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budugaapologist · 3 years ago

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my honest opinions of the ac games (theres only 4 good ones)

AC1: you cant pay me money to play this i do not care dude nothing in this interests me because of the mechanics in it. the only things i like from this game are maria and malik and calling altaïr altaïqueer other than that i dont give a shit.

AC2: not good. hype not deserved. combat system sucks as well as the parkour and thats like the selling point of the games.

Brotherhood: same as above; not good/hype not deserved. stalking isnt sexy btw.

Revelations: the only ezihoe game i "liked" but even then i just really hate ezio, id rather play as sofia.

Chronicles: i dont have a desire to play them though i do consider the china one. only problem is guess what fucking bitch is in it.

AC3: as an american the main story is the most boring thing ever. running around in the homestead and frontier is the only part that is good. the naval combat is dog shit.

Liberation: i cannot tell you what happens in the story. i have played this maybe four times. i dont remember anything but the beginning and end. it was fun to explore but the audio in the game is just bad. i think this would be cool as like a pixel game.

AC4 Black Flag: i still have dreams about this game. the story is very good and all of the side characters aside from burgess and cockram have their own rememberable characteristics. graphically its beautiful ecen on ps3 and with some really unconventionally attractive characters. the side content isnt overwhelming and the hacking is a nice change of pace from battling ships and taking forts. its genuinely super well balanced and edward is a relatable character. i would prefer more equality with the clothing on the male/female assassins since. well. either make them both whores or both prudes. but other than that its a great game, the naval combat isnt hard it just takes a few battles to practice. also you can play this game without any other prior ac experience, i know this because i did and i loved it on the first play through. ever since then every other ac game is disappointing aside from Syndicate and Origins.

Freedom Cry: if you so much as try to argue that this isnt worth playing i'll kill you. if you play r*gue and dont consider playing this i genuinely believe you are racist. playing AC4 i think that FC is mandatory after it. this is the only expansion i condone spending money on. im not spoiling anything. play the fucking game.

R*gue: its racist. i said what i said.

Unity: you know when pretty people have no personality? okay but now make that a game. i will reblog gifsets of this game but no. i will not play it again. also?? theyre not even french theyre british you tellin me a canadian company couldnt get french VAs?

Syndicate: literally so easy so stupid i love it. i feel so good at video games when i play it. i recommend it to people a lot because its "inclusive" (i feel more indian people wouldve been nice. also a lot of the women are just evie 2) and its easy to relate to either jacob or evie. the story isnt that great but its fun to follow along with anyway and the side content isnt super overwhelming. i love how gross they made london look its a great touch.

Origins: i also recommend this one. basically i only recommend AC4, FC, Syndicate, and Origins. i find the drama of this one real good, its a revenge story that is compelling especially if you have a kid or have dealt with child loss. the second game to ever make me shocked after a death (first was ac4 with thatch). i also love the fights with the gods and i really love the african biome and i think its super overlooked in media, i think more rpg games set in african-esque areas would be cool. honestly the only thing that keeps me from playing this game over is i always get busy halfway through a playthrough. also that one elephant mission terrified me. i think about kensa and khaliset and taharqa and shadya a lot.

Odyssey: when it comes down to it this game is boring. idk what you want me to say its really boring. lgbt cash grab. way overhyped, its not that interesting and theres just too much in the game. it suffers from prioritizing quantity over quality. sure theres some great lines in the game and a few okay characters but a lot of if not all the characters are one dimensional and bland, as well as the movements and facial expressions. i think the ac franchise shouldve been wrapped up in origins, this wouldve worked better alone.

Valhalla: ugh where to begin... i couldnt even get halfway through this game. this is just Skyrim without the dragons and todd howard. and what is Skyrim without todd? boring and uneventful, apparently. why on earth are we able to change history so much in a game franchise that was originally about reliving history? just make the main character a woman if theyre supposed to be one, like in odyssey, the "having an option to be a man" is so fucking stupid. if being a female character makes AAA games unsellable riddle me Horizon Zero Dawn and Tomb Raider. this should have been a spin off game or a stand alone project.

anyway, those are my thoughts. no, i will not being playing any new ac games. at this point the only ac games i dont have blocked in my tag sections are black flag, liberation, origins, and syndicate (and unity but thats because i do enjoy looking at it. pretty but no personality, like i said).

if youve never played an AC game before, the only ones you should play if youre interested are black flag, freedom cry, syndicate, and origins, in that order or with syndicate first, though seeing as freedom cry and origins are very heavy games having a stupid one in the middle can help balance the anger and tears.

for those that have played ac games, obviously this is my opinion and you may have other opinions, but i dont honestly care, no arguing that 'actually blah blah is a good game' on this post im not gonna listen, make your own post ♡. im pretty fed up with most of the stuff that comes out of the franchise anyway.

at the end of the day, play what you want and dont ;) pirate the four ac games i recommend if you are interested in them that would be sooo bad haha ;).

#i talk #assassins creed #ubisoft #but no really if youre gonna say something about my opinion being wrong homie... you wont change my mind ♡#ive got six years of game design under my belt. i know a bad game when i play one #feel free to agree with me and hate on the ezio games though :)

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nienna-talks-asscreed · 2 years ago

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We deserve a return to the writing of The Kenway Saga

I was in the mood for a bit of a ramble on Assassin's Creed, so here, have some thoughts I wrote out in one sugar-fueled sitting:

I have a theory. When it comes to big franchises with a bunch of entries spanning a decent period of time, peoples’ opinions are largely affected by when they first interacted with it. So, when it comes to Assassin’s Creed, you can separate things out into eras, and I wouldn’t be surprised if peoples’ favorite parts of the franchise line up with how they first started playing. The Desmond Story (or the Ezio Trilogy, if you want to separate further), the Kenway Saga, the Initiate Duology (Unity and Syndicate), and the RPG era/Layla Trilogy. Or, to be more general, Old School vs. New School. Personally? I started out (in 2020, mind you, just so there’s no confusion, because yes, I started this franchise as something to do between pandemic and post-college panic) with the Ezio Trilogy, and that’s got a very special place in my heart. Honestly, I’ve yet to have another Video Game Moment that matches up with the ending of Revelations – that shit is magical, let me tell you. Those games are always going to mean a lot to me.

But maybe the actual title of this post just got really confusing, right there. After all, wasn’t I gonna talk about the Kenway Saga? That intro sounds like it’s pushing towards the Ezio Trilogy, right? Well, I mean, yes, it definitely does. But here’s the thing. While I’ll always hold a lot of love for the Ezio games, the longer I’ve sat on this franchise and thought about it, the more I truly, genuinely appreciate the Kenway Saga for what it did. Which is to say, it became the most interesting part of the franchise, full stop.

Now, backstory time, I played these games wrong. Rogue was the fourth game in the franchise I played, right after finishing the Ezio Trilogy, and it’s remained my favorite game of the bunch to this day. Then I played a few more things before working back to Black Flag (and Freedom Cry), which I would personally consider the best game of the franchise. Then there was a bit more puttering around before I finally made my way back to Assassin’s Creed III, about which I had more complex (albeit, still largely positive – don’t misquote me) thoughts. But after sitting on these particular games for a while – a time that included playing both Origins and Odyssey (not Valhalla, because boy do I wish I was more excited about that one) – and letting the connections finally form, given I 100% did not play them chronologically, the more I wish Ubisoft actually returned to that era of the franchise. And not just for the mechanics (personally, I don’t see the problem with RPG skill trees) or the storytelling (granted, see my Odyssey review for my thoughts on that), but for what the franchise was actually trying to do. The way, I think, at least, it was trying to reinvent itself.

See, most of the franchise tends to feel fairly black and white, maybe even more so due to the popularity of the Ezio Trilogy. As much as I do love those three games, their philosophy… isn’t the most interesting. They’re still fantastic, but they are carried entirely by the strength of their lead character, and supported by a cast of frankly iconic side characters. That is not a criticism at all – these games have stood the test of time – it’s just how I see it. That said, in comparison, the original Assassin’s Creed is more interesting on the philosophical front; hell, Unity has more shades of it, even if, personally, I think it fails to stick the landing on that front.

The Kenway Saga, though, takes the morally gray aspects of the franchise and sticks them front and center. They aren’t a side part of the story, implied as part of the journey of the main character; they are the story. And in a franchise that’s so heavily leaned on the whole “Templars bad, Assassins good” form of moving plot, this ends up being a fascinating study of this world and the people who inhabit it. No one here is purely good or bad. Everyone is just a person, trying to navigate this complicated world and the complicated decisions it throws at them.

And the funny thing is that the Kenway Saga games all do this in different ways.

Black Flag gives us Edward Kenway, someone who is entirely outside of this Assassin and Templar structure, and even when he gets pulled into that world, he has no intention to interact with it the way every other protagonist does. He’s, objectively, not a good person (which, to be fair, is what makes him an interesting character), and over the course of his story, the Assassins and Templars aren’t ever the main plot. They’re more like set dressing, a way to further Edward’s arc as he realizes what he’s done. And that’s “they” plural, because it’s not really just the Assassins that do it. Yes, he does join them in the end, and they’re instrumental to him looking for redemption, but then there are characters like Hornigold, Templars who make strong points to support their allegiance, and who force Edward to reconsider what he’s doing. Or Torres, someone with honor and dignity who recognizes and respects Edward’s decision to join the Assassins, even if he doesn’t personally agree. Far from mustache-twirling villains. Or, for that matter, there are people entirely outside of that conflict who have major effects on Edward and his shifting perspectives: Thatch and Bonnet, for example. It’s a purely character-based narrative, and one where the Assassins and Templars really take a hard backseat.

Freedom Cry feels like it takes us closer to the old narrative, given that Adewale is a character defined much more by his strong morals, especially in contrast to Edward. He feels more like what you’d expect from this franchise and how it works. And then that’s immediately challenged. What looked like a story with these bad Templars turns into a narrative where Adewale works with the Templars instead and sees that, really, these two groups can share many of the same goals. It’s not about deciding who’s in the right, but putting that aside so that the world can be a better place for everyone involved. And, really, maybe things would be better off if both sides could forget that conflict entirely. (So, basically, it’s kind of doing what Unity maybe intended, but better. And without the romance to muddle things.)

Then Rogue goes a completely different route by flipping the script. Shay is very much an Assassin’s Creed protagonist, but one who is presented with very different choices. Because, while it might seem like this game is still black and white, just in the other direction, I have to argue that it isn’t quite that simple. Really, Rogue is kind of the slap in the face that this franchise needed. The Assassins aren’t always just the good guys; they are fallible, just like anyone else. They can fall victim to dogma and put on the horse blinders so effectively that they lose sight of the bad effects their good intentions are having; they want to protect the world from the control of the Templars, but become destructive puppetmasters in their own way. Shay doesn’t really ascribe to these high-minded ideals in general (whether that’s with the Assassins or the Templars, I would argue) and is much more intent on just doing right, and making things noticeably better for the people. He sits a little bit outside of that big philosophical debate, which really gives us a very different perspective on what it all means: what’s the point of starting a war between your ideals when innocent people are getting caught in the crossfire? (Believe me, I have many, many more thoughts on this game and the Irish boy, but I’ll save that for a more appropriate time and place.)

(Admittedly, I haven’t played Liberation yet, so feel free to imagine I added something insightful here about that game.)

Then there’s Assassin’s Creed III, where it all started. This game is very much a case where the message is the story, and while that’s usually not my cup of tea, it’s presented through the lens of excellent characters. Connor is young and idealistic and wants to believe that the Assassins and the promise of freedom will fix everything – the way the Assassins kind of function in general. Haytham is more cynical, but has a much more nuanced view of the nature of this whole conflict. Freedom isn’t just dangerous to those in charge, but dangerous in general. He explains the Templar ideology in a way that suddenly makes sense. And so Connor’s view becomes more nuanced in response, on top of simply being tragic. The people he helps in the pursuit of freedom – of the Assassin ideal – eventually become much more interested in only their own problems. Those post-credits cutscenes make that starkly clear, giving us nods to the continuation of the slave trade, as well as the treatment of Native Americans at the hands of the US government. And despite that, he chooses to hope for a happy ending he knows he may never see. It’s just sad, to put it simply, and the way forward is clearly complicated. Even if you fight for something that’s just, there’s no guarantee things will turn out for the better.

Oh, and I would be remiss if I didn’t mention the entire opening segment: playing as Haytham and then suddenly realizing he was a Templar all along? Honestly, just that part sums up what makes Assassin’s Creed III so interesting. The lines blur to the point you start forgetting there was even a line there to begin with.

Taken all together, the Kenway Saga embraces the moral grayness in a way that the franchise never has – arguably before, but especially since. And while all of the other games have their merits – many of them being excellent games in their own rights – there’s food for thought here that keeps me thinking, and in the long term. While I love Assassin’s Creed II and Origins, I don’t end up thinking about them and the morals that they present. At least, not like I do with the Kenway games.

I want those morally gray spots back. I want to be forced to think, especially in this franchise with its basis in this philosophical conflict. There’s just so much room to do things that are truly interesting. Of course, I have my doubts whether this will happen; it does seem more likely we’ll just be getting big action-adventure RPGs. If nothing else, I know we’ll never be returning to this point in history (even if the lack of a Connor/Shay/Arno crossover story is an absolute crime). But hey, this is the internet, so I can make my opinion known.

#assassins creed #analysis #ac rogue #ac3 #ac black flag

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mattelektras · 4 years ago

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hii jessie, I recently got a ps4 and I was wondering if u had games recommendations :)

oooooh i do!! a lot of these are kind of obvious choices but they’re obvious for a reason

first off i think going for remastered games is a good move because they tend to be cheaper because they’re older games, and a lot of them you can buy in collected editions and get multiple games for like half the price of a single new game

control - linear story based, kinda trippy and weirdly lovecraftian??? genuinely one of my fav games in recent years

remastered uncharted!! a classique. 4 games following the same characters (plus a dlc) so u really get Into It

the outer worlds - generally just a fun game w some surprisingly unique features despite it being a fallout/mass effect mash up?? the story isn’t it’s strongest area but i think it’s aim was mostly to like. make u have fun and u will so

borderlands!!! 1, 2, pre sequel, 3, tales. the old ones are remastered and bl3 is huge i had so much fun with it for such a long time. which to be fair is the case with all of the main games?? they’re a lil stupid and humour is a huge part of them so. they can be ridiculous but there’s some serious shit too. probably my favourite franchise??? i think???? story and action/murder based. side missions for daysssss AND a lot of dlc

dishonored & dishonored 2 are some more classics. story n character based and has the unique high/low chaos mechanic which makes it very replayable imo. very atmospheric w great world building

the witcher 3 has its problems because cdpr is… not the best company in the world. but it’s a great game objectively and the main characters are hugely lovable and for a game with a lot of murder and monsters the driving force behind it is familial love which is super nice. and i say this as someone who does not enjoy familial love. also your choices will matter more than u think which is neat

god of war is honestly beautiful to look at n the story is just as good. a lot of interesting mythology i did not know about before i played it

if you like stuff that’s less traditionally difficult and action based then there’s choice based stuff like life is strange (et al), heavy rain, until dawn (if u like horror), erica (honestly i’ve never played anything like this i don’t even know how to describe it. it’s like. a movie that. you play?), oxenfree, the wolf among us, dark pictures anthology: man of medan (more horror), everybody’s gone to the rapture

both spiderman games!! marvel does not make good games so the fact that they’re BOTH great and incredibly satisfying to play is a miracle

ghost of tsushima - last years best game for sureeee. the supporting characters are SO good, it’s gorgeous and the story is great too

there are a LOT of assassin’s creed games for ps4. the newer ones like valhalla and odyssey are good and have new mechanics like romance and choice in playing male or female which i love. but they’re HUGE and. kind of a grind which the main story can get lost in imo? a lot of the earlier games have been remastered for ps4 like ac2, 3, brotherhood, revelations, rogue. and i think of the newer ones, syndicate is the best. imo??? it has the most classic assassins creed vibes

wolfenstein - nazi murdering time babyyyyy. AND the added bonus of it being a genuinely great game. very like. smart too

if you want to a) get your feelings hurt or b) stick with a character that you create and build for 3 whole games then mass effect is the One For You!!!!! super recently remastered so you get all 3 games plus essentially every bit of dlc for all of them for the price of one. it’s not a game it’s an experience. the same goes for dragon age but unfortunately the only one you can play on ps4 right now is inquisition

tomb raider (followed by rise of, then shadow of) - classics again!!!!! women are so pretty!!!!! similar to uncharted so if you like one you’ll probably like the other

honourable mentions: bioshock, red dead redemption 2 (unfortunately, the first isn’t available for ps4 which kind of sucks because i think you enjoy 2 more if you’ve played 1), resident evil 2 & 3 remakes, the arkham trilogy remastered, sekiro and prey

#q & a #anonymous #this got long but i wanted to give u OPTIONS

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cosmiciaria · 4 years ago

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Assasin’s Creed III Remaster review - Spoilers! - Long post!

I wanted to keep this spoiler free, but as this game is such a narrative experience, I don't think I'll be able to. I'll try to keep them at minimum, but be warned: there are major spoilers ahead. By the way, this game is almost a decade old, so y'all had plenty of time to get spoiled beforehand. And if you're reading this, it's because you like this game and you probably know how it ends.

Review under the cut because this is way too long.

As always, I express my feelings and impressions regarding my experience with a game – I write it because I like writing reviews instead of, I don't know, recording a video for YouTube. I'm not a YouTuber and I feel safer behind a keyboard where people don't point out about my weird accent (the accent every Hispanic person has when they speak English). Since the pandemic started, I found refuge and comfort in AC games, with Syndicate being my first contact with the franchise, and Unity solidifying my love for it. I found strength and weaknesses in all the installments I've played, which are almost all of them by now (excluding the first AC with Altaïr, the new saga with Origins, Odyssey and Valhalla, and Rogue). I've also platinumed three of those games I've played, and I'm on my way to platinum this one, so I think I can speak from a deep fan standpoint by now.

Since Syndicate, I studied from up close each of the protagonists of the mainline games. I felt drawn to Arno because he looked like one of my oc's (and his girlfriend looked like my oc's girlfriend as well); I wanted to learn about Ezio because he's a fan favorite; I wasn't at all impressed by Edward but ended up growing fond of him; I respect Altaïr for what he means to the Brotherhood; but I can safely say, that I haven't felt as attracted to a main AC protagonist as I felt with Connor.

From the moment I knew he was a native American (such a bold choice, it seemed for me) I felt instant attraction – but not the, idk, physical (he's a cutie I give it to you), but because of what he could bring about as a main character. A perspective we don't usually get to see, and personally, as I'm not American, a point of view to educate me on a different side of history. I wanted to see what they could do with him as the star of the game, I wanted to play with him and understand how someone like him could rise up and become a protagonist of such a well known and beloved saga of games. I applaud this decision from Ubisoft, whether they did it because they wanted to look progressive or not, I don't care, I'll always cherish that the protagonist of a famous videogame is a Mohawk. And with the American Revolution as the main stage, no less. Such an important scenario to strengthen the virtue of independence, patriotism and love for a country, going hand in hand with a character that represents America even more than the Founding Fathers.

(Also I'm a Hamilton Fan Trademark so I couldn't stop singing random parts of songs while playing this game, it was a nightmare every time Lafayette appeared on screen because I JUST HAD TO start mumbling Guns and Ships)

I lunged blindly into this game – I'd only spoiled myself the very ending because I played Black Flag before – so imagine my surprise when I first saw Haytham, Connor's father, as the main protagonist.

So here's the deal. Let's clear this out of the way.

I thoroughly enjoyed the game. It was what I expected and more.

But.

Yes, there's always a but in AC games, you know the drill.

As I kept playing with Haytham, charming though he was, I kept thinking to myself "ok but when does Connor come into play". I also already knew Haytham was a Templar, so the end of the first few sequences didn't catch me by surprise – actually, what caught me by surprise was that there was no mention of Assassins or Templars during the "prologue" with Haytham, instead you're left to believe they're all Assassins until he prays to the Father of Understanding and you realize with a gasp "oH NoO!".

You play with Haytham the first three sequences. One of these have the most memories out all of the sequences more or less. This whole thing can take up to three to five hours depending on how much time you wish to put into exploring or completing the optional objectives. And still no signs of Connor.

Connor does come eventually – as a child – by sequence 4. It's not until the end of sequence 5 that you get to play as (almost) adult Assassin Connor, so maybe five or six or even seven hours into the game and you're barely starting.

I know what they did here. I understand. And this is what I meant when I said they were going for a 'narrative experience'. To make you play as Haytham before, to lure you into a false sense of safety believing he was an Assassin working for a just cause, to make you feel invested in his relationship with Ziio – only to discover he's one of the bad guys, that will eventually give birth to our true hero of the game – it sediments everything perfectly. It tells you everything you need to know to understand these characters and their motivations. I can see where they're going and some of it can be quite predictable, but it was done right. On the narrative aspect at least.

I got used to Haytham by the time we switch to Connor, we're used to his cloak and his three pointed hat – his accent, his sassiness, his everything. You grow fond of him and you think, hey, maybe it isn't so bad to not play as Connor, I can roll with this – until the sudden change happens. The game completed its purpose: let you know and care for Haytham, only to strip him away from your hands and bring you the real protagonist with an interesting background that didn't need to be told, but it was instead shown to us players. What a better way to tell a story.

But the problem is – most of Haytham's memories are fillers. For starters, the very first memory where you appear in the opera house (similar to that one at the end of Black Flag… mmm) serves as a tutorial for climbing and killing with the hidden blade. Then the whole memory on the ship to Boston – completely expendable and removable, the story doesn't suffer from it. All the memories used with Haytham as tutorials – how to shield from an open line of fire, how to use ranged weapons, how to sneak and find stores and viewpoints, how to use horses and walk on snow, fricking Ben Franklin – everything, everything could've blended in better. You could still tell the story you wanted in only one sequence playing with Haytham, and end it the way it does end in sequence 3, without avoiding any important detail to frame Connor's backstory as well – but instead, this part with Haytham does feel like it overstays its welcome, and by the end you're just hoping it ends soon, it drags on for too long, and there's no real sense of thread pulling the strings together here, everything just kind of 'happens'.

But the never-ending prologue doesn't end there (badam tum tsss), because Connor still isn't an Assassin. Connor is not Connor actually, as I had been led to believe prior to playing this game: his real name is Ratonhnhaké:ton, which I wish it was used more often than it was. Ratonhnhaké:ton is like four or five years old when you first play with him, and his village is assaulted by what we assume are Charles Lee's men, a Templar and companion to Haytham. Ratonhnhaké:ton swears revenge upon these putrid British invaders and he grows up resenting the death of his mother, who died in the fire provoked by these Templars.

Not even knowing what a Templar or an Assassin is, Ratonhnhaké:ton is sent by one of "the spirit guides" (actually, Juno, one of the Precursor people) to seek the Brotherhood. When he's around 14, he sets out of his village into the wide world and finds Achilles, who will become his Assassin mentor – that is, after completing a set of tasks that yet again seem to go on forever. Ratonhnhaké:ton turns into Connor to cover his true origins, a name I thought it was random, but by the end I realized how wrong I was.

It isn't until Connor turns 17 that he becomes a fully-fledged Assassin – and you might think, well, Ezio became an Assassin at the same age – yes, but it didn't take him five sequences to reach there. I can't believe I'm defending Ezio.

It's not that I didn't enjoy playing as Connor when he was a kid, no, and I also don't think that part of the game should be skipped since it shows his people, family and friends – maybe comprised, yes, into only one sequence – the real problem here is the fact that first you need to play what could be considered the longest prologue ever, even longer than Kingdom Hearts 2's one, and you're teased with grasping the real protagonist but no, because there's still more 'prologue' to cover with Connor's rise to the Brotherhood. The real, real story, begins in sequence 6, and even then you still have a lot of tutorials to listen from the NPC on duty.

And if you do the maths – you're halfway through the game – halfway! – and you're just starting. The game has twelve sequences and the meat of the plot is on the last six. Then, why did I play all the previous parts?

For the 'narrative experience' thing I talked about. They wanted to lay the groundwork for a better, compelling storytelling, and I can appreciate it, but not when it hinders the pace of the game this way.

That is, certainly, my biggest issue with the game. The pace. If you're going to give me such a slow start, introducing characters non-stop, and only give me resolutions, discoveries and action packed sequences on the later half, then the story isn't balanced at all – I understand that at some points you need to slow down and sink in what's going on; you can't also introduce ten characters in one cutscene because that's just bad story telling – but the memories of this game are clearly not well organized and weren't thought with the player in mind, but rather with the story in mind. To think that the first mission you do as a full Assassin is to receive more and more tutorials on how the fast travel points work and how you can lower your notoriety (as far as gameplay goes in this mission, it's only walking around at a slug's pace to follow the NPC giving you instructions) it does feel like a slap in the face after all the things and hours and effort you put into it to finally reaching this point (which, I remind you, it's by sequence six!).

It's at this point where I can't blame people for not following through with this game. I have plenty of friends who abandoned it even before reaching this part. And I found myself having trouble to return to it: I only wanted to go back to it because I knew I had to like Connor, I knew he wouldn't disappoint me as a character.

Boy, was I RIGHT!

Now, to be honest, I may be biased, like I said: I was instantly attracted to Connor due to his backstory and I wished to see what he could bring to the table. And I have to say, he didn't disappoint me at all.

Maybe you know or maybe you don't, but up until this point, my fave Assassin was Arno: he showed weaknesses and he suffered the consequences of his actions, to the point of no return, that rendered him vulnerable and a mere human being. And I love me a good vulnerable character who knows their limits and strives to get out of that pit. I love me a good, compelling character that has growth and agency and isn't made of cardboard or has a one-dimensional personality. And Connor delivered on this front.

Connor might very well be my new fave Assassin. I'm sorry, Arno. I still love you babe. But Connor… I never found myself rooting for a character more than I did with him. I wanted him to succeed, I wanted his people to be saved, I wanted to see his ideals become a reality – and he's got so much agency, he's a storm when he comes into a scene, his naivety mixed with the brutality of his killings, the simplicity of his reasonings – he's an idealist, and he fights for it, whether we like it or not, and that devotion to his own creed is at least respectable, let alone admirable. He's never downplayed for his upbringing or his ethnicity, he works among the most notorious people as if he was another one of them, he's well respected in his community, he shows kindness and always offers a helping hand to those in need, but never doubts to plunge his blade into this opponent's throats, fearlessly, he doesn't mind telling George Friking Washington to shut the hell up and not follow him because he'll kill him (there's such a pleasure in a native reprimanding enslaver Washington) – he's, simply put, a great hero.

I've seen many complain that he's boring, or that the actor who played him, Noah Watts, delivered lines in an emotionless way – the only thing that could make him 'boring' is the fact that he's not a lady's man like Ezio was, and to my eyes that's a plus. He speaks slowly and modulates well in English because that's not his mother tongue, and I can appreciate when a company puts these little details, like his way of speaking changing throughout the game as he gained more confidence with this new language he was learning to use. As non-English native speaker, I certainly can commune with the feeling of adapting my tongue and my brain to a new language, and I also know that I speak weirdly to those who are native, maybe I don't have the same intonations, and maybe I sound emotionless as well, who knows, but I can't think of a better portrayal of a non-English character speaking English in videogames than this one. They remained faithful to his culture, and even though I noticed Noah didn't speak Mohawk as fluently as English, I can still feel pleased with the fact that Connor speaks in his mother tongue in all of the scenes he interacts with Mohawks (that's something they did better here than in Unity, where not a single character has even a French accent. I switched the language spoken to French in my subsequent playthroughs, much to my disappointment, because I really liked the Canadian actors). I know subtitles may seem threatening to some, but I wish they did this more often: deliver more lines in the original language of each of the protagonists. It shows care and respect. And I think this game excels at respect.

So, yes, I liked Ratonhnhaké:ton, as you can see. Maybe a lot. Too much.

I also really, really enjoyed his relationship with Haytham.

When Haytham appears back in to the fray it's when the plot picks up. Their interactions are gold: I love the rivalry, I love that Haytham is constantly testing his son, and I love the tiny bits that may show or make us believe that Haytham has a soft spot for him – I love that we never truly know what's going on through Haytham's mind, why does he do the things he does – but what I enjoyed the most about these two fighting together is the fact that they represent opposing forces, a clash of interest, and they bring back the concept of the blurred line between the Templars and the Assassins, their different methods. Haytham represents the collectiveness of the Templars, through him we learn of what they truly uphold as right and just, and behind some of his reasonings you can see sense and understanding – you comprehend his goals, you get to know your enemy, your antagonist, which is something, for instance, the Ezio trilogy lacks (because Templars bad bad pium pium die Templar bad guy) and Unity and Rogue tried to do but ultimately ended wasting its potential. I never understood Templars more than I did through Haytham, and sometimes I found myself nodding at some of his statement, like 'hey… huh… he's not that wrong about this…'. But still, we're led to believe that the good guys, the Assassins, are never wrong, so we pull through with Connor – only to realize that yes, Haytham was right in many aspects, and yes, Haytham has lied to us and he needs to be stopped.

It's here when my love for Connor reached its ultimate stage: when he denies both his father (Templars) and Washington (for whom the Assassins were working). It's here where you see the true agency of this character. It's not black or white, as Ezio's games were; it's not that he was expelled against his will from the Brotherhood like in Unity; it's not that because of a clash of interest now he resorted to the Templars, like in Rogue; no, it's the philosophy of the very first AC game with Altaïr: Templars and Assassins are one and the same, they only differ in their methods, and when Connor comes to this realization, his struggle is visible and he puts his people first. Like always.

He remains true to his personality. He's grown, he's seen the truth, but he must make a decision. And after all, we're here because we want to see him protect his people. That's his real main driving force and we root for him because of it.

Now, I've spoken a lot about our main character. But, what about the secondary ones?

Achilles, Connor's mentor, hides more than he's willing to share – but slowly his backstory unfolds. In his homestead, Davenport, you're able to build a community with different townsfolk that you can invite to live with you through special sidequests, which combine plot and gameplay seamlessly. Through the homestead missions, you get to know Achilles and the other inhabitants and you see them thrive and grow into a tight-knit community close as family. I daresay that these missions were my favorite out of the whole game, and seeing the town grow not only in NPC's walking around but also in sounds, steps, people working and laughing and dogs barking and kids playing, gave me all the fuzzy and cozy feelings of a warm blanket in winter. Most of Connor's innocence and kindness is shown through these missions, and there are also some really good jewels hidden there, like the quest that asks you to guide the pigs back inside – damn. This game gave me very good laughs.

On a gameplay level, this game is light years away from its predecessors – the parkour alone has been revamped and revitalized, making it more fluid. Free running now isn't a chore anymore. Now you can hunt, which is a great part of Connor's backstory and culture, so it's good to see they blend gameplay with plot like this. There's a crafting system that took me ages to understand, but thankfully I got the hang of it. The combat is pretty much the same (counter kills always for the win) and the difficulty remains quite easy, as the games that came before. I wasn't looking for a challenge so I'm fine with it. Now, if you're looking for a challenge… the optional objectives got it covered for you. Because, good lord, they made these stupid main missions so much unnecessarily HARDER and IMPOSSIBLE to complete without having three or four ragequits and sometimes you have to restart up to ten times. To be honest, I never found myself more enraged with the optional objectives than I was with these missions, and I thought Unity's optional constraints were stupid ass complicated, I was wrong. This game. Must be. The most. Annoying. Piece of videogame. To platinum.

Apart from the 'oh I want to die optional objectives' thing, you have naval missions – which, yes, you guessed it, take place on a ship – I guess they were testing the mechanics for a (not so far away) future pirate game, because I can see the seeds of what later Black Flag came to be. It's serviceable and it fulfills its purpose, but as I don't like ships much, I left it on hold for the endgame.

If you don’t dig the naval missions nor the main missions, there’s plenty to do in this game: you have the aforementioned homstead missions, the club challenges (which can take... quite a while), the underground fast travel points (a nice change of pace, though you can easily grow tired of them), the liberation missions, which will see you help liberate a city from Templar control and recruiting a new Assassin apprentice, much like in Brotherhood and Revelations; taking Forts, hunting like there’s no tomorrow, courier, delivering items and message delivery missions, a ton of collectibles, etc, etc.

You might realize I stopped talking about the plot by the time I reached sequence 6 – yes, it's because I'm a little upset with it.

I said that we're here because we want to see Connor protect his people and triumph against the Templars. Yes. We receive that, yes. Amidst. A thousand. History. Lessons.

In my Ezio's Collection review, I complained that in Revelations we were shoved history in the face – I hadn't still finished AC3, because then I would've mentioned something about it. Connor comes across all the important figures of the American Revolution in such a contrived way – he acts as a guardian angel of this revolution, aiding each of the emblematic characters that took part in. I can roll with it in my suspension of disbelief (how come this one person was present at every major event, you know), what I can't roll with is the fact that he was present at the Declaration of Independence – this is some Ken Follett level of bs of probability of something happening to a character. Besides, it's always latent though never truly explicitly addressed, but Connor's skintone was something that should've deterred him from even speaking to someone like Washington – let alone, be present at the moment they signed the Declaration. He does mention at some point that freedom and this new nation was only for white men, and that he acknowledged that slaves deserved as much freedom as everyone else was fighting for; I'm glad he addressed the elephant in the room, though I'm also glad they didn't make the whole thing about it, because normalizing a character like this as a main protagonist was the main idea, I think, when they chose a Mohawk to represent the American Revolution. Still, that someone like him was able to achieve all he achieved in a plot like this, it only means he has some kind of Main Protagonist Shield, otherwise I doubt this could've served as a realistic story for anyone else in the same situation as him. It's, uh, a little hard to believe, that's all. Whereas I can see Arno existing within the historical frame of the French Revolution, without being the one that let the guillotine fall on King Louis' head, this one was a little more far-fetched.

I haven't touched upon the Desmond part – the present day of this game is more, uh… present than ever. And I loved it! I loved it because it delved deep into the Precursor's lore, and also it fleshed out Desmond's relationship with his father, and we actually do shit with Desmond – though that part of the Brazilian stadium, huh, for a company that paid too much attention and consulted with experts on the Mohawks, they clearly left Brazil out of their investigations. I forgive them, they tried.

The music… didn't have as much personality as other installments, it was kind of there, and right now I can't evoke a single theme except for the main menu one, so there you go, it's quite forgettable for my taste, sadly.

I forgot to mention that: this game looks gorgeous. I played the Remastered version of the game, and sometimes it looked like it was done for the PS4 instead of being a remaster (it does look better than Black Flag which came afterwards!). Lighting is magical, the trees breathe life into the screen, the water effects are crystal and realistic; many times I felt like was horse-riding in a Last of Us game (yes, I just compared Ubisoft to Naughty Dog, don't hit me). Davenport Homestead is my favorite location, now more than ever, because it's not only beautiful, but it also means home.

This game accompanied me in a very important moment of my life: I sprained my ankle and I spent a week in bed recovering, while also pondering about my job and the prospects of my future; I took many decisions while playing regarding what I want for my life. I cried at the end because I realized I had become too attached to the characters and because I was so sad to see Connor keep losing things. It all comes full circle by the end. It's a very mature ending, maybe a little unfulfilling, but reality is often disappointing and not everything needs a happily ever after.

All in all, my major complaint goes to the structure of the game and the poor organization they gave to it (AND THE OPTIONAL OBJECTIVES DAAJKSDAD). But Connor as a character in itself made it all worthwhile for me. And I'll always cherish him. I know he won't resonate with everyone, but he resonated with me.

#videogame review #review #assasins creed iii #ac3 #aciii #connor kenway #ratonhnhaké:ton #ubisoft #haytham kenway #assassins creed #assassins creed 3

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lilatreus · 4 years ago

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All of my thoughts on Assassin’s Creed Valhalla!

Of course there are major spoilers for the game and ending. I know it’s been out for like three months now but you never know so I’m putting it all under the cut. And yes this is pretty long. A summary is at the end of the entire text.

also pls don’t send me hate like y’all did for what I said about odyssey literally these are just my opinions on the game if u dont care for them pls just skip I have a lot to say about it and there is actually quite a few things that I really enjoyed when playing the game and if u do read it pls don’t hesitate to shoot me messages and talk to me about the game bc I really enjoy the franchise and I need some more people to talk to in this fandom.

What I enjoyed about the game!!

The blending in with the monks/prayers in the streets to get pass the guards!!!!! Dude!!!!! I know it’s like a really small detail but it just made me so happy because it reminded me of when you had to do that in the first assassin’s creed game. It’s a nice touch of nostalgia and really liked it.

The “glitches” (while some were annoying) I’m super super happy that they were kind of bringing back the glyphs from assassins creed two. I loved doing them because I loved trying to get the little movie. It was really nice of them to bring that back so we can get another little movie like the one from AC2 again.

I think we can all agree: Hytham was a great character. I wish he was more involved in the story than already but that’s just me. I really liked his character so much he’s my favorite from the game.

Desmond having some Easter eggs and basically coming back into the series again was great. It was also a nice touch to see the vault from assassins creed three (the place where des dies). It really makes me miss connor and his band of assassins. I miss assassins creed three :( I want more about Connor please put out some more comics with him in it or some easter eggs please I’m begging you. Also fuck u haytham kenway I hate u.

Shaun and Rebecca being back and now it’s canon that they’re together is fucking awesome. I’m actually really happy about that and I missed them so much. I’m glad they’re in the story again. (Rebecca dude I was so worried that she died like no fucking joke I was so upset I thought syndicate really killed her off).

The game itself actually did very well keeping with the lore we were given from assassins creed origins and was actually doing pretty well trying to connect it to the first assassin game.

Speaking of lore I do think they did the best they could to expand upon the not so well liked lore from odyssey and try and fix it but also it did feel a little confusing but I guess that’s just because i didn’t finish the Asgard missions yet so who knows.

The scenery was very very beautiful and I throughly enjoyed walking around and just admiring the view no matter where I was on the map.

Reda just becoming immortal is so funny and the fact that he was just sitting there telling stories about Aya and Bayek.. please my heart. I love them so so much. The letter Bayek wrote??? Soulmates I’m telling you.

Also I did like that they fixed their plot hole for why Bayek and Aya aren’t known for anything history wise in the story (or mainly why Bayek isn’t in the assassin’s history books and Aya, as Amunet, is really the only one written down). I’m very glad that they explained it and I really think I’m just super happy that Bayek was brought back for some easter eggs within the game.

Basim is very handsome and I liked him but I don’t know how to feel about the ending with him. Yes I do love his character and it was super cool to hang around him and do a couple of missions with him but also it felt weird that now you’re technically playing as the bad guy.

Eivor was really cool to play as. I enjoyed running around as them and doing missions. I like the fact that Eivor was basically like “yo you guys [ pointing to the brotherhood ] are fucking crazy but you guys [ pointing to the templars/order of ancients ] are really fucking crazy and weird.” I really loved basically being an assassin and using the hidden blade again. (Yeah I know they technically aren’t an assassin but yknow just an honorary one).

The Canterbury Tales!! The fucking pardoner’s tale!! That was super cool to do I loved those stories and being able to do them in the game made me super happy. I know it doesn’t actually fit the timeline given it wasnt written until like centuries after the game took place but I just thought that side mission was neat!

Fulke was a very cool templar and I thought her character was really really interesting. I wish they did more with her honestly.

What I didn’t like about the game:

So! Speaking of templars! Boy oh boy I have a lot to say for that subject. So for “the order of ancients”:

— I think my biggest problem with this game (as well as odyssey) is that the templars (“OOA”) aren’t actually important to the game anymore. They’re barely in the story now like out of all 20 or so people you have to kill within their order only like 5 or 6 are actually important to the storyline and that’s my biggest problem with it, because now killing the templars is just like a “well since you’re in the area you can kill this dude” and I really hate it. I truly believe that’s why I didn’t like odyssey that much solely bc they made doing the most core part of the video game series a damn side mission and that also goes for Valhalla.

— Also so many of the templar stories, like scenes we get after you kill them, were just so bland. They don’t make them like they used to and that’s another big core part of the series lost.

— They’re straying very far from the main plot of the series and that’s why these last two games didn’t feel anything like an assassin’s creed game. (And you can’t say that “it’s just different because they’re taking place in a time way before the templars were called templars” bc assassins creed origins did very well to changing their game and how they play but also keeping the main goal from previous games: To be an assassin and kill the templars.)

— Also they need to not show us the outline of who the templars are because I could tell who “the father” was as soon as I was able to see the order tab. Please Ubisoft do better.

I know I said this before however the fucking Beowulf mission. My God Did I Hate That. I was really looking forward to the dlc and to see what they did with the story sucked. In Odyssey we got actual Greek monsters and gods and I expected to be given that in Valhalla for the norse deities. And it didn’t happen. (As of right now I can’t comment on the Asgard missions because I haven’t finished them but I’ll probably edit the post and put them in later)

As of right now with the ending and lore shit I’m really kind of indifferent with it. On one hand they are trying to fix the lore that they kind of fucked up in Odyssey by adding more things to explain it better but also that means they added on unnecessary stuff that makes no sense. On the other hand I really hate that Layla is now technically canonically dead because shes now in the grey and basim now has the one thing that would’ve kept her alive. I really wanted them to do more with her like they did with Desmond. I genuinely enjoyed her as a main protagonist and it sucks that she is now dead. Layla deserves so much better honestly!!!!

Also on des: While I don’t want to smack away a fan service gift that includes desmond; it did kind of feel weird that he’s back in the series. Honestly I don’t know how to go about this. I’m super excited that technically desmond is back in a way but on the other hand I wanted them to focus on Layla more and :( Idk man it’s complicated. They have to stop changing the story’s main protagonists Layla deserved to be in more games and hopefully she will be because her “death” felt so cheap. I also wish they explained what happened with her during the year apart from odyssey and Valhalla.

The side missions I have no problem with except for the fact that the little side mission icon just stayed in the place you first show up to to get the mission. I miss the old side mission mechanic bc this new one felt really really confusing and it made me get lost quite a few times.

This one might just be me but I guess they’re expanding more on the gods reincarnating but they’re not focusing on the sages anymore? Like when will Elijah Miles (the newest sage) be shown?? Odyssey fucked up that lore bit but now they’re not even talking about it because any isu god can reincarnate or can take ahold of anyone if they interact with a piece of eden or something. Idk this one little bit is super confusing for me right now and I don’t like that it’s confusing so I will be doing more research on the isu (again) to understand what the fuck is going on with this damn part of the lore.

I know that this is a game where you kill people but this whole game felt so gore-y that I like had to drop it for a bit. Like dude I didn’t really expect that. This one I really feel like is just me. I did not expect to like hear bones breaking when I played it.

The storyline felt kind of all over the place like yes I could understand the big part of the story but also it was all over the fucking place. I just miss the old plot I really do that had a system that was so good it caused several games to follow it’s lead. (I miss AC1 please remaster that damn game)

Also maybe it’s just me but the story felt so slow at the beginning when ur going to England. Literally I hate to say this bc I love this whole series but I was more happy about finally finishing the main storyline than I was while playing the game.

All in all: I did like the game. I did have fun even though some parts were rough. I’m super glad that they got rid/fixed the ship mechanic because I hated every fucking naval battle in assassins creed and that’s something I was worried about doing when I saw that we had longships in the story. The game was enjoyable and it had a lot of great side characters like Hytham, Gunnar, and Yanli. Basim was a treat, though I hope they explain more about him bc I’m going to be honest he’s a bit confusing with this whole loki thing. But yeah this is all I have so far on the game. If you actually read all the way down here comment or like shoot me message to talk about it bc I really really want to talk about the game. Pls pls pls.

#assassin's creed valhalla #ac valhalla #assassins creed #eivor wolfsmal #layla hassan #desmond miles #assassins creed origins #assassins creed odyssey #I’m tagging those two bc I do talk about it within the entire text #I really hope these make sense bc if not they’re just going to sound like ramblings by a crazy person

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dgcatanisiri · 4 years ago

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This is too long for me to be comfortable to put out without a cut, but dear god, did I need to rant and ramble on this subject...

I always feel awkward when I want to complain about how video games portray and fandom reacts to queer men, because I feel like the conversation (at least here on Tumblr) gets focused on the female protagonists - you know, the Commander Shepard or Alexios/Kassandra debates and that sort. The things where there’s valid comments to make about how important these female protagonists are, especially in an industry that is deeply misogynistic, and, in the case of the Assassin’s Creed protagonists, keep being developed with an eye towards the female-only protagonists, only to have a male protagonist shoved alongside them, if not upstaging entirely (such as Jacob being the center of Syndicate’s marketing, or how Bayek was originally going to die and Aya be the central protagonist of Origins, or the creation of Alexios and probably male Eivor on the basis of “women protagonists don’t sell.”)...

BUT, when I want to talk about my perspective as a gay man, as wanting to play these games for that empowerment, get to enjoy these games for representing me as a gay man, because Shepard, Ryder, Alexios, etc. get to be played as such, that having these male characters who are able to be played as attracted to other men means something to me, and that leads me to not just play the male characters, but prefer them to the female characters, or even to talk about the subject of homophobia in both the games themselves and the fandoms surrounding them... I do feel like there’s this pressure to just effectively shut up and stay quiet and let the women have their empowerment, that the moment needs to be theirs, not mine, that “fandom” (meaning the monolithic entity that is ‘the fandom’ and not necessarily any singular individual who I’m referring to or anything) is pressuring for anyone who enjoys the male protagonists for whatever reason to be silent and let the women enjoy their win, even if there’s a win for underrepresented men in there as well, or even a need to address the problems of homophobia by not representing queer men. That in its way, it’s effectively saying that a win against the sexism against the industry is outweighing or more important than any win against the homophobia. (Or, since I brought up Shepard, racism, considering that Shepard, Ryder, any game with the character creator, can be different skin tones as well, but that’s outside my lane.)

Like, this isn’t a callout post or any kind of directed screed against anyone, just... I suppose it’s a cumulative effect, based on the fact that I remember what the internet in the corners I frequent was like when Odyssey dropped, focused very much (and understandably - let me be clear that I have no desire to step on anyone’s victory or enjoyment of these games here) on Kassandra, and it felt like the fact that I got to play a character I could portray as gay (don’t start me on the bloody DLC though...) was a victory celebration at a table set for one, while (to really stretch my metaphor) seeing this massive party happening across the dining room at the same time, and that (and again, I’m really straining my metaphor, I’m aware), if I wanted to join that party, they would not combine our celebrations, I would have to join in theirs, and, in my wanting to pay attention to my victory, getting laughed at for it. It’s one of those things that makes fandom feel a little alienating, because I don’t particularly have much of a place that feels like it’s a space for me to celebrate my victories, rare as they are, and on occasion, even end up with the impression that, so far as fandom at large cares, that victory I want to celebrate is somehow less important. That the importance of Alexios, playable as a gay man, meant less than Kassandra, period. And, with Valhalla and Cyberpunk’s release on the horizon, along with (maaaaaaybe?) a Mass Effect Trilogy remaster, I find myself bracing myself for this to start up all over again.

And I know some of this is based in the fact that Tumblr and the transformative elements of fandom in general are more of a space that is dominated by women in fandom, who are going to celebrate the wins for them. That’s just how things shake out, I understand that it’s as much the place I’m going for involvement and interaction with fandom at large as it is anything else. Just... I obviously don’t fit in to the areas of “straight male” fandom, and then getting to the places in the “marginalized” segments of the fandom, it still feels like I need to find my way over to the margins of the margins to feel like I have a place in fandom more generally.

Like, I understand that I have male privilege and that is a factor in things - the male characters are probably more likely to be the ones in the marketing, so I get to see that idealized image of myself individually all over the covers and posters and trailers. BUT that doesn’t remove the straight privilege of the people who are shutting down conversations about the importance of the male PCs being portrayed in M/M relationships, even starts going into the realm of casual homophobia - because no acknowledgement of how important it is for the portrayal of gay men, or bi men, IS homophobic. I mean, how often do these companies have their official accounts post images of the M/M pairings? I’ve seen BioWare account retweet FemShep/Garrus and FemShep/Kaidan things, on top of the MaleShep/Female LI pairings. I’ve even seen FemShep/Liara content, which... We could go into the way that F/F pairings get fetishized and tend to be there as either fodder for cishet male titillation or just because the female PC gets swapped in for the male PC (in the way of Peebee riding a non-existent dick in the FemRyder romance scene in Mass Effect Andromeda), I don’t mean to discount that being a thing, so queer women are getting a short stick too. But where’s the M/M relationships? Hell, remember the whole #MakeJaalBi thing? After we got that notice about the patch for his romance would come... Has any official Mass Effect account actually SHOWN content of BroRyder and Jaal?

I mean, remember the Citadel DLC? The appearances of Kaidan’s romance material included FemShep, and Cortez’s content included a split second shot of just him and Shepard holding hands, and since it was blink and you’ll miss it, that means that it doesn’t even make any effort to portray the M/M relationships. And since I brought up Jaal already, BioWare had to be publicly shamed into offering M/M relationships in equal amounts to the other pairings in Mass Effect Andromeda. Like, it’s bad that Peebee’s romance for FemRyder just had the model swapped in for BroRyder, sure. But at least that content was THERE, at release. For gay/bi men who wanted to romance male characters, we have to make sure that we get that patch downloaded (meaning if you play the game without an internet connection, you can’t get access to his romance) - and only because the outrage actually GOT a response, which is not necessarily the norm in this industry.

Hell, the disparity there actually GOT noticed - if you include Scout Harding as a romance, M/M romances are the lowest numerical romances in Dragon Age Inquisition as well, with only Dorian and Bull as options. And I didn’t even realize this until this past year, despite being disappointed in those two options. Even recognizing that Harding is more of a fling than a full romance, it’s still more than M/M romances had. The closest we got was being able to flirt with Cullen twice before he shuts it down (and the rants I’ve had on THAT subject...).

And that’s just the focus with BioWare - I saw it all through the initial release of Odyssey, while I know that the official metrics are all saying that Alexios saw more play than Kassandra, Kassandra got a lot of positive response in the fandom that was often framed in opposition to Alexios, that she was the “better” protagonist.

Like, I’m bolding this for emphasis, and so if anyone is TL;DRing this it’s eye-catching enough: My issue is the dismissal and denigration of the male PCs when building up the female PCs. It is not being against celebrating the female PCs. It’s just the way that people will, in their positivity towards a female PC, dismiss the audience who relates to and connects with the male PC. The way that I’ve seen since day one the common “joke” that male Shepard is unnecessary, condemning the voice acting, even asking why he’s there when female Shepard is “the real Shepard”.

It makes fandom a hostile place to be when you’re looking to that character as your representation, your inspiration. Yeah, it’s a joke, but when it is coming from all corners, or at least feels like it, all the time, the humor dies, and you’re left with just the words. The words telling you that this mirror for yourself is something that people don’t care about.

Again, it’s that feeling of already being on the margins and then being pushed further. You are the freak among the freaks.

But it feels like saying any of this, like I have, is opening the door to be dismissed as being sexist, or misogynistic, or lesbophobic, or anything like that, because people want to boil down what I’m saying to no more than “but what about MEN? Why aren’t you talking about MEN?” in that dismissive way that so many MRA trolls attempt to derail the conversation - except, no, I am TRYING to have a genuine conversation, about men who aren’t represented, men who need these male characters as much as women need the female ones - queer men get the short stick in a lot of cases, like this goes back to the representational matters in a lot of kids TV shows - while we can absolutely talk about the bad representation it was broadly, I remember when Voltron concluded, having Shiro, having arguably the lead male character of the show, end the show marrying and kissing another man... That was heavily ignored by Tumblr. Meanwhile Tumblr EXPLODED for Korra and Asami or Bubblegum and Marceline.

It’s seeing what is representation for me as a queer man being played down or ignored while the queer women are praised. And, again, I’m not trying to take anything away from queer women, or women in general, but... Where, exactly, am I supposed to look for that same empowerment? And, more importantly, when the same media offers the empowerment for both groups, like video games do, why does it seem almost expected that I as a queer man back off and allow this to just be for the women in general, when the whole point of a variable protagonist is that it allows that empowerment for EVERYONE?

I mean, I say it feels like “opening the door” to these comments because it has happened before, and likely will again. Because saying “this joke feels hostile to me, as a member of an underrepresented group, can we please not?” or speaking about my individual experiences and feelings - often even just in my own space, on my blog, frequently only tagged with my individual tags for organization in my space, rather than publicly shouting it through a megaphone by putting it in public tags, and somehow STILL getting attacked for these comments - is apparently all those things... That’s been the response I’ve gotten to saying things like this in the past.

And, in case I haven’t been clear with the repeated comments and the bolded statement above, it’s not about me, a man, trying to take away this thing for women. Rather, it’s me, a queer person - and fine, yes, a queer man - who wants to celebrate being seen, wants to celebrate what is still not a common thing of seeing myself in my media, and then feeling like I’m being shoved out of the way because other people celebrating their representation is considered more important, to hell with me and my mirrors.

Like, I’m not saying any of this is anything actively conscious or even intentionally malicious. It does seem like a reflexive defensive position - “men have tried to take this from us, so we’re not letting ANY man through.” I don’t want to come across as flippant or not aware of the fact that this isn’t a walk in the park for women. I get it, I really do. I’m just... It does feel like my struggles are something that I’m being told to downplay in the name of allowing others to have their celebration.

Thing is, my own experiences as a queer person already leave me feeling like I’m getting that as well - I mentioned before (and have elsewhere) that Dragon Age Inquisition’s M/M romances didn’t work for me. But I have often felt like I need to downplay the fact that I don’t emotionally connect to Dorian as a character - in the immediate aftermath of the game’s release, you could not say ANYTHING negative about him without getting shouted down as either a homophobe or dealing with internalized homophobia. Meanwhile, I’m here, pointing out that, hey, the previous games did not really have any direct homophobia, and the little bits that did lean in that direction felt more like the writers living in a homophobic society and not able to wholly divorce that in their writing than anything in-universe. To me, Thedas was a place where being gay was a difference that made no difference. And then Inquisition tore away that escape from homophobia so bluntly.

So, Dorian doesn’t empower me, you ask, so what about Bull? Yeah, I identify with “queer man” because while I’m a man romantically attracted to other men, I’m also asexual - just regular vanilla sex is in the fringes of my comfort zone. Bondage is an outright catapult out of there. At mach three. So I’m left uncomfortable by both of my “options” in Inquisition. And the response I have always braced myself for when I bring this up, when I do add my voice to the conversation about the M/M options, is “well, they can’t please everyone, and this was good for some people, so you should be content with that.” Being told I can’t have everything, so feeling uncomfortable at best is just something I have to live with, because hey, THOSE OTHER PEOPLE got satisfied, and so you should just be happy for them.

It’s that pained metaphor I offered earlier - the victory celebration isn’t for me, I’m on the outside looking in EVEN STILL. I am the freak among freaks.

Where is my place to belong, in all of this? Because it’s honestly hard to find, when all the spaces deemed “for me” still feel like an exclusionary party?

#dg rants #another angry queer rant

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rachelkaser · 5 years ago

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Has the Assassin’s Creed series lost its way... or its mind? (Part 2)

Disclaimer up front: The fact that my last blog post coincided with the reveal of Assassin’s Creed Valhalla was a complete coincidence. That being said, I’m so glad it happened, because it gives me more examples of the, we shall say, modern problems with Assassin’s Creed. But still, I won’t judge it too harshly considering I haven’t seen it yet.

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It’s time for me to give what I think are the two most prevalent (and fixable) problems regarding the series -- namely what the fuck everyone in the games is doing, and what they’re trying to accomplish. I also want to talk about the disconnect between the way the series started and where we currently are.

And we might as well start with the biggest disappointment in the series so far: Juno.

Juno A Thing or Two

First, let’s go all the way back to when this series began. The original game cloaks Those Who Came Before in very sinister hints, and Al Mualim speaks of them with even more quiet reverence than he does the Apple of Eden. In the next game, we meet one of TWCB, Minerva, albeit very briefly, and she outright states that her people, who aren’t gods, are long gone from the world and have only left behind a trail of bread crumbs in order to protect humanity -- their creation -- from a world-scorching solar flare.

If you think about it, that ought to have been all we ever knew about TWCB, at least to a certain degree. We know they aren’t gods, and we know they’re no longer around. Based on the cutscene from AC Revelations, we know they also didn’t manage to protect humanity from the previous solar flare. They were kind of like the Protheans from Mass Effect: a wise, powerful predecessor race brought low by their own overconfidence, acting as a warning for humanity to use their talents for better things.

Yet, by the time Odyssey rolls around, we see them constantly meddling with human history, undermining the original point that it was a last-ditch effort on the part of Minerva to avoid utter catastrophe, and not something they otherwise would have tried. In spite of the fact that Minerva explicitly said she and her kind weren’t gods, and weren’t strong enough to stop the solar flare, later games ramped up their power as a way of trying to make them interesting enough to take up a bigger part of the story.

They really didn’t need a bigger part of the story.

Also, the first six games of the series -- that’s about a combined 200 hours of play time, roughly -- revolved around one central plotline: The Juno story. It was even brought up, albeit in a tangential way, in later games such as Syndicate. Essentially, it was the backbone of Desmond’s story arc, and involved him making the difficult decision to unleash a literal evil god in the machine in order save all of humanity from a natural disaster. Not only did he die, but subsequent Assassins were left to deal with the fallout of a malevolent entity trying to assert herself in the modern world. It was corny as all hell, sure, but in the hands of interested and creative writers, I think it could have gone somewhere cool.

Now the modern stories are primarily about the pursuit of the Pieces of Eden, and the Juno plotline has been dropped entirely. Juno herself was actually unceremoniously killed off -- in a comic book, no less. Just to make the whole thing feel more like a rip-off, she was killed by Desmond’s bastard son (a character the games have only hinted at up to now) who’s also a Sage, meaning he carries the soul of Juno’s dead husband.

I can’t even begin to describe the disdain and frustration within me when I say, “Gee, I sure as hell wish I could have played that.”

The son of the previous protagonist, struggling with the sinister presence in his head, joining forces with both Templars and Assassins to take down the sinister would-be god responsible for his father’s death, his own mental health struggles, and potential global catastrophe? Pardon my language, but why the actual FUCK was this not the plot of one of the games?

The comics came out in 2017 and 2018. What were the games we got in that same time period? Origins and Odyssey, which star Layla Hassan in the modern sections, quite possibly the most boring person in the whole series. You’re telling me that someone seriously looked at this series and decided the modern gameplay of two tentpole games would best be propped up with the most uninteresting stick of wood Ubisoft has yet crafted? Fuck. Right. Off.

Everything the first seven games, from AC1 to Black Flag, had been building towards with regards to the modern story, including Desmond’s sacrifice for humanity and the race to give Juno a physical form, is for absolutely nothing. It’s abandoned in-game for no better reason than to give the player Pieces of Eden to play with instead.

Having mentioned that, it’s about time I told y’all what I really think about this particular plot device.

Pee Oh Ees? Pee Oh Ess

For the uninitiated who’re only here to see me have a big ol’ fangirl aneurysm, the Pieces of Eden are gadgets left behind by TWCB with various superpowers assigned to them as the plot demands. In-universe, they’re objects of great renown that cropped up in various forms throughout recorded history -- as crystal skulls, sacred orbs, swords, staffs, blankets, jewelry and even, in one memorable instance, the actual Koh-i-Noor diamond.

But let me establish -- as indeed we must again -- that while the POEs have always been described as powerful, in the first several games in the series they were only ever used to further a larger purpose. They were part of an elaborate communication network left behind by TWCB in order to contact Desmond, specifically, and get his help averting the end of the world.

The only reason they were ever important was because they usually somehow led to the clue that would help him move forward with that goal. Altair’s Apple? Showed where to find the other Pieces. Ezio’s Apple? Led to Desmond’s first contact with Minerva. Connor’s crystal ball? Showed Desmond where to find the medallion that opens the chamber where the end of the world may be averted. My point is, while the concept of them was cool, laying hands on them was never the ultimate goal.

Sure, they’re leftovers from the Precursor society, but let’s not forget they had a literal Precursor spirit haunting Abstergo’s computers, and the writers chose instead to focus on this garbage. And I don’t use the word lightly: In Assassin’s Creed 2 codex, Altair even wonders if humans are just squabbling over what was effectively rubbish to TWCB. He’s not exactly right (see again: communication network to Desmond), but you gotta wonder if he’s completely wrong either.

Instead of examining that, and pondering whether anyone, Assassin, Templar, or otherwise, should have these artifacts, the series has settled for shuffling them around like so many footballs. And to make them more interesting, the writers of later games have chosen to make the PoEs more powerful.

For example, the one in Syndicate is essentially a healing blanket that brings people back from the brink of death. The one in Odyssey makes the bearer immortal. All I could think when I found out about these was “Gee, it sure would have been nice if Minerva had led Desmond to that one when he was preparing to sacrifice himself for humanity.”

It’s getting to the point where I’m goddamned sick and tired of seeing them crop up. All three episodes of Assassin’s Creed Chronicles were about retrieving a POE -- the same POE, no less -- and playing keep away with the Templars at three different points in history.

It’d be different if we saw the Assassins ever used the POEs to further their cause or make the world a better place, but it’s happened almost never in the series. Most of the time it’s as though playing POE hot potato with the Templars is the only thing the Assassins can actually be bothered to do.

Which brings me to my last, and biggest issue...

Road to Nowhere

Let me ask a question: What, at this point, is the endgame for the Assassin’s Creed universe?

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I don’t mean what’s the planned endpoint of the series -- Ubisoft will keep making them for as long as we keep buying them. I mean, what’s the desired world state for the Assassin and Templar factions -- what, in essence, is the end goal of their efforts?

I have played every game in the series multiple times, read the comics and novels, and even watched the movie. I know this series very well, and it disturbs me that, when I ask myself that question, I can’t come up with more than a vague answer for the Templars, and no answer at all for the Assassins.

Think about it: What have the Assassins done for the last few games besides follow behind the Templar group du jour with a paint roller, covering up and undoing whatever it is they’ve done? When’s the last time the Assassins made an effort to do anything, rather than just react? When’s the last time you, the player, felt like you were playing a character that could have actually existed in history and made some kind of an impact?

The longer we do this dance, the less it feels like we’re working towards some kind of goal -- and that’s a damned drag. At the very least, with the Desmond storyline, we had a definite end. Ubisoft kind of painted itself into a corner by needing Desmond’s story to be wrapped up before the end of 2012 in order to tie into that whole “Mayan Doomsday” thing from December of the same year. So if nothing else, we knew his story was going to have to end by then.

Even Disney is aware it couldn’t just keep making Marvel adaptations forever without some kind of larger destination in mind or people would lose interest. But apparently that lesson’s escaped Ubisoft, because there doesn’t seem to be a cosmic expiry date on the modern-day story.

Its very tempting to say the series would be better off it cut out the figurative tumor and no longer have a modern narrative at all. But if it did, what would tie these games together, truly? Because the meat-and-potatoes of the games takes place in the past, it falls to the modern-day sections to deliver the big-picture story, which they have failed to do for a while now.

The problem isn’t that the modern sections exist. The problem is that the modern sections aren’t good. They’re aimless and boring, and the characters are so bland and uncontextualized that it’s impossible to sympathize with them. And that sucks because it means we have no connection to the world beyond the past storyline anymore. If you’d told me circa 2012 I’d be missing Desmond Miles in a few years, I wouldn’t have believed you, but here we are.

I’m not trying to give the impression, with this screed, that I don’t like or have fallen out of love with Assassin’s Creed. Because somehow, shockingly, I haven’t. I still love AC. I’ve loved AC since I was 17, which is over a third of my life. I’m just bitterly dissatisfied with AC at the present moment. At this point I’m afraid Valhalla is going to resemble For Honor more than previous entries in the series.

A franchise can change. A franchise can evolve. But this isn’t evolution. This is a game series that has gone completely off the rails and is spinning its wheels aimlessly in the air. I’ll revisit this topic after Valhalla, but I’m not holding out hope for a great change.

#assassin's creed #assassin's creed valhalla #juno #piece of eden #those who came before #assassin brotherhood #templars #video games

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blandacheadcanons · 5 years ago

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Let’s talk about AC: Odyssey

Overall, the game was a 7/10. I liked it, primarily because it’s shiny new content and because i get to play as a woman for the whole game (and Kassandra hnngggnng) but there were some issues which, for me, undercut the emotion of the whole thing, especially the ending.

spoilers and bitching below, proceed at your own risk

An ADHD dream and nightmare

in general, the way i played Black Flag, Origins, and Odyssey was tantamount to “Okay, gotta go to - squirrel!”

Now, that problem (not really much of a problem but y’know) starts with me. I have ADHD, so I’m already prone to being unfocused in my game play. But it doesn’t help that the map is littered with side missions, collectibles, and shiny things.

That, on it’s own, is not much of an issue. So it’s a bloated game; that just means there’s more to love. and I do love this game. however, the overwhelming amount of side missions and the fact that you’re practically required to play them in order to level up enough, means that the game loses its focus.

in Black Flag, this was somewhat remedied by the fact you’re never really under-leveled, so much as under-prepared. In Origins, it was offset by the intensely emotional story and clear motivations. In Odyssey, neither of those things were present.

Breaking the game

Throughout its life as a series, Assassin’s Creed has done something few other games have done: justified the fact that it’s a video game. We, the player, play as Desmond/Layla/whomever, who is playing through the memories of the historical character. The Animus can essentially take a puzzle and build the edges and group the pieces by color, but it still needs a human to put the pieces in place. the puzzle - the memory - itself cannot be changed.

Now, in Odyssey, there is no more justification. Yes, I’m talking about the choice mechanic.

This aspect of the game just... breaks everything we know about the series. the way the animus works. the way we play the game. the lore went from decently put together to flat out incoherent.

I love Kassandra. and I love that she’s the canon character. but if female leads for some reason come at the cost of consistent story-telling, i’ll take the consistent lore.

Way too big

traveling takes for-fucking-ever. Look, Ubisoft, I know people loved the naval portions of your games. but that’s not an excuse to make everything fucking HUGE and spread out over a dozen islands. If you must have such a huge game, give us fast travel to an island right away. restrict it however else you like, but for FUCKS SAKE.

Clash of the Titans (and the original premise for this series)

from AC1 to AC: Black Flag, each game has been defined by its historical setting. It was the Crusade Game, the Renaissance Game, the Victorian Game...

Origins began to lay the framework for a more mythology-based portion of the series.

Well, Origins walked so that Odyssey could fly by it on a motorcycle. Throughout the game, i wasn’t about the historical figures i would meet. I was wondering where and how the mythology would be making an appearance.

On its own, this is not a bad thing. It also makes sense, given that Ubisoft seems to be shifting to the Isu for plot in the wake of Juno’s death.

It is, however, still rather jarring. It also doesn’t look like we’ll be getting more of the historical thing because AC: Ragnorak is looking like the next game.

I love mythology as much as the next person, but...I don’t even know what to say.

The Ending

the aforementioned lack of focus and emotional intensity led to a...lackluster ending. I went for the best ending where Kassandra saves Alexios and the family is reunited.

Alexios’s heel-face turn seemed so sudden. Like he’s furious up until he touches Leonidas’s spear, and he suddenly sees the light? I’m not saying that it can’t happen, but in a game brimming with mythology and magic, this was the thing that strained my suspension of disbelief.

And this was right after Kleon shot him in the back, too. but is it ever brought up? is his faith in the cult shaken by the fact that one of his “family” just tried to kill him? does Kassandra use it as evidence that the cult is using him?

nope. not once. not even a little bit.

And these are just some nitpicks, but for me, both Alexios’s subpar voice acting and Kassandra’s quiver disappearing (idk if that was a common thing or just my game) undercut the emotion of the scene.

cutscenes are not the time for errors like this, people!

too short

As much as I complain about a bloated game, the main storyline was way too short. If you play only the main story line, you’ll probably have uncovered about half the map. maybe less. Why do i care about the map? I don’t. But i do care about an underdeveloped story.

Maybe there was more plot that ended up on the cutting room floor, but ultimately, it doesn’t matter whether the game was slashed to ribbons or wasn’t there in the first place. We got a game that was too short.

The lack of length also exacerbates the tone problem. Had we had a longer story with more Deimos/PC interaction where cracks appear in Deimos’s armor, and he maybe even does something uncharacteristically charitable (out of more than pure shock), i could then buy his behavior on Taygetos as a last-ditch effort to maintain his self image in the face of his shifting world view.

If we’d had cutscenes like Syndicate where we could see a few moments from Alexios’s perspective, I could understand how that world view shifts and how the cult treats him.

but instead, we get an exponential graph of Alexios’s development. and it’s a damn shame.

Loss of Identity

for every AC game, there’s a million video essays laying out the problems with it. And in every one of those essays, there’s a line to the effect of “this game doesn’t feel like an Assassin’s Creed game.”

Previously, i was always of the school of thought that were was no “feel” of an AC game. the nature of the games is to change, in big ways and small ways, between games. The more things change, the more they stay the same.

But now, if you had me play this game and then AC1 and told me they were in the same series, i would never fucking believe you. The already thin common threads between games has been completely broken, even more so by going back in time. Origins had a similar problem, but it at least referenced the rest of the series with the hidden blade and the establishment of the Assassin Order. the only things “Assassin’s Creed” about Odyssey are the Isu and the title.

Other Nitpicks

Layla does not get out of the Animus nearly enough. I know most people hate the modern day line, but i like the break from all the historical action.

not calling Deimos Alexios/Kassandra in the subtitles. I know it was probably easier on the devs but just imagine the feels if the name changed when Deimos was being more vulnerable/letting his compassion show.

Kassandra can full-on see Atlantis and a Sphinx and still be amazed by every mythological creature that crosses her path.

people move way too much in dialogue cutscenes

animation and cgi are becoming so real that it’s creepy again

i appreciate the move to Actual Eagle’s Vision, but leave it in these games. I don’t want to get to the middle ages and be seeing out of a raven within a century of Atair’s Color Coding Eagle Vision. That’s not how evolution works.

While cool, the introduction of literally magical armor and weapons further proves that this isn’t a historical series anymore.

There is barely a stealth mechanic in this game, and when it’s used, it’s just used to pick people off before we’re noticed, not to avoid being noticed.

in a world where there are mercenaries and those mercenaries have to kill each other either for money or just to move up in rankings, mercenaries killing each other should not be illegal. if i try to fight one more mercenary and end up getting killed by the swarm of soldiers that just pony up out of no where, i swear to God...

why are soldiers acting as cops anyway doesn’t Athens have real, actual cops or equivalent

I think Ubisoft finally remembered they were rated M in Origins and Odyssey but it honestly just makes it harder to play around my parents

That’s as much as i can think of off the top of my head if i can think of more i’ll add it

#ac odyssey #kassandra #alexios #rant #deimos

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beholdingslut · 6 years ago

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assassin's creed ii definitely is a good gateway into the franchise, story & gameplay wise, but also if you're picky about old game graphics like me (sorry), & it's not hard. i don't remember if it was you that made me first consider playing it but your love for the games has definitely made me appreciate them more!! but i did forget to look up the actual order of the games so i ended up playing acii and aciii back to back & being really confused lol. what did you think of the overarching plot?

it’s interesting to me! i love this idea of a precursor race gone mad with power and bringing about the destruction of their world, and what fragments they’ve left through our one. and it’s definitely been strengthened by the latest games when it outlines what the fuck is going on (this is just as far as i’ve read though, i’ve yet to play odyssey). i think they really lost their way when they scrapped desmond’s storyline. he gave the whole thing a human touch, and i understand that the way they wrote his story with the whole sacrifice himself to save the world (which is a trope i dig) meant that was the end of the line for his character, it left this big mess of information trying to be delivered by a soulless first person wandering around abstergo pressing buttons. like the modern aspect is important because it’s where context and explanation is given, so we know why and what the pieces of eden can do, even if the old timey assassin’s don’t. but yeah, they really struggled to find their feet with that all through black flag, rogue, unity (which was a terrible game, objectively) and even syndicate, which also almost had the problem of like, intersecting with the modern storyline as they got closer in time and ran out of assassins’ memories to sift back through. so at the end of the day is, i like it, but they could have done many things better!

#also i feel u on the old graphics ugh im finding it so hard to play dragon age origins #tbh black flag is a good mid start point because its the beginning of the 'new games' without the desmond stuff #so there's not that? much? confusing?#and it is a game that slaps #assassin's crying #thank u for this ask man i love it #think ur neat!#anonymous #ask

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vanceencounter-blog · 7 years ago

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My Faves of E3:Part 1

Microsoft

Favorite Game: Cyberpunk 2077- I have been excited for this game based solely on the merits of the Witcher 3. CD Project Red left a great impression on me with that release (I have never played Witcher 1 or 2, don’t @ me). I am typically not willing to fully sign off on a game until I see actual gameplay footage. While the general public did not get footage, we did get an awesome cg trailer that did a great job building excitement for the game.

The world seems vibrant, colorful and unique. It also seems jam packed with many different locations, types of people and activities. We see the V(your customizable protagonist) riding a train, driving in a night rider esque car and while we didn’t see them flying, it seemed to heavily imply that was possible as well. People of various augmented varieties were seen throughout, allowing them to shoot hoops better, lay a beatdown on a sparring construct and even alter their facial appearance.

CDR did a great job with Witcher making a dark and interesting world while not making a game devoid of fun or humor. That tradition seems to carry on here, based on V’s exposition. He states that Night CIty is worst place to live in in America but everyone still wants to live there. More of a town of dreams where bad things happen, than a full on city of darkness a la Arkham City. This sets the tone of the game nicely, along with the pumping synth music, vibrant lights and even the font for the game itself.

I have learned that the game will be first person instead of third. This has caused backlash among the CDR faithful, hoping for a cyberpunk version of The Witcher. I am not at all shocked or appalled by this change. I like seeing developers be able to stretch their wings and make new types of games. If we kept devs locked into doing the same thing forever we would never get Horizon Zero Dawn or Child of Light. As an augmented human being in a futuristic setting, it makes much more sense from a gameplay perspective to be an fps. This allows you to have augmented vision and have better control over aiming your guns.

I can’t wait to hear more about this game. I fear that we won’t have a release date anytime soon but I appreciate CDR’s dedication to their craft. Witcher has bought them some well earned breathing room and freedom to take their time making a polished product. They have also promised to have continual post game free content, as is their tradition. For now I remain excited for the next glimpse they provide us.

Honorable mention: Gears of War 5- I have been a long time fan of the Gears series. I was unemployed and dropped out of school at the time of the first Gears, which meant I had a hell of a lot of time to myself. Time I spent playing a copious amount of GOW. My proudest achievement to this day is “Seriously”, which was presented to those who had 10,000 online ranked kills. It was one of the only online games I actually spent the time and energy learning the glitches to allow me to play on even footing. So you can understand how I may be interested in another entry to the series.

This Gears glimpse did not pick off right where the last game left off. Instead we see a JD with a messed up arm in some sort of incubator like device, with a shaved head and facial scar. Marcus and JD don’t seem to be getting along anymore. Even Kait and JD seem to be at odds. This leads to Kait and Del striking out on their own to find out the truth behind Kait’s newly acquired locust pendant. It was her grandmother’s which seems to lead us to believe Kait may be Queen Myrrah’s grand daughter.

I love the fact we are getting a game about Kait and Del. Marcus has had more than enough time in the spotlight and JD wasn’t terribly interesting. As a PR move, this is genius as well. The game’s main character has never been anyone but a burly white male marine. By following Kait as the main character, it helps silence the criticism the series carries for being too much of a “bro shooter”. This story seems personal and poised to offer many twist and turns. It seemed like there was some definite friction that was gonna happen between our two protagonists. I would be surprised if we didn’t at least play some of the campaign as JD and Marcus but would not be disappointed if that were the case.

From a gameplay perspective we didn’t get to see a tonne of new weapons yet. This is slightly disappointing given Gears’ track record of cool and unique weaponry. I do know a few people who would love to take up those bone sticks and bash people online. There were quite a few new enemies including the locust who gives up said bashing sticks, a leech like creature and some DBs, that seemingly have been taken over by a locust infection of some sort.

Cyberpunk gets the nod here for me, as it is a brand new property in the video game space.

Ubisoft

Favorite Game: Assassin’s Creed Odyssey- I have been a long time Assassins Creed Die hard. The series has been a real roller coaster ride, with the highs of ACII and ACIV Black Flag and the lows of AC III and AC Syndicate. I think Ubi made a smart choice putting the series on pause and reevaluating it’s direction after the general populace started to fatigue on yearly releases. AC Origins proved to be a triumphant return, albeit in a different form. A form which Odyssey seems to embrace and enhance.

Odyssey is even more of an RPG than Origins was. In addition to gear with levels and rarity distinctions, they have added dialogue trees and the the ability to choose your character at the start of the game. RPG elements have been blended into games for years now but I can not get enough of them. The ability to customize your character through their perks and your weapons of choice, lets the player fight in the manner that best suits their playstyle. Now the story can play out in a similar fashion by allowing you to direct character interactions however you please.

Another issue the franchise has had is the division between the life of the Assassins which is grounded in reality and history and the science fiction elements of their present/future story line. They seem to be leaning more into the scifi elements of the future in this entry. Rarely do we see any of the artifacts of the god like alien race. When we do, it tends to just be the apple and every now and then we catch snippets about the number or details of the remaining artifacts. Based on the abilities the spear of Leonidas grants you, it would appear that it is one such item.

I’m torn between the inclusion of this weapon. In terms of the modern day story it makes sense that the Assassin’s and Templars would come into contact with these items and use them to their benefit. The problem is the game is based in the real world so if these items were used frequently and openly in the past, surely we would know about their true power today. At this point I think it would behoove Ubi to either turn up the sci-fi in the past and finish out the story of the gods or drop the god storyline and make these period pieces solely. From a gameplay standpoint I like the idea of getting more interesting weapons. This would allow each Assassin to feel even more unique from game to game and the devs would have more game mechanics available to them.

Regardless of these concerns, I am excited by the freedom the gameplay and story provide. Being able to choose your gender and character without the loss of a defined character is great. Not saying Brodie was the best protagonist in Far Cry 3 but I prefer that over the silence of the Far Cry 5 hero. Any game where I can collect sweet loot and level up always has my attention and as such I remain hyped for AC.

Honorable Mention: The Division 2- The Division is back! Enough time has passed to be excited, especially because I never played any of the DLC. They are doing quite a few things that makes this look more than a rehash of the first game.

First off, the setting is summer time in D.C.. This gave us more variety in scenery, with a jungle environment shown off as well as the typical urban environments. The devs also had more freedom in the clothing options they provided to the player, as they now no longer have to worry about getting frost bitten.

Enemies look a little different this time out. There are now heavily armored enemies that signify they are going to be bullet sponges. This is a welcome change from the first game where a random high level enemy would be taking a hundred bullets to the toque before they would drop. Non-armored enemies do appear but are much easier to dispatch than in the first Division. The time to kill dropping I fully endorse and I appreciate them attempting to ground the game further in realism. Enemies had some new tricks up their sleeves, such as gooping a player to the ground causing them to need their team mate to release them. I hope this is indicative of an effort to have more unique challenges to face along the way.

The enemies aren’t the only ones with a few new tools in their belt though. There were some new gadgets like a device that split into little bee-like things and heat sought an enemy before exploding. The biggest and baddest additions to your armory come in the form of high level special weapons. Once you hit the end game you will be presented the option to wield a grenade launcher, a 50 cal sniper or a torque bowesque cross bow. I am always up for more differentiation between party members and players, so I think this is a great change.

The raids will be launching soon after the release of the game in order to give players a chance to gear up and get high enough level to participate. The raids are 8 players and will require good gear and high level play to conquer. Personally I find this sort of end game content much more interesting than grinding endlessly in the dark zone. We didn’t get much about the dark zone but this first look at the game was more than enough to sate me for now.

In this instance Assassin’s Creed wins based on the hooks it has had in me for years. Division I enjoyed but has a lot to prove. I am hoping they have heard the player’s feedback and are able to turn that into a game with a deep end game, diverse enemies and characters that feel like your own.

Sony

Favorite Game: The Last of Us 2- This is one of those games I think you could release nothing about and still have people lined up outside of their local game store on day one. I think they have done a good job so far giving us just enough information to tantalize without overloading though.

We started on a scene where Ellie is at a dance and life seems to be going a lot better for her these days. Joel isn’t seen but is eluded to by a fellow community member. This seemed like a very deliberate decision to leave him out of the spotlight and make Ellie the focus. In fact in the whole trailer he never showed up once. The developers have stated that this is her story but I would not be surprised if we had the inverse of The Last of Us and have one or two Joel levels. The trailer continues with Ellie dancing with another woman and ends up kissing her. People who never played the The Last of Us dlc may not know Ellie was a lesbian but the devs have stressed this is a part of who she is, making it important to display this. I am all for getting more diverse characters in games over having the 100th old grizzled army vet character. Unfortunately for her life isn’t all kissing girls and dances though.

We quickly cut from her at the dance to being out in the dark, shanking an enemy from behind. The cut scene looked great but in true Naughty Dog fashion the in-game graphics were just as impressive. The first thing that struck me was the visuals but as the trailer progressed it was the movement that stuck with me. Everything Ellie does seems realistic and once she engaged with a group of enemies it became clear the level of immersion we will be experiencing.

The melee combat seems much more refined and interesting in this game. Any weapon an enemy holds Ellie can pick up. Even if it’s a heavy one handed weapon it will just become a slow two handed weapon for her. The melee kills were so detailed and unique they seemed like pre-scripted quick time events. When she killed an enemy their arrows clattered to the ground and Ellie would physically pick them up rather than having them just pop into your inventory when stepping on them. This was a lot to take in before even factoring in the exploration.

There is a jump button now included in the game. This sounds like a game changer when it comes to traversal and the ability to sneak up on enemies. Speaking of sneaking they have significantly increased the nuance of hiding in tall grass. It is no longer a simple “I’m in the grass so I’m invisible” situation. Enemies can now spot you if they are close enough which makes things much more harrowing. You can now duck under cars as well but the enemies will search under them for you. In a section of a supermarket they also showed her squeeze in between shelves to flank her enemies. This breadth of options makes simple scenarios have many different ways to tackle them. In that super market section you will notice enemies tell one another to spread out and search for you. This is just the tip of the iceberg when it comes to their AI.

Each enemy knows that you are in a given space once alerted. This leads to them searching for you until they find you and not giving up like in other stealth games. They also have individual names, which their compatriots will call out. Changes like this make every grunt seem like a real person rather than a nameless thug. They also do not have patrol routes but move with a sense of purpose based on contextual clues they have. All in all it seems like Naughty Dog is poised to raise the bar for gaming yet again.

Honorable Mention: Ghost of Tsushima- This is a game we knew next to nothing about but it blew me away with its impressive showing. From the get go it was visually striking and unlike anything else we have seen. The use of color was striking with very muted tones at the start which easily drew the eye to the red tree matching the leaf that the main character, Jin, picked up. Apparently this is very much an open world game and the focus of the demo was a side quest. The fact that there was this level of detail in an open world game is impressive to say the least.

Once the titular ghost arrived on the scene of the crime he runs into three mongols terrorizing the locals. In typical Samurai fashion they square off before he one shots the opposition. The combat seems more involved than something like Arkham Asylum. It reminded me of For Honor where blocks and parries will be vital to survival.

Once Jin got closer to the temple it became a stealth section or so I thought. The devs confirmed he could have went in the front door swords blazing but he probably chose the smarter option. By using his grappling hook he was able to sneak in through the temple roof and dispatch of the enemies silently. The grappling hook is only one of many weapons that our protagonist will unlock throughout the game. It shows the necessary transformation he goes through from samurai to something more, in order to overcome the tremendous threat the mongol hordes pose. There was a section where he stabbed an enemy through a sliding screen door which was very cinematic but was not scripted. The end result would have been the same with backup being called but it would have come to fruition differently based on how you tackled the enemies. As I have mentioned time and time again, I value this level of player agency very much and can’t wait to see all the options available to the player.

In the end he had to confront his ally as she was threatening to kill the proprietor of the temple. Jin states that we should be fighting the mongols rather than out own country men. She chooses to rebutt with steel. Once again the swordplay seems very intense with slow mo dodges and sword clashes. Flaming arrows rained down around your battle and started a blaze as your duel waged on. The fact that this was not a main mission but had such a memorable set piece bodes very well and earned it my honorable mention.

#ghost of tsushima #the last of us 2 #sony #microsoft #ubisoft #gears 5 #cyberpunk 2077 #assassin's creed #The Division 2

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odyssiaca · 5 years ago

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In theory, Assassin's Creed Odyssey is a good game. As a stand alone game, without prequels, sequels or anything of the sort it's an amazing game. The concept, the general idea behind it is amazing, using all the myths and legends of Ancient Greece and making them real in such a way you feel like you're there, living them is... wonderful. The DLC's are creative and fun, and the graphics, oof. The way the waves look whilst you're sailing The Adrestia is breathtaking. Alas, as an Assassin's Creed game? It ain't great.

Sure it has the general plot, including Juno and the Isu and blah blah blah but those are stuck behind a pay wall, an expensive one at that. It includes the pieces of Eden, but that is poorly executed as if they didn't know what to do with it so they rammed it in there. It also includes the real world sequence we all... love and adore.

Odyssey really wants to be an Assassin's Creed game, with all of the aforementioned plot points. But it just doesn't work.

I'm gonna use one of my favourite AC games as an example, in Assassin's Creed 2 (cliché sue me) you play as Ezio, and in this game you are told where to go, who to kill, when to kill them not questions asked. You don't have much freedom and it's a rather linear game. In the modern day sequence we have Desmond, and his adventures running away from Abstergo, now don't get me wrong, modern day in 2 is shit, but so what? It's not really what the games are about.

As the games progressed and the series grew in popularity and the formula got old they added new things, new tricks, like the ships in 3 and Black Flag, the hunting, the whatever they added in Rogue I've only played that game once, oops. In Unity they added multiplayer and added outfits, lots and lots of outfits, and more weapons to choose from. Then Syndicate ( maybe I'm biased because it's my favourite ) added skills, outfits, places, side quests, customisation ect ect, they gave us not one but TWO assassins to play as. For me, Syndicate was the best AC has ever been. I even enjoyed the modern day sequences.

Then... came Origins. I have played every single game in the series, from start to finish, multiple times yet it took me months to get into this game. Once I got into it I loved it, it was fun and creative and looked real pretty... But it wasn't an Assassin's Creed game, it was like they had taken the formula and smashed into the dirt, trodden on it and thrown into the river Nile. The controls were different, the gameplay was different the general... feel of the game was different. The story was kinda confusing because who was the protagonist in the end? Bayek or Aya?

Then came Odyssey, which on the whole, sucks as an assassin's creed game. Amazing game, not an amazing AC game. I'm sat here writing this and I'm playing it and I love it haha, it's a great game but once again, I had to force myself to get into it. What drew me most to the game was the Greek mythology and the choice between two different characters.

But that's the problem, this game is an RPG. With it's dialogue choices, romanceable characters, different outfits and map so big it takes up... most of my wall. Assassin's Creed? NOT an rpg. You can disagree, or you can not, I don't mind.

Odyssey brought a lot to the table, but it also took a lot away.

Haha, one of my main problems? Was the modern day. Layla is such a despicable character, she's cocky and arrogant, mean and just generally really REALLY boring. There's n o t h i n g to her, she's not Desmond, who I grew to like in the end, and she's not some faceless character. She's... just shit. Her dialogue is horse shit, her design is basic and she's just bleh.

Also where the hell are Shawn and Rebecca? We last saw them in Syndicate and suddenly Origins forgets about them and gives up brand new characters and ditches them.

There's a lot more I could say, complain about, out and out rant about. But I'm not going to. I just HOPE that the next AC game has something reminiscent of the older games. Something.

On the whole, Odyssey? Great game. Awful AC game.

Stand alone game: 8/10 ( purely because of Layla, sue me )

AC game: 5/10 ( at most tbh )

Thank you for coming to my ted talk.

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pileofsketches · 5 years ago

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Hi Writer!

I’m noun on Ao3; thank you for writing for me! To give you an idea of my tastes, I’ve got the standard DNWs below. Anything not mentioned is fair game.

On consent, I’m ok with dubious consent—be it because consent cannot be discussed beforehand, dubcon turning into con, or simply because desire overcomes reasons why person didn’t consent fully in the first place. Otherwise, go wild. I like enthusiastic consent, arousal is arousing.

DNWs: dialogue lifted entirely from canon (callbacks are fine!), first-person writing (unless in epistolary format), character studies (whole fic musing on someone’s canonical actions, no new content/action), hopeless or depressing endings (angst and struggle during the fic = great), coffee shop/minimum wage struggle AUs, noncon, trans headcanons, autism headcanons, asexuality headcanons, prostitution as a positive (background prostitution/mentions of trafficking are a-ok), daddy kink or parental role kink, and sexualized choking.

A/B/O is a trope I absolutely adore—the changes to society! the possessiveness! the various kinks!—but please no male pregnancy/women who can impregnate.

If, in any place, a kink/trope looks to override any specific DNW, the kink/trope wins out. That shouldn’t happen in this exchange, but if it does—kink/trope trumps.

List is organized by fandom, then universal kinks, parings, then paring specific kinks if applicable. There are so many freeform tags, I tried to give a sentence each as to why I like each one, and more if possible. Also, you can assume if I like a specific kink (ie, Breeding Kink -- We Have to Conceive the Chosen One(s)) then I will like it in a general sense (= breeding kink) and it’s a-ok to use it in combo with another prompt.

Assassin’s Creed – All Media Types

I have not played anything after Syndicate, but am familiar with the comics up to Juno’s death and some of the YA novels. Please do not use any of the Odyssey/Origins lore, be it on whatever they’re doing with the Precursor backstory or Assassin motivations or whatever.

A/B/O - Alpha begs to be allowed to knot: I love the desperation and the contrast between perceived authority of the alpha versus the omega actually giving permission.

A/B/O - Animalistic Behavior: Biting, marking, a general retreat to more animalistic instincts. I like A/B/O set-ups where it’s the alpha who gets uncontrollable while the omega, while in heat, retains their wits. I do love nesting omegas!

A/B/O - breeding triads: ‘Successful’/stable relationships involve either one of each, or two alphas and an omega, or two omegas and an alpha.

A/B/O - First time rut Alpha with experienced omega: Self-explanatory.

Alternate Universe - Role Reversal: Fandom specific! Either a) make the Assassins Templars, or b) swap motivations as far as Pieces of Eden.

Bondage and Discipline - Honor Bondage: Give me some of that Assassin control! Does the paranoia and like, actual expertise with restraints and weapons make this the more interesting/more sexual option? How does control get handled when that’s one of someone’s huge ideological pillars?

Breeding Kink - Those are some excellent genes you have there: For any of the past parings, they know they have to have a kid to make Desmond happen. For any of the later ones, is it a pre-Flare attempt to get them a backup plan? Is Abstergo making them do it?

Breeding Kink - We Have to Conceive the Chosen One(s): For any of the past parings, they know they have to have a kid to make Desmond happen. For any of the later ones, is it a pre-Flare attempt to get them a backup plan? Is Abstergo making them do it?

Character From Future Tries To Convince Current Enemy They Will Be Friends/Allies In Future: Desmond going back to the Farm, Desmond going back before his kidnapping, Desmond waking up from any of his Animus experiences with knowledge of the Flare and trying to get to Lucy earlier, Maria going back to the first time she met Altair and trying to help him, Altair waking up in the middle of his missions from either the end of his life or the middle of his successful relationship and trying to mend things with Malik/meet Maria sooner.

Character goes bad to save the world and enjoys it more than expected: I will kill for this in a ToWK setting for Connor. Or, Desmond—the Eye somehow gives him all the power, and he decides to fix everything/break the cycle. I’m also for this with anyone in the Altair/Malik/Maria trio—what does it look like if one of them manages to use the Apple?

Comes Back Wrong: Mostly for Desmond. Everyone is glad he’s ok, but there’s some element of Precursor/just plain done with being manipulated/whatever you want to slap on. Also, for Malik or Maria after their canonical deaths.

Dubcon voyeurism to consensual threesome: self-explanatory.

Lavish Descriptions Of Historical Clothing: specifically 18th century, but I’m flexible.

Loyalty Kink: self-explanatory.

Sex Pollen: self-explanatory.

Soulmates: Characters have each other's names on their wrists: self-explanatory.

Soulmates - they know from a young age that they're soulmates but smth keeps them apart: self-explanatory.

Touch-Starved Character Having Overwhelming Tender Long Foreplay First Time Sex: self-explanatory, but it does scream Connor.

Werewolves - Sex With Werewolf in Wolf Form: self-explanatory.

Desmond Miles/Lucy Stillman (Assassin's Creed)

I like this paring because of what an effective lure Lucy was for Desmond, with the fact that she was 1) attractive 2) saved him and 3) had a relationship with Bill that seemed like perfect bait (and was) for Desmond’s own issues with him. Desmond’s forgiveness of her, Lucy’s tragic death, the parallels that were made in the game between him and Lucy and Maria and Altair—all great.

Malik Al-Sayf/Altaïr Ibn-La'Ahad/Maria Thorpe (Assassin's Creed)

My favorite OT3s are the ones where each person has an independently strong relationship with the other two in the trio, and supports each one/gets different things out of each one. I like Maria and Malik moderating Altair and dealing with the complicating feelings he has for each one when he’s been such a lone wolf for most of his life. (I am also a big fan of Tazim being Malik and Maria’s kid)

Ratonhnhaké:ton | Connor/Original Female Character(s) (Assassin's Creed)

This ship is entirely a vehicle for kinks/tropes, do whatever you’d like to make the OFC work. My only request is that she not be a colonist who’s Not Like Other Girls, ie, won’t wear stays/a corset and a skirt, or be someone that Connor rescued who now has a crush on him. Also, I would kill for a ToKW setting.

Rebecca Crane/Shaun Hastings/Desmond Miles (Assassin's Creed)

Pretty much the same as the Altair/Malik/Maria ship- I like OT3s are the ones where each person has an independently strong relationship with the other two in the trio, and supports each one/gets different things out of each one. I would be as happy for something set pre-Flare where the three of them fall in together because hey, it’s the end of the world, as much for something Syndicate/Black Flag era where Desmond is revived/downloaded from the cloud and they’re very glad to have him back.

Dishonored (Video Games)

Arranged Marriage - Public Consummation

Bondage and Discipline - Honor Bondage

Breeding Kink - We Have to Conceive the Chosen One(s)

Character goes bad to save the world and enjoys it more than expected

First Time - A Patient with B's Clumsy but Enthusiastic Blow Job/Cunnilingus: Would prefer Emily to be the experienced one.

If I Must Solve A Dozen Geopolitical Problems Just To Have Sex With You Then I Will

Lavish Descriptions Of Historical Clothing

Loyalty Kink

Ritual Sex Magic

Soulmates - they know from a young age that they're soulmates but smth keeps them apart

Emily Kaldwin/The Outsider

General monster boyfriend vibes, the idea of the destined lover, the inevitability of fate vs active and individual choice. I prefer Outsider-Outsider, but am ok with a story that splits between divinity and mortal or sets him as the slightly-off human. Please no naivety/woobie human Outsider.

Xeno - Loving oral on Wet Pinecone Dick (Awapuhi Plant gif)

Xeno - sex shouldn't be physically possible but we're not cowards

Be Not Afraid for I have some excellent dick

Consentacles

Kirin Jindosh/Emily Kaldwin

Coup-tested royalty vs clawed his way up from the gutter genius—the class divide is a huge part of why I like this paring. I like Emily pushing and Jindosh resisting—until he doesn’t—and the idea of the public/private divide as far as behavior.

Masked Ball As An Excuse for Inadvisable Sex: This is just the Fugue Feast, so.

Pregnancy - Impregnator Wins the Throne

Soulmates - Characters have each other's names on their wrists: The angst! How does Jindosh handle this, growing up. (How do you even prove it’s real?) How does his struggle to get close enough to Emily influence his choices? Is he even interested in nobility? How does Emily handle her side? Just give me class issues and the concept of fate/avoiding fate.

The Witch (2016)

Please don’t make Thomasin’s age/youth a kink. In the period setting, she’s more or less a full adult, dresses like one, etc. Also, I would prefer a benevolent/semi-benevolent Black Philip in the sense of a viable alternative to the religion Thomasin was raised in, and a humanoid over a goat. The theme of willing and educated consent is particularly important to me in this one- Thomasin makes her choices understanding the cost, and is an enthusiastic participant, or is actively convinced.

Black Philip/Thomasin (The Witch)

Alternate Universe - Formal Matriarchy: How does the witch commune in the forest work? Where do they get their food/supplies? (’noun, that’s too much thought for a horror movie’) How does this turn out in fifty years/sixty? Listen, I just want a functioning magical matriarchy that yells fuck off/fights expansionism.

Breeding Kink - We Have to Conceive the Chosen One(s) Slash anti-Christ, or a bunch of demons, or whatever.

Lavish Descriptions Of Historical Clothing: Particularly corsets, or the sort of clothing that wealthy women would wear in this time period. She was tempted by a pretty dress, among other things.

Pregnancy - pregnant with multiples

Sex with Monsters

The Marvelous Mrs. Maisel (TV)

Please keep this in the era the show is set in! I am a-ok with period homophobia, but am not interested in a coming out type story where the focus of the struggle is triumph over adversary- I like Midge’s career being the focus, or little domestic scenes. Maybe something where they’re in a relationship by the time she realizes that Shy’s gay? Is she able to handle herself better because of this? I am also perfectly happy if Midge and Susie remain closeted to friends/family during the story/their relationship seems like how it is in the show to everyone else, and there’s no angst over that.

Miriam "Midge" Maisel/Susie Myerson (Mrs Maisel)

Butch woman is allowed to remain butch for entirety of story

Canon Got Fucked and They Lived Happily Ever After

Character A thinks they're just character B's rebound but they're not

Lavish Descriptions Of Historical Clothing

Make This Fic Super Excited About Bing Set in New York

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dorcasrempel · 5 years ago

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Finding the true potential of algorithms

Each semester, Associate Professor Virginia Vassilevska Williams tries to impart one fundamental lesson to her computer-science undergraduates: Math is the foundation of everything.

Often, students come into Williams’ class, 6.006 (Introduction to Algorithms), wanting to dive into advanced programming that power the latest, greatest computing techniques. Her lessons instead focus on how algorithms are designed around core mathematical models and concepts.

“When taking an algorithms class, many students expect to program a lot and perhaps use deep learning, but it’s very mathematical and has very little programming,” says Williams, who recently earned tenure in the Department of Electrical Engineering and Computer Science. “We don’t have much time together in class (only two hours a week), but I hope in that time they get to see a little of the beauty of math — because math allows you to see how and why everything works together. It really is a beautiful thing.”

Williams’ life is very much shaped by math. As a child of two mathematician parents, she fell in love with the subject early on. But even though she excelled in the subject, her high school classes focused on German, writing, and biology. Returning to her first love in college and beyond, she applied her math skills to make waves in computer science.

In highly influential work, Williams in 2012 improved an algorithm for “matrix multiplication” — a fundamental operation across computer science — that was thought to be the fastest iteration for 24 years. Years later, she co-founded an emerging field called “fine-grained complexity,” which seeks to explain, in part, how fast certain algorithms can solve various problems.

In matrix multiplication, her work has now shifted slightly to showing that existing techniques “cannot do better,” she says. “We couldn’t improve the performance of our own algorithms anymore, so we came up with ways to explain why we couldn’t and why other methods can’t improve the performance either.”

Winding path to math

Growing up in Sofia, Bulgaria, Williams loved math and was a gifted student. But her parents often reminded her the mathematician’s life wasn’t exactly glamorous —especially when trying to find faculty gigs in the same area for two people. They sometimes traveled where work took them.

That included a brief odyssey around the U.S. as a child. The first stop was Laramie, Wyoming. Her parents were visiting professors at the University of Wyoming, while Williams initially struggled through fourth grade because of the language barrier. “I didn’t really speak English, and was thrown into this school. My brother and I learned English watching the Disney channel, which was pretty fun,” says Williams, who today speaks Bulgarian, English, German, and some Russian.

The next stop was Los Angeles — right around the time of the Rodney King riots. “The house on the other side of our street was set on fire,” Williams recalls. “Those were some very strange memories of L.A.”

Returning to Bulgaria after two years, Williams decided to “explore her options” outside math by enrolling in the German Language High School in Sofia, the country’s top high school at the time, where she studied the German language, literature, history, and other humanities subjects. But, when it came to applying to colleges, she could never shake her first love. “I really tried to like the humanities, and what I learned is very helpful to me nowadays. But those subjects were very hard for me. My brain just doesn’t work that way,” she says. “I went back to what I like.”

Transfixed by algorithms

In 1999, Williams enrolled in Caltech. In her sophomore year, she became smitten by an exciting new field: computer science. “I took my first programming course, and I loved it,” she says.

She became transfixed by matrix multiplication algorithms, which have some heavy-duty math at their core. These algorithms compute multiple arrays of numbers corresponding to some data and output a single combined matrix of some target values. Applications are wide-ranging, including computer graphics, product design, artificial intelligence, and biotechnology.

As a PhD student at Carnegie Mellon, and beyond, she published numerous papers, on topics such as developing fast matrix multiplication algorithms in special algebraic structures, with applications including flight scheduling and network routing. After earning her PhD, she took on a series of postdoc and researcher positions at the Institute for Advanced Study, the University of California at Berkeley, and Stanford University, where she landed a faculty position in 2013 teaching courses on algorithms.

In 2012, she developed a new algorithm that was faster than the Coppersmith–Winograd algorithm, which had reigned supreme in matrix multiplication since the 1980s. Williams’ method reduced the number of steps required to multiply matrices. Her algorithm is only slightly slower than the current record-holder.

Dealing with complexity

Between 2010 and 2015, Williams and her husband, Ryan Williams, who is also an MIT professor, became main founders of “fine-grained complexity.” The older field of “computational complexity” finds provably efficient algorithms and algorithms that are probably inefficient, based on some threshold of computational steps they take to solve a problem.

Fine-grained complexity groups problems together by computational equivalence to better prove if algorithms are truly optimal or not. For instance, two problems may appear very different in what they solve and how many steps algorithms take to solve them. But fine-grained complexity shows such problems are secretly the same. Therefore, if an algorithm exists for one problem that uses fewer steps, then there must exist an algorithm for the other problem that uses fewer steps, and vice versa. On the flip side, if there exists a provably optimal algorithm for one problem, then all equivalent problems must have optimal algorithms. If someone ever finds a much faster algorithm for one problem, all the equivalent problems can be solved faster.

Since co-launching the field, “it’s ballooned,” Williams says. “For most theoretical computer science conferences, you can now submit your paper under the heading ‘fine-grained complexity.’”

In 2017, Williams came to MIT, where she says she has found impassioned, likeminded researchers. Many graduate students and colleagues, for instance, are working in topics related to fine-grained complexity. In turn, her students have introduced her to other subjects, such as cryptography, where she’s now introducing ideas from fine-grained complexity.

She also sometimes studies “computational social choice,” a field that caught her eye during graduate school. Her work focuses on examining the computational complexity needed to rig sports games, voting schemes, and other systems where competitors are placed in paired brackets. If someone knows, for instance, which player will win in paired match-ups, a tournament organizer can place all players in specific positions in the initial seeding to ensure a certain player wins it all.

Simulating all the possible combinations to rig these schemes can be very computationally complex. But Williams, an avid tennis player, authored a 2010 paper that found it’s fairly simple to rig a single-elimination tournament so a certain player wins, depending on accurate predictions for match-up winners and other factors.

This year she co-wrote a paper that showed a tournament organizer could arrange an initial seeding and bribe certain top players — within a specific budget — to ensure a favorite player wins the tournament. “When I need a break from my usual work, I work in this field,” Williams says. “It’s a fun change of pace.”

Thanks to the ubiquity of computing today, Williams’ graduate students often enter her classroom far more experienced in computer science than she was at their age. But to help steer them down a distinct path, she draws inspiration from her own college experiences, getting hooked on specific topics she still pursues today.

“In order to do good research, you have to obsess over a problem,” Williams says. “I want them to find something in my course they can obsess over.”

Finding the true potential of algorithms syndicated from https://osmowaterfilters.blogspot.com/

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