#gameplay great

[skeleslime-phantom]

Borderlands 4 trailer shows the vault hunters are all human...

Ngl, very boring to me.

[pybun]

[volume warning]

straight out of a horror movie

[bunnithechubs]

finally darius can get some work done!

[poorly-drawn-mdzs]

Reasons to play In Stars and Time: Canon Pronoun Warfare.

[starryeyed-seer]

me: I'm not a bat

Mr pages: (stuffing novels under its robe): I must abscond

[aurorangen]

It has been a while since Renee and Robbie last saw their grandparents, so they visited Evergreen Harbour to surprise them! Travelling to far places was harder for Felix and Maya since they were getting on in their years, so they were overjoyed to see their grandchildren AND great-grandchildren ❤️

[glitteraffe-art]

(bt voice) commander briggs. may i keep him

second image based on this meme:

[science-lings]

I think we forget that Ryunosuke is funny actually

[blueskittlesart]

did u not like totk?

i LOVED totk. i think it was well-written and did its job as a sequel to botw very well. HOWEVER. i do think it suffered slightly from the commercial success of botw. as i mentioned in my last post, nintendo does this. thing. when one of their games gets popular where every game after it has to be Exactly The Same so they can make all the money in the world via comparison marketing. (and this is a problem with the wider game industry in general but also a very observable pattern in loz specifically.) I know it's been a pretty long time since botw came out, but before (and immediately following) its release there was some pushback from longtime fans who worried that the open-world and lack of traditional dungeons meant that the game had strayed too far from the classic formula that makes a game a "zelda game." this is to say, botw was EXPERIMENTAL. and the devs had no idea if what they were doing was going to be successful or not. the open-world of botw wasn't a gimmick, and it wasn't the devs jumping on the open-world bandwagon. it was what CREATED that bandwagon. the open-world was a deliberate choice made specifically for botw because it reinforced the story that botw was designed to tell. the game is about exploring a desolate world, about making connections, and rebuilding both the broken kingdom and the player character's shattered sense of self by traveling and learning and building relationships. a large open-world map with only minor quest guidelines and lots of collectibles and side quests lends itself perfectly to this specific story, which is specifically about exploration and rebirth.

the problem is, botw was. almost TOO good. it was so good that every other game company on the planet started scrambling to build giant open-world maps into their next release, regardless of how much sense that actually made narratively. and because of that, when it came time to release a sequel to botw, the devs had a lot to think about. they had HUGE shoes to fill in terms of fan reception, but they were ALSO being asked to follow up one of the best-performing games of all time, commercially. totk needed to SELL as well as botw. And, likely because nintendo was worried about that potential commercial value, totk needed to keep people comfortable. I don't know for certain, but I definitely get the feeling playing totk that the devs were specifically told not to stray too far from what made botw marketable and successful--that being the open world and the versatility of gameplay. so in order to follow that up, they made... 2 more huge open maps, and new gimmick gameplay which was explicitly super-versatile.

do i think that the extra maps and ultrahand were BAD choices? no. however, i don't think they necessarily ADDED anything to the game as a narrative whole. one of my favorite things about botw was how everything seemed to be designed AROUND the narrative, with gameplay elements slotting neatly into the story thematically. totk just. didn't really have that, imo. there wasn't a huge narrative benefit to the gigantic, completely unpopulated depths and sky maps. ultrahand was cool, but within the context of the story it meant basically nothing. in some ways, i almost think totk could have benefitted from a much more linear approach to its storytelling, a la skyward sword, because there are a lot of story beats that have to be found in chronological order in order to have the right emotional impact, but because of the nonlinear open-world it kind of became a struggle to hit all the important story points in the right order. an easy example of this is the dragon's tears in comparison to the memories--the dragon tears have a very specific set order in which they happen, and finding them out of order can make the story you're seeing in them feel confusing and disjointed. the order in which they should be found is technically displayed on the temple wall, but most players aren't going to pick up on that or follow it--more likely, they're just going to explore the geoglyphs as they come across them organically, and therefore will likely witness the story in a completely disjointed way. compare this to the botw memories, which ALSO technically have a set order--the order in which they're displayed on the sheikah slate. however, because they're largely just small moments in time, and not one continuous story, finding them out of order has a lot less of an impact on how you as the player experience the narrative, and it's not hugely detrimental to your experience of the story if you find them naturally as you explore rather than explicitly seeking them out in order. If TOTK had been allowed to deviate from the botw formula a bit, i think we may have ended up with a more cohesive game in terms of narrative beats like that. as it is, i just think the game is torn slightly between wanting to be its own new game with new gameplay and needing to be botw, if that makes sense.

[ra-vio]

ravio I started drawing spring of last year

[duusheen]

+1 enemy

[cupidgnome]

Conrad and Cole aged up to toddlers! + Eden doesn't know who she wants: Tyler or Russel. So she goes after them both! Emma isn't too happy that Russel cheated on her with her sister tho...

+bonus pics!

bella, the homewrecker, went to the party lmao + a pic of russel on the date + eden with tyler bruh

[oxavierart]

🗨️ Bedsibs

[bunnithechubs]

she's the girl your girlfriend told you not to worry about. (you absolutely should worry)

[akolnoix]

Chain of Pronouns

A Partial Re-Translation Patch for Kingdom Hearts: Chain of Memories (GBA)

Kingdom Hearts is a tricky series, where the details really matter. As such, it’s a shame that some interesting elements of Kingdom Hearts: Chain of Memories did not make it into the official English release (and, from what I know, none of the other language versions). So here we are!

So What’s Changed?

The most important changes in this patch are, as you might’ve guessed from the title, pronoun related.

There is a section of the game, from the beginning of Twilight Town to a certain point in Destiny Islands, where Sora (and the NPCs in Destiny Islands) inexplicably change what pronouns are used to refer to Naminé. The official English release does not convey this element at all despite how much emphasis the game puts on this aspect, and thus loses any potentially significant implications of it.

As there’s no perfect English equivalent for あいつ aitsu, (a very informal/rough pronoun that is technically gender-neutral but leans toward masculine connotations, and is a strange way for Sora to refer to Naminé or Kairi), there are two versions of the patch.

“they” version. This is the one I recommend , as I believe it best conveys the intended experience; where there is a noticeably strange shift in language, but in such as way as to be fairly easy to write off as unimportant to the casual player.

“he” version. This one tosses all subtlety and ambiguity out the window and feels less natural, but conveys the masculine possibilities of the original that the other version can’t. Pick it if you’re feeling very daring.

Then, in the final stretch of the game, jp Naminé uses gender neutral terms in a way that seems potentially relevant, due to the pronouns situation stated in the previous section, and she is talking about two distinct people in her final conversation w/Sora, not just one. Both elements were lost in the official release.

Other Changes

Tweaked some word choice/phrasing for dialogue to more clearly convey repeated motifs (if you’re familiar with the jp terms used, 大切な / に taisetsuna/ni is generally denoted with “precious,” and 大切な人 taisetsuna hito with “dear”) as well as references to other parts of the game (primarily between Hollow Bastion and the floor 6+7 interludes)

They don’t call Sora the Keyblade master anymore, as this was sort of an impossible to predict localization misstep with the original release. (How were they supposed to know that jp script would start using the English phrase "Keyblade Master" as a distinct concept like 10 years later?) I did this just for fun.

This project was primarily built upon the contents of the essay “‘That Person’ How a Pronoun Revealed the Heart of a Story”, and would not exist without it. Read it after you finish the game (or before, if you want), it’s fantastic work.

Special thanks to this gba khcom quote generator and this transcript (both of which saved me SO much time and effort) as well as all my friends, whose excitement and input were invaluable.

Don’t want to actually play the game? Once I’ve settled on a final version, I’ll be putting up a cutscene compilation (for both versions) on youtube.

[amanda-plays]

The game chose Liana, Laina, Elsie, Linnea, and Oceana for Leandro's welcome wagon. While he was more than happy to entertain this group of lovely ladies, I thought it was funny that the game chose them, considering they all have different loyalties and strong opinions concerning him and other folks. It was cute to see them all just make themselves at home though.