I merely craved a late 90s rpg. I'm fond of all the companions I took in those two save files, and that's one of the problems: too many companions, likely because the devs didn't expect players would care for them. But I do! I would die for Ajantis, nobody knows me like Khalid and Jaheira know me, and sure I guess Imoen can come along too. So long as she understands I like Xan and Coran more than her. Probably the second biggest untwist, after True Colors. Not a big fan of the chosen one narrative in any game, but it was the late 90s so I can forgive it.

Return of the Obra Dinn - 5/5

3909 LLC, 2018

This was the last game I played in 2021, on New Year's Eve. A single shot, 11 hours straight. I loved this game so much. I honestly don't have words other than I love it. I love the gimmick, I love the music, I love the various color palettes you can choose from, I love the investigation and detective work required from the player, I love learning the story in nonchronological pieces, I love how it's a tragedy and I love how there is truly nothing else like it on the market. I hope beyond hope that something will come close to the gameplay again, but I'm more than content with just this. Very thankful to have such a stellar game to end an otherwise bad year on.

[mass-effect-anonymous]

CONFESSION:

When I first played Mass Effect 3 many years ago, I enjoyed it despite the flaws I could see. But when I replayed the trilogy with Legendary Edition this year, my opinion of the game has gone way down.

The writing has such a huge drop in quality from the first two games (which make sense because a lot of the writers left before ME2 was released, and the drop in quality is even present in some of ME2's DLC). The dialogue system was extremely simplified (every option is either "good" or "bad"), and morally grey issues were also reduced to good or bad (the Genophage, the quarian/geth conflict). I felt like I had way less control over my Shepard, too, partially because of the dialogue simplification and partially because of story elements that just don't fit the way I roleplayed her in the fist two games. (returning to the Alliance, being overly concerned with a random kid, etc.) I have a lot of other complaints (plot points from 2 being dropped, the ending,  Kai Leng), but I feel like those are talked about more and I don't want to make this longer than it should be.

But I think the absolute worst part is how the ensemble cast was treated. Mass Effect 2 was able to give you 10 squadmates with extensive dialogue trees, all with their own unique personality and relationship with Shepard, and for the most part I felt like all the companions were treated equally. ME3, however, put all of its effort into Liara and Garrus (but mostly Liara), while turning most of the other companions into glorified cameos with only one quest or singular purpose. Jack had huge character development but only had a role in one quest, Miranda's quest was just rehashed from her loyalty mission in 2, and Grunt and Samara were barely in the game. I romanced Thane, and he's easily my favorite character, and I honestly thought it was insulting that his only purpose in the game was to die and instantly be forgotten about. Meanwhile, the game heavily tries to push a Liara romance on you, and even if you don't romance her, the game treats her like your best friend and sidekick even if you actively try to avoid her.

This opinion has alienated me from a lot of the ME fandom, who constantly praise 3 and in some cases even act like it's the pinnacle of the franchise. I've been called entitled for simply expressing that I wish the game hadn't almost forgotten about some of my favorite characters. (and I feel like the fandom always neglects the characters that didn't have a huge part in 3) Don't get me wrong, I don't hate everything about the game. The combat is solid, the music is beautiful, and I'm happy with the development of some characters like Kaidan. But I really wish I could somehow go back in time, convince all the old writers to stay, and let the game have a proper development time, because now all I can see when I play ME3 is a rushed mess that has little resemblance to the series I fell in love with.

[brawltogethernow]

So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.