#gameplay was also very flawed but I was overlooking it to see where the story was going | Explore Tumblr posts and blogs

botwstoriesandsuch · 4 years ago

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Back here with another episode of:

Read Part 1 here!

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

Alrighty then, so let’s just jump into it!

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Recap! So when we last left off, we had just finished off Act 1 of the story. We’ve used the character introduction segments and the gambit feature as a means to give more life to everyone, without sacrificing too much cutscene time. Allowing us to save and focus the major story details and set up on the more cinematic cutscenes.

I had forgotten, but after Part 1 came out, an anon pointed out that Impa’s character introduction could use some work, and while you don’t need to read it right now to understand the rest of this post, I encourage you to look at it eventually to see the strengths and flaws in the original Impa introduction, and the reasons for my rewrite changes! All you need to know is that eggbot was lying around, deactivated, but when in proximity to the Sheikah Slate, was turned on like other Guardians. Eggbot being activated by the Sheikah Slate is kinda brushed over in the original game? But in my rewrite it’s gonna have some later significance. Also during the Royal Lab cutscene, I want Robbie or Purah to mention how Zelda’s control of the Sheikah Slate is quite exceptional or something. It’s a bit obvious already in Hwaoc, but I need it to be verbally said in a story scene for, again, later significance. Alright that’s it for my added details, moving on now.

After Chapter 1, we moved into the characters accepting the Call to Adventure, whether by the general external reasons of wanting to save the world, and developed a little bit further with more internal related reasons to give nuances and identities to different characters. Revali wishes to prove that his hard work earns him better merit than a sidekick, Urbosa wishes to protect and help Zelda on an emotional level, Mipha wishes to get closer to Link and come back to her family proud, etc etc.

Then, the climax of Act 1 ends with the Yiga ambush, and the characters get a first taste of leaving their areas of comfort, and journeying into the unknown world. Although the gameplay and the successful defeat of the Yiga establishes the Champion team’s strength, our interaction with Rhoam shows us that they still have a ways to go. The momentum into the full story now has a bit of tension and conflict.

So now we crash into the beginning of Act 2, the longest Act in a story, as it’s the part where the....story, happens. Let’s take a look at changes to the Hollows, eggbot mysteries, Zelda character growth, and our first real dip into the character of our antagonist, the Prophet of Doom himself, Astor…

So in the game, Chapter 3 opens on the flank of Death Mountain, our heroes overlooking the view of Korok Forest.

There are a few problems I have with this scene. It’s really stale, there’s no movement, nothing dynamic about it other than the opening shot. They just kinda stand there and say words until Revali’s done ranting and summons Medoh. Also Revali’s dialogue is a bit “much” to say the least, and uh, spoiler alert, he’s gonna be reworked a bit more than the other Champions. Finally, this scene doesn’t have a lot of purpose or substance. Sure, it has some character conflict with Revali and Link and the team, but that’s kinda established already, plus it’s something that I’ve already fleshed out in the last scene with King Rhoam, so it’s a bit redundant. So that leaves this scene serving only as a boring current draw to the Medoh fight and nothing else. This is the opening set up for the Chapter where important story stuff goes down! Needs a lot more substance. So! Here’s my rework.

We open on the sound of running. Link, along with Zelda, Urbosa, Daruk, and Mipha are running upwards on a path by Edlin. They’re chasing a small group of bokoblins and it looks like it’s the end of the fight. Urbosa is more near the back, with Zelda, but Daruk and Mipha both kill a bokoblin, their bodies of the monsters exploding in a cloud of malice upon their demise. When the camera shows each of their kills, the shots are quick, but I want the angle of the camera to be in such a way that the malice evaporates center frame, with Daruk and Mipha being behind the malice. This is because for a split second, it looks like the malice lingers around them like smoke. Huh, I wonder if that’s foreshadowing or something.

Anyhow, Link chases the final red bokoblin uphill, boots pattering against rock. However, we’re now seeing this from a moving, flying, bird’s eye view [quite literally wink wink]

Cut back close to Link, he kills the bokoblins. Stands there for a sec as he sheathes his sword. And then...

“Well I’ll be plucked. You defeated it, eh?”

Reveal Revali flying from above, and he lands in front of Link, but faces away from him. “Who would have thought that some little knight, amongst a group of chosen heroes, would get some action. You must be pretty proud of yourself, hm?” Cue that classic Revali head turn with a glare. Also when Revali says “heroes” I want him to flick his scarf dramatically, while staring at Link’s armour, as if internally he were judging Link on a runway.

Zelda runs up and starts speaking. “Oh Revali, I apologize our meet up with Medoh got a bit delayed. I assume that you’ve already positioned them by now for the attack?”

Revali hums a yes, but doesn’t bother to entertain a more fleshed out answer. Instead, he flicks his wing (as if to say, “come on”) and turns his back to walk up the trail. The others follow.

“I was informed that only the Champions and yourself would be present. What are…” Revali flicks a wing in the direction of Link and eggbot, like a Karen shooing a waiter. “...they, exactly contributing?”

Zelda says some stuff about Link being her bodyguard like: “Well, my father was impressed enough with Link’s actions from the other week that he’s assigned to give me further protection.’ She can say this a bit grumpily, to Link’s ignorance. Daruk can pipe in like “And a good thing too! Always great to have little guy at our backs.” and Mipha can nod sheepishly or something. But their dialogue is cut off by another rude interjection (because hell if Revali wants to listen to more rambling about Link)

“Right, right. And this thing is still around?” Revali gestures to eggbot.

Zelda: “Well, This little one's technological prowess has been quite useful in battle, allowing us to access the rune functions and all. So I figured it’d be a big help should something unexpected happen. Plus...” cute shot of Zelda staring at eggbot, “it just...feels right.” Then the little eggshit can like, chirp happily or make some cute whistle or whatever. Just shove in a bit of that egg fanservice, might as well since I need to better establish its presence for later.

Revali mutters something about “big help,” before gesticulating with his wings as he continues walking up the trial. “Mooore like a big liability should anything happen to your little pet, and one of us be forced to risk our lives just to save it from becoming scrap. Honestly, when it comes to you, and you.” Revali points to both eggbot and Link, “Your presence is an entire waste of time. ‘Backup?’ Help?’ Tsk. Humouring.” Eggbot can make a noise or something while Link just tilts his head. Revali continues: “You’re only here because of a non-existent, fantastical, imaginary hypothetical in which I somehow fail, and I don’t, fail.” When he articulates that last part, he stops walking and does another little head turn/glare, but he still doesn’t bother to fully face him. “I’m sure that your duty will no longer be of importance once your reputation...is nothing but a memory overshadowed by today’s great feats. A forgettable knight, heh heh!”

“Revali,” Urbosa sighs, “How long do you expect us to put up with your showboating and prattle?”

That when Revali finally turns fully to face the group, with a more grim glare. They’ve reached the top of the ledge anyhow, so they’ve stopped walking. This is where the camera can view the Lost Woods in its fullest as it zooms on Revali. Then, that ending is the same as the game with the pan up to Medoh’s presence.

“Fine. I’ve said enough. The time has come to show you what I’m made of. Now witness...Vah Medoh’s divine power!”

So that’s that. Revali is toned down a bit, and his rude remarks have more of a precision as to their point. It’s a bit hard to explain over words alone, but the fact that this scene takes place as the Champions are walking up the trail, means it’s a lot more interesting to look at. (Kinda like the walk and talk premise that you see in The West Wing) Plus, the trail being uphill establishes that hint of power dynamic as Revali is above everyone else. Also there’s just a bit of some botw dialogue connection, not only in just the opening, [Hwaoc Revali vs Botw Revali “Who would have thought” is put in different context based on their development, so it’s a good establishing point to show where this Revali is at in dynamics with Link in comparison to botw, all in just one line rather than in a more longer explanation] but I also scattered a few dramatic irony pieces in there heheh. There’s a lot more reasons why this scene is an improvement [and hopefully to you, it already *feels* better] but I’m not going to explain them until near the end, as its importance is connected to the later scenes of this Chapter.

In fact, that's the overarching change that I’ve made to these cutscenes, I’ve actually connected them and related them to the other scenes. This is the very first introduction to Chapter 3, after all, so it’s important that this introduction serves to be of more significance than “ok here’s the champions, here’s revali, there's medoh. Now go wreck stuff.”

Medoh’s fight is the same, the cutscenes after are mostly the same. Except here, when everyone runs into Korok forest and you see Astor, I want this scene to end not on Astor’s face (because it’s not as significant anymore since we’ve already see Astor in full in Chapter 2 with Urbosa’s stage) but it should end with Astor reaching out a hand towards the camera. The camera angle would be just a bit below Astor. This is because I want the implication to be slightly more clear that he killed those two Yiga underlings to craft the Hollows. It’s a nice little “watch it for the first time it doesn’t mean anything” but watching again it’s like “ohh how did I not notice that” kind of thing.

Then, Hestu’s introduction is roughly the same. I don’t think I really need to rework it too much, since Hestu as a character doesn’t serve anything major to the plot, so it’s fine for it to just be fun and cute. I will however, change just a few pieces of dialogue.

Revali: “Are we even making progress? We could just be going in circles.”

Daruk: “Good point. If only someone could fly above and scout the way.”

Revali: “As though I could see anything through this muck. Honestly, do you even think before you speak?”

Revali!!! Don’t be so rude to Daruk. Like yes it’s a bit funny, but that last part with “do you even think before you speak” is a bit much, because honestly Revali doesn’t really have a reason to hate Daruk. He’s characterized as being rude to Link and those he deems unworthy of respect, but Revali respects Daruk, Mipha, and Urbosa fairly well, considering they were chosen alongside him. So personally, I’d just tweak this to

Daruk: “Good point. If only someone could fly above and scout the way...”

Mipha snickers at this. And Revali mutters more quietly to himself, “As though I could see anything through this muck.” and gives little “hmph!” at Daruk, moving away.

There we go! It still serves it purpose of showing how the Champions are still not completely in sync (which is what I can assume was the original purpose of Revali’s rude comment line) but it’s played a bit more comedic (which makes sense considering this is in the context of Hestu’s introduction) and we get to poke fun at Revali, since just early we had spent so long boosting up his ego. Also Mipha laughing a bit with Daruk while Revali broods adds to that point of them being too busy to see Hestu right behind them.

Another small change, I don’t want Zelda to discover Hestu first. I want eggbot to discover Hestu, maybe they shake their maraca and eggbot notices and gives a little curious whistle. When Zelda notices eggbot not walking with her, she looks right, and that’s when she notices Hestu. It’s almost insignificant, but I really want to establish the eggbot’s presence for this chapter. Especially since this game writes him out of cutscenes a lot.

Final small change. That Hestu scene ends, not with Revali wordlessly shaking his head and following the group after hanging back. But with Mipha actively turning back, saying something like “Come, Revali. We should all stick together. It wouldn’t do for us to get lost.” and then a reply like “As far as I’m concerned, when it comes to mystic swords, magic trees, lucky knights, and walking eggs...I already am.” I’m just trying to keep intact that Nintendo “vibe” of flicking the character stances right in your face, especially since this game's only forms of telling the story are through these less than a minute cutscenes.

OKAY! Gameplay stuff. There are no real mechanic or level design changes to the Battle of Korok Forest, BUT there is one important change that I want to make here.

When the party splits up to take on the bosses in order to get rid of the malice. I think that the Hollows should speak.

Not like full on sentences and stuff (yet) but I think they should mumble and groan and be able to speak a few simple words. Now why do I say this? Well, let’s take a look at how I think we should introduce them.

First off, I think it should be a cutscene. Not just some 2 second animation where the Hollows spawn in. Nonononononono, this needs to be a cutscene, because it needs to be acted, because we need to see the character reactions. Like, if you’re gonna have that cliche “dark evil clone of the protagonists” thing, then you might as well go all out with the angst. In fact, personally, I would have rewritten is as the hollows actually *being* the champions and astor can temporarily control them but then when he sees that fail later in the game that can be his motivator for making the blights to kill them off since they’re no longer of use to him alive or whatever but we’re scrapping that idea because like I've said I want to try to keep the integrity of the original story.

Ok, so you have a character come up to one of the map points, and when they get there it fades into a cutscene. It’s not gonna be super long, but here’s the vision.

Character is in the lost woods, they killed a stalbokoblin or whatever. Just some low tier enemy, and then it dies and becomes that whisp of malice. Great. Character turns to leave, but then they hear something. Like a snicker, or laughter. Cut to this angle from behind the trees, but instead of astor it’s the character you’re playing as.

They go over to investigate, creeping closer with caution, until they see a shadow. The shadow of a small figure, about no higher than Link, with a long, trident weapon.

FWOOSH! An explosion of malice, almost like a fountain behind the character. They turn just in time to block the attack, the Lightscale Trident, but yet...it’s not the Lightscale Trident, because it’s covered in malice. Hollow Mipha is striking from the air, because this is basically her fountain teleportation thing, but malice. Once the character blocks the attack, time slows just a bit so you can see Hollow Mipha’s face, and then cut to the other characters face to give them a reaction. And that’s it.

Then you can pop back into gameplay, but there should be textboxes on the bottom where you can see the character’s surprised reaction like

[Unimportant detail, but if Daruk fights his Hollow self I want his reaction to be like “Woah! I sure look grumpy. I look like I skipped breakfast.” and then his gambit attack is like “eat THIS!” Also Revali can say something about how imitation is a form of flattery]

Through that fight, the Hollows also have like one textbox and a line of Evil™ mumbling and/or laughing once they’re defeated. The laughing is kinda used in a later scene, but it’s never really seen again so I just want that to be more prevalent. You all could probably think of more angsty “evil version of you” lines that are specific to each character, but I’m just thinking stuff like “You...won’t...last” or even just *muttering*. In fact, this is another thing that I want to flesh out with my gambit feature. It not only serves as interaction between whatever two characters you’re playing as, but also as interaction between your antagonists. So if you use a gambit on Kohga, he’ll say something specific about the characters he’s fighting. Same idea with Sooga, or Astor, and now here, the Hollows can say stuff to you.

There’s gonna be someone out there more creative than me out there that can think up some cool dialogue for them, but basically what I want to establish is that we know that these Hollows are made from people’s like, souls? Or life force or whatever you wanna call it. So it wouldn’t be farfetched to give them the ability to speak. Over the course of the game, I want their textboxes/dialogue to be more and more lifelike, like without the pauses or muttering. This is because the entire point of the dialogue is not only to serve that trope of “I’m the evil you I’m gonna say stuff that emotionally impacts you mwahaha” but it also makes them just a bit more menacing in my opinion. Also overall gameplay wise, I think they need to become stronger with the Champions because idk if it was just me, but they were so easy that I just forgot about them.

So! Korok Forest Battle introduces these creepy mumbling Champions, people react and are a bit freaked out, but they eventually clear the malice and we hit the next cutscene.

This is where the shit goes down.

You all probably remember how this scene goes down so I’ll try not to spend too much time explaining it. But here’s my two cents as to why I’m gonna rewrite it a bunch. I think it’s not a good villain reveal.

Like first off, it doesn’t establish Astor as a threat. His memorable action here is the summoning of the Hollows, and while yes, they do beat up Link and that’s very good, it also let’s Link easily beat them and Astor as soon as he gets the Master Sword IN THAT SAME SCENE. There was no time to let the threat of Astor linger, and when we see Link instantly beat him once he gets his Mcguffin, it really hinders the effect of this reveal.

Secondly, everyone is just silent during this??? Like, obviously Link doesn’t say anything, but Zelda doesn’t do stuff? Astor just kinda says “kill her!” and thats about it. Zelda never says “who are you?” or “what do you want?” or anything because as far as she’s concerned this is just some random dude, he’s not Yiga or anything. Also Astor never even introduces himself?? Throughout the entire game??? So while we the player know who he is because of his fancy title card, as far as all the characters are concerned he’s just a Mystery Clown.

It’s just super weird how no one asks any questions during this scene like no one acts like a human being with common sense. In fact, one could say that no one asks any questions for this entire game. Things just happen, and happen, and happen, and everyones just kinda chill. And then Zelda just kinda receives 17 flashbacks over the course of two minutes at the end of the game like she’s speedrunning botw memory%. Obviously having an aura of mystery over the course of your game is fine, it’s good to keep questions lingering over the audience’s head. Just so long as you answer them in a satisfactory way later on. Like, that’s not something I need to spell out for you right? If you set up a question, give the audience a good answer. If you set up a mystery, give a cool explanation. If you set up an interesting character you have to give the people a pay off that was worth their investment into them, right? Right? Right? You understand right? Cause as the writer for a story, it’s you’re to explain the significance and importance of why things happen in a creative way. It’s almost as if that’s the entire purpose of storytelling, you know, an explanation of events in a compelling manner. Like please, this is a concept that you are able to grasp right? This isn’t just me right? See that’s how writing works when setting up anything ever, you gotta give an explanation to the choices you make in the plot. You gotta explain why. You gotta explain why. Explain why. Explain why. Explain, why? Explain, why? Why? Why? WHy? WHY? WHY? WHY? WHY? WHY? WHY? WH

Sorry I got carried away. Anyhow, here’s the rewrite.

Link and Zelda don’t enter the forest at the same time. They run through the wooden tunnel thing, and Link makes a gesture like “go!” while he stays back a bit to hold off some monsters like stal-lizalfos or something. So Zelda runs into the center of Korok Forest.

As far as any of the characters know, this is a safe haven now, this was their destination, so there’s no monsters here, so they’re good. The princess is safe, the Champions are just cleaning up in their respective corners of the forest with the Hollows, and Link is fighting off the monsters by the entrance. So while there is still tension from the battle, Zelda lets out a sigh of relief once she sees the Master Sword.

She approaches it, cautiously, but doesn’t step onto the stone pedestal, still staying a ways back in the grass. “We’re finally here,” she says to herself. “Now we just have to protect the sword, await for the hero to retrieve it, and await for destiny to arrive.” She looks down at the ground, and then at the back of her hand (fuck what hand was the one with the triforce, her left hand? I’m gonna say left hand). So she looks down at the back of her left hand, before letting it fall. She turns away from the Master Sword and to herself she just mutters, “I only wish that I could make as much progress in fulfilling my own role...in making myself to be of actual use, like the others.”

There’s a moment of silence as Zelda wraps her elbows and closes her eyes. Then,

“If that is what you wish,” a sudden voice echos, and Zelda spins around to face it, “Then perhaps I can be of some assistance.”

Cut to Astor, standing in front of the Master Sword, facing Zelda. Roughly where he is shown here, but Zelda is a couple feet away from him, standing on one of those rocks.

Zelda steps back in shock for a moment. “W-Who? Who are you?”

“Me?” He takes one step down the stairs. “Oh, I am just someone, same as you, who wishes to see destiny fulfilled.” Zelda takes another step back, and seeing this, he stops approaching. “Ease your mind, Your Highness. There is no need to be frightened. You may call me, Astor”

Cut to title card on his face, it can be like this, BUT, no malice or glowing magic around him, it’s all still lush green forest, and I don’t want as much focus on his astrolabe. It’s just his face, and he’s giving a warm, yet chilling smile.

Zelda is still stammering. “Y-You...do I……. how did you—”

“It doesn’t matter. What matters now is taking every step towards stopping the Calamity, correct?” Astor starts to take a step towards her again, and this time Zelda doesn’t flinch.

“Y-Yes. Yes of course. But I’m afraid I’m still a bit confused. ...What exactly do you...want?”

Astor doesn’t immediately answer. He steps off the pedestal and starts to circle around Zelda, eyeing her, but still with that creepy smile. “Tell me, Princess, how fares your recent training? Adequate progress, I presume?”

He continues circling around her, still a few feet away. Zelda looks to the ground, defeated. “I’m afraid not. I’ve been trying to aid the researchers with the Guardians and Divine Beasts. But when it comes to this power…” she looks down at her hand again. “...it seems despite my great efforts and restless hours of prayers, they have yet to awaken.”

Using his free hand, Astor places a hand on his chest, tilting his head in a sorry pout. The gesture seems exaggerated. “My...you poor thing. How harrowing this must be for you.” He continues walking, eyeing her as he circles behind. “But, I am certain it is not your fault. You are but a child, after all.”

“I…” Zelda is still staring at the ground in front of her. Astor continues.

“I mean really, have you ever stopped to think about how absurd this all is? A collection of mis-match warriors, demanded to pilot gods. A sword for an unseen hero. The lives of us all, in the hands of one girl. Expected to lead us all, awaken a divine power, and save the world, all before her 17th birthday…”

After a beat, Zelda finally looks up at him, confusion and suspicion back in her eyes. “What did you say?”

Astor stops walking, he’s back directly in front of the pedestal. The camera is on him center frame, so that when he turns to face Zelda, his figure blocks the sword.

“Now Princess, is that truly what you want? Do you really believe yourself prepared to live up to such a monumental task?” He’s walking directly towards her now, arm outstretched.

“I—” Zelda pauses, before shaking her head. “Of course not, but that doesn’t mean—”

“Yeesss. Precisely! You needn’t not let yourself live like this, like some beggar to the gods, like a failure.” Astor is walking more quickly towards her, and Zelda is stepping back.

Zelda lets out a gasp of fear now, as Astor approaches, there’s a swirl starting to form around the astrolabe in his hand. “I don’t understand! What’s your point, what do you want? Who are you!?”

He stops walking, he’s so much closer now, just a foot or two away from her. “It’s quite simple my dear.” He gives another smile. “I’m a man who wants to live.”

Fwoosh! The air around them is now tinted purple, the astrolabe’s power surrounding them both. Zelda gasps again.

“If we truly wish to see this realm prosper, we must accept the indisputable truth.” Astor reaches out his hand. “You are not worthy of saving this Kingdom. You do not have the power to oppose such an unimaginable enemy! Therefore I shall relieve you of your burden, for the sake of us all. I will steal, your, destiny!”

Astor is seconds away from touching her, before suddenly...the sound of a sword unsheathing.

Astor flies back, crumpling on the steps of the pedestal, he looks up to see Link, sword at the ready. Link had pushed astor back with the pommel of his sword [because no stabbing or blood for our PG Nintendo game] and the motion has cause him to drop his astrolabe, which now lies a few feet in front of him in the grass.

“Link!” Zelda says, relieved. From behind, eggbot also appears. It walks infront of Link and gives a little whistle and does that sassy pointing thing in the direction of Astor, as if telling him off.

Astor frowns when he sees Link, but when he sees eggbot his face morphs into confusion. “You…? But I…” he glances at his astrolabe. Astor gets up to retrieve it and stands.

“It doesn’t matter how you’re here again. You can’t stop this.” Astor summons the Hollows, and they appear in front of him. It was harder to see in the lost woods, but here in the lush grass, its undeniable that the Hollows are draining the plant life around them.

“Kill whoever he is. Fight the Guardian if you must, though I’d prefer it intact. But don’t touch the girl.” He narrows his eyes. “Her thread shall be cut by my hand alone.”

Then it goes into that action sequence. Link is desperately fighting off the Hollows, while also trying to keep eggbot close to protect it. The hollows are laughing, even taunting him, as Astor is just walking calmly forwards towards Zelda, and Link can’t do anything to stop it.

Then it’s roughly the same, Link flies back as his sword breaks. Zelda is kinda helpless. And then just as Astor is about to reach Zelda again, Link cries out, the Master Sword glows. Everyone looks back, confused. Link pulls the sword. Boss fight.

After the fight and after Link defeats Astor, he’ll say something like. “That sword...is too powerful.” and blah blah blah. He looks up at Zelda. “Should you come to your senses, Your Highness,” he hisses the words, “I will delightfully accept an invitation with your company again.” He glares at Link. “Perhaps one day, when we have more time, you will fully come to understand where your arrogance is leading you.” He stands, though clutching his side in pain. “Until then, I shall make certain we meet again.” Link charges him, but he disappears in smoke and malice. End the Korok Forest arc.

Okay so! Why is this scene better? Uhhhhhhhh because it fucking is that’s why. We got 1) A villain introduction that’s more menacing 2) an establishment of character goals, but a mystery of character motivation to keep suspense 3) a more insightful look at different character’s feelings and thoughts 4) a much more interesting interaction with dialogue that raises tension and properly climaxes to the action and 5) the story’s momentum moves forward with ascending action, and new story details that set up later scenes.

I find it absolutely absurd that in the original game, these scenes are not written with more impact. This is the first look into the real mystery and substance that the story has to offer, and the first real look into the prime antagonist’s head. The actions and stakes throughout Act 2 have to properly ascend and rise in order to truly keep the audience engaged. You can’t just rely on mystery alone, you have to make use of character goals.

Reiterating Zelda’s internal struggles means that this can more easily connect and flow into the later segments where she doubts her ability and sees Link and the others grow stronger. In addition, Astor’s presence is a direct foil to Zelda’s arc. You can already see it a bit based on his dialogue, but I will more fully explain the true depths of how his is a direct foil to Zelda further down the line when all the aspects of his character are revealed. It’s almost as pacing the amount of information you give about a character can properly incite your audience to be more invested in the story, hmm. Anyhow, all you need to know for now is that good antagonists have similarities and aligning viewpoints as the protagonist in the beginning of the journey, much more, than you might think.

= = = = =

That is it for now! I can’t believe I had to dedicate an entire section to just one battle. But! That is how the story must go, as I need to flesh out as much as possible in only a few cutscenes without ruining the pacing. Tune in next time for flashbacks, backstory, Yiga husbands, token Zelink hours, aaand perhaps just a bit of Impa simping.

#Hwaoc: The Kip Cut #Part 2 #hwaoc spoilers #long post #hwaoc #age of calamity #hw age of calamity #hyrule warriors age of calamity

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silyabeeodess · 4 years ago

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“Love, hope, compassion...This is what people say monster SOULs are made of. But the absolute nature of “SOUL” is unknown. After all, humans have proven their SOULs don’t need these things to exist.”

Ever since I played UNDERTALE, this one line has probably stood out to me the most, simply because it covers an issue most of the fandom seems to overlook. In response to the gameplay and its story, we tend to label monsters as good and humans as bad. We follow the story that we’re told: There was a war, humans won and trapped monsters in the Underground, Asriel was killed by humans, and seven human SOULS are needed to escape. We view the Player or Chara--depending on your view--as an ultimate evil for killing monsters through the various resets. However, what I rarely see discussed--beyond Asgore’s order to kill children from a small portion of people--is the monsters’ state of morality.

We hear it all the time and see it in this very line: “Monsters are made of compassion.” It seems to be treated as a statement of fact, but I see it as propaganda. By saying monsters are made of love and compassion, but that humans “don’t need these things to exist,” that’s placing humans as a whole as an “other,” enforcing their position as “the enemy.” And somehow... this never gets called out.

We can see why a monster would say this because of the war, Barrier, and Chara’s and Asriel’s deaths. However, how would that excuse their own calls for genocide? I won’t go into depth about Asgore here since he does show regret/reluctance for his call to slaughter humanity and we as an audience can interpret that--while his actions may not be in the right--we understand it was done in a moment of grief and pure rage. You know who doesn’t get an excuse like that? Monsters like Bratty and Catty, who cheer with a smile about how they’re “so hyped for the destruction of humanity” up until they actually realize what a human is from meeting you. In fact, most of the monsters can’t seem to recognize you as a human, from them to those retelling Asriel’s story and claiming “you’ll be free” with the rest of them while, in truth, you--as Frisk--are potentially walking to your death.

Now, you might argue, “Well, they suffered as a kingdom because of the war and from losing their future rulers. And if some of them don’t know what a human is, then it can be easy for them to label an unknown as an ultimate evil based on limited knowledge.” Ok then... so why are some of them cruel to each other? Would someone you’d describe as “compassionate” do the following:

Bully others, such as Loox, Loox’s own targets, and Gryftrot.

Allow Papyrus to feel isolated and self-conscious despite his obvious attempts to fit in and make friends, all while befriending Sans--someone who does everything possible to make his brother feel loved and accepted, and makes a point to encourage others to give him a chance--in mass.

Act “rude and loud” and “beat up everybody who gets in their way” (Undyne, according to the Red Bird NPC... who she also says the kids look up for just those reasons. I don’t entirely believe her, because of our own interactions with Undyne showing that she’s pretty cool beyond her disdain for humanity, just a little on the pushy side; however, she also attacked Asgore as a child just to prove herself and even described herself as a “hotheaded kid,” so I won’t entirely dismiss this comment either.)

Undyne is also known to fight “bad guys,” according to Monster Kid, and since MK didn’t even know Frisk was a human at first and insisted they watch her go fight them anyway, that hints that, yes, there are bad monsters that need some force to stop: This is not a strictly peaceful society.

Try to take your soul just to go to the Surface himself (Mettaton) for the sake of being a star--delaying a second war, but also leaving everyone in the entire Underground to suffer even longer because the Barrier wouldn’t get destroyed. (Nevermind that he’d have every opportunity to speak out against the war if that was one of his main reasons because of his monopoly on the Underground’s entertainment and his massive influence.)

Don’t get me wrong: I love all of these characters. They’re well-written and the fact we can recognize their flaws and still care for them is perfect. It also is a great fit to the game’s message! I just wish it went both ways.

Do me a favor and also think of things from Frisk’s perfective--as a character, not you as the Player enjoying the game. You’re trapped in this place where not only is just about everyone trying to kill you, but they actually succeed! Repeatedly! You are forced to experience death in a multitude of ways “over, and over, and over!” And you’re a child! Most people would break under that kind of severe physical and mental torture--but sure, let’s give characters like Sans a pass when they threaten you, even if you’ve only even done one route as a Pacifist, all while criticizing Frisk/Chara for their actions. The power to RESET may be insanely strong---it gives them a second chance at life--but it’s also a curse when they get to repeat that pain.

And for my last point... If most all humans were really so viscous, don’t you think it would’ve been more effective to slaughter monsterkind when they were all pinned in one place, making it as easy as shooting fish in a barrel? Or, in the very least, demanding they hand over their strongest for execution so that the rest could live even if in confinement? Wars don’t “suddenly happen without warning” as the echo flowers painted the initial human attack as, especially not when two groups have lived together for any length of time as we’re led to believe from the story. What sparks the war may seem sudden, but there’s often a build-up of tension behind it. For a irl comparison, take WWI: The assassination of Archduke Ferdinand is commonly seen as the spark, but it was also the alliances and rivalries between different nations that had been brewing for years which rallied everyone into such a huge conflict. Humans were already afraid of monsters for the ability to take souls and for equally murderous intent (as evidenced when they assumed Asriel had killed Chara). It’s not like that power was a rumor made to spread fear: Monsters confess to it themselves in their history. Therefore, we can conclude that, in all likelihood, some monsters did this well before the war even began--helping establish a conflict between their two kinds well before the war.

Sure, I have no doubt that there are awful humans in the world of UNDERTALE. I would never argue against that! Monsters, however... aren’t all exactly the “compassionate” beings some of them would like to paint themselves as.

#silya speaks #undertale #ut #analysis #discussion #video games

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dazais-guardian-angel · 4 years ago

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This post has been sitting in my drafts since like mid-November around when I finished replaying the game, long enough for me to write and upload a fic about some of the concepts I wrote here, what the fuck. DGS brainrot is real. But aNYWAY finally, here are my massive thoughts on Unwound Future, the golden child of the PL series. This is literally *checks* 8k words, because I can never shut up!! and because there is just SO much going on in this game at all times, so many different interweaving plot threads and funny moments and incredible, fascinating characterization, especially combined with the games that come after it; I just had SO much to say. So much analyzing and headcanons and crying galore. :’) There’s a reason this is considered the best game, and that’s why I had so damn much to talk about.

behold the incoherent, rambling, unconnected mess of a novel that I hope makes a modicum of sense under the cut:

Continuing the trend, this game has simply AMAZING graphics/art/music, with a huge uptick in cutscenes and voice acting, and I feel like the sound/music quality is greatly improved too? I love the main bgm for London in this game, never really remembered loving it before, but it’s just *chef’s kiss* and so is the song that plays in other areas like the hospital and subway

Quickly mentioning the gameplay, I really love all the minigames, and the storybooks are especially hilarious to play with putting the wrong things in the spaces to create mad libs-esque crack that makes no sense; it’s so fun lmao

The beginning flashback segment with the time machine demonstration is honestly just so funny, for so many different reasons: Dimitri droning on and on with time travel technobabble while Luke, Bill, Chelmey, and Barton represent the definitive last four brain cells. Hershel being skeptical about successful time travel after all the magical shit they went through just like a year or two ago. The way that Bill’s sprite slowly and nervously shuffles onscreen after Dimitri calls him to the stage, like omg I don’t know why that cracks me up so much but it does. Dimitri’s lowkey savage shade he’s throwing at Bill throughout this whole thing. The way Bill says “wHAT” when Dimitri asks him to help, clearly about to shit his pants. Dimitri just standing there completely unfazed as the smoke from the machine flies past him. And of course, “sOmEtHiNg’S gOnE vErY wRoNg!”

…okay but in all seriousness, am I just stupid or do they never explain how they get Bill to the underground city, like the machine CLEARLY explodes with him in it, there was no secret elevator built into the thing like at the clock shop, so…???

also the presenter’s voice is really funny lmao

Still disagree that this is the biggest mystery they’ve ever encountered, despite being near the top; Luke you say that literally every game!! so what is the truth!!

Spring’s face is terrifying as FUCK in the two cutscenes in the clock shop… why they decided to show both of them in ominous, shadowed lighting in those scenes I do not understand a;lskdl;fds

I need someone to draw a diagram of how exactly the shop looks as a giant elevator because frankly I still can’t wrap my brain around it-

THE FACT THAT WE NEVER GET TO MAKE UP WITH HAZEL IS A TRAVESTY, HONESTLY

Belle… why…… ugh

Wish they’d had “Schrader” drop a casual nod to the events of Diabolical Box; it would have been cool :’) (especially since this is Paul so he’d know about all that)

College-age Hershel is just….. the pinnacle of adorableness. someone protect him from all the pain

One of the few flaws/plot holes in the story of Unwound Future that I only noticed during this replay with more media under my belt, is the that the developers didn’t really decide on what kind of time travel they wanted to portray, or more likely just didn’t scrutinize Clive’s fake role enough when writing it. This is blatantly obvious upon the very first meeting with Clive where he desires to test Hershel to make sure he’s really him. Obviously in a closed loop scenario, everything Luke and Hershel are doing “Future Luke” should remember doing himself in his past, so a test would not be necessary; this is a major trip-up on his part that it’s very odd Hershel doesn’t notice for how smart he is, imo. However, later on when meeting “Future Layton”, Paul calls Dimitri out on this exact principle, proving that he’s not actually Future Layton because he doesn’t remember the absence of a pen in Hershel’s pocket in this moment in his past, and it’s a nice little touch that Paul, on the other hand, an actual scientist, would mention this. Back to Future Luke, though, he should know how everything goes down with stopping Future Layton, because he lived it all as a child with Hershel, which makes it even more dubious to the fact that after seeing all this, Hershel still goes dark and everything plays out the exact same way it’s portrayed in the “future” of the game; it’s the idea that destined fate can’t be changed, but the suspension of disbelief is quite high, especially since we already doubt that Hershel would ever do such a thing, knowing what kind of person he is. Of course this wouldn’t be the case in an open-loop/branching timelines universe, but since the game uses the former type with the pen argument (and something else important I’ll mention in a second), I feel like the rest of the game should have adopted this idea as well and addressed it. Because Dimitri is outed via the fact that he should have memory of things he doesn’t, so it would have been easy to simply add Hershel adding that argument into his final explanation in the bar (”my suspicions were first raised when we first met Big Luke, and he didn’t know if I was really who I said I was- [etc etc]”). Even if they didn’t want Hershel to bring this up early else the entire story would fall apart, they could simply draw attention to the fact that he notices something in these moments, like with a “...” or “Hmm”, and then he explains it at the end like I said. Interestingly enough, Clive actually addresses these concepts at one point in the game with Luke in the statue plaza: he doesn’t want to tell Luke how things play out in his future, so that… things play out the way they’re supposed to…? Even though his entire story here is that he wished Hershel hadn’t gone dark and distanced from him, and ruined the city? But then he makes the suggestion that they could instead be operating on an open-loop/multiple timelines system, where in his past he never travelled to the future, but in our Luke and Hershel’s timeline they do. This is only a hypothetical he gives though, with him seeming unsure of how things truly are, which… again, in this story he’s concocted, he should know for sure, because if he doesn’t “remember” time traveling and how everything went down, then they’re operating on different timelines and it shouldn’t matter how much he tells Luke about his future. You can definitely argue that in-universe Clive didn’t think all this through when planning his dialogue for this role (but I honestly find that hard to believe, since he’s so intelligent, and he nailed the realism of everything else to a T), but it’s obvious just that the writers didn’t think it through, because like I said Hershel really should have picked up on his blunder when they first met, as well as later when Clive is surprised to see Flora suddenly with them and didn’t know for a fact that she and Chelmey/Barton would arrive there. Since the time travel scenario in 99% of the game isn’t actually real, I don’t entirely fault the writers for not getting every single detail right… and yet, that 1% exists where time travel is real, with Claire’s situation. It’s a very isolated incident though that wouldn’t be replicated, with only her going to the future… and yet, she does return to the past again, if only for a split second before dying and thus not enough time to do anything with her future knowledge, the real thing to note here being that they took care to show that she was wearing the same outfit when she died that she gets in the future, one she wasn’t wearing when she entered the lab originally. So they DID think about some things very well, like such a minor and easily-overlooked detail here (but that blows your mind once you realize it). All this is hardly enough to ruin the game or break the immersion completely though, especially since the player is already predisposed to heavily doubt everything with PL’s “the town is a lie” track record lmao, but I can’t help but be bothered by it now after playing games like Zero Escape and watching time travel shows like netflix’s Dark, which have bootstrap parodoxes and timeloops galore looool. My friend who watched me play the game blind this time around brought up all these questions as Clive said things, as someone who didn’t know if it would end up being real or not, and so I spent a lot of time puzzling (har har) it out with her… even though it wouldn’t matter lmao.

……In short, if it wasn’t obvious, despite Unwound Future’s time travel setup being completely fake, I’m really fascinated by the notion of how it would all work if it was real. >.> …and I mean, I know I’m not the first one; monocle Layton aus are popular, after all, but I don’t really care quite as much about the allure of an “evil Layton” as I do just about how everything else would be, I think.

Because, like, lets be real? taking the prequels into account with Unwound Future’s proposed setup, the potential is endless. It honestly KILLS me that the prequels didn’t exist yet at the time of UF, because!! so many people from Hershel’s past!!! SO MANY REASONS FOR HIM TO WANT TO HARNASS TIME TRAVEL AND CHANGE THE PAST, NOT JUST FOR CLAIRE’S SAKE. FOR RANHENGELA’S SAKE. FOR LUKE AND EMMY’S SAKE. FOR HIS PARENTS’ SAKE. FOR DESMOND. listen, listen, you don’t understand how much the idea of Desmond being involved in UF’s concepts destroys me. I wrote about this in my last fic but. imagine if Desmond learned about Hershel going down a dark path for his sake and everyone else’s, just like he did. Or imagine if, instead of Hershel being the one to do it, it was Desmond himself; he’s willing to play the bad guy once again, one very final, this time definitely final, time, if it means he can undo everything that caused all of them so much pain in the first place: his betrayals, the death of his former wife, he and Theodore’s separation, their father’s betrayal, ALL of it, and Hershel would never know. When Luke first is like “oh it’s gotta be Don Paolo right” and Clive says no, i LITERALLY screamed “BUT IT COULD BE DESCOLE!!”. JUST. PAIN. And where would Randall be in this future; what would he, too, think if it was Hershel going after time travel? Imagine him trying to smack some sense into him just like Hershel does in MM, trying to tell him that despite those lost 18 years of his life, despite everything wrong he ended up doing, he’s still happy, and so are Henry and Angela. So is Desmond. And Emmy, she wouldn’t want undone those years she had with Hershel and Luke and then Aurora and Desmond, despite how sadly it ended. Just… so much pain. So much potential. I hurt :’)

and adding on to this, i love love LOVE the idea of Clive knowing about some of this stuff in Hershel’s past, in order to faithfully play his role as Future Luke. Like obviously he wasn’t in Misthallory with them all, he wasn’t on the island in ED, he wasn’t at Monte’dor, and he wasn’t on the Bostonius or at all those Azran ruins that I can’t remember the names of right now, of course he wouldn’t know the intimate, specific details of what all went down, but if there was just one npc who was in the right place at the right time at any of these locations, who knows what beans they could spill? Maybe even an ex-Targent person or something. Hell, fucking Bronev is in jail for at least a little while before the events of UF. There are possibly MANY people Clive could have gotten information from to pull off this role - he’s a reporter, he’s skilled at digging for stuff. Not to mention just reading and hearing about large incidents in the news. And this makes his character so much better because he’s admired Hershel for so long, grateful that he saved his life all this time, to the point that he asks him to unknowingly come and save him again… and he most definitely didn’t know back when he first encountered Hershel that he’d already experienced so much loss and pain as well (some of which Hershel hadn’t even gone through yet by that point), but learning about everything he’s suffered? I think it would really affect him, and possibly contribute to why he asks him for his help in the first place in UF: because Hershel has suffered just as much as he has, and he feels a connection to him, feels like he can relate to him, and wants someone who can empathize with him, and show him how to cope. All of these reasons and emotions would probably be completely on an unconscious level, but they would exist - he’d use this limited but meaningful knowledge to try to connect with Hershel more when he’s still in Future Luke mode, to try to convince him he’s really Luke, at first, but unconsciously it’d be an effort to get closer to him emotionally, which is what he truly desires deep down, until his so-called act somewhat stops being an act, and talking about these things makes his vulnerabilities start to show (again, i wrote a fic about this). This all just adds to why Hershel is the perfect person to help and support Clive - the prequels make their similarities even stronger, more than just with Hershel losing Claire, and those accidental parallels when the writers hadn’t even conceived the prequel trilogy at the time of UF are just *chef’s kiss* beautiful.

THE CASINO SCENE IS JUST ICONIC, IT’S SO FUNNY. LUKE BEING SCARED OF THE SHOOTING AND HERSHEL JUST DITCHING HIM. CLIVE’S LITTLE HOP AND ROLL BEHIND THE SLOT MACHINES. THE SLOT MACHINE GUN IN GENERAL. THE CLONE FAMILY MEMBERS FALLING OVER LIKE DOMINOS UPON BEING HIT. BOSTRO CRYING AND SPLINTERS AND LOCKJAW RUNNING IN CIRCLES PANICKING WHILE LAYMAN JUST IS LITERALLY PUSHED BACK SLOWLY WITH ONLY A CHAIR TO DEFEND HIMSELF, I CANNOT STRESS ENOUGH HOW FUNNY LAYMAN AS A CHARACTER IS TO ME. it’s just so glorious, oh my god. this series is ridiculous i love it so much lmao

Luke wanting to use the time machine though… there are so many reasons why he might want to, mainly from Azran Legacy. :’)

The statue is the worst thing ever for multiple reasons. The fact that it represents Hershel & Luke’s relationship, the two main characters, who have been through so much together and have such a strong bond that can never be broken, and how it ties into the whole Evil Layton scenario and seems to foreshadow that their bond does end up breaking, as “Future Luke” seems to be proof of (though the game doesn’t really put much emphasis on this; Luke is more worried about the fact that he’s moving away soon straining their relationship, and not the whole Future Layton thing. imo it would have been interesting to see his actual thoughts on/feelings about it, since he’s surprisingly calm throughout the entire game before the reveals happen; you can argue he just has complete faith in Hershel and doesn’t think he would ever go dark, but then why doesn’t he bring this up, insist that this can’t be true? I think he should have). The fact that as I just said it foreshadows how Luke will leave Hershel at the end of the game, something that Luke worries about later on in the game. And most of all, the biggest, worst thing it foreshadows… Hershel’s relationship with Clive. Clive had that statue made himself, put it in his giant set. He WANTS that kind of mentor-student bond with Hershel, that’s how he sees them, just from their one interaction in front of the exploding buildings… or at least, that’s how he wants to see it. He sees how close Hershel and Luke are throughout the entire game, and he yearns for that kind of bond with Hershel, too. The fact that the boy in the statue story has an illness that he eventually dies from, but that their friendship withstands… it’s probably meant to represent Clive’s insanity, that he hopes Hershel will save him from - he is Clive’s light of hope in his despair. Or, to be more accurate to the statue, even if Clive’s madness ends up killing him (which it very nearly does, and by that point he fully expects that it will), he’ll still have had those memories of that time he spent with him, and Hershel will never forget him, and that will mean something special. man though can you imagine an AU where Clive is literally terminally ill too, and that’s why he’s yolo-ing this entire thing so hard and doesn’t care if it ends up killing him in the end, at least he got to be with Hershel one more day; ahahahaha turn up the angsttttttttttttt-

Shmelmey and Shmarton do not at all look like Chelmey and Barton, smh

For everything Clive accounted for with his role and setting, he’s honestly way too rude and crass sometimes to be Luke lmao, even if you try to imagine a world where Hershel did go dark and Luke was changed by it… at least imo

the like 4 puzzles that give Clive’s solving animations/dialogue are the most serotonin-boosting things in the world

“you will come back, won’t you?” Clive asks Hershel about his trip to visit Chelmey, desperately wanting him to stop him before it’s too late :’)

Rosetta and her....... sessions....... with Hershel........ hajkkALSKDLD

Okay but Hershel is kind of dickish sometimes though, despite his whole “gentleman” thing??? There’s the elephant in the room which I’ll Get To, but like first he guilt-trips Chelmey into getting him access to confidential information about the lab explosion, and then he has the absolute balls to tell him “Bill Hawks is being held in the future” and that’s IT. No explanation, nothing else, just THAT, and then he LEAVES, after he’d promised to share every last detail with him. I don’t blame Chelmey at all for tailing them and barging in to get information himself, like damn Hershel, why so savage sometimes in not a good way

which brings me to Ranting About Flora’s Treatment, Part 3: The Finale. Y’all I literally cannot even BEGIN to describe how much the way Hershel and Luke treat Flora in UF specifically makes me seethe..... It was already bad in DB, no doubt, but in this game they are straight-up rude to her, mostly Hershel, for absolutely no reason, and I CANNOT fathom why. He constantly makes the excuse that he’s concerned for her safety, and that the places they’re going to are too dangerous for her, but it all exudes a level of thinly-veiled annoyance, even confusion as to why Flora is so upset that they never bring her along and wants to go with them at all... almost like her “frail” feminine appearance (which isn’t helped by how the games make her feel sick or dizzy or tired multiple times), compared to someone like Emmy who could fight and has more masculine traits, means she’s less capable in Hershel’s mind, which, like, even if it’s unconscious on his part... how about no?? I could accept being worried about her, even if I’m still frustrated at her being left behind, and her constant kidnapping (which isn’t Hershel’s fault, even if he probablyyy could do a better job both times at protecting her), but I CANNOT excuse how short and dismissive Hershel is with her in this damn game; it honestly borders on ooc to me for him, I don’t know what the writers were thinking; do they just hate Flora that freaking much??? He treats her like a burden the entire time, apologizes to people for her, acts irritated at having to accommodate for her, when poor Flora just wants to spend time with him and feel like an equal to him and Luke. Meanwhile Clive of all people is the first one to treat her with kindness and respect and pleasure to see her when they first meet, like when Luke bitches about Flora being excited to see the river and not taking things seriously and Clive tells him to go easy on her (Clive, the one who has been rushing them along this entire time himself). honestly can see why it’s so easy to ship them, when literally everyone else treats her like crap It’s SO depressing honestly. Flora asks them if they thought to wonder where her future self was, and Hershel is just like hhhhh we’re kinda busy thinking about... you know.... important things... sorry not sorry....... like BITCH I WILL STRANGLE YOU, BE NICER TO YOUR DAUGHTER!!! Luke at least is a kid, but Hershel??? there’s no excuse!!! Luke be like “damn I hope Becky doesn’t look down on us for leaving Flora behind... >.>” THEY KNOW. THEY KNOW IT’S NOT RIGHT BUT THEY DON’T CARE AND DO IT ANYWAY. I’M SO MAD

Beasly just gets... straight-up murdered yo... between him and Subject 3, what were they smoking when coming up with the animals in this game, jfc. Test subject animals?? that’s unnervingly dark, despite how glossed over it is and how hilarious Subject 3 is a;lksd

LUKE LOVES SHERLOCK HOLMES THIS IS NOT A DRILL. THE DGS CROSSOVER IS WAITING, LEVEL-5 AND CAPCOM. MAKE LUKE’S (AND MY) DREAMS A REALITY

the intentional zoom-in on Clive’s sinister face in front of the tower will never not amuse me, and baffle me as to why they drew attention to it lmaooo

And okay back to time travel bullshit shenanigans, WHY the fuck does Dimitri not pick up on why him not remembering about the pen is such a big deal as soon as Paul first brings it up?? bruh. bruh. aren’t you a fucking TIME TRAVEL SCIENTIST. WHY DO YOU NOT KNOW SUCH A BASIC CONCEPT THAT BREAKS YOUR WHOLE FACADE IN SECONDS. It’d be one thing if he just couldn’t provide the right answer, but no, he straight-up HAS NO IDEA WHY HE SHOULD HAVE TO KNOW ABOUT THE PEN. “HOW THE FUCK SHOULD I KNOW-” bruhhhh. Dimitri. my dude. i love you but you are actually so dumb sometimes, like holy shit (more on this later though)

Paul talking to Dimitri about his plan is really good; he has a “...” moment before telling him what he’s doing can’t be excused, like “oh shit let me jump on board, wait fuck i gotta stay in character, Layton is a wuss he would never agree to this god dammit Layton-”. jokes aside though, I’m honestly confused as to how much he actually knew before Dimitri’s exposition in the pagoda, and why exactly he goes along with helping Hershel stop him... and what Dimitri was thinking roping him into this. Because I can’t really figure out Paul’s motives here and how they changed, if they did at all. The only information we get about how he first became involved is that Dimitri was paying him a lot of money to get Hershel to the pagoda and to him - he knows that “future London” isn’t real, he knows Future Layton isn’t real, so the extent of his knowledge seems to be that “this man wants to screw Layton over somehow and is giving me $$$ to get it done; there’s no downside here, never mind this suspicious as fuck fake London and all these people that shouldn’t be here”, but then Hershel gave him more information, probably that Claire was involved in what Dimitri was doing, and his concerns about a traitor being involved if he had already begun to suspect Clive by that point, and then he suddenly decided to turn against Dimitri? Even though you’d think saving Claire would be a reason for him to want to help him...? Or did he plan to turn against him from the very start, and wanted Hershel to come because he knew he could stop all this (part of his character development)? The latter is the most likely, though I still don’t entirely understand or maybe I’m just having a brain fart, that’s very likely too. And Dimitri on the other hand, did he know that Paul liked Claire too and would want to save her (and maybe about his salt for Hershel too), and that’s why he got his help? That makes more sense... but also doesn’t, cause as I said it seems like Paul didn’t know Claire was involved until Hershel told him and then Dimitri told everyone at the pagoda, so maybe he literally just said “here’s some money, help me fuck over Layton, not telling how” and just trusted in him that much, even though Paul is an evil genius who could and does put a stop to all his plans with his machines... once again, Dimitri looking dumb....

Clive, in the most deadpan voice ever at the top of the pagoda: oh no, the prime minister is in danger, someone help him

Flora as they’re escaping the tower: “professor no please take me with you instead of future Luke” Hershel: *ignores her feelings and makes a decision for her yet again* Clive: “shhh don’t worry Flora; i know i’m going to kidnap you in like an hour but i’m just trying to rescue you from these insensitive jerks. not Don Paolo though; he’s a gentleman.”

It’s interesting to me that Luke and Hershel keep acting as if Future Luke and future London are legit even after Future Layton has been revealed to be a fake. Hershel at least probably knows none of it is real by now, even if he hasn’t exactly figured out Clive’s role in everything yet, and is just not revealing his knowledge for now, but Luke is still rolling with it... wonder what’s going through his mind by this point. again, it frustrates me that Luke really has no emotional reaction to anything in UF, aside from the statue and his worries about leaving Hershel soon and how that in particular will affect their relationship

I also wonder what Clive is thinking by this point. Now that the Future Layton jig is up, what kind of story is he going with now? We never find out because Hershel reveals everything completely the next time Clive joins up with them again, but in the (unreasonable) case that he hadn’t, would Clive have just acted like he didn’t know that Alain Stahngun was actually someone named Dimitri, who was actually pretending to be Layton, and that the real Layton was somewhere else out there that they needed to find? I don’t know WHY I’m so interested in details like these that don’t matter at all in the long run a;lksdfklfd, but I am... he tells Flora to continue the “investigation” without him, so clearly he still had something in mind, and didn’t expect Hershel to out him quite so soon after that even if deep down he wanted it

Chelmey really cares for Barton and it’s actually so sweet, oml :’)

I didn’t really praise Paul’s character development in this game enough before, but I really do love it, even if I don’t quite understand the circumstances that started it. It’s not something I would have expected with how he’s presented in CV and DB, but it’s very nice to see this be the culmination of his character, and it’s kinda sad that it feels a bit more natural than Descole’s sudden shift in backstory/character between ED and MM/AL... It’s very funny and good to see him and Luke bicker at each other, and how he seems to have a soft spot for Flora... it’s all cute. I just wish there’d been a bit more time for him to talk to them, but that’s what fanfic is for

Don’t make me have to see Hershel beaten up in the street :’(

The sprite of Dimitri standing in the bar is incredibly hot.... damn why are all the older male characters my type >.>

Alright but it’s about time I finally talk about Dimitri without dissing him for being stupid sometimes and say that in short, I love him. He might even be my favorite new character in UF, even more than Clive; I don’t know if it’s just the Liam O’Brian Tragic Sexy Tired Villain effect or what (nah let’s be real, that’s a huge part of it lmao), but he’s fantastic and utterly breaks my heart, in a much more understated way than how the game shoves Clive’s angst in your face, but his tragedy is nonetheless impossible to ignore. The flashback with young Dimitri is my favorite scene in the entire game, it is devastating and feels so cinematic, so raw and painful, and I’m glad they animated that part because it humanizes him so much more. Claire was his everything, he loved her so much, but it is so obvious to me (and to a lot of the fandom too, I think) that his love was entirely selfless - he might have been a little sad, but he was still mostly content letting Hershel have her, and when it comes to after her death, Dimitri would have been absolutely happy not being able to have her if he managed to save her life; he just wanted her to live. He was in love with her, yes, but he also loved her, as a friend, as a scientist, as a person whose time was cut far too short for entirely selfish and unnecessary reasons, and the majority of his anger and bitterness and drive came from a desire to fix such an injustice - to save an innocent person’s life. And the saddest part of him doing all this and trying to sustain Claire’s existence in the present once he finds her, if you go with the closed loop time travel theory, is that Dimitri should already know it’s impossible for him to succeed in this as long as he remembers finding her body in the past - him succeeding would create a paradox, thus, he can’t save her. But he’s so deep in his despair and obsession and insistence on preserving her life that I don’t think he ever stops to think about this - or he does, but refuses to acknowledge it. I’m sure he was incredibly sweet and kind and soft in the past, with her, and with his passion, and it’s heartbreaking to see how broken he is now, how miserable and tired he is, how much everything changed him. And wanting to get back at someone like Bill, who had it all to begin with and then carelessly used them to gain even more, well, I don’t blame him for that. >_> Not to mention his relationship with Clive, which is all kinds of fascinating to think about: the most chaotic, dysfunctional mess of a half-business partnership half-father/son relationship there is, ahaha... Both of them are unhealthy to the extreme in different ways, but with how much time they spent together, it’s inevitable they had vulnerable moments around each other... Clive is the only other person Dimitri would have around during his research to possibly grow to care about, even if it was entirely unconsciously. Learning he was using him would, well, ruin their relationship even more than it was already messed up, but maybe he would visit Clive in prison at least once, assuming Hershel was. I just crave content for them, ugh. Dimitri just deserved so much better, he makes me so sad </3 and I honestly hate that we don’t get to see him say goodbye to Claire at the end before Hershel; sure it would have utterly killed me, but surely he deserved that much...

The utter, frankly amazing, stupidity of Flora’s kidnapping has been stated everywhere, we all know it, but just.... yeah. smh

Seeing the mobile fortress be like *war flashbacks to the Detragon* “Not This Shit Again” Hershel why tf you putting Luke in more danger AGAIN???

The car scenes with the mobile fortress are, at least to me, the funniest parts of the entire game, even better than the casino, oh my god they’re AMAZING. Luke screaming and flailing his arms while Hershel deadpan flings the car towards the fortress, all the bumps they hit riding across it later on, the car just FALLING and Bill almost falling out of it, and then the plane, all the while Hershel displays no more than mild frustration while everyone else is PANICKING... “a plane? This is an automobile!” ...iconic. top PL moments ever. Luke don’t you recall the time when Hershel built an entire mini plane out of a chainsaw and a barrel in ED, come on now

Onto Claire. Claire doesn’t get much screentime, but some of the moments she does have are very good; she’s one of the best and most fleshed-out female PL characters imo, and like a lot of things, I appreciate her a lot more after this replay than I did years ago... LayClaire is a cute ship and all, but I was never really obsessed with it; rather, I’m realizing now I’m more invested in what Claire has to offer by herself. I hate to use the term “strong female character” cause that sounds so cliche... but she really is strong. The entire part with her wanting to save Clive, their conversation, and her bringing him out... god it gets me, it really does. She’s known she’s going to die for ages, and at this point in the game she knows it could be any moment now, so she has no reason to try to keep herself safe; she’s doomed no matter what, so she might as well spend the last few minutes of her life saving another life, and not just anyone: someone who’s just killed countless people, who anyone else would see as insane, who doesn’t care for her, doesn’t care if he lives or dies - but Claire is compassionate enough that, despite everything, she fiercely believes he deserves to live. Because of her own guilt and sins she believes she bears, yes, but also simply because she believes he can still change, and doesn’t deserve to die, despite the HORRIBLE atrocity he just committed. She’s just that good a person. It’s no wonder she and Hershel loved each other and were made for each other; both of them are such kind, loving, selfless people who see the best in anyone no matter what. Perhaps she hoped and suspected that Hershel would look out for and care for Clive once he was in prison, so she wanted to make sure that could happen, even if she wouldn’t be around to ever see it.

sorry I just get really emotional about this part, about the entire mood and tone of Claire desperately trying to save this kid, and the way the camera focuses on the massive scale of the fortress and how it dwarfs them in size... It’s a really powerful and melancholic scene (just like Dimitri’s flashback scene; have I mentioned how much I adore the atmosphere and cinematic direction of this game? cause god I do) with the knowledge of her real identity and circumstances, the visuals and the music are so good, ugh i just have so many feels. mom Claire hurts me </3 she’s so good... Despite the fact that she dies, and so much of what everyone is doing is because of her death, her presence in the story is so strong, and it never feels like her only purpose is to die for everyone else’s development and that’s it (unlike... well, a lot of other pl females :’); she has her own things to do, she stops the fortress alongside Hershel, and literally saves the main antagonist’s life. Seriously I just adore the fact that she of all people is the one to rescue Clive in the end even though she wasn’t at all obligated to (although I’d be interested and cry over an AU where Hershel saves him instead; it honestly surprises me that he wasn’t going to until Claire said something...), because Clive is the only character (of the adults) who doesn’t have a direct relationship with Claire, but they’re still connected by the explosion, and so it makes for an interesting and terribly sad dynamic, even if they only have a few minutes with each other, for all the reasons I said earlier. Claire doesn’t think what he did was right, but she knows what she and the other scientists did wasn’t right either - and it’s too late for her now, but it’s not too late for him; she knows he has a kind heart, deep down, and that he needs help if he wants to redeem himself. She feels responsible for him, feels like she owes him that second chance, after indirectly taking his parents from him and causing him such misery and brokenness... She’s so brave and strong-willed to be able to do and admit all that she does; I just love her. It clearly kills her to leave Hershel, I don’t think she intended at first to ever let him know who she was (hence Celeste), but she’s not too upset in the end, because she (rightly) knows that he will be all right. ;; She’s so beautiful, too... wish we could have seen her interact with so many of the other characters </3

and so my favorite “insert Descole into the main trilogy” AU is where Descole intercepts Claire and makes some sort of body for her, like how everyone headcanons that for Aurora post-AL. (or/also just mobile fortress vs. Descole robots, that’s cool too lol)

And finally, Clive, the infamous star of Unwound Future, thought I talked about him a bit already (and also in this post a few weeks ago). Clive is probably the PL series’ best written villain Anton excluded, I absolutely love him, like everyone does. Nothing really about him hasn’t been done before elsewhere, but that’s not a bad thing; when I was younger and first played the game I really only paid attention to his sympathetic side, but now I’ve also grown an appreciation and fondness for that kind of unabashedly awful, manic, evil insanity a villain like him has, it’s just SO entertaining to watch. If PL was a more mature/higher rated series I’d love to see his chaotic crazed energy played up even more, just to really hammer in how messed up he is, ahaha, but of course that would make it harder to sympathize with him..... and unfortunately, it already is kind of hard, because.... shit, the number of people he must have killed? It’s a LOT. A FUCKTON. The level of sympathy the game gives Clive and the way it presents him at the end is not at ALL relative to the astronomical amount of people that had to have been squashed to death by his machine, to the point that it honestly makes me uncomfortable, and I try to just retcon that in my head, as hard as it is to imagine a scenario where that thing could have come up to London and not hit any houses, because like..... There’s no coming back from that. He knew exactly what he was doing, madness or not, and I honestly just... don’t want him to be such a mass murderer. Maybe it’s wrong to ignore it, but the game wants me to feel sorry for him and see his potential for redemption, and his relationship with Hershel is so good... dammit game, why’d you have to show those houses being crushed. Ugh. Because Clive is so compelling as someone who feels betrayed by people in power, who desires revenge not only for himself but for all the people who suffered just like he has that he says he bore witness to as a reporter; it’s a very relatable position and a good story, for his well-meaning intentions to be skewed and lost in the midst of his rage and despair and hatred and insanity, where his very valid point of “hey people in government are fucked up and don’t give a shit about us and that needs to change” gets turned into “they all need to die even if the very innocent people I want to save get hurt by this as well”, and I really wish that whole angle of it had been played up a bit more, and there had been more of an opportunity for Hershel to reason with him and argue that in the midst of his blind need for revenge, he’s become even worse than the people who need justice handed to them (cue some Descole allusionssss). He wouldn’t have to win him over, Clive is already too deep by that point despite how much he wanted to be stopped, but just having more of that than just what happens in the surveillance room would have been sooooooo good, I love that conversation. It would have made Clive even better and really drive home that he’s 1) kinda right about some things and wants better for people 2) still very fucking wrong and selfish at the same time and has taken it all way too far 3) very fucked up and broken. Not that the third point isn’t already abundantly clear, but... yeah. It would have given him even more depth, made him more sympathetic, and helped juuust a little to offset how much the game handwaves his mass murders... just a little... One of my favorite Clive scenes though is when the fortress is breaking down and he’s still there, desperately trying to save it, still in denial about the fact that all his plans have failed and that everything he’s done (and himself) is about to go up in flames; I know everyone loves making fun of him and that that scene is pretty memeable (he does get bodied so much in the game, lmaooo), but it makes him look so vulnerable, all alone in there by himself, like a child, which is what he really is, deep down: he never truly wanted to do something so abhorrent and evil, but his emotions and mind spiraled so badly out of control and it led him to such a dark, horrible place, where he couldn’t stop himself, no matter how much he wanted to, and in the end all he can do is watch helplessly as the reality of what he’s done and his unwound future all comes crashing down in front of him, never to be salvaged. And he believes wholeheartedly that he is going to die, that he deserves to (this is my favorite Clive scene; he’s so hurt and resigned, the voice acting kills me ugh), he doesn’t understand at all why Claire wants to save him, especially if he knows she’s one of the scientists (as his line of “why are you of all people helping me” implies), because he always thought none of them ever cared about him and people he saw as like him, thought everyone was like Bill Hawks, but Claire still cared enough to want to save his life, even though she was one of the people he was actively targeting with his revenge... I wonder how he would have felt at the time if he had known about her situation and that she was dying. </3 I just want so many good things for him, as so much of the fandom does. He’s so messed up but that’s what makes him so interesting, and his potential relationship with Hershel that the ending of the game suggests could happen is so touching and lovely and uplifting, one of my favorite kinds of relationships in fiction: Clive’s issues would persist for so long, for forever, really, but Hershel would support him and help him heal, and be there for him always, no matter how much Clive would feel like he didn’t deserve it. I eat this dynamic up, I really do, every single time I encounter it in a story, and it’s made even better by the fact that as I’ve said, Hershel has so much in common with Clive, and so they would get along very well for that reason, and Clive could unknowingly help Hershel just as much Hershel tries to help him. They’re so good for each other. Add Luke too, and Flora, and Desmond...! just ahhhhh........ there’s so much goodness. Clive you absolute glorious, fucked-up mess of a character, I love you. :’) and I love fic writers who explore facets of his personality and write about him. He’s only in one game, and there’s still a few hiccups, as I said, yet he’s handled far better than Descole or Randall in my opinion (though I love them too)... just an amazing fucking villain, and character. I wish UF could have gone deeper with him than it did, but even so, the possibilities with Clive are endless. I love him, so much ;;

and some of the themes of the plot in this game, uhh, hit a little close to home in good ole’ 2020/21 time we live in? :’) #FuckBillHawks

Hershel saying goodbye to Claire.... god. One of the top scenes in the entire series, probably the #1 most iconic I’d even go so far as to say. I don’t even really ship LayClaire, but there’s an indescribable emotion that finale gives me... it’s just breathtaking, in the most gutwrenching, nostalgic, beautiful way. I still maintain that Diabolical Box’s ending is sadder than this one, for a multitude of reasons, just comparing the stories and situations the characters are in, but I 100% don’t blame people for bawling at this scene more than any other, just because of the way it’s done yes I know I won’t shut up about the cinematography; the lighting, the camera angles, the pacing of it, Hershel’s fucking kicked puppy faces, the dialogue oh god the dialogue; it ALL hits like a TRUCK and comes together beautifully. At this point in his life Hershel has been through so much loss, so much so that it is unbearable - when he cries that he doesn’t want to say goodbye again, that he can’t say goodbye again, that he refuses to, nothing in the world is more true: this man has been through too much, and he’s hit his breaking point. even if you don’t have the prequels in mind when watching this, as most people don’t/didn’t the first time through, the overwhelming sense of burden and loss Hershel is feeling is so palpable, so painful - you get the sense that this isn’t just about Claire; Hershel has never shown emotion like this before up to this point, so for him to finally break down like this... it speaks volumes. After so many years of holding everything in, he finally can’t take it anymore, and basically stabbing me in the fucking chest would hurt less </3 I complain about Hershel never showing emotion like this (never crying) in the prequels whenever he’s hit with an equally horrible bombshell, and I still feel that way, but at the same time a part of me is also glad that’s the case, because it makes the very last (two) scenes in the entire series hit so much harder, knowing that he finally loses his composure after dealing with so much. As the titular character of the series, Hershel’s development is very understated and subtle, so it’s all the more meaningful when he actually snaps, because it makes him feel so much more real and human than he ever is the rest of the time, when he maintains his facade of being a perfectly composed, calm, and together gentleman; this scene finally say that, no, Hershel is a person, and he is broken in a lot of ways, because some puzzles you just can’t solve no matter how hard you try, and it’s so sad. And this sad tone of loss and longing permeates the entire cutscene; the way the title is dropped in Claire’s dialogue (both versions equally haunting imo), and Hershel taking off his hat for the first time ever, and the pan up and transition back to show the falling snow as “Time Travel”, my favorite instrumental in the series, kicks in... y’all there is no other feeling in the world like the feeling that elicits, there really isn’t ಥ⌣ಥ ❤️💔 the only thing that might even come close to it is the ending of Azran Legacy with Surely Someday, simply because it was the ending of the series, but the ending of Unwound Future hits me harder knowing it’s the end of the timeline, and with everything else in hindsight. And then an unknown amount of time later, even with Luke gone and Hershel only having Flora there with him anymore unless we headcanon DESMOND COMES BACK BECAUSE OF COURSE HE DID RIGHT, Hershel is still no longer wearing his hat, to show that he’s finally started to heal from his pain, and accepted the loss(es), because throughout all of UF Hershel had never really gotten over Claire’s death no matter how much he tried to pretend like he had, but you don’t realize that until you see the ending, until he got one final chance to see her. I just... ugh I love it so much, so much. It means so much, for Hershel and for the series, and that’s why it makes me cry (and don’t even get me sTARTED on Luke’s goodybe, and how upsetting yet beautiful THAT is. yes, Luke isn’t a gentleman yet, and Hershel finally learns that maybe he doesn’t always have to be one, either :’’’’’’)

Unwound Future is a masterpiece. Diabolical Box has my favorite characters and story for the new characters, and favorite settings, personally, but Unwound Future is such top-tier storytelling and writing; it feels so epic and sweeping and (here i go again) cinematic, it’s so polished and everything flows so well, the pacing is wonderful, everything ties up so perfectly and there’s very little I would change Flora bitching aside and practically nothing that feels like filler, even though some of it technically is. The tone stays consistent and they really push the boundaries of how serious and heavy these games can be, and it works, and doesn’t feel silly or glossed over or too unrealistic or too heavyhanded like some of the other games are at times; the plot twists/reveals feel the least absurd and the most grounded in reality, despite still being wild, and it focuses on some really relevant stuff and themes (again, it feels really grounded and raw, and the least fantastical, which isn’t a bad thing for the other games/movie per se, but being more realistic works in this one’s favor. No one is going to have their family separated and murdered by a criminal secret organization working to unearth ancient advanced civilized ruins, or lose years of their life and memories in said ancient ruins, or have their life ruined in an eternal unaging state from hallucinogenic gas, but being screwed over by people in government who will do anything to make sure they never have to face consequences? now that’s a mood). It’s just a really fucking good game, by far the best Professor Layton game, and I’ll always stand by that, despite preferring DB just a bit more cause it hits more of my personal tastes (DB is still very good too though, don’t get me wrong), and it’s also enhanced even more by the prequels, though it stands perfectly on its own. The perfect culmination of Hershel’s character arc, and the absolute high point of the series. It’s one of the ones I keep coming back to the most, just because it has so much to offer; as someone who is absolutely enamored with near-perfect stories of this caliber, I couldn’t ask for more. ❤️

#professor layton #professor layton spoilers #meta #who wants to read 8k words about a 12 year old game: no one #who's still gonna post it: this bitch #i actually got emotional near the end writing hjklskdfkfldlksk watching the end of uf always hurts :' )#me: 'db is my favorite' also me: 'rants and cries about uf for almost double the length of the db rant'#It's About The Potential.jpg #i didn't even talk about the puzzles much at all lmaooooo none of them really stood out to me #just........ story........ so good...... emotions go brrrr #i need ALL the dimitri fanfic tbh #and dimitri and clive #and CLAIRE and clive #and clive and hershel ofc #catch me being obsessed with time travel in a game where 99% of it isn't time travel ahjsdffkldskkdfl #It Could Be That Deep.jpg #need to write my other uf ideas.... and then get to the prequels already #but i also wanna replay pl vs aa... and the aa trilogy...... so much to doooooo

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mistakenot4892 · 4 years ago

Text

Some thoughts of Heart of Deimos.

I made a reddit post but I thought I might repost it here and see if the response is any different. Mild spoilers for Heart of Deimos, the most recent Warframe update, under the cut.

First off, this is a bit of an effortpost, and it will be quite meandering and confused, sorry about that. We are now two days into Heart of Deimos and I had some thoughts I wanted to put on paper as it were. There's a TL;DR at the bottom.

The Bad:

In all honesty, taking into account the usual DE release-then-fix cycle and the quick patching they've already done to things like the Son token costs, there's very little about this update that I think is objectively bad. Deimos might be the single best open world release of the set, lack of a catchy musical number aside. It's not any buggier than any other release, which may say more about DE's QA than anything, but I have fallen through the map a few times, and host migrations have broken multiple vault runs.

The combined token system is a pretty big departure from the other open worlds, and I found it very confusing initially. Without the prior context of using Ticker for bonds in Fortuna, I think it would be really opaque, particularly for new players who aren't already up to speed on how the open world resource loops are expected to work. Alongside the complex token system, it's also understandable that people are frustrated with the expectation that they -must- participate in mining, fishing and conservation to get the tokens, since these don't really leverage the well developed aspects of gameplay.

The initial quest was lackluster from a storytelling perspective, with some really nonsensical events, a lack of development for each individual beat, and a frustrating lack of building on the already existing lore in favour of introducing new lore. It was pretty blatantly a tour of the zone mechanics, though maybe we'll see a more engaging plot when the equivalent of the Profit Taker and Exploiter bounties are introduced over the next year. The new warframe being dropped in by Mother as an afterthought, without a scrap of context, almost felt worse than the way previous quests have just given us the blueprint with no explanation at all. Protea's quest felt a lot clearer so it's disheartening to see them taking a step back there.

Finally, prior to finding the Albrecht lore I thought the playable content of the update was quite short and uninteresting.

The Good:

The Family voice acting is really, really good. Some of the writing is a bit iffy in the classic overwrought DE sense (which IMO is charmingly earnest anyway) but the delivery is fantastic, and while initially I was put off by the characters being shallow, I came around on it - I will go into more detail under 'The Ugly'.

With regards to the grind: even though the resources from the open world minigames are mandatory, participation isn't - so far I've run conservation exactly once, for about an hour, and I am clear for the third rank up with the Entrati. The world drops and bounty loot are more than enough to cover the vast majority of other costs, which is honestly fantastic. For all the complaining, DE has definitely learned from PoE and Fortuna with regards to letting people dictate their own playstyle without handicapping their progress. You can focus down specific requirements with specific minigames, no trouble, or you can just play bounties and run and gun your way to incidental loot. The combined token system was really confusing initially but combined with the incidental drops it makes progression quite organic without forcing you to spend your time on any particular task (looking at you, pre-Thumper PoE). There also seems to be a pretty solid spawn chance for tokens in the caves of the open world, and since the rank ups are now 1 of each kind of token instead of 10, this is possibly now a feasible way to skip the conservation grind entirely.

With regards to the lore: despite my earlier complaint about narrative quality and disconnection, DE does seem to be tying Parvos, the Entrati and the Glassmaker together, which is interesting. Prior to finding the Necraloid area and hearing the excellent Albrecht Vitruvian lore (seriously, mad props to the writers and the VA, the fourth log gives me powerful Darkest Dungeon narration vibes) I was ready to drop the game until a few patches and more content was added, but now I'm fully willing to grind for a couple weeks to hear the rest. I'm curious to see where they will go with the Heart and the Man in the Wall, particularly in regards to stuff like the reliquary drive and how it relates to the Necraloids and pre-warframe Orokin technology in general.

The Ugly:

The Family are the ugly, get it? This bit is mostly just because I want to talk about the new characters and the themes of Warframe as a narrative.

There's a kind of tension around the family that I initially found offputting - here we have a family of immortal alien gods who made their name ripping secrets from the flesh of reality, literally sprouting from the meat flowers of an infested moon... and they act like the cast of Arrested Development, switching between lofty poetic proclamations and petty squabbling that wouldn't be out of place on a sitcom. At first it seemed like it was just bad writing. Over time though, with exposure to the wider plot and the various deeper interactions, I started to warm to it. It's really interesting how DE has juxtaposed the deformed appearance of the Entrati, their perfect-marble-statue-like Orokin aesthetic, the pulsating infestation, and this very human, very relatable behavior. It really pulls back the skin on the Orokin as a people and uses a bit of clever metanarrative to show us that even the Tenno remember the Orokin as being more than human, when they were just as flawed as anyone else.

The individual characters felt very shallow at first, like cardboard cutouts of the typical family transplanted into a blob of writhing meat, but the pleasant surprise of the relationships mending between Entrati rank-ups and the subtle undercurrents you start to notice when interacting with them over a longer timeline really turned that on its head. There's some really excellent combinations of writing and delivery that add subtleties to each character, like the Daughter's undercurrent of thirst for either the Tenno or for butchering mutant fish, or the animalistic yearning of the Son and his bleeding heart hidden under the callous and cruel facade.

Family, parenthood and belonging are arguably the core themes of Warframe's narrative - the Tenno are orphan children clinging to a single parental figure who herself is a stolen child, while their allies like the Ostrons and the Solaris are people who cling to their human connections and their shared culture despite outside forces, and draw their strength from each other. The grand enemies of the setting are collectivist empires who have shredded their humanity in pursuit of strength and profit respectively. Then you have the Orokin, whose grand flaw is hubris in isolation, and a deliberate abandonment of shared humanity in pursuit of impossible perfection. The entire Parvos questline related to blood, with Nef wanting to abuse it for gain and Parvos denouncing him. Even the Sentients, arguably the only alien culture in the setting, love their families and oppose the Orokin and by extension the Tenno largely in defense of their people.

DE has leaned hard on quite creepy, quite -relatable- strangeness to give the Family depth, which helps reinforce that they're demigods of a dead empire, even if they are also quite friendly and personable. It lends some real weight to the way the Orokin have been depicted as cruel, hollow people, since we now have direct evidence of how their culture and the expectations of their various roles tear at those interpersonal connections. There's a lot of heart and clear work put into developing these themes, and I think that it's a bit sad that the quality of the writing is frequently overlooked in the broader Warframe community in favour of focusing on the flashy mechanics and cool new novel features. DE's writers are some of the best in mainstream video gaming currently, and even with my complaints about the main quest earlier, this consistent ongoing thematic cohesion and the variety of individually good beats more than make up for incoherent feature-driven storytelling.

TL;DR:

Despite some teething issues and bugs Heart of Deimos might be the best open world update so far, the way DE presents the Family and develops on the overarching themes of the story are pretty excellent, and I am excited to see where they go with it. Thanks for reading my incoherent and largely irrelevant thought-spew. Have a good one.

#warframe #heart of deimos #rambling diatribe #I have no qualifications just many opinions

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squidproquoclarice · 5 years ago

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The John/Arthur reunion will likely happen in Chapter XIII? 13? But we are now on 50? Can you please clarify because I am currently incredibly invested in John & Arthur as the brothers who might finally see eye to eye. The development of their relationship throughout the RDR2 narrative is just so interesting and perhaps a bit underrated - you just made it justice by your Red Talk though! Not to mention full of memorable quotes ("You must be nervous being this close to water.")

cont.: I was just playing through the mission where A &J blow up the bridge which is so rich in the character building, ending foreshadowing etc. and I'm just thinking - on the one hand Arthur tells John to just cut and run and to be loyal to what matters, on the other they both just do this incredibly stupid terrorist act for the sake of Dutch whose judgment they don't even trust anymore? Why? I'm playing through Ch.6 for the second time and it's just such a crazy desperate ride to nowhere ..~~~~~~~Hi friend! OK, on the first question, this is dealing with the difference between Chapter (big C) and chapter (little c), and it’s an issue of the format of a game vs a fic.The game separated things into sections with place names called Chapters, i.e. Chapter III/3 was Clemens Point, Chapter VI/6 was Beaver Hollow, etc.Given Sunrise is effectively intended as a post-Chapter 6 “DLC in novelized form”, I continued that trend and picked up where they left off, with Chapter VII/7: Wapiti, Chapter VIII/8: Las Hermanas, etc. That’s Chapter with a big C.For chapter with a small c, that’s it being a fic. Those are comparable to missions in-game (”Further Questions of Female Suffrage,” “The Course of True Love III”, etc.), and I also give them names in that style.So when I talk about that reunion, I’m referring to big-C Chapter 13, which is the section titled Horseshoe Overlook II, with the latest update of chapter 50. Small-c chapter 13 was “May The Circle Be Unbroken” and was back in Chapter 8, Las Hermanas. Sadie and Arthur kicking some ass in Arthur’s first big foray into action after Beaver Hollow, but sadly, no John reunion. ;)I’m careful to use Chapter vs chapter in my replies, but I can remind myself to use section (Chapter) or mission (chapter) titles as well if that would help people.On the second part, that’s also a format thing, I suspect. RDR2 being an action-based game implies plenty of missions with killing. I’d written a meta, which I of course now can’t find with Search because Tumblr is a massive cock about these things, about how the gameplay mechanics of pretty much nothing but forced repeated (and unrealistically large) massacres in the later Chapters are disappointing as they occur alongside both great storytelling and in a game where you previously had stealth missions and non-violent options. Even in Chapter 6 you have the option to retrieve the chanupa for Rains Falls completely stealthily, and RF praises Arthur’s restraint and humanity in doing that, so I’m really not sure why we have to go on murder sprees where if those numbers were real and they’d slaughtered hundreds, not only the Pinkertons but probably the US Army would be after the Van Der Lindes. It doesn’t really fit Arthur’s story. It doesn’t even fully fit with Dutch’s fully embracing overwhelming violence. It only fits with the notion that this is an action game and therefore dozens of faceless minions have to die. But games like Dishonored that actually have trophies for doing the game without a single kill prove that you can have an action game and not be forced to turn into a murderhobo. I fuckin’ love RDR2, OK? It’s a beautiful game with a truly memorable char and char arc in Arthur. It’s affected me, and others, in so many ways. But that’s mostly Arthur’s char.Honestly, the more I look, the more flaws I see. Some very weakly written chars. Taking the easy offramp to an endgame and RDR1 by killing Arthur rather than letting his story fully unfold. And one big criticism I have is promising we had choice that mattered, because we don’t. The game unfolds the same either way. The dissonance between Arthur’s developing character and our forced onscreen actions in story missions just keeps getting wider and wider as the game goes on.tl;dr: While it’s realistic that to a certain point Arthur and John are going to cling to Dutch far too long out of love and loyalty and continue to do things they’re conflicted about, it’s overly reductive action game mechanics and forced plot points rather than genuine responsive plot to player choice driving your experience. So yeah, it doesn’t really make sense.

#arthur morgan #john marston #rdr2 #thank you for coming to my red talk #Anonymous

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acetokens · 5 years ago

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The Rise of the Phoenix: My thoughts on MUA3′s 2nd DLC

Last October I wrote a review for MUA3’s first DLC expansion pack, ‘The Curse of the Vampire’. Now, after the release of the game’s second expansion, ‘The Rise of the Phoenix’, I really want to talk about this one as well!

This X-Men themed expansion gives Season Pass owners four new heroes to add to their roster: Iceman, Gambit, Cable and Phoenix, as well as a new mode called ‘Danger Room’, in which players go head-to-head in a series of trials. A new seasonal rewards system called ‘Events’ is tied to this mode, giving bonus prizes to players who win many Danger Room matches. The update also expanded the previously released ‘Gauntlet Mode’ by adding new challenges to tackle, and re-stocked the SHIELD Depot with more costumes to unlock. Finally, just like the last expansion, the level cap was raised (this time from 150 to 200) and new upgrades were added to the Alliance Enhancement Grid so you can make your heroes even stronger than before!

I was worried this expansion would be delayed (a prospect that felt more likely as we approached the end of December with no news). But luckily the VGA 2019 delivered a trailer which settled my fears and ‘The Rise of the Phoenix’ was released on December 23rd just in time to meet the vague ‘late 2019’ deadline we were promised. But was the expansion worth the wait? To answer that, I’m going to look at it one feature at a time, starting with…

The Characters

Although I’m disappointed that X-23 didn’t make the cut, I have to admit all four newcomers are fun to play due to their refreshingly unique abilities.

Phoenix’s defence stats are the worst in the game, but she obliterates bosses and mobs of weaker enemies alike, can revive her teammates with her EX (which also auto-revives Phoenix if she gets KO’d after using it) and can recharge her team’s EP using Cleansing Flames. Any character with a low Energy stat or who relies heavily on their abilities and/or synergies becomes much stronger with Phoenix on their team, so not only is she fun to play, she makes other heroes more fun to play as well! Because of this, I’ve gained a new appreciation for a character I’ve always overlooked before, and The Phoenix has risen to become one of my new favorite heroes to play in MUA3!

Gambit is a deceptively powerful character with some interesting tricks up his sleeve. His Luck of the Draw ability sets down explosive cards which remain dormant for a long time, allowing him to create multiple traps that he can detonate simultaneously with Kinetic Burst for a domino effect of explosions, dealing massive damage! Alternatively, Gambit can cancel into his air attack after setting the cards for a quicker but weaker explosion. Because of his self-synergies and high damage output, it makes Gambit one of the strongest solo-characters in the game in my opinion. Très bien!

Cable has a kit full of support abilities, including a gravity bomb, a reflector shield and an automatic sentry gun called Extreme Arsenal, all of which his teammates can take advantage of for some wicked synergy attacks. Cable can also teleport to escape from danger or use TK Spike to knock enemies back, although holding the attack for too long will lower Cable’s defence for a bit. He’s got more tactical variety than other ranged heroes but his solo damage output is terrible, making Cable reliant on his teammates to do the bulk of the offence.

Iceman can boost his teammates’ defence and give them the ice element (if they’re a weapon user) with Flash Freeze. The ability lasts for a long time, making it extremely useful, but the rest of Iceman’s moveset (especially his midair slide) is very slow, which is why I’d say he’s the least enjoyable to play out of the four newcomers.

The Gauntlets & New Mechanics

I enjoyed Gauntlet Mode in the last expansion, so I’m happy to see it return with 11 new challenges in this one. The new Gauntlets are fundamentally the same as the old ones, but instead of vampiric enemies, they feature two new mechanics: the Phoenix Force and Danger Room hazards! The new Gauntlets also contain higher level challenges (going from Level 20 to Level 180, compared to the original Gauntlet Mode which rises from Level 5 to Level 120), and two new enemy types: Nova Corps and Asgardians. While we’ve seen these characters before as NPCs in story mode, it’s nice to have a little more enemy variety than before.

Defeating an enemy under the influence of the Phoenix Force will cause it to drop a flaming phoenix. Absorbing this will heal some HP, add fire projectiles to your attacks and the fire element to your weapon (if your character has one) at the cost of being inflicted with the burn status effect for the rest of the trial, slowly draining your life. However, Iceman, Ghost Rider and Phoenix are immune to being burned and therefore suffer no drawbacks. The Phoenix Force is a fun risk/reward mechanic and I think the visual effects of it are amazing! However, the frame rate suffers when there are several Phoenix Force enemies onscreen, especially in handheld mode. The lag never reaches ‘unplayable’ levels of bad, but it does make the battles unnecessarily harder.

The new Gauntlets also feature Danger Room hazards. From giant crushers that fall from the sky to little machines that shoot waves of elemental energy, these obstacles are made to distract and frustrate players into making game-changing mistakes. The most annoying hazards have to be the gravity nodes, which magnetically push you away, and the barrier nodes, which protect the boss from all attacks until they are destroyed.

Overall, I’d say these new mechanics are interesting additions to Gauntlet mode, but I prefer fighting the vampiric enemies in the old Gauntlets. The Reborn, Infected and Cursed all required different tactics to defeat them, but I never felt like I had to change my strategy when fighting the Phoenix Force enemies or the Danger Room hazards. The only times I was forced to adapt were when the gravity and barrier nodes spawned, as they have to be destroyed ASAP. But the new Gauntlets are still satisfyingly challenging, and I hope we receive even more in the third expansion!

The Danger Room

I want to start this part of the review with a quote I found on the MUA3 forums:

‘’Danger Room is such a miserable experience. Lag out the ass, framerate drops like crazy, unfair status effects. There is nothing fun about this at all. I’m only playing it for the rewards’’

I think this sums up the Danger Room experience perfectly. It’s a mode where you compete in teams against other players (or against the AI) to be the first to win in three rounds. Mini-objectives will appear at random as you fight, awarding the team who completes them first by granting them buffs or weakening the opposition. It sounds alright, but the mode is riddled with glitches and unfair mechanics that make it the least enjoyable experience I’ve had playing MUA3 ever. To avoid this review becoming a rant, I’ll quickly summarize the flaws of this mode.

1) Only the last round counts. Winning the previous rounds gives your team buffs that lasts until the end of the match, but they make little-to-no difference. This leads to many players going AFK until the third round, which is frustrating.

2) At random, there will be a fourth round where you fight Dark Phoenix. If this happens, the third round becomes irrelevant and whoever defeats Dark Phoenix wins the match. It’s very unfair that you can completely steamroll the other team, only to lose the entire match because of a random-chance battle at the end.

3) Completing mini-objectives can inflict status effects like bind and paralyze. These last for a long time, often leading to your losing the round, all because the other team jumped 20 times before you did.

4) The lag is extremely bad.

5) Gambreaking glitches occur often, such as when an enemy spawns in a place you can’t reach.

6) Some rounds are won by whoever reaches the end of the stage first, so characters who can teleport (like Nightcrawler) have a huge advantage.

7) When fighting the AI, they complete mini-objectives inhumanly fast and are seemingly not affected by the debuffs you throw at them.

Danger Room still has its good points. For one, all characters are automatically set at a specific level depending on which difficulty you choose (Alpha = Level 25, Beta = Level 50, Gamma = Level 100, Delta = Level 200), so players can try out any character they want without having to level grind first. The rewards you obtain from winning Danger Room matches are also great, giving you a ton of credits and SHIELD Tokens, not to mention the rewards you can get through the Events. But based on gameplay alone, the Danger Room is definitely ‘’a miserable experience’’.

Events

In a surprise twist, the expansion added a new seasonal rewards system to MUA3, similar to the battle pass in Fortnite. During the Event, playing Danger Room matches will award you Event Points. Collect 5 Event points and you’ll move up to the next Event Tier and win prizes such as XP Cubes, SHIELD Tokens, items, voice commands and costumes. The amount of Event Points you earn depends on the difficulty, with Alpha only awarding 1 point while Delta awards 5 points. You earn double points when fighting other players rather than the AI, and will even earn some points for losing.

If you have a Nintendo online subscription, you can clear all 30 Tiers of the Event in just 15 Danger Room matches, which makes the pain of playing that mode more bearable, especially since the Event rewards themselves are well-worth the effort. But for players who can only fight offline against the AI, the experience becomes twice as long and hard. Luckily the Event lasts for roughly two months, so there’s lots of time to finish it. But it doesn’t quite make up for the fact that Events are essentially a ‘’free-to-play, pay-to-win’’ experience.

I think Events are a great way to extend the longevity of the game and provide something to do between expansions, so I hope they add more in the future. But I also feel they need to make some big changes to Danger Room and how Event Points are acquired offline to make it more enjoyable.

Other Changes

MUA3 saw another level cap increase this expansion, with heroes now being able to reach Level 200. Initially I wasn’t too thrilled, because the grind from 100 to 150 was tiring enough, but thankfully the XP needed to get from 150 to 200 is much lower. Your stats at Level 200 are roughly 15% higher than your stats at Level 150, and 37.5% higher than your stats at Level 100, so the boost you get from all that grinding is helpful in the new Gauntlets. New upgrades were also added to the Alliance Enhancement Grid to match the level cap increase, including one that decreases the time needed to revive teammates by 50%.

New costumes for Wolverine, Magneto, Storm, Nightcrawler, Psylocke, Cyclops, Colossus, Loki, Ghost Rider, Scarlet Witch, Dr.Strange, Punisher, Blade, Moon Knight and Morbius were added, most of which are purchasable from the SHIELD Depot. You’ll need lots of SHIELD Tokens to buy all of them, but luckily the Tokens you get from playing Gauntlet mode were increased in this update! Unfortunately, the Tokens you get from Nightmare mode have been decreased. But since I play Gauntlet lots more than Nightmare, I’m happy with these changes overall. Between this and the SHIELD Tokens you get through the Event, its easy enough to buy all of the new costumes, which is good.

Finishing Thoughts

In conclusion, I’d say the Rise of the Phoenix is a mixed bag. The characters are great, the Gauntlets are enjoyable and the Events have a lot of potential. However, as for whether the expansion was worth the wait…honestly, I’m not sure it was. I did enjoy playing it, but after waiting three months with no news, I expected more than what we got. Nowhere is this more apparent than the Danger Room, which feels like the devs didn’t play-test it before release.

Luckily, they seemed to have learned from their mistakes. Nintendo USA’s Twitter account recently released a teaser image of the third upcoming expansion, ‘Shadow of Doom’, which is already a big step-up from the radio silence we received in the months leading up to the Rise of the Phoenix. Hopefully this means the third expansion will be an improvement on this one. Who knows, we might even get the new story content the community has been asking for since the Curse of the Vampire!

I think I’ll end this review on that optimistic note. Until next time, true believers.

#MUA3 shitposting #I meant to post this a few weeks ago but it took a little longer due to uni coursework

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timeagainreviews · 5 years ago

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The Edge of Acceptable

Hello friends! Previously I said I would try and post an article between then and my "Doctor Who: The Edge of Time," review. This was mostly due to my not knowing how long it would take me to finish playing the game. Well, intrepid reader, it appears I overestimated the game's length, as I have beaten it and I have many things to say. Before we begin, however, I would like to state that this review will be full of spoilers, so if you plan on playing "The Edge of Time," for yourself, you may want to hold off reading this. There, you've been warned. Let the spoilers commence!

The game begins in a laundrette somewhere in a dark corner of London. After some strange anomalies, a television kicks on, and the Doctor, played by Jodie Whittaker can be seen on screen. Speaking directly to you, she tells you that you're the only person that can help her. Suddenly a shift in the lights (and possibly time) occurs and the laundrette is filled with a black sludge reminiscent of the purple gunk from "The Legend of Zelda: Breath of the Wild." Peering from the individual dryers along the wall are black sludge monsters with murky red eyes that stick to you. If you get close to them, they lunge and crack the glass.

After explaining to you that the universe is like a hard drive and that people and moments are like individual files, the Doctor informs you that someone has installed a sort of computer virus. Lost on the edge of time, she is unable to help you, but using a bit of her Doctory magic, she's going to help you help her, and by extension- save the universe. It's no small order, but you're raring to go!

It's during this point, however, that I did find myself slightly frustrated with the game design. As the Doctor begins speaking to you, she's oftentimes drowned out by the music, making it hard to hear what she's saying. When I went to the options menu, I was surprised to see that no option to lower the music volume was available. There was however a subtitles option, which I opted out of due to my feeling that seeing subtitles somewhat sullied the immersion. The next bit of frustration came from the following scene in the back office of the laundrette.

Another big source of frustration was the controls. While in the office, you're made to find the code to a safe, and then enter the code into its keypad. As excited as I was to be playing a new Doctor Who game, I almost rage quit due to the sheer difficulty of entering a simple four-digit code. Now, it's worth mentioning that at this point, I was still using my Playstation controller. After switching to the Playstation Move controllers, my experience improved exponentially. However, even with these Move controllers, performing minute actions felt a lot like trying to unwrap a lemon sherbet while wearing a pair of woolly mittens.

You learn a little bit about the late owner of the laundrette. He used to be a janitor at Coal Hill School, and he's now a pile of ash on a chair. The books strewn about the office show he was a man interested in strange phenomena dealing with time and space. The Doctor, using a bit of Time Lord magic, has stashed her sonic screwdriver away in the safe. After fishing it out, I took great glee pointing it at literally anything I could. Sadly, the sonic has very little actual interactivity with the surrounding world other than pre-scripted actions like opening doors that carry the story to the next stage.

Once outside, you get your first glimpse at a Dalek saucer, floating above the sky like something from the Dalek Invasion of Earth. It's a great little callback, and the alley conjures images of Totter's Lane. After building a signal booster with junk from the alley, you call the TARDIS to your location, where it materialises like the beautiful Ghost Monument we all love. Now, I'm not too proud to admit it, but as I walked into the TARDIS for the first time, I got a little misty-eyed. It really does feel like you're walking aboard the greatest ship in the universe. The people at Maze Theory did a fantastic job rendering the Thirteenth Doctor's TARDIS interior. And yes, the console does dispense custard creams. Trying to make my boyfriend laugh, I held the biscuit to my mouth and was pleasantly surprised when my virtual character actually ate it!

This joy was short-lived, however, because I was once again at the mercy of needing to perform exacting tasks with rather sloppy controls. What should have been a joy (piloting the TARDIS), was instead another rage quit moment. Really though, this is more of a problem native to virtual reality. You're only ever as good as your tools, and Move Controllers aren't hands. Controls are one of the game's biggest flaws, really. For instance- there is no duck or crouch function. Meaning that despite all of the wonderful little Easter eggs peppered throughout the game, the second you drop one on the floor, it's gone forever.

After being recruited by the Doctor, you're treated to a title sequence in full 3-D glory. Let me tell you, the time vortex has never looked cooler. I was like David Bowman entering the Star Gate. Moments like these are when the VR really shines. Afterwards, the first place you land is sort of a head-scratcher. You arrive on what looks like a planet, where you're being stalked by a creepy race of aliens known as Hydrorks. I was slightly sad that you never have to actually worry about them. They're mainly there to scurry about in the shadows. Despite the warnings of a woman you're speaking to over a holo-pad, they don't ever actually attack you. You can stop right in front of them and shine your torch at them and walk away unscathed.

If you recall from my Doctor Who and Video Games article, I complained that one of the biggest issues Doctor Who games have is puzzles. This chapter of the game has the most egregious of the puzzles and had me worried that it was about to devolve once more into a series of irritating puzzles, but they lessen as the game progresses, much to its benefit. I would like to mention though, that the game does take accessibility into consideration. Puzzles involving colours also incorporate shapes for those that are colour blind. You can also switch between hands with your sonic screwdriver, a fact that I, as a left-handed person, wish I would have discovered far earlier in the game.

After getting to the lift, you discover the planet you're on is a sort of space ship. The effect of leaving what seems like the outdoors only to find a giant window overlooking alien planets was like something David Lynch would do. I was reminded of episode three from "Twin Peaks the Return," when Dale Cooper exits a room in a building surrounded by a vast purple sea, only to find himself climbing out of a boxy spaceship surrounded by a network of stars. This kind of otherworldly experience is yet again another strength of VR. After a series of puzzles involving lasers, you meet Emer, the ship's computer that forgot it was a computer. Remember how I mentioned David Bowman earlier? Well, the "2001: A Space Odyssey," vibes don't stop there, as Emer's interface looks a lot like HAL 9000. It's a great little homage.

Before leaving the ship, you save Emer onto the sonic screwdriver and find yourself a time crystal. The time crystals are artefacts the Doctor needs you to collect to save the universe. It's a little vague in that "It's a video game, so just go get the thing," kind of manner. But it's a video game, so I'm not even bothered by it. After arriving back on the TARDIS, the Doctor uploads Emer into your brain. Emer's job is to help you along with little hints here and there. I was a little disappointed because the only reason I can imagine they did this is because they only had Jodie Whittaker for six hours on the day she recorded her dialogue. Having the Doctor speak to you like her closest friend is a rapturous bit of nerd joy, so replacing her for a bit is regrettable. But Emer is a likeable character so you don't really mind. The only time Emer really gets under your skin is when she's dropping hints repetitively. You may know exactly how to solve a puzzle, but the mechanics aren't as spelled out. Having her tell you what you already know, over and over again begins to grate on you.

The next place you visit is a very shabby looking Victorian London. You know right away that you've entered Weeping Angel territory. However, the classic Who fans will love the fact that part of this portion of the story incorporates Magnus Greel's time cabinet from "The Talons of Weng-Chiang!" I could tell the people at Maze Theory threw this in for the nerds out there. The Weeping Angels portion of this chapter is easily the creepiest moment in the game. There's a jump scare that had me jumping out of my skin. For full immersion, headphones are a requirement as the sound design is full of little creaks, groans, and stabs as the Angels make their way toward you. The incorporation of the cherubs (which you never see) and a baby pram only adds to the nightmare fuel.

This isn't to say that this sequence is without criticism. One of my chief complaints is that it's a very repetitive sequence. Once you do the first portion, you know exactly how to do the next portion. It then becomes a waiting game which is more tedious than tense. If they'd had varied up the gameplay in this section, I would have said it was the best part of the game. Instead, the Angels only play a minor part, and once you know how to beat them, their terror factor plummets. After a while, the worst part of getting caught by an Angel isn't the dying, it's the waiting for the level to reload. Even with my PS4 Pro, the loading times are egregious. Expect to spend a lot of time staring at the floating orange embers that are the loading screen. At least you can fiddle with the sonic screwdriver while you wait.

After receiving the next time crystal from Magnus Greel's time cabinet, it's time to move on to the next phase. The Doctor begins to tell you a little more about who is tearing apart reality- an entity known simply as The First... or the One. I honestly can't remember which, and the internet isn't much help. It's not a very memorable name, much like the title of the game itself. This "First One," is the very first form of consciousness in the universe that has awoken to find her creation of other forms of life is a disappointment to her. Our penchant for death and destruction has lead her to believe that the only course of action is to reboot the universe, hence the reality virus.

Our next stop is Metebelis...Four? I would be lying if I said I wasn't massively relieved to discover they weren't sending us to Metebelis III. That would have been cruel and unusual. When arriving at Metebelis IV, you're greeted with a gigantic temple structure. In VR, its size and design are really grand in scope. I was reminded of my visit to Durham Cathedral with its impressively high vaulted ceilings. After a quick time jump, you find yourself in a point in history where the Daleks have taken over the planet. I really enjoyed the music cues in this part, because you knew right away you were about to encounter Daleks. You can almost hear a digitised version of their voices in the score that really sets the tone.

This portion of the game was probably my favourite. A lot of it is sneaky stealth missions, which gradually increase in difficulty. The only problem with the stealth portion is you really need to bait the Daleks into following you at points. It goes against usual stealth mechanics which at this point are generally universal. When you accompany this with long load screens, and Emer repeatedly telling you what you already know, it gets to be a bit much. But getting to drive around as a Dalek later on in the level makes up for this in spades.

Much like the Weeping Angels portion of the game, the key to beating this section is patience. You can systematically work your way through the level by budgeting your time. If you take out drones and Daleks in the right order, it's a piece of cake. It becomes a memory game at that point. That being said, I still had a lot of fun. Dalek vision was especially cool. After tearing ass through various temples, you find yourself sort of outside of time. The reality virus has almost torn the universe apart but using memories of the places you've been, you're able to hold things together long enough to stop the First One. The Doctor congratulates you and tells you what a star you are. Emer is given human form for her efforts. The TARDIS drops you off back at the laundrette, seemingly to do it all over again, which leads to my biggest question about the game. Am I supposed to play it again, or was that just a meta-joke from the designers encouraging you to replay at your own leisure? Furthermore, is the Doctor not also now stuck in a time loop along with the player?

I've not done a second playthrough, so I can't rightly say if it adds more content to the game. I'm going to bet the answer is probably no. This is a shame because for a game that has been marketed for as long as it was, and had its release date pushed back almost two months, it's surprisingly sparse. At the very beginning in the Laundrette, the Doctor mentions both the Stenza and the Zygons, which made me expect to see at least one of them throughout the game. What turned the laundrette owner into a pile of soot? Hell, you don't even see the sludge monsters from the laundrette again. I expected them to be a far bigger problem than they were. The game is surprisingly devoid of other characters. Perhaps this is a symptom of VR, but disembodied voices, static Angels, skittering background aliens, and rail driving Daleks are the most interactivity you'll have with other characters.

Throughout its runtime, I couldn't shake the feeling that "The Edge of Time," was originally supposed to be a much bigger game. While I'm aware that most VR games are generally shorter in length, this feels truncated. Perhaps it was from budget issues or internal problems, I can't say. But is it twenty quid's worth of video game? I would say that maybe with DLC it would be, but as is, it feels incomplete. The ability to select chapters does increase replay value. I could see myself pulling up the Weeping Angels level for a group of friends. However, due to the lack of variety in said level, I don't see the novelty lasting long. If they were to release a couple extra levels that were more like survival horror where you were in a creepy mansion avoiding Angels, or maybe something with Cybermen or Zygons I could see the value increasing. I wouldn't want to pay more for these levels, mind.

Compare the price of this game to going to a movie with friends. These days £20 will buy you maybe two tickets to see a film. The game is basically a feature-length episode of Doctor Who. So if my boyfriend plays the game, and my wife and friends, then sure, it's paid for itself. But for people who might play this game alone, they may want to wait until the price drops a bit. I had a good time playing the game, myself, but I have to temper that response with the fact that I am a massive Whovian. Will it have the same appeal for casual fans of Doctor Who? That's really the big question, isn't it?

When the game was announced, my first reaction was to shake my head at the BBC's inability to make a proper Doctor Who game. As you may recall from my article on Doctor Who games, this stems from the fact that going with VR was pre-emptively cutting off a large portion of gamers. While there is a very real demand for Doctor Who video games, VR is still a niche market. Not everyone is going to buy VR just to play one game as I did. And even if they are, VR systems aren't cheap. I had to purchase mine on credit. The cost of admission is now much higher than the asking price of twenty pounds. That being said, the game manages to prove that Doctor Who video games can still try new things. The formula and gameplay are very close to what a lot of people have wanted for years. While I still don't feel like we've seen a truly great Doctor Who game, I had a lot of fun with this one.

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theultimateegghead-blog · 6 years ago

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Modest Media Game Reviews Spooktober spectacular! Dementium: The Ward

Game – Dementium: The Ward Year of Release – 2007 Developer – Renegade Kid Producer - Gamecock Media Group Rated – Mature Genre – First Person Shooter, Survival Horror Platform – DS, 3DS For all sakes and purposes I will be reviewing the original DS version.

Dementium is one of the few horror games on the DS. This first-person shooter was originally created to be a Silent Hill title, but that idea was rejected. This game is polarizing with some praising it while others criticize or overlook it. Let’s take a look at this spooky adventure and see if it’s any good. Please do note that this is a DS game, so what may have been unimpressive for say the ps3, it would be for the DS.

Gameplay – Solid and surprisingly good for a ds game. This game is in the first person. You move around with the Dpad and can aim with the stylus. The game features a plethora of weapons to be used at your disposal. Levels are of moderate length, there are puzzles to be solved and some difficult bosses await you. Now this is all fine and good, but one way to describe this game is its repetitive. The game overstays its welcome and becomes dull towards the later segments of the game. Enemies and locations start to get repetitive and even some bosses are reused later on. Ammo is plentiful in the early game and so is health pick ups, but this falters and they become more scarce in later levels. The overall horror theme of whats lurking in the shadows eventually falls off as well. With each monster encounter becoming more of a nuisance, especially a certain flying head enemy. I would not say this game is bad, its good but it overextends itself to the point where it stops being fun. Score – 14/20

Graphics – At first visually impressive for the DS. This game is in first person and the hospital is eerie, full of debris and shrouded in darkness. This game is dark, the field of vision is low without the flashlight which means monsters can’t properly be engaged unless they are right on top of you. I think this darkness is somewhat of a double edge sword, it enhances atmosphere but also enhances annoyance. One major flaw in this game though is its lack of diversity, the game has several different segments of the hospital. However, most of the hallways, rooms and so on look the same. Enemies all look the same as well, this can lead to some confusing maze-like level design. It can be easy to miss clues or certain pick ups because they can blend in with the floor and debris. Despite being repetitive and dull at later points, I wont deny that these graphics are impressive for a small studio DS game. It is almost on par with games like Metroid Prime hunters…almost. Score – 7/10

Story – The story, while present, leaves many unanswered questions. You play as an unnamed man that suffers from amnesia. There are hints that this man is responsible for a violent murder and that is why he is in the psychiatric ward. You see visions of a little girl and of a woman, you see horrendous monsters that defy logic. The very few living people you find are killed quickly by said monsters. What’s going on? Is this an otherworldly invasion or is it all in your head? Why is a doctor the final boss? These questions sadly are not answered in this game. There is a difference between having an open-ended story and just dropping the story halfway. I have yet to play the sequel, so perhaps it is all explained there. However I am not reviewing Dementium 2 yet so as it stands the story is weak. Score – 6/10

Replay Value – Very little. There is no new game plus or extra secret content. There are no side paths or secrets to discover over the course of the game that warrant going back to discover said secrets. On top of that this game overstays its welcome and becomes very repetitive and tedious in the final chapters. There does not seem to be a chapter select or a score system. The only way one would replay this for any reason other than simply wanting to is for a speed run or for a challenge run. Score – 1/5

Music – Now the music is good. However, much like the game itself it is repetitive and it all sounds similar. The soundtrack itself is of good quality, composed mostly of atmospheric choir and piano songs. Music plays through the whole game which both adds to the atmosphere and fills in the void of silence. In my opinion it makes the levels a bit more enjoyable. This game makes good use of sound to show when enemies are nearby or lurking in the shadows. Score – 3/5

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Overall – This game is flawed yes, but its not bad. Gameplay is solid, but has rough edges. The tagline of the game, “This game is Doom 3 meets Silent Hill.” This is somewhat true. It feels like it took aspects from Doom 3 and Silent hill but at the same time it feels like it took the weaker aspects. I would say that if your willing to put up with the more repetitive end, then this game would be a cool addition to a DS collection. I would recommend this game, if only to give it a try. Final score – 6.2/10 – So-so

One thing this game did well – The early levels of this game, where everything is still fresh and new. These levels are creepy. This is good for a horror game.

#dementium #the ward #ds #2007 #Modest Media Review #horror #scary #first person shooter #hospital #renegade kid

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pixelgrotto · 6 years ago

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The deductive point ‘n click escapades of a forgotten southern belle Adventure games of the point ‘n click variety are a genre that tend to feature female protagonists more often than others. Why this is the case, I’m not entirely sure - it might have something to do with the stereotype that women are more patient, more willing to read and perhaps better at solving puzzles than men. Or, perhaps legendary adventure game designer Roberta Williams’ influence still holds strong, at least on a subconscious level in the minds of designers, over the genre that she helped nourish in the 80s and 90s, and the heroines of today’s games are merely following in the footsteps of fine women that preceded them, like Rosella of Daventry in King’s Quest IV. Whatever the reason, despite there being quite a few point ‘n clickers popping up these days with engaging female protagonists (Kathy Rain is one that I played early this year and enjoyed), there’s a 1920s southern belle who probably deserved a long-lasting series but only got two games which are somewhat overlooked these days. Her name is Laura Bow, and she served as the protagonist of two Sierra titles that were released in 1989 and 1992 - The Colonel’s Bequest and The Dagger of Amon Ra.

Laura seems to have been specifically patterned after famous silent film actress Clara Bow, but at her heart she’s more like a slightly older version of Nancy Drew, and her two games embody Nancy’s fine tradition of mystery solving. The Colonel’s Bequest takes place on a private island in the bayous of New Orleans as Laura accompanies a friend and fellow Tulane University student for a weekend getaway at the manor of her uncle, Colonel Dijon. The old man is bequeathing his fortune to relatives and has invited a motley assortment of characters right out of an Agatha Christie paperback - the drunk aunt, the conceited Hollywood starlet, the perverted doctor who seems to have a thing for betting on the ponies - and a la Clue, bodies start piling up as the relatives presumably begin offing themselves in order to get Dijon’s fortune first.

I mentioned Roberta Williams previously, and The Colonel’s Bequest was actually designed by her as one of those rare side projects that didn’t feature the words “King’s” and “Quest” in the title. (Hm, I suppose it’s called The Colonel’s Bequest, so scratch that.) It’s always hard to tell how much Roberta was involved in non-King’s Quest projects - The Dagger of Amon Ra, for instance, was directed by Bruce Balfour despite featuring her name on the box - but I’d wager that she intended The Colonel’s Bequest to be a spiritual remake of her very first adventure game (and indeed, the first graphical adventure game ever), Mystery House. Mystery House featured a similar murder plot, and The Colonel’s Bequest takes this concept and evolves it, offering a unique structure where there aren’t really any puzzles to solve but instead “scenes” to witness. The entire game is structured like a play - there’s even a cast curtain call in the beginning - and Laura is encouraged to spend as much time as possible talking with the potential murder suspects and finding unique ways to eavesdrop on them.

The game’s manual makes a huge deal about this emphasis on observing the story and slowly figuring out the links between characters in an effort to deduce the killer, and we can look at Johnny L. Wilson’s 1990 review of the game in Computer Gaming World as an example of how this approach was seen as admirable, fresh and also a bit risky at the time. Don’t let the fact that there aren’t many puzzles fool you into thinking that The Colonel’s Bequest is easy, though - it’s just as tough as Sierra’s other adventures with just as many nonsensical ways to die, and the unique structure where certain events and conversations are “timed” (indicated on screen by a clock) means that sometimes you’ll be wandering around aimlessly searching for the next thing to do, or possibly miss out on vital bits of info because you weren’t at the right place at the right time. It’s a little like The Last Express, only less refined.

Luckily, the game’s great atmosphere makes up for any shortcomings that its boldly unorthodox but occasionally clunky design creates. This is one of the best 16 color titles that Sierra produced with their SC10 engine, and the soundtrack is packed with jazzy songs influenced by the Roaring Twenties with just enough sense to know when to be quiet as well. As you navigate Laura across the silent grounds of the mansion in the dead of night, wondering where the killer might be, it’s very possible to get shaken by the sound of lightning bursting in the background, and I can certainly imagine young players in 1989 jumping out of their skin when they encountered such moments.

Laura’s next outing, The Dagger of Amon Ra, trades the dark island setting for the Egyptology craze of the 20s, and loses a little bit in the process but makes up for it with 256 colors, rotoscoped animations (which are darn smooth but cause character sprites to be a bit muddy, unfortunately) and an even catchier selection of jazz tunes, including an amusing vocal track called “The Archaeologist Song.” Oh, and the CD version is a “talkie” game, with performances that range from kinda terrible (Sierra was still having their employees voice these games at the time instead of hiring actors) to excellent (Laura’s got a cute southern accent and the narrator’s voice is heavenly).

The plot revolves around the titular Dagger of Amon Ra, an Egyptian artifact that’s been stolen from a New York City museum. Laura, now a fresh grad from Tulane and in the middle of her first journalism assignment at an NYC paper, has to navigate the mean streets of Manhattan, infiltrate a speakeasy and chat with a mildly racist caricature of a Chinese laundromat owner before getting into the museum, where she once again encounters a wide cast of characters, from the stuck up British twat who removed the dagger from Egypt to the nutty countess, who is possibly engaged in some mild robbery efforts around the museum when nobody’s looking. People start dying pretty soon (and their death scenes are grand - check out this poor SOB who got decapitated and stuck with a Perodactyl beak) and while the beginning section of the game outside of the museum is more like a traditional point ‘n click affair, once you’re locked inside the building after the first murder, everything becomes reminiscent of The Colonel’s Bequest. You’ve got to meander about, hope you bumble upon the right conversations and try your best to piece together clues before the murderer suddenly starts chasing you during the game’s second-to-last chapter.

The Dagger of Amon Ra kind of stumbles in its execution of this form of gameplay more than its predecessor, because all the chapters of museum exploration feel terribly disjointed even more than walking around Colonel Dijon’s mansion did. Also, the character motivations are unclear, which is a problem in a mystery game - especially one where the entire final chapter actually involves Laura being quizzed by the coroner in an annoying game of 20 Questions as to the identity and motives of the killer! If you slip up once during this finale, you’ll get the bad ending, which involves the killer finding Laura’s apartment and GUNNING HER IN HER SLEEP, jinkies. And even if you succeed and get the good ending, which sees Laura writing her first award-winning expose on the theft and hooking up with putzy love interest Steve Dorian, it’s still quite impossible to discern the killer’s motives and why he went about his nefarious deeds, because The Dagger of Amon Ra just...doesn’t explain things. I’m not the only one who had trouble figuring it out - The Adventure Gamer blog wrote up a fantastic series of posts about this game and came to the same confused reaction as I did.

Both Laura Bow adventures come from an older time where it was common to take notes as you went through a game, so perhaps my puzzlement at The Dagger of Amon Ra’s ending is due to my lack of pencil and paper by my side as I played. I did use walkthroughs for both games, though, and if you do end up checking them out (they’re available on GOG), I’d recommend doing the same. You probably still won’t be able to figure out why whatshisname stole that dagger, but despite their flaws, the Laura Bow games really are worth experiencing. Laura’s a likeable lead (just look at this adorable expression on her face as she stumbles upon the museum’s French skank engaged in hanky panky with the janitor) and she does a fine job of showing off the spirit of the 20s, an underrepresented period in the pantheon of electronic gaming.

Laura never got a third game, and as far as mystery franchises go, Sierra soon passed the torch to the Gabriel Knight series, which apparently takes place in the same universe, since Gabriel visits Tulane in Sins of the Fathers and hears word of a lecture being given by “Laura Bow Dorian” - a hint that Laura married Steve Dorian and lived happily ever after! I’m glad that Ms. Bow got a nice ending even if we couldn’t see it in game form, and I’m sure that if she were a real person, she would be pleased to see spiritual successors of sorts like the aforementioned Kathy Rain following in her footsteps today.

This is perhaps a good place to mention The Crimson Diamond, an upcoming indie game in the works by Canadian illustrator Julia Minamata. I recently played through the demo and am eagerly awaiting the full release - it’s almost like a direct sequel of The Colonel’s Bequest with an alternate universe version of Laura. Rest assured, Ms. Bow - even if your adventures aren’t as remembered these days as they should be, the example you set of the enterprising female gumshoe is alive, well and in good hands!

All box art and screenshots from Mobygames.

#pixel grotto #video games #favorites #laura bow #colonels bequest #dagger of amon ra #sierra online #roberta williams

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gascon-en-exil · 8 years ago

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The Not Really Definitive Ranking of the Zelda Series: #9

#11-19 (link to #11, with further links to each of the others)

#10 - Tri Force Heroes

#9 - The Legend of Zelda: The Wind Waker (including the Wii U remake)

My most enduring memory of The Wind Waker has nothing to do with my own experience with the game, but rather with the erstwhile former semi-lover I refer to here as the Anglo ex. Back when we were still talking to each other - up to about the time of the release of Skyward Sword, in Zelda terms - he maintained that WW was his favorite 3D Zelda for its vast open world and huge array of optional content left for the player to seek out. Because I’m not happy until I’ve found absolutely everything worth finding in these games, I shouldn’t have to explain why those traits did not appeal to me. It doesn’t help at all that the main story is comparatively short, meaning that there’s not all that much to break up the tedious play sessions comprised entirely of sailing the vast and monotonous Great Sea from one tiny optional island to the next, picking up a few items here and there while never really feeling like you’re accomplishing all that much. Call me a jaded OCD nerd who reduces games to checklists and has no soul for actual adventure if you like, but sailing utterly tanks WW for me.

Now, I I will admit that the Wii U version fixes almost all of this game’s more frustrating elements; indeed, WW HD was the motivation for me to pick up a Wii U after spending over a year on the fence about the console. Sailing can be made much faster, the Triforce hunt late in the game is less money-intensive and requires less interaction with Tingle *throws confetti*, the figurine gallery sidequest has been streamlined and is actually sort of entertaining now, and the Tingle Tuner has been replaced with an item you can completely ignore and still get 100% completion. You can make arguments about graphical fidelity to the original, but for me there’s no question that WW HD pushed this game up a few notches in the ranking.

Still, when I was plotting out this series I couldn’t see WW any higher than this, even though the glaring gameplay issues had all been resolved. It took me some time to put my finger on why exactly it doesn’t work as well as some of my favorites, and in the process of working it out I came up with the perfect analogy: Molgera, or specifically Molgera’s theme. Everyone loves Molgera’s theme, and it’s apparently so high in the ranks of memorable Zelda music that both Hyrule Warriors and the touring Symphony of the Goddess include versions of this track. I’ve even heard people claim the catchy Molduga battle music in Breath of the Wild as a spiritual successor to Molgera’s theme, as both of them are energetic and ear-wormy pieces of music associated with giant sandworms. As an added parallel, in both cases the actual fight is, shall we say, a bit of a letdown.

This is where the analogy comes in. WW provides the player with so many great and unforgettable memories, from the bright and stylized graphics to the catchy - and, arguably a first for the series, thematically unified - soundtrack to the expressive and reasonably well-developed characters (even Link this time, because he’s finally allowed to emote), but when it comes to the experience of actually playing the game it very often fails to live up to those memories. As mentioned the main game is rather short, most of the optional content feels disconnected and random (unlike, say, that of Majora’s Mask), the dungeons are mediocre at best, and the story really drops the ball in a big way a couple of times. Tetra’s abrupt personality shift when she’s revealed to be Zelda is undoubtedly the most infamous of these, but keeping Aryll off-screen for the second half of the game with no logical explanation does let some of the wind out of the sails *rimshot* of this Link’s motivation for leaving Outset Island in the first place. Also, is this king just somehow not related to Tetra at all? You’d never know from the way he interacts with her.

But hey, we did get genuine development for Ganondorf - nothing like the flimsy attempt at backstory he gets in Ocarina of Time - and a climax that’s as tragic as it is epic (minus the actual Ganon fight...there’s that Molgera analogy again). WW does at least end on a (bittersweet) high note, which is probably another big contributing factor to how I’ve come away from the game. Just like it’s easy to forgive mechanical flaws when they get fixed in a second pass, so too is it easier to overlook larger issues when you can still point to so many moments in a game and recall how amazing they were.

Next time: the smallest of the small screens, and how to do it right if you’re doing it derivative.

#The Legend of Zelda #The Wind Waker

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netunleashed-blog · 6 years ago

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Persona 4 Remains An All-Time Great RPG 10 Years Later; A Celebration Of Its Legacy

http://www.internetunleashed.co.uk/?p=6760 Persona 4 Remains An All-Time Great RPG 10 Years Later; A Celebration Of Its Legacy - http://www.internetunleashed.co.uk/?p=6760 It may not have been known at the time, but in July 2008, Japan received what would be remembered as one of the greatest role-playing games of all time. Over the course of a decade, Persona 4 has become more than just an incredibly fun RPG with a refined battle system and quirky characters, though. A story about Japanese high school students confronting their worst fears, fighting for what's right, and becoming the best of friends spawned a lasting legacy that has empowered the people who played it and continually inspired new games. Our love for Persona 4 has kept it alive for so long with several fighting games, two anime adaptations, an adorable (and difficult) spin-off RPG, and even a rhythm game. And after 10 years, we're still seeing our good friends from Inaba in a new light.For the uninitiated, Persona 4's foundation closely resembles that of its predecessor, Persona 3. You're a transfer student new to a school surrounded by unusual circumstances; supernatural phenomena that endanger your new hometown is the crux to the overarching mystery. On a typical day, you go to class, do extracurricular activities, and try to grow closer to those around town and at school. Better yourself through hobbies or take on a part-time job, it's up to you how to pass the time. In particular, Persona 4 takes you to a fictional rural town of Inaba where the biggest thing to happen before your arrival was the opening of a Junes department store (think Super Walmart, but with an infectious jingle). Even your little cousin Nanako is utterly convinced that every day's great at your Junes, and begs you and her dad to take her there like it's the greatest place on earth.Sure sounds like all fun and games until you and your new friends become the centerpiece for a dark murder mystery and an absolutely perplexing world that lives behind TV screens. At first, it's not quite clear why outlandish versions of certain townsfolk inexplicably pop up on TV sets and go missing on rainy midnights. The one way to get to the bottom of this, to actually jump into a TV screen to enter the shadow world where the other half of Persona 4 comes into play.Aha! Is this our chance? It's time for an All-Out Attack!While dungeon crawling and sneaking up on shadows through randomly generated floors make up the exploration, an intricate turn-based combat system is where you'll find excellence in gameplay. Most enemies have elemental weaknesses which factor into how you construct your party and devise a tactical approach. Sounds par for the course in an RPG, but the unique press-turn system that Shin Megami Tensei is known for shines brighter than it had previously by giving you full control to pull off flashy, effective attacks. Receiving a bonus attack after targeting a weakness before enemies get a turn is endlessly satisfying, especially as dungeons become inhabited by trickier, stronger shadows.A story about Japanese high school students confronting their worst fears, fighting for what's right, and becoming the best of friends spawned a lasting legacy that has empowered the people who played it and continually inspired new games.However, nothing in battle matches the joy of seeing your crew team up for the most adorable, yet devastating All-Out Attacks, a franchise staple. Everyone in the party piles on heavy damage that usually puts an end to the fight, and you sense their ferocity in character portraits that pop up just before everyone jumps in. A cloud of dust erupts as they whale on enemies, sometimes popping out of the chaos only to jump back in for another hit, and all you need to do is watch as they take care of business. If you're lucky, someone will offer a follow-up attack turn-free; and it should be taken as fact that nothing is as absurdly cute as Chie's galactic punt where she literally kicks an enemy into outer space (her kung fu DVDs really paid off). Even in battle, everyone's distinct personality isn't lost or put off to the side, which highlights Persona 4’s greatest accomplishment: its commitment to a relentless charm embodied by this cast of misfits.So effortlessly does Persona 4 merge the two pillars of a social simulation and traditional RPG; nothing feels disconnected, how days are spent matters. These two realities feed into each other, and Igor--the series-long, omniscient owner of the ethereal Velvet Room--alludes to this up front: true strength is born from the bonds you form. The power of friendship is a prevalent trope in similar stories, but to have that power manifest as a tangible benefit in combat gives us further reason to invest in relationships. I call back to how Rise came in clutch to buff the party or cast healing during tough boss fights, or when Yukiko dealt the final blow casting Agidyne using her final-form persona with the last bit of SP: moments like these solidify the feeling that my companions really do have my back in times of need.Gas up your scooter 'cause we're going on a road trip!From the mother who wishes for acceptance from her stepson to your basketball teammate who finds it impossible to live up to his adopted family's legacy, these vignettes serve to tell very human stories. We help Nanako open up to her dad about his lack of presence and break through Uncle Dojima's hard-boiled temperament to reveal an empathetic father who constantly struggles with his wife's death and his job as a detective. In the end, a heartwarming father-daughter scene results in a newfound commitment to family. Other social links struck a more personal nerve.This cast harbors the painful secrets that so many teenagers and young adults repress, and it carries the perceptions and labels society puts upon them. These are the burdens everyone bears throughout Persona 4, but burdens that no one has to bear alone.When Yosuke overlooks Inaba, the town he once hated, and realizes that what makes him happy is the people he's surrounded by rather than big city glamour, I felt that. Even though Kanji maintains the tough guy attitude, he eventually embraces his sewing skills and love for cute plushies--as he began to handcraft toys for kids around town, I sensed a big, cathartic middle finger to societal expectations for masculinity. Naoto's strive for justice, as the genius detective, makes a firm statement against workplace gender discrimination. Life as an idol sure sounds great, until Rise decides she needs to walk away from stardom for her own sanity. As endearing as Chie's and Yukiko's friendship, their dynamic evolved and reached new heights after confronting their shadow-selves, leading to more open and honest relationship.This cast harbors the painful secrets that so many teenagers and young adults repress, and it carries the perceptions and labels society puts upon them. These are the burdens everyone bears throughout Persona 4, but burdens that no one has to bear alone. The TV world and Midnight Channel work not just as metaphors for the fear of what you think everyone sees in you, but to illustrate the sense of imprisonment and helplessness that's born from it. And by navigating the maze-like dungeons and crushing enemies, the crew breaks through obstacles to finally support each other in overcoming their monumental insecurities. Many of the game's pieces sound silly on paper, but they all come together to inspire you before you know it.When spread across 100+ hours of play-time, spanning an in-game calendar year, you're given room to breathe and let events, big and small, sink in. Moments of levity work alongside the more heartfelt revelations, which creates an ingenious balancing act. To its benefit, the game never takes itself too serious. Persona 4's greatness lies in its execution and presentation; story, gameplay, visual style, and its soundtrack all complement each other to elevate beyond the sum of its parts.Persona 4 wouldn't be the same game without the masterful composition of series composer Shoji Meguro. A collection of J-pop, J-rock, and catchy instrumentals make for incredible tracks on their own, but the right song at the right time elevates the emotional impact. As soon as I hear the brass horns start up for the track that plays during social links, I can't help but smile and sense the fun being had between characters. The boss battle theme of "I'll Face Myself" instills a feeling of danger, but also the determination to defeat your worst enemies. And the emblematic battle theme "Reach Out To The Truth" is such an uplifting song that brings back all my memories of this game. Sometimes I look outside my own house and "Heartbeat, Heartbreak" pops into my head on cloudy days and "Your Affection" when the sun shines. Music isn't relegated to just the background, and it cannot be overstated how evocative its soundtrack has been throughout the years.For all Persona 4's inspirational moments and pushes for social progressivism, we can't turn a blind eye to where it gets things wrong; to truly love something is to also recognize its flaws. By no means is it perfect when it comes to the portrayal of certain social groups and character conduct. Teddie himself exhibits unscrupulous behavior that can easily be interpreted as harassment, and it's never really confronted. Despite the personally uplifting story of Kanji, his sexual ambiguity is occasionally used as a punchline, and his shadow self can be seen as too over-the-top. Certain insensitive decisions can be made in relation to Naoto's struggle with gender identity; the interpretation of her character continues to be a point of contention to this day. And as time has gone on, the less amusing the cross-dressing pageant scene has become. To its credit, a Japanese game from 2008 was willing to explore subjects often seen as taboo; it misses the mark in critical moments, but there's value in its earnest effort. Regardless, some jokes weren't necessary to be humorous and it would've been much better without them.Despite all its absurdity, Persona 4 is grounded with thoughts and feelings that so accurately resemble our own; it's a human experience, one that many games aim for, but rarely come close to capturing.The sheer number of games that spawned afterward speaks to the love we've shared for this game. A PS Vita exclusive remaster, Persona 4 Golden, launched in 2012 as the definitive version; it refines core mechanics and includes a slew of meaningful additions. Along with new songs that perfectly fit the original soundtrack, Chie's new voice actress (Erin Fitzgerald) brought a whole new life into an already-beloved character and truly captured the spirit of Persona 4's best girl. A whole extra dungeon, an important new character, additional social link events, and new tag-team attacks round out Golden as the definitive version.An anime adaptation premiered in 2011, and another based on the remastered game released in 2014. Although it's difficult to capture an RPG in a condensed format, the anime offered a new way to experience the journey. Persona Q: Shadow of the Labyrinth brought along our buddies from Persona 3 into the mix in a wonderfully executed dungeon crawler RPG on 3DS--it bursts with charm as chibi versions of these two beloved casts band together to fight evil and have a good time. I'd also say Q features the best introductory theme and video in all the franchise. If the fan service wasn't already good enough, Persona 4: Dancing All Night leveraged the beautiful soundtrack for a delightful (and admittedly ridiculous) rhythm game--hearing my favorite songs remastered and remixed is a real treat.BlazBlue Cross Tag Battle brings back our friends at Yasogami High to meet the casts of BlazBlue, Under Night, and RWBY.Persona lends itself so well to fighting games that Arc System Works took up creating a 2D fighter in Persona 4 Arena, which remained true to both the developer's fighting game philosophy and the spirit of the source material. Persona 4 Arena Ultimax built on that foundation even further. And just this year, ArcSys circled back on Persona 4 by crossing worlds with BlazBlue, Under Night In-Birth, and RWBY in BlazBlue Cross Tag Battle. Each of these fighters introduced new characters and storylines, and were included in the fighting game community's biggest stages. Rarely, if ever, does a single entry in a larger franchise spin off in so many different directions, but thankfully, it's helped keep our Persona 4 love alive all these years later.After becoming personally invested in their journey that started it all and pouring all that time into seeing them grow, it was genuinely hard to say goodbye as the credits rolled and the ending theme "Never More" began to play. In the decade since the original game, we were fortunate to see the charming group of knuckleheads time and time again in so many different games. It's almost silly to think that a group of fictional Japanese high school students could empower us to be better, but Persona 4 has given me, and countless others, boundless joy and also an opportunity for self-reflection. Yes, I played an incredible RPG, but what I saw was a group of best friends pulling for each other to become stronger people and make the world a better place. Despite all its absurdity, Persona 4 is grounded with thoughts and feelings that so accurately resemble our own; it's a human experience, one that many games aim for, but rarely come close to capturing. Source link

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sbgcjammer · 7 years ago

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P.A.X. ROFLana | The Surge’s misadventures in boss design

The Surge - the new dystopian-industrial Souslike from Lords of the Fallen creators Deck13 - has the most important quality a game can have.

It’s fun.

Don’t get me wrong. For me, no game in the genre (or possibly not, as Mark Brown reminds us) has quite matched perfect imperfection of the original Dark Souls - even Dark Souls II and III, both of which shared varying numbers of common creative personnel with the original masterpiece. Nonetheless, roaming the decrepit campus of CREO, ducking, dodging, hiding, and sprinting between rooms as I pummel hapless robots and humanoids alike with my MG Negotiator staff is satisfying, visceral, and leaves me feeling quite clever when I finish a flight flawlessly (and with an enjoyable feeling of having been outfoxed when the enemies do).

The Surge differs from its spiritual ancestor markedly in that while Dark Souls’ complete campaign contains 26 bosses (a “mere” 22 without the Artorias DLC), The Surge has only five. While I can forgive the discrepancy in principle, that strategy places more gameplay significance on the five encounters we do get. This dynamic, and the experience impact that one of the boss fights in particular has as a result of it, has caused me to do something I once thought was unthinkable: to create a Tumblr account to complain about it at length.

Let’s get started!

Meeting Black Cerberus

The player encounters Black Cerberus (whom I can only imagine needs his clarifying descriptor because the original Cerberus was a light rose color) early in his or her visit to the Executive Forum, which is the second-to-last area that most players will visit in their progression through the story of The Surge. They meet him having defeated three bosses, and all three of them are robotic in appearance and behavior. Additionally, while the player was largely unable to see any of the bosses they encountered until the fight began, Black Cerberus can be seen from a catwalk overlooking his arena, pacing to and fro in front of his troops as he exhorts them to find you and end your heroic run through the CREO complex.

After the player feels they’ve been appropriately menaced by Black Cerberus, they can descend the nearby Exo-Lift into the arena, and the battle begins.

Mechanics

The apparent rules of the fight are easily deduced. Black Cerberus initially delivers on being an exciting humanoid combatant with a moveset of multi-hit combos that can be read, dodged, parried, or taken to the face because I WAS POSITIVE HE WASN’T GOING TO SWING AGAIN, GODDAMMIT.

However, after taking a few lumps, he retreats to his office to contemplate his choices and regenerate some health.

While he’s gone, he leaves you in the care of P.A.X., a giant robot who you may identify as - and this will become very important later - a visual clone of the first boss of the game that you encountered in the Abandoned Production area. As you fight P.A.X., a mysterious orange meter below its health bar fills as it makes more and more pointed remarks about what a blatant security violation you are.

After several blows to its spindly AT-ST-like legs, P.A.X. lays its head down and allows you a window to end its suffering. Once it’s down, Black Cerberus returns angrier than ever (with new cool shockwave moves). This cycle repeats until Herb the Cerb is dead - or you are.

Design

I already had mixed feelings about this encounter once I understood the mechanics described above.

What is cool about this design is that it very much encourages aggressive play. While Black Cerberus’s moveset is largely new to the player at this point in the game, it’s readable and has large counterattack windows. A sufficiently patient player with knowledge of the boss’s combos accumulated over a few runs could beat him without taking a hit (a design staple of Dark Souls, for the record). P.A.X.’s moveset has similar characteristics, except they’re already familiar to the player - they met it in the first area of the game).

However, because the boss regenerates health while P.A.X. is in combat and only exposes himself for relatively brief windows between P.A.X. sightings, an aggressive approach is required to end the fight in any reasonable amount of time. This encourages players to experiment with things like leaping and ducking Cerberus’s blows to critically counterattack and to bring P.A.X. down aggressively.

In spite of this dynamic, I think the design doesn’t deliver the player experience that it could. I’m not sure how many Dark Souls veterans had this experience, but I was genuinely excited when this fight started because it seemed like a confrontation with an unmistakably humanoid enemy. This reminded me of the excitement of battling Artorias in Oolacile Township after slaying a string of much more obviously monstrous bosses in Dark Souls. The duel with Artorias is among the finest boss encounters in that game, and one I hoped Deck13 would imitate here in some fashion.

When P.A.X. showed up, that hope went out the window. While I certainly understand that my invented parallel between Artorias and Black Cerberus was my own creation and not something Deck13 was responsible for fulfilling, I think that a purely humanoid duel-style encounter would have been a great change of pace after the three more classical monster-robot-style encounters. The reappearance of a monster robot - especially one we killed in a previous area - makes this fight quite literally more of the same.

The next level

If that were all there were to this encounter, I’d have filed it in “Forgettable fights that could have been more” and moved on with my run.

However, the fight felt very difficult to me as I iterated on it. This could have been an artifact of my own skill, having fewer or less-powerful implants than expected by the developer at this point in the game, or by being underleveled. However, the challenge of whittling the boss down while dealing with a neverending stream of P.A.X.es felt so relatively difficult that I began to wonder if there was a mechanic I was missing.

There was.

The key to the encounter lies in the fact that, superficially similar to your original encounter with P.A.X., causing its orange “danger” meter to fill changes its behavior.

In the fight dedicated solely to P.A.X. in Abandoned Production, filling the meter causes P.A.X. to immediately and abruptly stop its stomping, slashing, swiping behavior and to instead launch a missile salvo that the player has to kite into the boss to deal significant damage to it.

The P.A.X. units in Black Cerberus’s room also change behavior when their meter fills, but in this case, the filled meter simply unlocks an additional behavior for P.A.X.’s use. Once the meter is full, if the player reaches a certain distance from P.A.X. - about half the length of the encounter room, in my experience - P.A.X. will fire rockets linearly at the player’s position.

The second half of the puzzle lies in two white tanks that are placed in opposite corners of the encounter room. While they’re not what I’d call visually prominent, they do have slightly conspicuous “ONLINE” LED notices on them:

If the player fills P.A.X.’s danger meter and manages to cause P.A.X. to fire rockets into both of these two tanks, and then defeats P.A.X., the Black Cerberus will return to the arena as normal - but he’ll be unable to summon additional P.A.X. units for the rest of the attempt. This enables the player to slowly and safely thwack at Black Cerberus between combos and end the encounter at a combat pace appropriate to their comfort and skill.

The next level sucks

The flaws in this additional mechanical layer are what inspired this post. I could go on for days about the reasons why I disagree with the addition of this tactical option, but I’ll try to keep it to a few hundred (more) words.

Next Level Flaw (NLF) #1: P.A.X.’s behavior is too different from its first appearance

While I can somewhat appreciate the “OMG WAT” factor of having to fight a previously vanquished boss while you’re fighting a new one, I think that P.A.X. is the wrong enemy for the function it serves in this encounter.

The fight with P.A.X. in Abandoned Production has a single central message: Being anywhere but under P.A.X. is not a good idea. All of its melee attacks are unable to reach a player character standing under and just behind it., and P.A.X. reinforces this point by periodically hopping away from a player in such a position. Additionally, when the meter fills and P.A.X. unleashes its deadly missile salvo, the game teaches the player that the correct solution is to simply hide under P.A.X. for the double benefit of having the missiles blocked and dealing incredible damage to the boss.

If the player takes this lesson to heart, the behavior of Black Cerberus’ P.A.X. units seems strange. Unlike the Abandoned Production P.A.X, nothing obvious changes about their behavior when the meter fills. They say the same voice lines (”Enforce maximum punitive measures”) as the first one, but when the meter fills, if the player is playing optimally and staying under and behind the enemy, nothing about the encounter dynamics change. Thus, the player doesn’t discover the behavior that these P.A.X.es utilize where they fire rockets when the player reaches a certain distance from the enemy. If the player doesn’t ever arbitrarily experiment with a tactic that the game has discouraged via the behavior of both kinds of P.A.X. units, they may never realize how these P.A.X.es even work.

The worst part of this is that even if the player accidentally discovers the rocket-firing behavior, there’s still no apparent tactical advantage to gain from it. Even if the player learns that the robot will fire rockets at him or her when they reach a certain distance, that doesn’t help the immediate goal of defeating P.A.X. quickly to bring Black Cerberus back out since the player can’t attack from range with any effectiveness anyway.

NLF #2: The white canisters aren’t presented in a way that serves any goal except arbitrary obfuscation

The two canisters that apparently control P.A.X. production in the Executive Forum are a tonal shift in the design of this game. Up until this point, the player has never been able to alter the behavior of enemies or the game environment by doing anything other than interacting (via the dedicated interaction action) with game elements, with the slight exception of being able to break open flimsy doors by swinging their weapon. None of these types of interactions have appeared in any combat situation prior to Black Cerberus.

Not only are these canisters not interactable and unresponsive to weapon swings - they’re visually disconnected from the location where P.A.X.es enter the arena, and one of them is literally in the opposite corner of the arena from it. They aren’t referenced by any of Black Cerberus’s pre-fight dialogue, and the game doesn’t call attention to them via camerawork, audiologs, or any other device that I observed. All of this leads me to feel that the two main avenues to discovery of their secret purpose - namely that the player is intended to discover their relationship to the P.A.X.es, how to destroy them, and then use that in the fight - are 1) reading about them on the internet, or 2) accidental discovery.

I need hardly point out that the first of these is not exactly a compelling experience.

The second is an experience crapshoot. As described in NLF #1 above, players aren’t really in a position to fully discover how these P.A.X.es work. Even if they do, there’s no reason to connect the missiles to the canisters, and even if they accidentally destroy one of them, the game doesn’t reinforce the behavior. Black Cerberus doesn’t swear at you for destroying his precious P.A.X.-batteries. No computerized voice flatly informs you that P.A.X. power is now at 50%. A thing that the player may or may not have noticed was in the arena is now visually damaged, and the only way he or she may come to understand the significance of that is to destroy them both, beat P.A.X., and then subsequently notice that the boss doesn’t call any additional ones.

All this makes the experience with the canisters very binary - either you know about them, and the fight becomes easier, or you don’t, and the fight is very hard.

Back in black

Patches of the scope I’m about to describe are, in my experience, unrealistic for post-launch support for a AAA game. For better or for worse, this is the fight we have. However, in the name of proposing solutions instead of nattering about problems, I thought I’d toss out a couple of ideas for making this fight a better experience. As a disclaimer, I’m not a game developer or designer, so I’m making guesses about what’s realistic and healthy for the game.

Create a different enemy to fulfill P.A.X.’s function in this fight

As dissected above, P.A.X.’s presence in the battle brings with it a lot of preconceptions about how P.A.X. units work. If the goal is for players to discover the interaction between the intermediate boss and the canisters, use an enemy with more attacks that could collaterally destroy canisters. This might require repositioning the canisters, as I think an ideal design would allow at least one (but not both) canisters to likely be destroyed through normal combat. This gives the player a direction to pursue without giving away the solution. Adding a third canister which is virtually guaranteed to be destroyed when the first P.A.X.-like enemy spawns might help, too.

Draw player attention to the canisters

As I intimated above, I think that a small amount of repeated indication that the canisters matter in the fight. I’m not suggesting that the camera zoom in on the canisters and following glowing red lines from them to the P.A.X. door every time one spawns, but some combination of visual relationship between the canisters and their relative objective, voiceover from the boss or the P.A.X. enemy when a canister is destroyed, and an obvious change in fight dynamics when a canister is destroyed would make player discovery much more achievable.

Make Black Cerberus more special

While the titular boss of the fight is a formidable combatant with initially novel combos, he loses a lot of his impact when the fight becomes much more about playing the P.A.X.-rocket-canister game. I think some element of the canister objective is worthwhile, but as a player, I’d prefer the fight be about mythical (and ideally narratively-foreshadowed) badass Black Cerberus than some robot - I’ve killed plenty of those already.

Peace be with you

There are a lot of other issues with the sequence that begins in the Executive Forum (like the fact that Black Cerberus would be much more impactful if the player had heard his name more than a minute before he’s caving their skull in, and that his attack combos, while novel during the fight, begin appearing almost immediately on enemies throughout the rest of the area) but the ones above are by far the most egregious. When a Soulslike game has only five boss fights, I’d argue that it has to nail them, and The Surge stumbled here.

Let’s all hope the last boss performs better, so I don’t have to write (and you don’t have to read) another 6000 word diatribe.

Thanks for reading, and I’d love to hear your comments on the fight and my analysis of it.

#armchair game design #the surge

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