#i also don't really like the structure of the game and the story does nothing for me

[foxstens]

about halfway through the game and suddenly i really wanna drop it

[askmerriauthor]

Homie. Darling. Muchaco. Please help me. You're an animator. You've worked in the video game industry. When you get to That One Memory in TOTK (you know which one I mean and if you don't, you will),

Please help me figure out what the fuck is going on with Ganondorf's face rigging

Man, I didn't even need to look anything up: I knew EXACTLY what you were talking about as soon as you said it.

Short Answer: Need more polys.

Long Answer: It's simultaneously a case of limited model structure and potentially some degree of intentional design choice specific to Ganondorf's presentation in this particular game.

Discussion below the jump, just for the sake of not stretching out people's dashboards. No worries about spoilers: none of this is story-relevant.

So! To give a very broad strokes bit of coverage on the wide and varied nonsense that is 3D modeling, this is a case of Topology. The basic thrust is that topology is the overall structure and layout of the mesh that makes up the 3D model's various shapes. The lower the polygon count on that mesh, the more angular its structure and the less capacity for deformation it has. The higher the polygon count, the smoother its structure and the greater its capacity for deformation. The trade-off, however, is that low-poly models are easier for a game engine to render. High-poly models are a massive drain on processing power, to say nothing if they're built inefficiently with a bunch of wasted geometry bogging things down.

Here's an example of a low-poly model on the left and a high-poly model on the right.

So when you want to make a character emote, you're basically grabbing a bunch of those polygons around the face and moving them around to shape the face into the desired expression. If you don't have a lot of polys to play with, it causes folding and tearing issues where the model and its textures do some pretty wonky shit.

Something both BoTW and ToTK have going for them is that they're actually very low-poly games, which is extremely helpful in making the games run as smoothly as they do given the world size and seamless loading. The lighting and texture work do A TON of heavy lifting to make the game look as good as it does. Really look at these models closely and you can see how angular they are. Look at Zelda's outstretched hand or how sharply light falls across the character's features. In the bottom right, notice how you can see the sharp points that make up Zelda's shoulders? They're not rounded; they're angled just enough to give the general illusion of a curve at a glance. Same goes for her eyes; you can count the angles that make up the shape of her eye but, at a distance and at a glance, they look big, round, and doleful.

Something you can also notice is when characters talk, a lot of them have little to no facial deformation. Mineru, for example, basically has a one-hinge Muppet mouth outside of pre-rendered cutscenes. A lot of characters' eyes are basically painted onto their faces and switch between static texture shapes as opposed to being fully rendered and animated orbs modeled into their heads.

Ganondorf actually has a fairly complex character model, especially compared to Link or Zelda, but he doesn't have a lot of model deformation. Basically the only parts of his head that move are his eyes/brows and mouth/jaw. If you look closely around his eyes you can see they're rendered basically as triangles. There's only two or three points along their shape the model can deform at. Further, since the rest of his face doesn't really deform when he emotes, it means the only thing that really moves are those small key elements. Which yields moments like this:

The animators are basically pushing his expression as much as they are actually capable of with this model's limited structure. See the hard fold in the lower eyelid, or the fact that his teeth aren't attached to anything inside his jaw? It does the job though; it overall looks good and, in the moment this scene happens, really adds something to the unsettling nature of what's going down.

I mentioned before that there may be a certain intent as well. Something specific to Ganondorf in this iteration is that, more than ever, he's become an Oni. Ganondorf's character design has slowly been leaning toward more Japanese-specific visual concepts over the past few appearances but he's gone full yokai for ToTK. Not just in his build, but in his clothing and weaponry. Dude is swinging around a kanabo for the first time ever in the franchise.

In Japanese mythology and Noh theater, a Red Oni basically functions as the embodiment of all the worst parts of mankind. They're greedy, brutal, cruel monsters who revel in causing destruction. If you want to look at their good aspects, it's traits like passion, ambition, and a wild spirit. But, overall, they're the bad guys. Ganondorf is 100% depicted as a Red Oni in ToTK. So when you keep that in mind, add in the implications of what Ganondorf just did in that scene, and consider the traditional appearances of a Red Oni...

...then that face-breaking grin makes a lot more sense.

[dogtoling]

General life- and blog update , since I assume at least a few people might have been wondering where I've been and what i've been up to recently. I obviously haven't been posting or drawing much this year in general. This will probably be an important post if you care about stuff on this blog, and I already rambled on Sheezy, but that site isn't very populated yet and it's also very good at hiding journals so let's just ramble again...

The summary of this post if you hate reading: I'm heavily considering just stepping away from Splatoon. That decision obviously would affect this blog (mostly, my OCs, which is kinda most of the blog at this point). I don't think the blog itself will go anywhere, and I'll probably use it for something in the future... alternatively i'll cherry pick stuff from here into an archive for people who like the worldbuilding.

Longer post under cut:

So what have I been up to this year? The answer is quite simple: NOTHING. Like, actually absolutely nothing. Aside from Art Fight, this has probably been one of my worst art output years of all time, which is really frustrating. That's between my horrendous mental health and depression chasms this year and a complete lack of both focus and inspiration (which can also get chalked down to the depression to a degree, yeah). So the very real reason to why there hasn't been much activity on this blog this year is because I just haven't Done Anything in general.

Now because I know there will be a few people who think "that's fine! you shouldn't judge yourself based on productivity!" you're right! I also agree. However the issue for me specifically is that most (if not all) the time I spend NOT drawing or creating, I spend sitting around wishing I could start drawing or creating, because that is like the 1 thing that keeps me sane on this freaking earth. Unfortunately coming up with OC scenarios in my head doesn't really result in output I can feel fulfilled by in any form as much as I wish it did, lol.

Now; The Issue. It doesn't take a genius to see that if you spend 9 months trying to finish like a dozen OC pages that you COULD do in a week or 2 if you wanted to, then there's probably more than just the problem of executive dysfunction (even though that's at least 60% of it for sure). Obviously my other major problem is that I live by imaginary rules and structures that make sense, but aren't actually useful at ALL in reality and are more than a hindrance if anything (the mental to do-list in my head that says i can't do X until I've done Y doesn't do very much if task Y takes 10 months and I also don't want to do it, and it also has no structured ending).

How does this tie into stepping away from Splatoon, you may ask. Well, the issue is that I have foreseeably fallen out of love with the series. Which isn't exactly news lol. Currently, I'm not even sure i will get the next game, if and when the time comes. Yes, the loss of interest is also expected, given that Splatoon 3 has ended and every fandom has this kind of downtime and lukewarm in-between-titles period. But the truth is that modern Splatoon (almost 10 years old!!!!) is tangibly different from the way the series was back when I fell in love with it. That was Splatoon 1, and while the series has improved in a lot of aspects and is thriving, it's grown in a direction that I just don't really like. Splatoon 3 had the most freaking horrendous, immersion breaking story mode they could've done, then they followed it up with a DLC story that was pretty cool but also compounded a lot of my fears about the series' future and played into every single thing i do not want Splatoon stories to be - fully character focused, random fucking villain, mundane event that's unrealistically world-threatening just because a kids video game needs a scary climax even though it's immersion breaking AGAIN, the whole thing taking place in cyberspace and thus offering basically no worldbuilding even though there is SO MUCH WORLD. I COULD GO ON.

The gist of it is that nowadays, rather than playing Splatoon and being inspired and excited at what comes next, I mostly find myself dreading what dumbass plot they will do next to throw a wrench in the otherwise good stuff. And when that's like THE main approach I have to what's supposed to be my favorite series, it is HARROWING. I can't even really blame the game for this; the story is NOT its selling point, the developers probably do their best to get the bits to us that they really want to tell, and at the end of the day the game is unfortunately a product. Worldbuilding for Splatoon is fun to a point. It's less fun when in order to actually write or create something coherent, instead of filling in the blanks, the blanks are 90% of the freaking thing. At that point you're just better off making something of your own instead of being anchored onto an IP that gives more problems than answers and occasionally shoots you with like a machine gun. Working in the realm of Splatoon is frustrating because more often than not, the questions I have ARE NOT MINE TO ANSWER, and the likelihood that the specific-ass questions I need answers to will ever be actually addressed is really low.

Tying this back to my OCs. Obviously I love my OCs more than I love myself which admittedly isn't that high of a bar but you get the point. The problem is that I spend a lot of time mulling over worldbuilding that, again, frankly isn't mine to do. Because if I want it to be Splatoon, then it should be mostly accurate to how Splatoon is! But the problem with that is that there's really not THAT MUCH worldbuilding in the series that you can work with, and most of the core game mechanics are just abstract enough that it's actually horrendous to try and come up with workarounds and ways for things to make sense that don't require just constructing a full knockoff version mirror dimension of the game and saying fuck everything that's in place here because Inkopolis Plaza literally has no roads in or out of there and I have no fucking idea how that's allowed when your only option is to jump the fence (or, nowadays, take the train which also isnt connected to a street as far as I remember). Between the face value issue and the lack of REALLY IMPORTANT worldbuilding, like - I will always come back to this - THE INK TANK'S FUNCTION 10 YEARS DOWN THE LINE - there's a goddamn ocean of plot holes and things that end up being obstacles to creativity rather than inspiration. I feel like I'm pretty solidly at the point (and have been for a while) where hanging onto Splatoon is really only contributing to creativity block and frustration with lack of freedom and the ability to actually do things.

So I guess those are my reasonings that I've put together just sitting here for the time being. The TL;DR is that I wish I could just do stuff without Splatoon's canon getting in the way, which is a really stupid problem to have if you're making Splatoon OCs. I feel this frustration extremely strongly every time I have to work with actual bigger aspects of the world; we still don't have an Inkopolis map, we don't know what the world around Inkopolis looks like, we don't know what the wilderness is like aside from Just Normal Forest and Desert and very few snippets as to what modern wildlife MIGHT be, I still don't know how the fuck the Inklings teleport to the goddamn arctic ocean to play a turf war at Shipshape Cargo co. These are all actually really important things if you're trying to establish a setting in any kind of storytelling that's outside of immediate city bounds (and even there, you need to know the layout of the city and its important areas). Also a fucking mutant bear and a baby salmon and a squid not wearing suitable gear went to space and fought on a rocket in space. These are some things that would give me peace of mind to not have to deal with in my own writing, probably.

So where do we go from here? Unsure. I haven't really made a decision on this front yet, though right now I'm leaning more towards actually going ahead with trying to do my own thing. That will result in obvious design and setting changes for my OCs whenever I get around to it. This blog probably won't go anywhere (again, unless I impulse delete it during a mood swing like i've almost done on like three separate occasions this year), but it will probably get less use, and I will probably end up making a new blog to post about whatever I end up doing once I get to a point where it feels like it makes sense. There's a chance that I will delete this blog and put all the interesting stuff on an archive blog for the people who are here just for the worldbuilding. My actual true passion for a long time now hasn't even been Splatoon anymore, it's just been cephalopods. I'm kind of done having Splatoon get in the way of the cephalopods, as thankful as I am that it introduced me to them...

If you read this to the end heres a treat for you = 🍪

[ihopesocomic]

You said that I Hope So is not a "My Pride but better", it's an original story of yours. Fair. I don't disagree. But do you really think you're SUCH a better writer than tribble? 😭 Because every time someone PMs you in a way that isn't negative, you start to completely shit on it, and compare it to how you decided to do it differently in your own story and how it's so much better. Hold on there. I just think artists/writers should be careful when they worship and praise their own works too much while shitting on others works that often were born from a similar idea. But I'm not hating, it's just funny tho.

It's not about us "thinking we're SUCH better writers than Tribble", it's more that's your interpretation of what we're saying. I'm willing to bet that if we didn't have this comic, the argument would be more along the lines of 'well, I'd like to see you do better!' instead. This is just the flip side of the coin, I feel.

I say this because you seem to have this idea that she and her writing are untouchable to criticism vs. something like Warrior Cats, (which is where a lot of MP's narrative structure is inspired from), which even the self-admitted fans can find fault in. Still doesn't mean they can't find the potential in those books and make their own AUs or w/e without also suggesting they're better writers than the Erins. (Either way, certain expectations come with being a professional writer.)

Even without the badly-handled topics, her show just isn't written well. Dialogue is clunky and non-conversational, things get mentioned but never get followed through on, character motivations are all over the place. We have a whole three hour video talking about this if you'd care to watch it. But there are other things that I feel make Tribble an objectively bad writer. This isn't us "shitting on her". These are just fundamental factors that go against How to be a Good Writer 101:

Tribble never listened to criticism and she used serious issues as entertainment value. No one can argue that even highly-rated writers can produce incredibly sloppy work when 1) they feel they don't have to listen to criticism and 2) they feel they don't have to do proper research with a topic they want to cover in their work while knowing next to nothing about it.

As well as being a professional in her field, Tribble also had resources at her disposal that most indie creators cannot access. She had an editor and beta script readers helping her. In short, she had plenty of opportunities and guidance to stop and look back on what she had produced and make improvements. She did not and, what's more: she put on a show of doing so via asking for criticism but not taking it on board.

We know this because I tried to give her advice on several occasions, only to be shot down. For example, Tribble was very much aware of some of the underlying issues within the show (i.e. how bad it looked that Hover allowed Nothing to be assaulted by Quickmane in Episode 5 with zero reaction) because we brought it to her attention, she proceeded to not take our suggestions on how to improve things on board for one reason or another.

And I don't think I need to go into how it feels very backhanded that an able-bodied creator is producing a "pro-disability" show and yet refused to take on criticism by disabled viewers. (I would say that thinking so highly of oneself to the point where advice goes ignored even when asked for does not a good writer make.)

I also don't know if you're under the impression that we're tearing into some hobbyist's passion project but that's not what this is. My Pride was a professional production, made by a team and it had a budget of around 140-150k CAD, which was funded by Canadian taxpayers. We've had to repeatedly point this out because Tribble has failed to gone out of her way to make this clear. Presumably so people like you feel bad for her.

So, I'm sorry but it's perfectly fair game to criticise MP and how Tribble went about producing it. She had plenty of opportunities to improve what many deemed to be shortcomings. She did not. She thought she knew better, even better than those who have experienced the actual oppression she sought to depict in an edgy, disrespectful manner.

And that's why we feel she's bad writer. Her fans are free to disagree with us, but I've yet to come across any real argument outside of 'y'all r just mean!', even though we've been courteous enough to not get personal when criticizing her as a writer/director.

Our writing isn't perfect. We've always consistently made that clear. We have had several instances throughout the process of making this comic where readers have made good points that we have brought on to improve the writing. Hell, I've discovered things I didn't even know about my own conditions via some of the readers of this comic. The overreaching lesson is that you should listen to your readers, because they just want you to produce a better narrative. Unfortunately, I feel Tribble did not feel the same way about her audience, and I'm also getting the same vibes from you, anon. Purely by your notion that criticism of a show or not scolding our fans when they say they have a preference like the MP fans do = "shitting on MP". Which is fine but I'm going to have to say I disagree. It's not mean or problematic for me or any of my disabled readers to have strong opinions about a show that misappropriates our oppression.

Or that I think my writing is amazing when it's more that I'm improving what I personally feel needs to be improved. Such as how the disabled are always depicted in mainstream media. And I'll continue to do so. You can come at me with the reductive gatekeeping that is that I - as a disabled person - do not have the right to have an opinion on an able-bodied creator writing ableism badly and how it can be improved all you want, but I think that's ultimately more of a commentary on you than me. c: - RJ

[vermilionsun]

If you are still open for requests..how about Ais and Kuras (or pick which one) with a child/children?

Of course!! Don’t hesitate to send in more if ya want <3

Ais

Father figure of the year

✩ Pretty chill in general

He's the type of dad who will let you have a good time but also make sure you're staying safe.

✩ Always there to lend an ear or offer advice… or constructive criticism—

You can always count on him to give you straightforward and honest advice, even if it's not what you want to hear. Even though he may not always agree with your choices, you know that his intentions are always good and that he genuinely cares about your well-being. Ais may not show his emotions openly, but his love and support for his child would be unwavering.

✩ Seems to know exactly what to say in any situation.

Whether you need help with a problem or just want someone to talk to, he is always there for you (with judgment /j)

✩ Don't even bother to lie to him.

He can see right through any facade and will always know when you're not being completely honest. His ability to detect deception is uncanny, but it also makes him a trustworthy confidant. Besides, what even did you do that made you think the consequences would be that bad? (Or even exist?) Partying? Smoking? Drinking? Drugs? Sex?

✩ “Lame. When I was your age I was way worse—”

✩ CRAZY parent lore.

And he mentions it so casually every time. Like, he's seen (and done) it all before. Nothing seems to faze him in the slightest.

✩ He's the kind of guy who would drop everything to help his kid, no questions asked.

✩ On the other hand, if we're talking about babies…

He might be a bit (completely) clueless when it comes to diaper changing, feeding schedules, or soothing a crying infant. However, his willingness to learn and his dedication to being the best parent he can be are admirable qualities.

✩ He's the type of person who will spend hours researching the best parenting techniques and tips.

✩ He gets the hang of it pretty quick.

✩ He is incredibly patient to the point where it becomes a bit scary. 

✩ COMMITTED.

From reading bedtime stories to playing endless games of peek-a-boo, a cheerleader, a rock, a shoulder to cry on—he's all in when it comes to being a parent. 

✩ GIRL DAD

✩ If anyone dares to think about touching his child, they'll never see the light of day again.

Kuras

24/7 confusion

✞ This begs the question of whether the child would be half-angel.

Let's assume so, because it becomes ten times funnier.

✞ Absolutely  b e w i l d e r e d  in the beginning.

✞ “...Why does it cry so much?”

Another question that often arises is, "Is there something wrong with it that I can't see?" He's just… confused. He doesn't really understand babies. Kuras is used to living a fast-paced, independent lifestyle, so the idea of being responsible for a helpless infant is overwhelming for him.

✞ Incredibly good once he figures it out.

Despite his initial confusion and overwhelming feelings, Kuras quickly adapts. Kuras is always on call to help with midnight feedings and diaper changes, making sure the baby is well taken care of around the clock.

✞ “Uh… honey? The baby is floating.”

Cue Kuras calmly walking into the room and safely guiding the baby back to the ground with a knowing smile. It becomes a common occurrence in the household. 

✞ Eventually takes on the role of mentor, teaching the child how to control their powers and use them for good.

✞ Slightly strict

Believes in setting boundaries and enforcing rules to ensure the well-being and safety of his children. He considers discipline an important aspect of parenthood, as it helps instill good behavior and values in his kids. He may come off as harsh at times, but it all stems from a place of love and protection. Kuras wants his children to grow up knowing right from wrong and understanding the importance of structure in their lives.

✞ Comfort

He listens without judgment, allowing his children to express themselves freely. Kuras encourages open communication and fosters a strong bond based on trust and respect.

✞ Don't even bother to lie to him part 2

If you try to sneak out, he'll be waiting for you at the door, arms crossed and a stern expression on his face. You can try to pull one over on him, but chances are, he'll see right through it. It's better to just be honest and upfront with him, because he always seems to know what's going on.

✞ Consequences

Although Kuras seems disappointed at times, he knows that it is all part of the process of growing up and learning from mistakes. He understands that his children need to make their own choices and face the consequences of those choices in order to become independent and responsible adults. Kuras tries to offer guidance and support, but ultimately allows his children to take ownership of their decisions and experiences.

✞ Always puts his children's needs above his own.

✞ Being the doctor he is and a parent can be a challenging juggling act. Kuras, however, manages to balance both roles with grace and dedication.

✞ T r i p l e t s

✞ If anyone dares to harm their child, he will stop at nothing to protect them. Fuck repentance and forgiveness; Kuras will seek justice with a vengeance that knows no bounds.

[thefirstknife]

Is there any word on if episodes will stay, yet? Because so far they basically seem like the exact same thing as seasons except more of the story is time-gated and they have some additional rewards for the season pass, so I'm expecting they'll play into the same FOMO: The Game model to try and make sure players don't quit now that the Light/Dark saga ended...

So far nothing has been said about whether they're staying past a year or not. I wish they would tell us.

Personally I enjoy this "act" structure. For now ofc, it's way too early to make a full judgement. I know everyone is right now screaming about time-gating, but I find it more relaxing to play this way. Three weeks of content, three weeks of waiting during which I can do something else or catch up with existing content. This is obviously here to prolong engagement so people don't cram all content in a month and dip for the next three months until the new episode, but I think it not only gives us some extra time to come and go, but it also gives breaks to devs. At least I hope it does.

As for fomo... well. Yeah. It's an MMO. Live service. Whatever we're calling them these days. The company wants us to keep playing. I don't really understand why people keep bringing that up, it's been a thing for longer than Destiny has existed. We knew this going in, no matter what way episodes are constructed, we'd be enticed to play and then wait for new content. If it's like a season, we'd be in a 9 week cycle of weekly updates without pause and then 2 months of no updates until the next episode when you'd be expected to return to keep playing. Right now, at least, we can take breaks between acts.

But yes, at the end of the day, the goal is to keep us engaged and to get us to keep coming back. And it's easier to get people to come back in smaller chunks than to get them to return after they've stopped playing for 2 months. Or at least that's how it is in theory! We'll see how it goes. I enjoy it for personal reasons because it allows for more breaks.

[anim-ttrpgs]

A new video about Eureka: Investigative Urban Fantasy!

Curtesy of @talenlee!

This video isn’t so much a review of Eureka’s mechanics as it is an overview and analysis of some of Eureka’s goals, such as how Eureka differs from many other RPGs in that it isn’t just a story about detectives solving a mystery, it’s a story about detectives confronting the unique challenge of solving a mystery which has a set solution. The culprit doesn’t change in reaction to who the players thing it is, which goes against a lot of conventional GMing advice.

Which brings us to a related point he made, which is that the default state of a Eureka mystery is “failed,” and that is very much true. If the PCs simply do nothing and wait for the solution to fall into their lap, they will fail, every time. The party must take initiative and work to overcome this puzzle, and how the characters and players react to the challenge of overcoming this puzzle is something Eureka is there to study.

Also, he likes the Wealth mechanic.

To turn this post into something additive that creates an actual discussion, however, we’d like to address one of @talenlee's criticisms of Eureka. Namely, that character creation is the second chapter, while most of the core rules are the first chapter.

@talenlee argues that character creation rules should come as early as possible in a rulebook, which helps a reader get hooked in, because it puts all the rules that come after in the context of “this is what your character can do.” You can watch the video above, and some of his other videos, for a better and deeper explanation.

That may be true for some people, but we argue that putting the character creation rules after the core rules leads to a smoother gameplay and character creation experience, which is why we structured the book the way we did.

Even though character creation in Eureka has been praised quite a lot for being very easy, there are quite a lot of choices to be made, all of which are very impactful. There is almost zero randomization as well, meaning every choice in character creation is one that you must manually make yourself.

But an uninformed decision is not a decision at all. Anyone who has played an old CRPG from the 90s will know what I’m talking about. Those are famous for giving you detailed character creation right there in the first 2 minutes after you launch the game, before you know how to play or really what any of the numbers mean. It will say things like “Strength dictates how much damage you do with melee weapons, how much inventory you can carry, and how much heavy armor you can wear.” Okay, well, how much damage do I need to do with melee weapons to be able to kill the rats in the first area of the game? How thick does my armor need to be for me to survive in mandatory battles, and how much Strength do I need to wear that armor?

“Accuracy determines how likely you are to hit an enemy?” Okay, how much Accuracy do I need to hit my enemies? I can select Accuracy 1-10, but without knowing how much Dodge an average enemy has, or how a Hit is calculated, this knowledge is useless. You have to play the game first to learn any of that, and then start over to make a new character. That’s no fun.

While it is very difficult to accidentally make a totally unviable PC in Eureka, it is very possible to end up making a character whose stats and traits do not represent exactly who you want them to be if you don’t know what the numbers mean, and who your character is is very important in Eureka.

And that’s why we tell you all the core rules before we tell you to start making a character. That isn’t to say that the other way around is wrong, just that that’s how we prefer it.

Comment below if you have any more insight on this! Discussion is great!

And don't forget, we are in the last week of the kickstarter! The Eureka: Investigative Urban Fantasy kickstarter ends at 2:00PM CST on Friday May 10th! Get in and support it before it's too late to get custom artwork in the rulebook and the option to write your own entry in one of the tables that determines who playable monsters will have the opportunity to eat!

If you want to try before you buy, you can download a free demo of the prerelease version from our website or our itch.io page!

If you’re interested in a more updated and improved version of Eureka: Investigative Urban Fantasy than the free demo you got from our website, subscribe to our Patreon where we frequently roll our new updates for the prerelease version!

You can also support us on Ko-fi, or by checking out our merchandise!

Join our TTRPG Book Club At the time of writng this, Eureka: Investigative Urban Fantasy is the current game being played in the book club, and anyone who wants to participate in discussion, but can’t afford to make a contribution, will be given the most updated prerelease version for free! Plus it’s just a great place to discuss and play new TTRPGs you might not be able to otherwise!

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

[citrous241]

1.21 is looking fire, but 1.22 has got to be an End update.

Minecraft has always had really good lore and story-telling, but does anyone else feel like the End is just missing something?

It's to be expected, it hasn't been updated for the last 7 years and the last update added more questions than answers. I feel like it's just on the cusp of being as clear as the rest of the game.

It's a dimension that's supposed to feel off, and uncanny. Literally the only track that plays is 15 minutes of warped mash-ups of Overworld tracks. End stone is just inverted Cobblestone.. etc. But even then it's still wrong.

I just have to know, Minecraft lore is built off of head canons but I'm just unable to form one that makes sense regarding the End. Endermen make sense, I believe they're warped and "evolved" humans. Eating only chorus makes them teleport, their long arms and bodies to reach the high snaking chorus plants, their larger eyes to see in perpetual darkness, etc. Their aversion to water is a wrench in that but I'm not perfect and my head canon isn't right. Endermen could have nothing to do with humans.

Shulkers and End Cities are what confounds me. Are Shulkers natural living organisms? The Dragon and Ender-men both have black skin and dark purple eyes but this thing has yellow skin and an almost magenta shell. I think they're some sort of automatons, but built by who? The ancient builders, the ones who evolved into Endermen? But the spiral staircases in the End Cities don't seem designed for humans (or maybe I just suck at climbing them) and the ceilings aren't really high enough for Endermen. Maybe Shulkers are another protector mob of their area. But protecting what? Protecting the means of personal flight maybe, but that looks nothing like the rest of the end - its literally made from the wings of the Phantoms of the Overworld.

End Cities themselves do kind of make sense to me, their architecture mimics the branches of a chorus plant. But whilst chorus seems to be the only natural thing in the End, the cities very much aren't. There's no way that structure would work under normal gravity. But surely the End just has weak gravity? Nope, it's the same as the Overworld.

Everything in the End just feels so artificial. The central island; with Obsidian pillars punching through the whole thing, a material that can only be made using 2 fluids that don't exist in the End, topped with a crystal made partially from the tears of a creature in another dimension and some sort of Eye which we can only make by killing an Enderman and fusing it's remains with the ground up remains of another creature from said other dimension. Also, it is so far away from the rest of the End, as if someone destroyed or moved these other islands away. The Dragon itself to, she works like no other mob. People say that she's a machine which I don't agree with, her erratic behaviour is because she is the only mob of her type and hasn't been updated like ever. I don't think she's native to the End though; Endermen, the only other creature in existence that looks like her, can be hostile to her.

Trying to piece this together as I'm writing this is making me think of a new head canon: The End is just a melting pot of travellers who got lost and stuck. Think of something like the Void from the Loki show. I think the End was initially just a mass of floating islands with the chorus fruit, in the Void between dimensions. Then the ancient builders arrived, constructing the obsidian pillars and the bedrock portal frame. I think they found something, maybe it could be whatever made the End Cities. But regardless, something dangerous. Something that made them separate the only way out of the dimension by several kilometres of Void, that made them create a Dragon to guard said way out. Something that made them sacrifice themselves by sealing themselves into the End.

There are a few holes in this. Maybe the ancient builders did build the End Cities before/after becoming Endermen. Maybe the danger was the Dragon, but why would it guard the exit portal? And I've kind of ignored the fact that Endstone is inverted Cobblestone, maybe the whole dimension if artificial? Built by the ancient builders entirely? Or maybe the End was spawned from ancient humanities collective mind, like a sort of yin to their yang.

I would love an End update to add a few things. I don't like most popular ideas or mods for an End update, as they often stray too far from what the End is. I would like to be able to find whatever gravity-defying sentient race built the End Cities, maybe they could also be warped into Endermen like the ancient builders were - but could still have a sense of self and humanity, or maybe they're some sort of Phantom People. I would like to find this danger that caused the ancient builders to sacrifice themselves, a new huge boss at the edge of the End would be awesome. I would also like, if they made them less annoying that is, for Phantoms to spawn in the End just normally. They feed on Insomnia right? What's more insomniac then an entire dimension where it's always night and nothing can sleep?

I would also like purple chorus wood lol.

[mdhwrites]

New Eridu is a Fictional Playground

TL:DR: ZZZ is written like a sitcom primarily and its looseness of world building and the looseness of the world reflects this. It discards things inconvenient for the vibe and mood it's going for with something because that's what sitcoms primarily do. However, this is for better and for worse as the setting does have rules that are treated like a big deal but then also given the same respect as the majority of elements and it causes friction in the details while the whole of it works in the broad strokes.

So let's first clarify what I mean when I say ZZZ is written like a Sitcom. I don't mean this in structure. We are not just playing an interactive version of something like Seinfeld. No, it's actually more based on something I heard the South Park creators talk about and that's how the town of South Park is entirely inconsistent because things will be where they need to be in order for the episode they're doing to work. One episode might portray Chef's house as being right next to Walmart. The next one might have them on opposite sides. That doesn't matter though because the story being told is what matters, not the firmness of the world.

The ultimate version of this for me with ZZZ is the Golden Bangboo City quest, both for its strengths and weaknesses. The quest is one of my favorite in the game. Optimize how to get over 500,000 gear coins, a number that sounds patently ABSURD. All while in this compelling Hollow that has a lot of fun mechanics. If you don't think about it and go by the rules of the mission alone, it's phenomenal.

We do also all remember how the people there admit to having been trapped within the Hollow for a minimum of days, if not WEEKS, especially to accrue the debts they have? Or how about how the guy we need to get the gear coins for wants them... To pay for debts OUTSIDE of the Hollow, despite there literally being lines from characters about being sad that we can't do that and ALL impressions being that gear coins mean nothing in the wider world (even if it makes the gear coin locks confusing as hell). The latter is excusable but ether poisoning, the restrictions of Hollows, etc. like that are a BIG deal but even in main content, like with the thugs just sitting outside Red Fang safehouses, or Koleda's Agent Story where they admit to these raiders just sitting in the Hollow in a supposed 'safe' area and like... What are the rules here?

But you're not supposed to really ask. It's like how you don't question that Barney Stinson from How I Met Your Mother has all of his money. It's funnier not to have an explanation and for him to reveal his literal wall sized television. It's more entertaining that Homer can be this bumbling idiot at work and get into all sorts of shenanigans and never get fired for more than a week or never have to really worry about finances. On the other hand, these shows never go out of their way to try and make these principal, important parts of the show. Those stay fairly consistent and lead to some of the best moments of any of these works and that goes for ZZZ as well.

My favorite scene in the entire game so far goes to Koleda calling out the prototype's name. Is it more magic than scifi? Kind of. Is it over the top and kind of silly? Absolutely. Does it break what has come before?

...Only in that the prototype has not been corrupted by this much time spent in a Hollow, which is something I'm willing to overlook as it's questionable how much of its AI was actually online by then that could be corrupted. Otherwise? We've literally just fought three different mechs who were empowered by their emotional programming. We have seen how much these mechs mean to all of Belobog Industries and been explained Koleda's complex history with them, not helped by her sister being the one to continue championing them after her father's passing. All of these are played for laughs as much, if not more, than they are taken seriously and so Koleda embracing her heritage, figuring out the truth and believing in her father and the legacy he left behind has me tearing up to think about even now.

The best sitcoms always manage this. Where elements that used to be funny can then be shifted to hit like a punch to the gut. M.A.S.H. is the EASY one to call out for this with shit like Colonel Blake's death but I actually want to go to a different one because it's more iconic to me for how it works. See, the first time I ever heard the gag line "I'm not as think as you drunk I am," was in Scrubs. One of the doctors comes in drunk as a skunk and the others are mad at him. When put that way, it sounds silly and amusing. When you're told that it's their angry, condescending mentor figure, who is arguably the best doctor in the hospital, having breakdown because he just lost like four patients, including a cancer patient he thought he'd just saved (if I'm remembering right) from catastrophic failures outside of his control except for one mistake, one break in quarantine I believe... Suddenly, you're laughing but it also hurts to see him laid this low. The contrast makes the point hit harder than it would in a regular drama.

This is also why I think Chapter 3 of ZZZ so far is the weakest of the main chapters. It has no emotional core like Koleda or Nekomata that helps make the plot of the chapter work better and for you to ignore the breaks in logic. Instead, they go with tension... Which is also the part of the logic they break. After all, we're told that Pearlman's escape plan is going to only take like a couple of hours. However, canonically, our work with Victoria Housekeeping is over the course of multiple DAYS. At bare minimum, one night passes simply for the sake of interrogating the rebel forces that we pull out of the Ballet Twins. It is already hard to ignore this break in logic when we are mostly not interacting with the stakes, we're just enjoying the gags of Victoria Housekeeping, but it becomes even harder when you're also having to constantly think about the break in logic so as to be able to engage with the big question of the episode. I still managed to like it but it's part of why the anti-climax of Pearlman getting away was so dissatisfying for me because it didn't give a real payoff to what was already a pretty flimsy story. I would argue that for most of Big Bang Theory, the thing I think genuinely makes it not very good, this is its problem too. Even when the jokes are good and the energy is high, Victoria Housekeeping is a fun group to spend time with, you're lacking that real hook to bring it above just something to kill time with. Something to take away once the episode is over. The worst of ANYTHING that's just mid-tier, purely enjoyment based writing comes from this.

That is the for worst element of ZZZ being like a Sitcom. It is far more malleable for anyone to do as they want with than I would argue either Genshin or Star Rail because it leans into its own flexibility. However, that does mean it walks a fine line against potentially having the floor collapse out from under it because it is relying on more ephemeral things like raw charm and charisma, rather than a solid world you can invest in, for its core appeal.

For now, it's working but there's a reason a lot of Sitcoms get labeled with, "It was really good... Until Season X." And I hope Zenless can figure out how to avoid that or else it truly will fall out of its current zone and zero out. See you next tale.

======

Actually going to do a quick bit of additional notes here just because I feel like most people will see "X is like a Sitcom" and think I'm immediately being dismissive. That isn't the case. I love sitcoms. It's what I watched with my parents as a teenager and a young adult. I've seen almost the entirety of M.A.S.H TWICE with my brother (that final season deserves the reputation it has. sigh) Sitcoms are some of the most popular, beloved pieces of television ever for a reason. If you want some recs from me: Rules of Engagement genuinely has a lot to say about relationships, romantic and platonic, though with some wife guy humor from Patrick Warburton that is going to be up to your tastes. Scrubs is a classic, just stop when they try to swap the entire cast out, and while I know How I Met Your Mother gets given shit for its ending, the ride there is still good for most of the run. M.A.S.H... Just go watch M.A.S.H, PLEASE. It's old but it's not dated, nor is it offensive in really any way. Like the one person who wears drag isn't funny because he wears drag. It's because no one cares that he's wearing drag because he's only doing it to try and use prejudice to get discharged from the army and that doesn't make him special because none of them want to be there and that's about as insensitive as it gets as far as memory serves. It is one of the smartest things I have ever watched and has the weird paradox that most of the cast change outs actually IMPROVE the show for most of its running time, rather than diminish it and it starts at a pretty high bar so that's really saying something.

BUT the big thing I want to point out is that... ZZZ actually is using sitcoms for its groups. Belobog is a workplace comedy. The Cunning Hares are any of the billion broke bitch sitcoms out there. Soldier 11 is I think trying to capture some of M.A.S.H. with the absurdity of her quest but also being honest about her having done War Crimes. Even Victoria has that with, and I haven't watched any of this archtype so I might be wrong, being kind of based on shows like The Fresh Prince of Belair with Ellen being the low class person out of place amongst the group. If you're thinking that stuff like Friends or How I Met Your Mother are absent... I don't mean this in the way it's going to sound but Wise is Ross/his archtype and Belle is Rachel/her archtype. Not that they're in a relationship with each other but that they are the only nominally weird but mostly bland people in the group that grounds everyone else around them. The straight men comedically that bounce off everyone else.

And again: This is not a criticism. I could criticize how well each of these are done (Ellen suffers pretty badly from Wise being written as the milk toast guy that girls will just throw at themselves for no reason) but they are taking from good inspirations, at least in my opinion and I wanted to defend that. I feel like Sitcoms only really only ever get talked about negatively and I wanted to make it clear that that's not what I meant here and I even think it helps provide the unique vibe of ZZZ versus others around it.

======+++++======

I know some of what I listed might not be technically considered sitcoms but I would argue for any of them that they're bare minimum close enough to the formula and concepts and priorities of sitcoms to be useful references.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[randomthefox]

https://www.tumblr.com/randomthefox/768227033026363392/amys-always-been-a-rude-bitch-in-sonic-heroes

Why do you pretend that Amy WASN’T badly written in Frontiers when she pretty much was?

She was a complete shell of her former self in that game! There wasn’t a single moment where I felt like “yup, that’s Amy Rose, all right!” She felt so SOULLESS (not helped by the absolutely ABYSMAL voice direction that Cindy Robinson was given). There was none of that bombastic, over-the-top energy and emotion she is known for, plus the sudden hyperfixation on her fortune cards came completely out of nowhere and felt super forced. Like, they literally replaced her hammer in favor of the cards as her entire moveset!

And not to mention, her entire “arc” is completely stupid and redundant. She wants to go “share love the world”? SHE ALREADY DOES THAT! LITERALLY, THAT IS EXACTLY WHAT SHE HAS ALWAYS DONE SINCE HER INCEPTION BACK IN SONIC CD!!!

Amy was not done well in Frontiers. I can’t possibly understand how you, Ian Flynn’s biggest critic, do not see anything wrong with this

Disagree

It is sort of flattering to be called Ian Flynn's biggest critic though thanks I guess lol

The only problem with Amy in Frontiers is the same problem Shadow had in the 2010s games. That being they were barely in it lol. Like, that's why it always baffled me when people say Shadow was written badly in the 2010s. I'm like, he isn't even IN the 2010s games wtf are you talking about? How can he be badly written in them when he has maybe sixteen lines of dialog grand total across the entire decade? Is the insinuation that him being out of the spotlight is OOC in some way =P

Amy suffers in Frontiers from being on the first island, when the game is prioritizing the tutorial and the mystery of Sage and the Titans and Eggman being in cyberspace and the whole introduction of the islands in general. She really gets squeezed into the back seat in comparison to everything else happening in that first chapter. Knuckles and Tails by contrast get a lot more room to breathe, since we already have a solid foundation for everything else.

I would also say that Amy doesn't really have any baggage, in the same way that Knuckles and Tails do. So her chapter didn't really have a conflict that needed to be addressed via her relationship with Sonic. She just kinda went "well that was a sad ending =\ kind of a bummer huh?" but nothing really deep in the same way that Knuckles and Tails had with their final scenes. Amy is just too put together and self assured to be as introspective as the others lol. So that combined with the lack of focus made her contributions to the story feel more shallow.

That's more of a problem with the way the first island is structured though. It isn't Amy Rose the character being written badly. I couldn't disagree more: there are plenty of moments of "yup, that's Amy."

And like I've said elsewhere: the fact the characters are so well written in Frontiers is part of the reason I'm not convinced Ian Flynn had very much to do with the writing of this game =P Like, if he wrote the games, then why aren't the characters written the same way as he writes them in the comic? Why are the characters PROPERLY WRITTEN in the games, but ATROCIOUSLY OOC AS ALL FUCK in the comics? You cannot convince me the same person who wrote the clips above also wrote this trash. I simply do not believe you.

These are simply not the same character.

There's a Flynnism here and there in the games, sure. But if the only thing Ian Flynn wrote for the game is what he was TOLD to write, then is it really his writing? I don't think it really counts as his writing.

[widowling]

You know what? There are things about all the games that I like and dislike.

I love the scope of Dragon Age: Origins. It truly introduces you to the variety in this world and has an epic feel to the dangers you face. The writing is amazing. I still get chills at Ostagar. I love the companions. I have never loved a character so instantly than I have Alistair. I love that you can become a warrior queen. I love the infinite choice in the game. You can play it differently every time if you wanted. Its probably the only game in the series that allows you to truly customize your protagonist.

But, I can not stand the combat. It has aged terribly and it was never very good. How am I somehow micromanaging what everyone is doing and doing nothing at the same time? The game kind of feels like a complete slog to get through. If I could just play this game as a series of cutscenes, i would. The entirety of the game is amazing, but the individual parts? Redcliffe? The Circle of Magi? The Deep Roads? THE FADE??? I hate doing all those parts. You can tell its a post-9/11 game at times in how they characterize the Qunari. It has one of my least favorite tropes in fantasy: A dark, inexplicably evil race that invades and corrupts fantasy Europe.

I love the characters in Dragon Age 2. I love the change in the combat here too. I love Hawke as a main character. I love that it takes place over approximately ten years, allowing you to spend so much time with your companions and growing attached to the city. Varric is truly one of the best characters in the series. I love the narrative structure. Varric telling the story to Cassandra as an unreliable narrator? Absolute peak video game writing!

But, i don't think i could say anything new about the very obvious flaws in this game that haven't already been acknowledged a thousand times. It was rushed. It looks terrible. The game feels like one long prologue. I keep waiting for the 'real' game to begin, for the world to open up. It never does.

I love the lore of Inquisition. I love that it plays with myth and legend in a way that the other games don't. Personally, I really liked the open world although i understand criticism against it. The game looks beautiful. I love its epic scope, its world-shattering implications. Solas is truly one of my most favorite characters of all time. It has some of my favourite missions in the entire series. Going back in time to save the mages at Redcliffe? Love it. Playing the Great Game at the Winter Palace? Top Tier. Adamant Fortress? Amazing! Honestly, Inquisition remains my comfort game. I have sprinted towards it in some of the darkest times of my life.

But, I'll never forgive them for putting the real ending of the game in a DLC. Without Trespasser, the ending of the game with just defeating Corypheus in what, at that point, is a fairly easy boss battle is a complete anticlimax. The companions in the game really do just feel like co-workers, not friends. There is a coldness in Inquisition, a loneliness, that does not exist in the other games. Maybe that's just what its like to be the Herald of Andraste, but the companions should have been different. I'm also still salty that they never really fixed the banter bug. I am running around for hours, and never hearing the friends speak to one another.

I love Veilgaurd too, although I certainly haven't played it as much as the other games. My computer can barely run it, to be honest. That's my fault. I love that the companion quests run throughout the game and aren't just a short little one-off quest. There are mechanics in this game that I hope are implemented in other RPGs, like the banter continuing if its interrupted or that you can choose the appearance of an armour without sacrificing its stats. I really liked the antagonists. I loved the ending, honestly placing it at the level of Mass Effect 2's Suicide Mission with its drama and sacrifice. Rook, I think, is my favourite protagonist so far. I love my Inquisitor, but I did all the work there. Rook is capable, integrated in the narrative, and has amazing dialogue and personality options. I love that you can choose your factions and origins with out the strict rules placed on former protagonists. Hawke could only ever be human, with their class determining more. The Inquisitor could only ever be a dalish elf, or a quanri mercenary, or a carta dwarf, or a human noble / circle mage. But Rook can be a Quanri veil jumper or a dwarf in the mourn watch. Rook is a great protagonist. Also, all I wanted was a reference to Solavellan and I got so much more than I could ever have hoped for. That story in particular had such depth and meaning. It impacted me profoundly.

But, I found the pacing a little strange. It lacked the urgency of Inquisition. The narrative relies on telling, not showing. It should have had a moment like Ostagar. The fall of Weisshaupt came close, as did the choice between Treviso and Minrathous, but Origins did more with much less by showing the cutscene of King Cailan being crushed by the ogre. We should have had a completely brutal image like that to showcase the threat. We're told about these things, but we don't get to see them. I disliked reading about the chaos in the South and never getting to see it, being told not to worry about it, when I have such a strong connection to Fereldan and Kirkwall and Orlais from the previous games.

But, honestly, at the end of the day, I like Dragon Age. I have many flaws, but I am not a hater. I don't like things I dislike. I do think some people might be a fan of a particular game in the series, and not the whole series and that's okay because there is no single 'right' way for a dragon age game to be. The games are radically different from one another, in a way that, for instance, Mass Effect is not. Because of the inherent differences between the games, I like and dislike various things from game to game. But, at the end of the day, i just like Dragon Age. I like the games, I like the books, I like the comics. I'm honestly not sure what drove me to write this, other than procrastinating from writing my thesis, but here it is. I do wish Veilgaurd was a more obvious smash success, just to keep Bioware releasing games in the future and protecting it from whatever fuckery EA is up to. I do have a sinking feeling that this might be it. We might never get another game or a remaster. Bioware was always the weird outcasts of EA and Dragon Age was also less popular than Mass Effect. I'm not sold on Mass Effect 5 yet, but I remain forever hopeful because I love to love things. And I love these games.

[andmaybegayer]

Last Monday of the Week 2024-07-29

Undisclosed reasons

Listening: Protodome does cute chiptune jazzy stuff. It's good room-filling music

Reading: among other things, rereading a significant chunk of Questionable Content. I dunk on QC a lot so I'm not going to here. It's a comic I care about a lot and that I read because I like it, even if it no wait not doing that. Yeah despite the enormous revolving cast it manages to be pretty well plotted on an arc-to-arc scale even if between arcs there is almost no continuity.

I haven't reread much of QC in a long time and I don't think at all since I moved out on my own which makes it stand out as a very different kind of thing. While I had friends through high school and university, we didn't exactly hang out, whereas I do occasionally just have a random friend over at my apartment or find myself hanging out on an odd weekend.

Watching: Nothing really, bleh.

Making: Got the core features of LuaLED up and running! If I don't lose focus for weeks at a time again it should actually be a useful product soon!

Revived a couple laptops that have been between operating systems and kicking around the house. Currently typing this on the ARM tablet because it's finally in a position to be used like a normal computer. It's a little slow but it handles my normal tasks great, I was using it to flip through photos and read QC.

Speaking of Photos, went out to take photos around Nuselsky Most (keyboard isn't set up for accents sorry) near Vysehrad. It's a pretty dead area at street level but there's a huge concrete bridge crossing the valley that adds some texture, I've been trying to come up with interesting photographic assignments to improve my architectural photography and I figured trying to capture something that high up was going to be interesting. That was only yesterday so it'll be a moment until I dump those photos out and get some up here.

Playing: Paradise Killer! Paradise Killer is mostly pretty good. The main gimmick of Paradise Killer is the extremely hands-off investigation system. You have an assistant computer that tracks all your relevant facts, categorizes them a little, and helps you see whether you've exhausted all your dialogue options with someone, but you really do just have to dig around the island looking for clues or you can end up in a situation where you just never find a particular clue.

The fact that it tracks loose-ends for you does soften this somewhat, if you've still got a ton of loose ends it tells you where to tug, and I think getting rid of that might have made the game more interesting but it's a good accommodation towards playing it over more than three days like I did.

Because of how the investigation is structured, you have to really put in the legwork to find out the full story, it's very easy to feel like you've probably got everything on lock with a couple odd ends but then you find a new clue and suddenly the whole shape of the case changes.

There's also the aspect of mechanical friction. The game is really does not make anything go quickly. Menus are intentionally clunky, interfaces are slow and full of animations and confirmations that can't easily be tabbed through, fast travel is involved and costly and requires planning in advance, resources are plentiful but ultimately limited and if you're not careful you absolutely can spend yourself to empty. It's a little bit of internal commentary on what you might do if you have to design a place where you can live forever.

I think if you like mystery games, or catchy city pop, it's a good game to check out.

Tools and Equipment: You can dramatically increase the fineness of a rough mushroom chop by whacking them with your palm or the flat of a blade and then chopping.

[kaasiand]

It's kinda weird how, compared to Metroid Dread, Metroid Fusion was so much more blatant in

its prioritisation of linear story progression over exploration

its linear presentation (literally naming the areas sector 1–6), though it still does the classic "linear game pretending to be nonlinear" thing by taking you through them in a different, but still fixed, order

the way it literally directly tells you your every next step constantly

yet when playing the games, it felt to me that somehow, despite all of this, Fusion felt a lot less frustrating in its linearity to me than Dread. In Fusion it was immediately clear that I would just be sticking to a single sector for each part of the game and those sectors themselves would still be mostly freely explorable in a way that felt more similar to Metroid II, but in Dread there was just no telling AT ALL when the path behind me would be blocked off and it also felt wayyyyy less justified than in Fusion, especially with just how often Dread would be doing this.

With Fusion's extremely tense atmosphere being present throughout the entire game and so much of the story taking place and developing during the game itself, I was totally understanding of its structure and restrictions. Dread on the other hand just kinda made me feel nothing, except

frustration at the lack of exploration with every single door locking behind me constantly for no good reason. Even some obstacles don't *go away* but instead switch from blocking the path forward, to blocking the path back: the thermal doors, the lifts that go down if you stick to their spider magnet walls, the big boxes that you had to move with the charge beam (or grapple beam idk? or both?) it just gets soooo annoying

frustration at how you need to use 3 buttons simultaneously to perform one single god damned action

frustration at how abilities felt extremely underused in the level design—you rarely grapple your way across the ceiling to cross a pit like in Super (which is the kind of level design that allows for sequence breaks in completely natural ways that encourage player experimentation), no, you just open the grapple beam door lock with your grapple beam door key. Literally every single ability in dread relies on this WAY TOO MUCH in painfully obvious ways, including literally every single power beam upgrade

frustration at how missile tanks feel worthless because getting only 2 is just not worth my time (yet the total number of missiles is similar to the other games... a sign of the game being too long/padded compared to the old games)

frustration at how energy tanks feel worthless because every boss does 100+ damage per hit; you're just not allowed to be tanky and the game is forcing you to play in only one specific way. The full energy tanks are just straight up given to you at way too hard-to-miss points—it's not a reward for exploration, it's forcibly scaling up Samus's health so it can scale up the next bosses' damage accordingly and absolutely nothing ends up feeling different. And to make things worse, the energy tanks that you DO get to find on your own don't actually DO anything because they're fucking energy PARTS. They just deliberately made exploration as unrewarding as it possibly could've been

frustration at how almost every area looks the goddamn same and has no music to stand out with either

I must say Dread's final boss was actually really reasonable though, it was really generous with the heals/restocks provided in between & low damage numbers making it so that my collected energy tanks FINALLY felt like they were actually making a difference. I will hate that one arbitrarily locked door in the escape sequence though

[utilitycaster]

A lot of people who try to analyze religion in Exandria need to watch the Adventuring Academy episode where Brennan and Matt talked about worldbuilding, specifically when Matt said “In a game like dungeons and dragons, or a lot of role playing games where ultimately part of the game is to overcome villains and rise up and become a hero, there has to be some level of universal antagonism… there is a pure and defined entity or force that is evil, it may not be realistic to some stories out there, but that’s [how it works in DND].”

This is true, and it's really interesting to watch this happen because Matt will make a huge, unambiguous evil like Lucien or the Vanguard, or Brennan will do so with Asmodeus and people will do everything they can to try to come up with reasons to woobify them or argue why they're justified...but I haven't seen this happen in most of the D20 seasons, and I think it's because the villains in most D20 seasons have been things that reinforce people's beliefs, namely, capitalism and abuse of religious power. And to be clear, capitalism and abuse of religious power fucking suck, but it's telling that people assume the villain is capitalism in places where that doesn't apply on a wide scale, or in some cases, exist (EXU Calamity, Neverafter); or that the Ruby Vanguard or Tomb Takers, both of which have pretty much every single hallmark of a cult but just aren't affiliated with the main pantheon, are actually the good guys.

Incidentally: this is like, quite literally how people get sucked into cults. One of the leading cult researchers in the world, Janja Lalich, is a survivor of a now dissolved explicitly leftist/anti-capitalist cult. Abuses of power, which is, ultimately, what both Brennan and Matt lean on as their Universal Antagonist traits, rely on confirming people's existing biases and exploiting them - even if those biases are broadly good! This is in fact why I can get so fucking adamant about what is mostly silly fandom shit, because I do, on some level, look at some takes that completely lack critical thinking and am like oh you'd 100% buy into all kinds of dangerous patterns of thought if someone packaged it nicely; even something as stupid as the Caleb Werewolf Theory relied on circumstantial evidence and false information that you could easily verify was false. And it's annoying but mostly harmless in the context of fandom, but it always makes me wonder - does this person do this with political posts on social media?

Anyway getting back to the main point, I think watching/listening to Brennan commentary on Adventuring Academy is generally a really good idea because he is a very smart guy with a philosophy degree and has a strong grasp of the genres in which he works as well as TTRPGs as a storytelling medium, and talks to other people who also have a good understanding of the morality of fantasy stories. And if you listen to this, you will in fact get that the basis of evil in these stories is not something as specific as "capitalism" or "religion"; it's quite literally as basic as "exploiting other people simply because that is an option available to you and you don't care about them." And obviously that's the whole basis of capitalism, and it's a serious problem that exists within organized religion, but like...not to repeat myself from this weekend but I keep thinking about the "Suvi without the imperialism" and it's like...she is a 20 year old woman whose parents died for a cause and we have had ONE episode with her as an adult. We know nothing about the Empire except that it's an empire and it is at war. Like, can you look at imperialism and understand why it's bad? Can you separate the concept of imperalism - which, to be clear, is based on power structures - from say, your 21st century understanding of empires in the real world? Or do you see the word Empire and go "Bad Thing" without any capacity to analyze because that's how you end up looking at two flawed things in a story (well, if we're lucky; see the middle paragraph) and deciding one is perfect and correct for no reason other than because it opposes the thing you think is worse. And Brennan is REALLY good at skewering that, and Matt is REALLY good at portraying multiple complicated and flawed perspectives, but you do have to like, use your brain slightly.

[eqt-95]

19 46 48? :D

Thanks for the ask sides!

19. Top 5 favorite books? (the nerve!)

Edit: i just realized i only listed 4. apparently i don't know how to count

I'm cheating and instead of listing my all-time 5 favorites, I'm naming 5 that fall under the same theme: varying narrative structure. I adore when the story structure becomes it's own character so much. This is in the order that I read them (all are works of fiction):

House of Leaves - Mark Z. Danielewski This is a narration inside of a narration and none of those narrators are reliable. I love it. If you ever read it, you MUST get the physical book. Reading it is filled with footnotes and formatting chaos and the experience is a labor of love. It reads with authority yet nothing makes sense. It has a quality of being sourced yet none of the sources exist. It's magic.

Breakfast of champions - Kurt Vonnegut The narrator is omnipotent. The narrator is omniscient. The narrator is a character. Let me repeat that: THE NARRATOR IS A CHARACTER.

Vonnegut gave this book a C, and I disagree. There was something a bit mundane about the story, yes, but the story-story is never the real point with Vonnegut - it's about all the small themes and satire and dark irony and obscure lines that are bingeable and slurpable and chewable and leave you mulling it over and bring you back to chomp down again and again (imo).

Heartburn - Nora Ephron This isn't the most outrageously obscure style, but I can't not include Nora Ephron, my beloved. If you like When Harry Met Sally, this is that on steroids. The narrator spends most of the time speaking to the reader; filling them in with her inner thoughts and comedic turmoil over her failed marriage. The funny bit? It's also supposed to be a cookbook, so recipes are randomly interspersed.

A Visit from The Goon Squad - Jennifer Egan Disclaimer: I read Manhattan Beach before this and I was so turned off that I almost didn't read Goon Squad. I am STOKED I ignored myself.

The narrative style of this book was pure genius to me: each chapter is a different character. This isn't revolutionary, but what feels revolutionary is that: 1. each character's perspective never repeats 2. each chapter is written in the style of that character (POV, prose, everything) and 3. everything is connected but the chapters are not sequential. They all build onto each other from different points in time to establish a world/web of links.

The cleverness and layering of the narration style was, for me, the story. It was in the way the author crafted each character with a unique take and perspective and set of motivations that really drew me in. There was the realness and pettiness and aspirations of the characters paired with the 'how does this all fit together' at play. So many layers and the author spoon-fed NOTHING which made me read more intently. It became a game: I wanted to build a mental map of all the relationships and felt a jolt of excitement when another link was made.

Bonus recommendation: Candy House is the sequel. It has the same qualities (I actually started reading this one first by accident, and the funny thing is that everything would still make total sense if read in the wrong order). Candy House introduced some concepts that I wasn't as fond of, but still absolutely worth a read.

46. Who is your favorite author?

Oooh, this is hard. Can I cheat and say I haven't found my favorite author yet? I've tried for years to pretend Vonnegut isn't my favorite author, but it's Vonnegut. 100%.

48. What line has stuck with you for years? "All this happened, more or less." Speak of the devil. This is the first line of Slaughterhouse-Five, and it's a line worth reading again once you've finished the book.

[waterbearable]

GOD respectfully it's been an issue for a while now that folks are extremely parasocial w dr*pout and while i am not immune to that, i do remember when b*nappetit's magic kind of fell apart because it was still a business and not just a bunch of people who were buddies making cooking content, so i am trying to be...cautious with how i enjoy their content. but conversation abt it on this and other social media is really underpinned by this idea that these are all our sweet blorbos who are utterly immune from criticism and can do no wrong, this is such a good sweet progressive company that can do no wrong, and that you should shut up if you have any issue with representation/accessibility/etc because these are our dear beloved internet personalities that feel like friends. which is not productive, not healthy, and does not really encourage room for dr*pout to grow as the bastion of progressive comedy and creativity that we want it to be.

it is WILD that trans women and other TMA folks are being treated w such fucking vitriol for even mentioning the fact that there should be more trans women on dr*pout. it is a relatively gentle desire/critique, all things considered, esp because to my knowledge most of the trans women/TMA folks who have been on the platform either appeared in early um, actually or just. pre-2024 (i am aware that the exception to this is, to the best of my knowledge, sephie being a guest on an episode of game changer and monet hosting her show). they are not incapable of finding transfemmes/TMA folks.

but also what grinds my ass about this conversation is that ppl either do not know or do not want to acknowledge (and i say this as a lover of dr*pout and enjoyer of many CH skits) that they have been around for a WHILE before their own platform came into existence and they were still doing comedy that was fatphobic and transmisogynistic 6 years ago (aka, in 2018). comedy that was at best racially insensitive in 2015. probably more shit that i'm just not aware of, bc it happens.

i don't say that to cancel anyone on the platform, or the platform itself! I ENJOY IT. I THINK THAT THEIR COMEDY IS FUNNY AND THAT THEY HAVE A LOT OF INCREDIBLE TALENT AND THEY MAKE GOOD STORIES. I WANT THEM TO SUCCEED AND TO CONTINUE. but like. you do yourself a disservice to think that dr*pout has always been a progressive bastion and welcoming space for marginalized ppl, and that THERE IS NOTHING THEY CAN DO TO MAKE THINGS BETTER. like. you want them to continue innovating, continue growing, etc, as an independent platform, then acknowledge that there is room for them to improve and innovate and cultivate a space that is (more) inclusive. why, as a fan, would i want it to stagnate?

overall i think that (not everyone, and i'm not vaguing anybody in particular) a lot of us (in the global north) could do with continued reflection that much of what we enjoy, consume, participate in is still touched by oppressive, capitalist, imperialist systems. we are most likely not going to be engaging in things that are completely morally and ideologically pure. that does not make you a bad person!!! but that also means it doesn't help any of us to completely ignore when something we enjoy is not perfect and has legitimate issues in regards to racism, transmisogyny, sexism, etc etc etc. part of oppression being structural/systemic means that there is the potential for harm (and actual harm) even when nobody is specifically pulling a lever with the desire to be oppressive/bigoted. this includes when marginalized folks are participants. this includes things that *I* create, because I am also not immune to fucking up and perpetuating systems of harm. our growth is continuous. it has to be.