#i hated the new building stuff mechanic

[a-bee-wizard]

now that the dust has settled: can we all admit that totk just. wasn't really anything. it was just botw again. and i played botw in 2017.

[liauditore]

he is so so tired please get off his lawn

[spaciebabie]

Remember when you said "I dont go here and probably never will" about cotl? That's hilarious to think back on now

BWAHAHHAHA YEAH i dont think it'll be a hyperfixation type deal but i am quite enjoying playing the game :3

gotta thank the people on my dash and friends for being coocoo crazy about that game otherwise i never would have gotten it lol

[neverendingford]

.

[yo9urt]

more minecraft updates...it tests my patience -_-

[level2janitor]

Introduction to the OSR

what's an OSR? it's a game that's kinda like old-school D&D. or is old-school D&D. or is compatible with old-school D&D. an OSR game generally has some or all of the following principles:

low character power with highly lethal combat. in old-school D&D a 1st-level fighter has d8 hit points and a longsword does d8 damage, and you die at 0HP. this is not to ensure characters die all the time but to emphasize the next bullet point:

emphasis on creative problem solving. most situations cannot be solved by straightforward use of your abilities (such as charging into every situation with swords drawn, if a fighter), so the game tests lateral, outside-the-box thinking.

emphasis on diegetic progression. spells are found, not obtained automatically on level-up. you get XP by finding gold more than killing monsters. most of your cool abilities come from magic items. making alliances & hiring followers is encouraged.

focus on managing inventory, resources, risk, and time. the players are constantly faced with meaningful decisions; this is the heart of the game.

very sandbox-oriented. the focus on creative problem solving means the game must be accommodating to players taking a course of action the GM didn't plan for. use lots of random tables to generate emergent story. some elements of new simulationism.

high tactical transparency, i.e., the optimal course of action is rarely system-specific, and ideally very possible for a new player to intuit.

usually semi-compatible with old D&D, but not always. usually rules-lite, but not always.

what does the OSR mostly NOT do?

focus on character builds. these change the focus too much to be on the rules than the fiction, can create situations where stuff everyone should be able to do is an ability locked to one class, and impede tactical transparency.

resolve everything with a die roll. combat uses dice to be scary, unpredictable and most importantly not your default course of action. everything else should bring up dice rarely - dice are your plan B when your plan A fails. the best plans need no dice.

use linear storytelling or put players into a writer/GM role. linear storytelling gets in the way of the decision-making so core to the playstyle; letting players write details into the setting is mutually exclusive with them discovering it.

rules for everything. 400 pages of crunch is worse at simulating a believable world than the GM and players' shared understanding. OSR games rely constantly on GM ruling.

mostly still applies to all the above. making your system a "pure" OSR game comes second to doing what's best for your game.

System recommendations

old D&D or a retroclone

old-school D&D - or old school essentials or basic fantasy or swords & wizardry, which are old D&D's mechanics repackaged with quality-of-life tweaks (and the upside of not giving WOTC your money) - are usually the go-to when recommending someone's first OSR game. they're actually not my first pick, though!

PROS:

very complete, with more robust rules than a lot of the lighter games on this list.

100% compatibility: most OSR adventures are statted for old school essentials. converting them to other OSR systems is usually simple, but not 1-for-1.

easier to find games for. anyone interested in the OSR space knows what old school essentials is.

CONS:

jank. these games largely still have weird saves, level limits for non-humans, some still have descending AC, etc etc. it's not that bad but it is there

i hate thief skills. lots of essential dungeoneering actions are locked to the thief class as abilities, with abysmally low success chances. this is stuff i prefer being handled without a roll. thieves in this system suck and make everyone else worse at dungeon crawling by existing.

there's just lots of really cool shit in other systems i'm about to go into that you just don't get here

Knave 1e and its various hacks

this is a 7-page super-lightweight system that boils everything down to just the essentials.

rolling a character takes like 5 minutes. roll stats, roll gear, roll traits, go. done. it's great.

characters are defined entirely by stats and gear, no classes. wanna be a fighter, have high strength and carry a big sword and armor. wanna be a wizard, have high intelligence and fill your inventory with spells. item slots are elegant and pretty limited.

initiative is instant: roll d6. 1-3, monsters go first. 4-6, PCs go first. swingy, but god it is so smooth and shaves like the most boring 5 minutes off of every combat

monsters are so very elegant. old D&D gives monsters a "hit dice" rating to determine their HP, e.g. a 3HD monster rolls 3d8 for hit points. knave takes this number (HD) and uses it for attack rolls and saves (aside from exceptionally bad/good saves), so a knave statblock looks something like this.

spells are all one or two sentences long & extremely easy to remember.

7 pages is so light. i have the system basically memorized.

DOWNSIDES: there's no dungeon crawling rules (standard for meatier OSR games & something i consider essential) and no real bestiary, though the second point isn't a huge deal cause they're so easy to make. it also kinda assumes you already know how to run OSR games, so there's very little real advice or guidance.

KNAVE HACKS

knave 1e is in creative commons & comes with an editable word doc for you to publish with modifications, so there's a ton of variants (there was a spreadsheet of them somewhere, but i can't find it).

Grave is a favorite - i'm two years into a grave campaign and it's fantastic. it's a dark-souls-y version of knave with some really elegant innovations.

you have a set number of deaths before you for-reals die, as every character plays an undead as is dark souls tradition. makes it good for OSR beginners! being able to tell when you're close to your final death is really good - it lets you emotionally prepare for losing your character & raises the stakes more the more you die. (though honestly you should probably cut the number of extra deaths in half, it's super generous)

XP and gold are combined into one resource, souls. legendary creatures drop big souls you can make into magic items. this has ended up being the coolest thing in my current campaign. my players love finding powerful souls to make into magic items it's so fun

uses preset packages of stats/gear instead of knave's rolled ones, filling the role of more traditional character classes. has the wonderful side effect of not making you get stuck with low stats cause you rolled bad one time.

you have stamina equal to your empty item slots. you spend stamina on spells if you're a caster, or free maneuvers (on top of your attack at no action cost) if you're not. it's super elegant.

there's 3 classes of spells: wizardry for intelligence, holy magic for wisdom, and witch stuff for charisma. nice and intuitive.

there's a page of 50 magic items each a couple sentences long. this PDF is worth it just for the magic items.

DOWNSIDE: see the downsides for knave 1e. all still apply.

i enjoyed grave so much i made a variant of it with the dark souls bits removed (and some dungeon crawl rules added!) to use for my standard fantasy campaigns.

Knave 2e

sadly knave 2e is not purchasable yet (i backed it on kickstarter so i have access, though). but when it comes out i highly recommend it.

much larger and denser than knave 1e. it finally has dungeon crawling rules, it has GM and player guidance, everything is refined and the layout is so so nice and readable.

combat is a bit more interesting than 1e. you can break your weapon against an enemy to deal max damage. you get a free maneuver on high attack rolls.

there's rules for stuff like alchemy, warfare, building a base. it all kicks ass.

there are so many goddamn tables. i rifle through it anytime i need inspiration.

DOWNSIDES: some of the new rules are a little untested & wonky. introducing randomness into how often your rations spoil or your lights go out can cause issues.

Mausritter

you play tiny little mice! in a world full of big dangerous things that want to eat mice. cat = dragon. you get it. what more could you want

the mouse thing is just super intuitive. you get the dynamic between you and the big scary lethal world. fantastic OSR game to introduce kids

nice and robust ruleset; nothing feels missing

tons of super nice GM stuff! faction rules, tools for rolling up hexcrawls and dungeons, plenty of tables

super clean readable layout. font isn't too small to avoid being intimidating. guidance is really nice and clear.

combat is autohit. super fast & lethal.

100% free

look mausritter is just. good. i wanna run it so bad someday

Worlds Without Number

sort of a middle ground between OSR stuff and 5e. paid version here free version here

lots of classes, at least in the paid version. the free version comes with just the warrior, expert and mage. there's feats and more of a focus on builds than most OSR games. if you like more mechanical build variety than a typical OSR game, this is a great game for you!

extremely good multiclassing. y'know how in most games if you just mash together two classes you think are cool you'll end up with a total mess? not here! every combo is viable and works fine! easily the best multiclassing of any game i've touched

an absurd amount of GM stuff and tables. easily more than any of the other stuff i've praised for also having them. but personally i haven't dug into them as much, so i can't really comment on them

skills the way modern D&D has them. you roll dice and try to beat a target number. i don't tend to like rolled skills, but most people do, so if that's your thing WWN has them

DOWNSIDES

the layout is terrible. everything is a huge wall of text with very little use of bold text or bullet points to draw attention to the important bits. the table of contents has like 15 things in it for a 400-page book! i couldn't find any of the paid-version-exclusive classes for like a month after i bought it! looking up rules is a nightmare.

the way the default setting handles "evil races" is like an exaggerated parody of all the problematic aspects of how D&D handles it. like, it wants so bad for you to have an excuse to genocide sentient free-willed people. but at least the default setting is easy to chuck in the trash

Dungeon Crawl Classics

the goal of this system is to take all of the crazy gonzo moments people remember playing old-school D&D in their childhood and turn all of that up to 11 while cutting the stuff that doesn't add to that. i think a lot of its innovations have ended up kind of standard in newer OSR stuff (like fighters getting maneuvers with their attacks), but it still has more to offer.

the funnel: you start the game with four randomly rolled dipshit peasants that you then throw into a meatgrinder to get horribly killed. you pick one of the survivors to be your 1st-level character.

maneuvers: fighters roll an extra die with each attack that gets bigger as you level. if it's a 3 or higher, you get to do a cool thing on top of your attack. pretty standard for OSR games, but this game popularized it!

crit tables: fighters also get more crits and nastier crits as they level. every crit, you roll on the crit table. maybe you chop off a dude's arm. maybe you just knock them over. maybe you shatter their shield. it's very cool

spell tables: i don't really like roll-to-cast mechanics, generally. but DCC goes so all-in on roll-to-cast that it still looks fun as hell to watch. you cast a fireball and maybe it goes how you want. or maybe you explode, or you nuke everything in a half-mile radius, or from now on you permanently ignite flammable materials you touch, or whatever. casters just have to put up with turning into a weird mutated mess across a campaign

there's no dungeon crawl rules, no encumbrance - this game is all about the big over-the-top wacky shit, and is not really interested in the more down-to-earth number crunching. it's more in the you-die-hilariously-all-the-time area of OSR than the you-avoid-death-through-clever-play area. not really my thing but the system knows exactly what it wants to be and i respect it

iron halberd

this one is mine! as the author i'm not qualified to tell you what isn't good about my system, so just assume it's worse than i make it sound, but here's a bunch of the selling points

semi-random character creation where you flip back and forth between rolling dice and getting your own input. roll stats, pick ancestry. pick starting gear kit, roll different dice based on which kit you picked. etc etc. stats are random but all equally viable (no rolling incredibly low or high stats). every time i run this game the character creation is a hit. seriously go roll up a character it'll sell you on the whole thing

you start out a lot stronger than a standard OSR character but grow way more slowly. i don't like 4th-level characters being 4 times as strong as 1st-level ones; HP never gets that high. emphasis is more on diegetic progression instead.

way too many subsystems for alchemy, crafting, strongholds, warfare, renown, rituals, likes 9 pages of magic items, a whole subsystem for becoming a cleric mid-campaign. i couldn't help myself i love this shit

in my current campaign we had a player permanently sacrifice some max HP to become a necromancer after deliberating on whether that's a good idea for like thirty seconds, which instantly made me think my necromancy system is a success

also free

Adventure recommendations

(in rough order of size)

Moonhill Garden (by Emiel Boven): look at this. look at it! this is like the best template for a little dungeon in an OSR game. all of the little factions are tied together. this would be a great oneshot to introduce people to an OSR system with.

A gathering of blades (by Ben Milton): a system-neutral, one-page sandbox. i ran this for an iron halberd game and it went super well. lasted like 7 sessions. highly recommend.

The Waking of Willowby Hall (by Ben Milton): a single dungeon with a million things going on. it's super chaotic with half a dozen different factions crashing into each other and a big angry goose. highly recommend, especially for kids

The Black Wyrm of Brandonsford (by Chance Dudinack): small sandbox with a fun fairytale vibe and a very fleshed-out little town. and a big nasty dragon.

Evils of Illmire (by Zack Wolf): this is a very dense, entire campaign's worth of hexcrawl in a very compact package for like $5. it doesn't do anything particularly new, but the value-for-money is absurd and it's a really good template for how to do a sandbox if you're used to 5e adventures

Ask me anything!

if anything here is unclear or intrigues you, send me asks! i love helping people get into OSR games. i'll link frequently asked questions here if i get any.

[physalian]

In Defense of Fanfiction (Or the perfect starting point for your original novel)

Fanfic gets a bad rap pretty much everywhere except Tumblr. It’s misunderstood and misrepresented by its average works, seen as juvenile and cringey, or a banal point of contention between a famous person or piece of media and its fans.

Outside of fanfic that writes about real people, especially smut fics of real people, I support the art wholeheartedly. Fictional characters are one thing, but personally, caricaturing a celebrity’s life for public consumption and writing or drawing them in compromising content without their consent is a little weird. You do you. Don’t like, don’t read, as they say.

Fanfic is the perfect starting point for a few reasons:

It places you in a creative box and forces you to work within those constraints

It does all the worldbuilding and character concepts for you

It lets you write way outside your comfort zone

When published and receiving feedback, it boosts your self-confidence

It's incredibly flexible

It’s practice. All practice is good practice

—

Behold your creative box

When I was little I had no idea the majority of fanfic was shipping fics. I always pictured and looked for canon-divergent alternate universes. Like, what if X happened in this episode instead of Y? What if this character never died?

Fanfic demands you work within someone else’s canon, whether it’s an OC in the canonical world, or the canonical characters in an AU. These are like little bowling bumpers saving you from the gutter, but also keeping you on a straight-ish path toward the pins.

The indecisiveness of too many choices can be too intimidating when you’re first starting out. You want to be a writer but you have no idea where to begin, what genre to pick, what characters you want to chronicle, what themes you want to explore.

Even if it sits on your computer never to see the light of day, you still got those creative juices flowing.

Pre-packaged worldbuilding

Sometimes all we want is to get to the good stuff. Maybe I want to write a story about elemental magicians but Last Airbender already exists and I just want to play in a pre-existing sandbox. So I write some OCs into that world and have a free-for-all.

I don’t have to come up with my own lore, world history, magic system rules and mechanics, politics, geography—any of it. I get to just focus on the characters.

Even if you’re writing an AU, like say a coffee shop AU, you don’t have to think about brand new characters, you can just think “What would M do?” and go from there. The trade-off is your readers will expect canonical characters to behave in-character, but I think it’s worth it.

Stretch beyond your comfort zone!

Do you hate writing action scenes? Go practice with a shonen anime fic. Need work on dialogue? Write some high-fantasy fic, or a courtroom drama. Practice a fistfight by watching fistfights and writing what you see, and do it over and over again until what you read makes you feel like you're watching what’s on screen.

But beyond that—practice genres that you aren’t super familiar with. If you’re new to fantasy, write fantasy fic. Or a mystery novel/show, thriller, comedy, satire, adventure, what have you. The nature of fanfic still gives you those “guardrails” and you can get some brutally honest feedback on how you’re doing.

And, of course, the realm of M-rated romance and smut fics. I haven’t because I think I would die of embarrassment if I tried and I never intend to include sex scenes in my works anyway, but if you do want to, use the internet as your test audience. Post it on a throwaway account if you’re nervous.

Build that self-confidence!

The fandoms I used to write for are super dead, so it’s insane how I still get email notifications that so-and-so liked my fic to this day. Comments are as elusive as ever, but random strangers on the internet telling me they liked my work is a magical reassurance that my writing isn’t actually awful.

Random strangers on the internet are, as we all know, beholden to no moral obligation to be kind to your little avatar face, or be kind to be polite. So a rando taking the time to like my work or even leave a positive comment can feel more honest than one of my friends telling me what they think I want to hear.

I tend to avoid the more present aspects of fandom like online communities, forums, social media, what have you, so I get a delayed and diluted aspect of any given fandom through completed works. Which means, in general, I get to avoid the worst and most toxic aspects of fandom and get to sift through positive feedback and critique.

Even if your fanfic isn’t written with stellar prose, it’s fanfic. We don’t expect Pulitzer-prize winning content. And if your work isn’t up to snuff, people are more likely to just ignore it than put you on blast (at least in my experience, I never got a bad comment or a “flame” in the old FFN days).

Fanfic doesn’t care about the rules of published literature

On the one hand, try not to practice bad habits, but with this point I mean that your layout, punctuation, formatting, paragraph styles, chapter length–all of it is beholden to no rules. I get as annoyed as the next reader with giant blocks of paragraphs, or the double-spacing between pages of single-sentence paragraphs, but if the story’s good enough I might ignore it.

There’s more than just straight narrative fics, though. People write “chat” fics, or long streams of text and group chat conversations. The scene breaks can come super rapidly–I’ve seen fics with a single sentence in between line breaks to show the passage of time. And without the polish of a traditionally published novel, I’ve never seen a purer distillation of author voice in any medium more than fanfic.

All practice is good practice

Even if it’s crack fiction, or a one-off one-shot, or something meant to be lighthearted and straightforward and free from complex worldbuilding and intricate plots. It really helps break writer’s block when you can shift gears and headspaces entirely and you can get relatively instant feedback to keep you motivated.

Beyond that, the “guardrails” help you stay consistent as far as character growth and personality if you struggle with designing rich characters.

The most recent fanfic I wrote was just a couple years ago, for a dead fandom I didn’t think would get any traffic whatsoever. It wasn’t my original works, but the feedback on that fic gave me the kick in the butt I needed to get back into writing more seriously.

—

In short, I support fanfic. I may not be proud of my earliest fics' prose now, but I am proud that they walked so I can now run.

[thankssteveditko]

Sony's PlayStation 5 Presents Insomniac's Marvel's Spider-Man 2 (the third game in the series)

I beat the main story and have enjoyed my time with the game overall! I want to talk about spoilers and things that I liked and disliked in the story, so here's a post with some scattered thoughts.

(Hello! I haven't forgotten that this blog exists! Like I said, no update schedule, I will read more of the Lee/Ditko comics whenever I make time for it. I've actually been sitting on a mostly-complete version of this post since I beat the game in October, thinking that I'd finish the rest of the side quests so I could throw in thoughts on those. But... eh, I'll do that whenever the inevitable DLC rolls around. I just wanna get these thoughts posted.)

Spider-Cop No More

First off: they downplayed the cop shit!!! This was the first thing that really struck me about the game, and I'm stunned that they actually listened to criticism on this. I thought we'd just be stuck with it forever.

It'll never be completely gone, of course. Spider-Man is always going to leave criminals webbed up for the police to take to prison, hoping that they'll do their time and come out the other side as Productive Members of Society. That's just a thing I begrudgingly accept as part of the genre that will probably never go away. But Spider-Man is no longer repairing police surveillance networks. You're no longer beating the shit out of random drug dealers. Gangs of escaped convicts still wearing their orange jumpsuits are no longer terrorizing the streets of New York.

Instead, Peter and Miles are played more as firefighters. Sometimes very literally! They work with firefighters, they rescue people from collapsing buildings, they rush injured people to the hospital. In general there's a huge increase in the number of random onlookers present during the big action setpieces, and the Spider-Men frequently have to save them from harm. One of the major side quest lines is even literally about a cult of arsonists, and you'll routinely find burning fuel tanker trucks you have to extinguish with your webs. It's great! Love this for them.

I also generally liked the side missions in this. There's a lot of good stuff with the Spider-Men being neighborhood heroes willing to help out anyone in need, no matter the problem. Some of them can get corny, sure, but that street level stuff has always been the real heart of Spider-Man to me.

Gameplay

The gameplay's as fun as ever. That probably goes without saying. I will not be spending a thousand words explaining that swinging is fun.

In particular, I really liked the changes to the Focus mechanic. I never loved the way Miles' game made you choose between healing and doing your special attacks, but here your four specials have their own cooldowns, and the Focus meter is spent on either healing or finishers. It still offers that risk/reward element, but those vicious cycles where you can't do any real damage because you keep needing to heal aren't nearly as bad as they were before.

Personally I didn't turn off the swing assist or turn on fall damage, because the streamlined swinging never bothered me in these games, but I'm glad the options are there for people who want them.

Kraven

I liked Kraven in this! I liked the way they leaned into his Hunters being this weird death cult, and him wanting to go down in a blaze of glory against a worthy foe, to the point that he's actually disappointed anytime a foe can't kill him. It riffs on things people liked in Kraven's Last Hunt without being the exact same story. I like that Kraven's gang is renting out this manor or whatever and just being a complete terror to the wait staff. I liked the way Kraven hunting Peter's rogues' gallery clashed with Peter's belief in giving his villains second chances. I liked that they were willing to have Kraven kill off a couple of the minor villains from the first game to sell how dangerous he is. (I know some people hated this, but like, come on. We already fought the Sinister Six. They don't need to do that again.) I like the way Kraven pushed Peter to the absolute brink, turning him more and more aggressive with the Black Suit. Good stuff all around, even if the Hunter enemy types did wear out their welcome a little bit by the end.

The Black Suit arc

I think I liked the way Insomniac handled Peter's Black Suit arc overall, but there's a tradeoff here.

They REALLY lean into the body horror tentacle stuff, with Black Suit Peter basically just being a skinny Venom by the end. The sequence where you play as Mary Jane while the symbiote puppets an unconscious Peter's body around and goes on a rampage against the Hunters was REALLY great at selling how scary Peter is becoming, and it made me completely change my tune on the inclusion of the MJ stealth missions in the sequel. Having to beat an out-of-control Peter as Miles immediately after Peter beats Kraven was also really good. This is all cool!

BUT, the thing is... with the symbiote powers being so freaky from the start, it really pushes my suspension of disbelief when Peter and co. take so long to become wary of it. I guess when you've been bitten by a radioactive spider and given superpowers, and when you live in the same universe as the Avengers and the X-Men, your perception of what's "normal" is going to be pretty warped. But they buy the whole "organic exosuit created to treat Harry's illness" story WAY too easily lmao. How do the self-aware slime tentacles help with his illness, exactly?

And I'm not sure how I feel about giving Peter Anti-Venom powers in the last act. It feels like it's primarily a concession so that they can give players that branch of their skill tree back, but honestly, the designer in me thinks it would be really cool (if risky) to just permanently lock players out of Peter's most powerful skills past a certain point. Yeah, it'd definitely piss people off, but it drives home the idea that Peter's given up greater power because it's the right thing to do. It'd put you in his shoes! Instead he just gets the symbiote powers back, but it's fine because the Venom voice in his head is gone and also the slime tendrils that explode out of his body are white now, which means they're good.

I have to say it. I'm sorry. The glistening white goo... they turned Peter into the Amazing Cum-Man. I changed back to the Classic Suit after rolling the credits and forgot I still had the Anti-Venom skills equipped, so I just saw regular old Spider-Man exploding his white goo everywhere. Terrible.

Assuming Peter is just stepping into more of a supporting role to Miles and not fully retiring after the events of this game, I really hope the Anti-Venom stuff is gone. I get that he needed it to counter Venom, but that's not what I want for Peter Parker.

Miles

Miles is good in this, and I really like his arc where he struggles with whether or not he should avenge his dad by killing Martin Li. I like how all that plays out. Unfortunately, they don't quite stick the landing when it comes to making him and Peter feel like equals in terms of narrative focus. His arc is definitely the B-plot to Peter's for the middle chunk of the story, which I guess was kind of inevitable since they decided to do the Black Suit arc. But Miles does at least get a lot of moments to shine, and by the end he's very much taking the lead as the main Spider-Man.

Becoming the main Spider-Man also gets Miles a new, wholly original suit that ended up being super controversial, and honestly... I kinda like it? Or at least I like what it's going for, even if the actual design could still use some work. It's something totally unique for Miles, and I like spandex/streetwear combo suits like what the Spider-Verse movies have popularized. But showing his hair is really pushing the limits of his secret identity. He hangs around Brooklyn Visions WAY too much for his classmates to not recognize his voice and haircut. And I understand why people would be wary about it becoming his "canon" look moving forward. But I think it's got potential.

On the subject of Miles, though, I will say that while I liked Miles' side missions, it feels like he's often saddled with the game's broad, kinda touristy, kinda token attempts at Showcasing The Diversity Of New York, in a way that Peter isn't.

I like that Miles has a deaf graffiti artist girlfriend that he and Ganke sign with, and I like that there's a series of side missions that explore some local jazz history, and I like that there's a mission where Miles helps a gay classmate ask his crush to prom. I like all these things! I like Spider-Man being involved with his community, and that said community includes such a wide variety of people! I like that this game slows down to savor these types of moments instead of just being all action all the time! But when I step back, I notice some patterns.

Hailey doesn't have a big role in the main plot, especially when compared to MJ, but Miles gets a side mission where you briefly play as her with muffled audio to teach you what being deaf is like. There are no major queer characters in the story - unless you count Felicia showing up for exactly one mission to mention she has an unseen, unnamed girlfriend in Paris now - but you get a side mission where Miles helps out a gay couple at his school, who then never come up again. To put it very uncharitably, they can feel like Very Special Episode missions. It's like the devs going: we're going to give Miles a Gay Mission, and an Impaired Hearing Mission, and a Cultural History Mission, so that we can say we touched on these things, but we're gonna make them all optional and keep them far away from the full-blown Superhero Stuff like fighting costumed villains. Those flavors cannot mix. Meanwhile, Peter gets to have a whole elaborate subplot about teaming up with Wraith to track down fucking Cletus Kasady. There's an imbalance here, and I think it's part of the reason why Peter still feels like the "main" Spider-Man for so much of the story.

I think this was all written with admirable intentions, but as others have pointed out, you can kinda tell that this game was mainly written by some white guys based in California. These attempts at depicting various marginalized groups can feel kind of detached in the same way that Insomniac's map of New York doesn't quite line up with the real thing. But I dunno. I'm not really the one to dig deep into some of this stuff as a white woman from Florida. I would be curious to read others' takes on this.

Maybe I'm just being overly cynical about the writers' well-meaning but corny and kinda out of touch liberal politics because of the podcasts.

The podcasters

I wish Jameson was in this more! They psyched us out by giving him a full character model for, like, two scenes. I like him being MJ's boss, but I wish we saw inside the Daily Bugle offices to get more Jameson.

At least his podcasts are better than the ones in the Miles game, though. Him completely trusting in Roxxon was just too much for me. Here he condemns Oscorp for the symbiote shit, and he also gets some moments where he takes the ongoing crises seriously and isn't just ranting about the Spider-Men. He isn't just a conspiracy theorist crackpot here. Shit like his "fuck Spider-Man, we have a justice system for a reason" speech makes him feel more like a human being with a point of view, rather than just a caricature. Definitely an improvement.

Unfortunately, I still find The Danikast grating. I'm sorry, Ashly Burch. It's not your fault. The quirky heckin' wholesome millennial podcaster lady who catches you up on current events and then reminds you to drink 64 ounces of water a day in the same breath is just too much for me. At least she doesn't have any lines as bad as her throwing in a "damn" and then going (direct quote here) "That's right - no censoring! That's how REAL I'm being right now!" like in Miles' game. Instead they give her this, like, almost psychic insight into the main plot to try and make her the angel on Peter's shoulder. The second Peter gets the symbiote she's like "Wow, y'all. Have you seen Spider-Man's new black suit? Something's different about him. He's been giving me such bad vibes lately. #NotMySpiderMan" Also she's supposed to be this, like, underdog independent podcaster who started her show on a whim and has become the voice of the people... but she's got billboards plastered all over the fucking city. Which makes her feel like an industry plant lmao

Again, there's a detachment with the writing. This is, like, some middle aged white liberal game dev guys' idea of what a modern leftist teenager would think is a Cool Activism Podcast. Unfortunately, because Insomniac thinks Danika's a hero, Mary Jane's triumphant ending is that she quits her job at the Bugle to become a podcaster, too, delivering a thinly veiled monologue about the pandemic to kick off her new podcast literally titled "The New Normal." She's going to save the world with podcasting, because that's the highest form of activism, I guess.

Venom

So! Venom! Venom was... okay.

Surprising no one, Harry Osborn is Venom. Harry's okay both as himself and as Venom, but I'm not sure his arc is a smooth one. He starts out as Peter's comically perfect best friend who returns to reminisce about the good ol' days and hand him his dream job on a silver platter, and then later he becomes a little ball of rage over the fact that Peter gets his symbiote and can't/won't give it back. I'm not sure that pivot is handled the most convincingly. You kind of have to write it off as the symbiote messing with their heads, I guess.

When he actually becomes Venom, I'm... mixed on the execution. On the one hand, the cool factor is absolutely there. He's a very cool big monster, and Tony Todd is great in the role. But he also wants to take over the world and make everyone a symbiote, and aside from any lingering resentment towards Peter, that's really all there is to him. It makes for a good video game to have a bunch of symbiote enemies and creepy symbiote nests and symbiote tentacles climbing up the sides of buildings in the last act... but is that really what I want out of Venom? Probably not. But he sure does look cool as a big monster guy to fight, and I was happy he was briefly playable.

Suits

Part of me feels like there's something lacking about the suit selection here, but almost every suit I liked in the previous games is back, and also I'm the type of person to give Peter the Classic Suit the second I unlock it and use that for most of the game. So does it really matter for me?

Peter's selection feels dominated by the various live action movie suits, but I get that those are going to be some of the suits people want to wear the most. I wish he had the Peter B. Parker skin to go with Miles' Spider-Verse alts, though. No idea why it's missing. Really I think I mainly just want more of the Spider-Verse designs.

Also I've complained about how most of the original suits designed for these games make Peter and Miles look like they were bitten by radioactive Alienware products, but I can just, you know. Wear other suits.

Misc thoughts

Everyone's already made this joke, but it's extremely funny that the Avengers didn't help with the symbiote invasion. Took one look at that and decided it wasn't their problem

On the subject of other superheroes, I do wish these games would acknowledge the Fantastic Four more. Peter's close relationship with that team feels woefully underutilized in his various adaptations

I like the trope of a boss fight that's a heightened version of a personal conflict between two people who are close, where throughout the fight the boss is airing out their grievances while the hero tries to get through to them emotionally. That especially works for Spider-Man! But WOW has Insomniac played that card a lot of times by the end of Spider-Man 2 lol

They're teasing the addition of Silk, I guess? I'm gonna be honest, I don't know shit about Silk, but I guess it was inevitable that they'd give us some form of Spider-Woman at some point. Gotta work all those costumes in somehow, and they're not brave enough to let one of the boys cosplay as Spider-Gwen.

They WERE, however, brave enough to let Harry say he loves Peter. I liked that little moment. They presumably meant it platonically, but clearly ol' Yaoi Lowenthal knows what's up

Post-leak addendum

So, obviously, by the time I got around to finishing this post the big Insomniac leak happened. I wish the game industry wasn't so secretive that it took a massive, dangerous data breach just to get our hands on some very basic info that would be public knowledge if Insomniac was a film studio, but here we are.

We now know that Insomniac spent somewhere around $315 million making Spider-Man 2 - triple what the first Spider-Man game cost to make. A quote about this from a leaked presentation has been stuck in my head ever since I first saw it on Twitter. “Is 3x the investment in [Spider-Man 2] evident to anyone who plays the game?”

To be honest, I'm not sure it is.

I liked Spider-Man 2, but I'd probably say that overall I liked it about as much as the first game. It's certainly a somewhat bigger game, with marginally more realistic looking graphics thanks to the power of the PS5. But I think I could do without ray tracing and more realistic hair rendering and whatnot if it meant that these games didn't take like five years and hundreds of millions of dollars to make. I could not give less of a shit if the swinging animations were recycled between games. I'd be fine with them being shorter, too.

I like these games, but as we look at that leaked project lineup and realize that Insomniac is turning into The Marvel Game Studio, I think about how many smaller, more original games that those resources could go towards if they scaled back the Marvel stuff just a bit. How many Ape Escapes or Patapons or Gravity Rushes could get made for the budget of just one of these massive AAA tentpole games of Sony's, which are apparently barely even breaking even? How many could be made for the budget of the "smaller, cheaper" Miles Morales game, which somehow cost $156 million to make despite using an updated version of the same Manhattan map from the first game? Hell, how many smaller games could have been made with the $39 million that went into remastering the first Spider-Man game for PS5 a mere two years after launch? How many people will lose their jobs if any one of Insomniac's upcoming Marvel games underperforms - which, in this case, could mean selling "only" 5 million copies? And would hardcore PlayStation fans even accept those smaller games at this point, now that they've been trained to only appreciate mega-budget Prestige Games with cutting edge graphics and treat everything else with disdain? How much worse will this get as the graphical arms race continues?

I think I just miss Japan Studio. Fuck Sony. Uhh but anyway the Spider-Man game this post was supposed to be about was good, some writing complaints aside. 8/10

[phoebepheebsphibs]

Double-Mutated Mikey

Chapter 8: Recollections

Continued from the short story written by @boots-with-the-fur-club

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Raph sits down on his bed, grabbing a stuffed bear and rubbing his thumb over its worn-down stomach.

The room is dim, but not dark. The main light is off, but the hanging lanterns he has strung along the wall give a warm red glow to the room.

Ever since his krangification, Raph's eye has been a bit sensitive. It waters easily, stings on occasion, and bright lights irritate him. He's started wearing sunglasses outside more often, even on cloudy days. Donnie offered to make an artificial eye to help, but Raph said no. He'd rather keep the eye, even with its attitude and quirks.

"I'm not ready to be a cyborg just yet," he'd joked.

He thought that much of a change would be too big for him, after all the changes he and his family have already gone through.

Now a mechanical eye doesn't sound so crazy or scary.

Raph hugs his teddy bear. It squeaks in his arms. He thinks of how similar it felt to holding Mikey before he got mutated...

He grimaces, scrunching his face up tight and pressing his hands against his head, trying to force the thoughts away.

Mikey is still Mikey! Just with a few new... he won't call them upgrades. Changes. Nothing that can't be reversed, of course.

But... what if they can't be?

Raph presses his hands even tighter against his head.

Stop it. Shut up. Shut up!!

He doesn't want to think about this. He doesn't want to think about Mikey. Not in this way.

He feels like he's betraying him somehow, thinking of him as a monster or a wild animal rather than a brother. But then, he feels like he won't be able to help him if he keeps thinking of Mikey as he was before, and not accepting that he is changed now. But then, he won't stay changed. But then...

"SHUT UP!" Raph yells to himself, slamming his fists against the bed frame.

His ninpo activates, giant red fists breaking the bed slightly and causing the edge of it to slip under his weight and crash against the floor. Raph yipes in alarm, looking down at the mess he's made.

"...Nice going, Raph," he grumbles, grabbing some boxes of dumbells from the corner of his room to prop up the extension on his bed.

He sighs, sitting down on the edge of the mattress again, head in his hands.

He tries to stay strong. He tries not to break down. His family doesn’t need that right now, they don't need a basket case or a worry-wart or whatever else they might call him. They need Raph, strong and brave and ready to take on the world.

But he needs Mikey... he needs his baby brother back, safe, sound, whole. Not broken, not bloody, not feral and confused. He wants Mikey home again. Home in his own body.

Raph starts crying. Although he's disappointed in himself for it, he is glad that he can finally get the tears out. He presses his face into his stuffed animals, trying to get it all out all at once.

Raph hates himself so much right now...

Because...

Because it is all his fault...

.

.

.

"...But I don't see WHY we have to wait!" Raph gripes, Mikey sitting beside him, drawing random doodles on his arm wraps while he listens to the rant. "If we know that the place is doing villain stuff, shouldn't we go in to stop em?"

"I mean, Leo's decision does make a little sense," Mikey counters, taking a big yellow marker out and drawing a smiling sun on Raph's arm. "It's a pretty big building, dude."

"I'm not saying we storm the castle," he responds, waving his arms in exasperation.

Mikey scolds him and brings his arm back down to continue his work.

"I'm just saying that we could scope out the place instead of ignoring it completely!"

"We're not ignoring it," Mikey corrects. "Donnie is gonna run surveillance on it. Leo's gonna have Cass and the girl scouts check it out. Besides, when did you become the go-getter? I thought you and your Raph-chasm would have preferred taking it slow and safe!"

"Raph-chasm?!" he sputters. "Is Leo spreading that slander around?"

Mikey giggles.

"You do know we've been calling it that for years, right?"

Raph growls angrily.

"Dang it, Leo..."

Mikey giggles again.

"But for real, Raph... why are you so antsy?"

"I don't know... just a gut feeling. There's been reports of all kinds of crazy stuff since the invasion, and most of it has something to do with that new organization Donnie and April told us about..."

"What did they call it again? ESP?"

"EPF," Raphael corrects. "Earth Protection Force, or some junk. But the building they're occupying is labeled Techno Cosmic Research Institute, or some junk."

"Doesn't sound so bad," Mikey hums, taking out a blue marker and drawing a mini version of Leo on Raph. "Sounds like a radio shack from the 90's or something!"

"Maybe, but it bothers me that this new weird mystery organization is everywhere." Raph shudders. "It's unsettling. What if they find us?"

"Find us...?" Mikey turns his head up. "What do you think they'd do?"

"I don't know. But I don't trust em. Something about it all just... bugs me."

Mikey is quiet for a second. He places the cap on his marker. He's managed to draw everyone in the family but himself.

"Well, if it bugs you, then... let's go check em out!"

"Wait, huh?"

"You're gut says they're untrustworthy? Then that's enough for me!" he says, jumping up from his spot. "Let's go see how bad they are."

"But... Leo said..."

"Weren't you the one just complaining about how you didn't think we should stand still and do nothing?" Mikey challenges.

"I know. But Leo is the leader, and I want to show him that I trust him."

"We do!" Mikey exclaims. "We're not storming a castle, we're checking out the scene. Leo wants to wait until we can get some actual intel? Then let's help him along! Let's grab a few listening devices or something and place them along the windows."

"Well... that would help... but we leave at the first sign of trouble, okay?"

"Absolutely!" Mikey salutes. "Now, am I breaking into Donnie's labs to get the spy stuff or are you?"

Raph chuckles as he stands, cracking his knuckles.

"You get the spy equipment, I'll get the weapons. Meet you at the tank."

The two give quick nods before heading off in separate directions.

Raph rushes to the training room and grabs the weapons. It is only then that he sees Mikey's doodles.

Oh, he should change his wraps. He doesn't have time to clean them off, and besides, he knows Mikey prefers to take pictures of all his doodles before getting rid of them.

Raph quickly grabs his sai and Mikey's nunchucks before heading to his room, grabbing a spare roll of black bandages, and carefully but speedily removing the one on his right arm. He just needs to replace the one arm, Mikey hasn't gotten to decorating the left yet. Maybe when they get back he can finish it...

He races back to the tunnel, seeing Mikey leaning against the ginormous tire of the turtle tank as he waits.

"There you are! Ready to go?"

"Sure thing. Do you wanna try driving tonight?"

"Can I?" Mikey asks with excitement.

"Sure, why not? You need the practice."

Mikey squeals with delight as he climbs in, Raph following suit.

The two drive away, making plans while Raph gives Mikey impromptu driving lessons. They joke, they laugh, Raph clings to his seat when Mikey's turns come in too sharply.

"Park over there," Raph says, pointing to an alley closeby to the targeted building.

Mikey nods with an "aye-aye, cap'n!" as he makes another sharp turn and hides the tank in the alley, activating a cloaking device Donnie came up with recently.

"Okay, got the listening doohickeys?"

"Right here!" Mikey says, reaching out and producing several small, round baubles with purple centers.

"Alright, so all we're gonna do is ninja up there, ninja a few of these around the perimeter, and then ninja out."

"That sounds just like the time future Leo saved a war camp!" Mikey giggles. "Or whatever Casey Jr. said."

"Uh, okay?" Raph offers. "I'll pretend like I understood that."

The two exit the vehicle and slink around the block, coming up on the building.

It looks like a normal building. No more than 13 stories, small windows with frosted glass, a rotating door that leads to a small lobby, a few security guards and an intern behind a desk. Above the door is the acronym TCRI, bright and silver surrounded by white LED lights. There's graffiti on the side of the wall, with what looks like an artist's rendition of the 'New York Heroes'. Mikey takes a quick selfie with it before getting back to the unsanctioned mission.

"You take the left side, I'll take the right," Raph whispers. "We don't have a lot of listening gadgets, so use 'em sparingly. Got it?"

"Got it!" Mikey whispers back.

He takes his chucks out and swings them up. A long glowing chain activates, and Mikey starts to scale the wall, swinging to the opposite side.

Raph starts pressing the small devices to the wall, doing two for each floor. Once the gadgets stick to the bricks, the purple centers start to blink.

After about five minutes, Raph's phone buzzes. He pulls it out to see that he's getting a call from Donnie.

Uh-oh.

He declines the call.

He presses two more devices to the wall before Donnie calls him again. Raph groans and pulls the phone out, answering it.

"Hello?"

"Oh, Raphala, where are you?" Donnie asks. His tone sounds cheerful and fake. He can tell he's seething.

"Um, nowhere..."

"Nowhere? Really? Then, would you care to explain to me why I am getting bombarded with notifications about my spy tech being activated? And why when I checked the garage, the tank was gone? And why I cannot find you, nor Mikey, nor your gear anywhere within the lair??"

"Um... bad connection?" Raph tries.

"What are you doing."

"Nuthin'," Raph says, his voice squeaking. He clears his throat and tries again. "Just, y'know... ninja stuff."

"I can clearly see your location, Raph."

"Shoot, I forgot about that," he hisses. "I mean, uh..."

"Is that Raph?" Leo's voice comes into the call.

"Oh no," he groans.

"Let me talk to him."

"You had your chance," Donnie speaks into the phone, before handing it over to Leo.

"Raph. Where are you. What are you and Mikey doing with the listening devices."

"Okay, well, we were thinking," he starts, moving away from the alley for a moment as he talks with Leo on the phone. "We were thinking that maaayyybeee it would be a good idea to get some surveillance on the TCRI place before our next big mission, and so --"

"And so you ignore the fact that I said to wait?!" Leo yells angrily. "Raph, we TALKED about this! I thought you said you were gonna let me be leader without pulling these kinds of stunts behind my back!"

"I'm not pulling any stunt! All we're doing is setting up the devices, then leaving! We just wanted to try and see if we could get any intel on them to help! We're not stupid enough to just go in and mess around, ya know!"

"Where's Mikey?" Leo asks exasperatedly. "He isn't answering his phone."

Raph turned back to look at the building he's walked away from. He looks up, and can see Mikey standing on the roof, looking around.

"He's on the roof," Raph sighs. "I'll go and get him."

Raph puts Leo on hold as he runs back to the building. Once in the alley, he starts jumping between walls, doing impressive parkour as he bounces back and forth and flips off of fire escapes until he's at the roof.

But Mikey isn't there.

Raph walks to the other side of the roof and looks over the edge.

Mikey isn't on the ground.

He notices a vent panel has been jimmied open.

"Oh no."

Raph grabs his phone.

"Um, Leo? I think he went in..."

"WHAT?!" Leo screams at him, causing Raph to pull his phone away from his ear.

"Why would he go in?!"

"I don't know!" Raph whimpers. "I told him we were only doing the exterior--"

"You shouldn't be there at all!"

"Should I go in after him?"

"No, don't -- wait for a minute, call him, maybe he'll answer you."

"Okay, yeah, I'll do that," he says, trying not to panic. "Call you back soon."

Raph hangs up and quickly dials Mikey.

It rings once before he answers.

"Shello?" he whispers.

"Mikey? Where are ya?!" Raph hisses at him. "I thought we said no inside stuff!"

"I saw a weird van pull up," he explains. "They took a krangified person in through the back."

"They what?"

"Yeah, I know. I wanted to see what they were gonna do with him."

"Mikey, I think you should get outta there," Raph whimpers.

"I will in just a sec, I think I found the room where... huh..."

Mikey's voice trails off.

"Mikey? Mikey, what is it?"

"I'm not sure... hold on a sec, 'kay?" Mikey whispers, his voice soft and secretive.

"Mikey, get out of there, now!" Raph scolds.

Mikey doesn’t respond.

Raph waits for him to say something. Anything. He hears Mikey gasp quietly.

"Ohmigosh," he whimpers. His voice is weak and his breathing fast. "Okay, that's enough for me, I'm coming out now!"

"Mikey?! What did you see, what's going on?"

He hears a clattering sound, a stifled gasp, muffled shouting.

"I dropped my phone," Mikey whimpers in fear. "I think they heard me."

"GET OUT NOW!" Raph yells. He dials Leo, adding him to the call.

"Raph? What's going --"

"Mikey's been made," Raph says in a panic.

"Get out of there, now!"

"Leo?" Mikey whispers nervously. "Is that you?"

"Mikey, we're on our way now, just get out as fast as you can! Don't worry about whether or not you're seen, just get out!"

"I'm trying!" Mikey cries nervously. "I'm stuck in the vents!!"

Raph hears a loud clang, followed by Mikey's screams and a thud.

"There he is!"

"Get him!"

"Come'ere, kid!"

Mikey yells in protest, terrified screams as he shouts at them to 'let me go, stop, leave me alone!'

Raph yells out into the phone. He's not sure what he yells, only that he wants Mikey back. He hears Leo yelling, too.

"Raph! Leo!" Mikey screams.

"MIKEY!!" the two yell back in unison.

The line goes dead.

A blue light ignites besides Raph, and Leo jumps through immediately, gasping for air as he stares down at Raph, who is on his hands and knees, holding the phone like it was Mikey's only lifeline.

"Where is he?" Leo pants. "Where is Mikey?"

Raph can't do anything but shake.

Mikey got captured... Because of him...

.

.

.

Raph lifts his face from the army of plushies he has been confiding in.

He takes in a deep breath.

He stands, going to a drawer and pulling out the wraps from that day. Almost a week ago.

The drawings are still there. The sketches and doodles are all intact. The image of a family is there, with each member colour-coded. Red, Blue, Purple... but it's missing their Orange brother. He never did get to finish that portrait.

Raphael leaves his train car and walks over to Mikey's. The door is wide open.

Inside, he sees Leo, slumped over on a beanbag chair and snoring softly, his mouth fallen open.

He hadn't said anything about sleeping in here.

He must've wanted to check on Mikey, too...

Raph grabs of one the extra blankets and pillows and adjusts his brother so that he can sleep more comfortably.

He takes residence in another beanbag chair opposite him.

Once settled, Raphael watches Mikey, who is sleeping peacefully and undisturbed, his tail swinging from side to side and his claws twitching on occasion.

Raph sighs.

Tears silently streak down his face as he cries himself to sleep.

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[beevean]

If I’m being honest, you are all getting way too hung up on fake diseases and attacking a writer as if he personally attacked your family. It’s a strange obsession you have and you guys always come at any small nitpick as if it’s the end of the world. It’s a weird obsession and you have all been doing it for years. Maybe you liked Sunset Heights getting a remix but you also play victim when people don’t like the 2010s games. You can see Sonic is more successful now and doing things much better but you just like to sit in your anger towards the series for years. I’ll add that you’re much more sane in your reactions than RandomtheFox, but this whole side of the fandom here is so pathetic. The endless loop of anything new coming out for Sonic, and your little posse hating on it because it isn’t the meta era or because Ian Flynn has his name on it makes me glad you guys are a small minority in the fandom.

Do you want to know why we're discussing this?

If you go back and read our discussions, see how much we brought up with this little detail!

I looked up the effects of low gravity on the human body: I learned something new about science. I tried to put into words why this detail is harder to accept than Sonic breathing in space: this is about stories and world building. I immediately found a replacement idea. We discussed about SA2, its gameplay mechanics, its cutscenes. Someone even brought up the idea of drawing parallels with AIDS and how it would affect Maria. Negativity can stem from a place of reasoning, "how would I do that?", and it makes me use my brain in a fun way. I'm aware it's a inconsequential detail, but I'm having fun!

As for the rest of the message, yeah, we are a minority. Which makes me wonder why you care so much about a group of, what, four people?

Why don't I get any engagement when I'm positive, but suddenly people are up my ass when I talk about something negative? I didn't even tag most of my posts. Bro half of the Sonic fandom blocked me already because I'm a dirty sinning IDW non-enjoyer. I am not bothering anyone.

By the way, my negativity about IDW once even resulted in me writing a fic about it. Again, creativity and genuine discussions about writing a story and its downfalls. It nourishes the brain.

I don't like this new direction for Sonic. There, happy? I don't feel catered to, as a 2000s fan, by all this "REMEMBER WHEN WE WERE COOL????" stuff, not to mention I'm just not a Shadow fan so seeing him with wings and shit does nothing for me. I am annoyed because this used to be a franchise dear to me, but the current environment, both games and fandom, alienates me. I am also aware that, precisely because I'm in the minority, I'll just have to wait until ST changes trend again.

If my writer side activates when I talk about a writing decision I don't like and I'm having fun dissecting it, let me, alright? You can find me cringe, if you want to, but I'm not doing anything different than other fans, just directed towards a less acceptable target and in the privacy of my blocked blog.

Also: to be perfectly honest, if it only takes me one day of mild bitching to get anons yelling at me that I'm a joyless bastard doomed to be sad because I refuse to be happy, it kind of makes me want to be saltier out of spite. I'm already a bad person, might as well, right?

[dreamsy990]

so, re:chain of memories, huh?

warning! its been a little while since i played through recom, so the game isnt as fresh in my mind as some others. sorry for any innacuracies!

spoiler alert, this is my second favorite kingdom hearts game. at least of the ones i've played so far. i get that this isn't like. a POPULAR opinion but fuck you i have almost nothing but positives to say about it.

let's start with the easy stuff first. recom introduced a new card-based combat system. i cant compare it to the gba version, since i didn't play that, but i can say that for what its worth i DID enjoy the combat. recom is by far the hardest game so far (at least for me) and almost every boss took multiple days for me to beat, even with my hp maxed out. it took me a while to get the combat system, but id honestly love to replay the game now that i have a better understanding of how it works. the card system requires a lot of quick thinking and i get that it isnt everyones taste but its CERTAINLY mine. every fight is difficult and feels genuinely rewarding when you win. the movement, like kh1, can use a lot of work, but i wouldnt call it terrible. just kinda sluggish. i think my favorite boss fight was larxene. shes a pain in the ass but i love her.

i think riku's side dropping the deck building mechanic isnt terrible, but i wish i could reorder his deck at the very least. and the lack of healing cards is. not fun. basically any damage you take is permanent unless you HAPPEN to get mickey and its simply Not a fun time. im not very good at games okay.

i have a lot less to say about the worlds than the combat. they're definitely the worst aspect of the game, though. the idea of making worlds with cards is fine! it just leads to kind of repetitive world design. the stories are forgettable, so forgettable that i literally forgot them. and i could make a point about how thats the idea its a game all about forgetting things!! but honestly that just making excuses for it. the worlds couldve kept the idea of forgetting things without literally making them forgettable. i say this about every world, except for one. because DESTINY ISLANDS

destiny islands is just. so fucking good in recom. its the climax of both sora and rikus stories and i think theyre both amazing. id have to say i prefer rikus, soley because of the visual storytelling you get from his side of it, and thats not to say soras is bad at all. but something about zexion telling riku that its his fault his home was destroyed, as riku sees a version of himself turning into a literal monster? thats just good okay. its really good.

i ADORE the characters in this game too. everything we get from them is sooo good. it's the introduction to the organization and all of them (except lexaeus who did literally nothing) are a treat. axels my favorite ofc, but larxene is such a fun villain, you love to hate her. shes really the star of the org cast in this game. sure, axels may have said its his show now, but larxene stole the spotlight.

its namines introduction, too, and i love her. on one hand, shes just really kind. she wants a friend, she wants someone to talk to, she wants to meet sora. on the other, shes just a little bit fucked up actually. sure, shes honest with sora, but shes the tiniest little bit guilt trippy and i LOVE THAT. her response to sora saying he wants to get back his own memories and forget her is "oh okay. you want to remember your REAL friends, huh? theyre the ones who REALLY matter to you? yeah anyone would want that. no friends for namine i guess." like shes just a bit salty and we love that for her. i want slightly guilt tripping and salty namine back nomura.

but ofc one of my favorite new characters in this game HAS to be repliku. god i ADORE repliku. his hatred for riku is sooo fun and the way he fights with sora is great too. like in soras side i thought he was a neat villain but rikus side? hes amazing omfg. one of the only villains i liked in rikus story (sorry lexaeus, you werent good until days)

over all, this game certainly isnt everyones cup of tea, but its DEFINITELY mine. it's the game im most excited to replay at some point, mostly because of the amazing boss fights. 9/10. its got issues, but the story and characters are so good that i genuinely could not care less about like. most of them.

[cochart]

Here’s my Hogwarts Legacy OC.

And here are some impressions of the game. I like it fine by the way.

Here are HL friends in Persona style btw.

I bought this game on sale recently and so far have been enjoying it. It’s a fun enough game even though I was never obsessed with Harry Potter except when I was like seven.

Here are some of my thoughts, some good and some a bit critical I guess.

1. Good but not memorable

Maybe because I was never obsessed with Harry Potter series the way some people are, I found the game decent but not memorable (e.g. Zelda or Persona level). It’s decent; in other words, it’s a bit bland. I don’t have any particular complaint about the game mechanics, but I don’t have anything particularly nice to say either. The exploration is fun enough. The battle can be a bit repetitive but overall okay. Collecting trinkets and doing puzzles can be amusing. But none of this all comes together to leave a strong impression. I think it’s a decent RPG for weekend fun though, especially if you’re a Harry Potter fan. That it’s not too memorable also means that it’s average a.k.a. you likely won’t have to ragequit this game. The gameplay is pretty easy, so it would be perfect for casual gamers who don’t want no Dark Souls taking over their weekend.

2. Character design matters

In an RPG, having a good character design matters. This is partly due to the fact that I don’t really enjoy the “realistic” rendering that so many western games employ, but I found the overall character design less than charming. Customizing my own character feels so much less fun when it’s hard to find a charming build. I’m sorry, but why does every option for my character make her look like she’s thirty-five? I feel like a damn PhD candidate in Hogwarts already without my character looking like she’s thirty-five years old. By the way, I also considered making a male character, but the male characters look equally old and not that charming. I think it’s partly the hair. Almost every hair option makes your character look thirty-five.

The NPCs don’t fare much better either. Yeah, they’re nice and I find Natty pretty cute. But that’s about it. They all have their stories and stuff, but something is just lacking.

It’s not like I want anime character design either. A style like Arcane would have been awesome.

3. I feel like a Mary Sue

I’d say being a Mary Sue might be better than being an emotional support character for dev’s Mary Sue, but it still feels weird to me. Maybe it’s because I’ve been playing too much Atlus games recently and in their games, everyone’s out to kill you. I’m not used to characters fawning over me. There are many moments including when you’re taking a class that you’re blatantly praised for your abilities. The Ravenclaw boy gushing about how you must be a part hippogryph during your flying lesson is one of them.

Everything about the plot makes you a Mary Sue as well. You’re this mysterious new kid with ancient magic powers who excel at everything. I know it’s somewhat necessary in an RPG, but this game makes you feel like you’re playing some “Modern Girl in Hogwarts” game. I don’t hate it that much, but it still feels weird.

4. Missed opportunities

I’ve played old EA Harry Potter games and loved them, but I don’t know if it was a good idea to make an original Hogwarts game a solo exploration game. To me, one of the charms of HP series is the focus on the friendship and the adventures of the trio. In HL, you’re alone most of the time. I know a lot of modern players don’t deal well with turn-based games, but I think an original Hogwarts game that is turn-based where you can build your party of Hogwarts students would have been quite fun.

I also feel like there are a lot of missed opportunities with the school life content. Cramming in classes and having afterschool adventures would have made it feel more like life and Hogwarts where you’re not a graduate student.

Here, so you can get stressed thinking about crammed scheduling!

For an open exploration game, I’d rather have preferred something like Fantastic Beasts where you’re an adult. The game taking place in 19th century London would have been awesome. You’d be a recently graduated wizard who’s working both in wizard and muggle world solving some crime or something. This could have also made a better opportunity for the stealth element in the game as you can try to be discreet around the muggles.

[elemom]

What are your thoughts on Echo and Dr. Julien's relationship?

Hi anon. I sure hope you’re prepared for a yap sesh!

I have SO MUCH to say about them.

TL;DR: Echo is Julien’s son AND his deeply flawed creation. And that dynamic is Difficult.

We’ll start off with:

Dr. Julien’s Perspective

Ok so i think the most important thing to get outta the way is that i don’t think Julien is *evil,* but rather he occupies a “creator” dynamic with echo (and by extension, zane) i’ll explain more, hopefully

I personally think Julien created Echo out of desperation and loneliness. The first time he was lonely, back in the birchwood forest, he built zane, and that basically fixed his loneliness problem. After such a long time in the lighthouse, he was desperate for *anything* to help him in his isolation.

Thus, I don’t think he was in a clear mindset when he was creating echo. Fueled by grief and a little bit of hubris (*he created mechanical life for crying out loud, he should never have to be alone again when he can just infinitely create consciousness!*) he used zane’s blueprints to build a brand new nindroid.

As the process went on, i think he lost more of that clarity and ended up wanting this nindroid to be a new zane, something he would later be deeply ashamed of when he realized he basically just built a replacement son. Once echo is complete enough to be activated, I think he realizes just how bad of a hole he’d dug himself. He’s disappointed: not in Echo, in but himself. He tried to create a life in the image of someone else, and he couldn’t even do that right.

Which brings me to the “creator” dynamic. While Julien sees Echo as a son, he also sees him as his creation; he’s something to fix and perfect and fine tune. Echo is imperfect, and as a creator, Julien wants to fix those imperfections. He views Echo (and zane) as sons, but also as his creations, and that’s a *really* hard dynamic to balance.

(as an aside, I dont think echo or zane mind getting tune ups/upgrades/etc. I think a lot of the internal conflict julien has with echo is because he needs *so many* fixes that it’s hardly feasible to do, so he’s left dealing with echo’s imperfections and echo is left as kind of A Mess.)

Now all the stuff I mentioned above about the creator + creation dynamic is still there, but I don’t think it’s the MAIN thing going on. I really truly believe Julien was a good father to Echo despite their circumstances. Like, I think he made Gizmo as a buddy for Echo like he made the falcon for Zane, he made toys and stuff for him, played chess with him, etc. However, I think Julien’s disappointment with himself and his regret over creating a replacement for Zane occasionally comes through.

Which leads me to…

Echo’s Perspective

Echo is completely 100% trusting of Julien. That’s the big thing, I’d say. After all, it was Julien that gave him life, who cares for him and reassures him when he’s down. (And he’s also the only other person Echo knows.)

It’s this trust that leads to Echo’s…. Issues. See, Echo eventually comes to realize something’s up with how Julien sees him — or at least, how Julien seems to act when certain topics about his creation come up. Like I mentioned in his section, Julien can’t hide the disappointment/regret/etc he feels about creating echo — none of which are echo’s fault of course. But echo sees that he’s imperfect and that his father sometimes gets upset and he blames himself for that.

Echo knows Julien doesn’t hate him. He knows he’s trying his best and that he really does care. But he still wants to do everything in his power to make Julien happy. So he’s keenly aware of how he’s Not Zane and how he’s Not Perfect and how his father created him to Be Zane but didn’t do a great job at it. Julien always reassures him that he loves him, and it’s true! Julien *does* love him. But Echo feels like he could be doing better.

Depending on your interpretation and headcanons and AUs and all that, Echo can stay in this state of trust after s2 (waiting in the lighthouse for an eternity) or go in the complete opposite direction (Rejecting the idea of being Zane and becoming Mr E)

I might go into more detail about Mr Echo and how being found by the SoG impacted his view of Dr J. If you wanna see that, I’d be glad to infodump abt it on another post :3c

I also have some thoughts about Why echo got left behind in the lighthouse, but i dont think any of them were out of malice on Julien’s part. Some are worse than others, but I think he wanted to go back Eventually.

Maybe he died shortly after s2 and didn’t have the time to go back. Maybe Echo had shut down due to malfunctions and Julien didn’t know he was alive (Gizmo would have repaired him before the events of s6). Or maybe Julien was procrastinating, because he would have to admit to zane that he tried to replace him. Or maybe he just forgor 💀

ANYWAY thanks so much for asking!!! If you or anybody else ever wants to hear any more hcs feel free to send me asks about them. Because I have a LOT to say. I have put enough mental energy into thinking about the jfam that i could probably power Los Angeles for a month.

(disclaimer, many of these HCs come from melting together a bunch of ideas from fanart and fics and HC posts on tumblr, so a lot of these thoughts aren’t original.)

[alexanderwales]

Every now and then I try to find a mobile game to play, for when I have downtime while waiting in line or picking my son up from school or whatever.

It's shocking how many clearly competent games have been utterly crippled by predator designs. You start off playing something that's engaging and well-paced, with interesting mechanics and a clear gameplay loop, and then twenty minutes into it they start holding out their hand and saying "money please, give me the money or you can only play at a trickle, or there are some mechanics whose only purpose is to suck the joy out of everything". The sound design is good, the art is good, this was clearly something that a team of people spent a lot of time and effort on ... and the whole thing just buckles under the weight of the monetization.

I started playing Sandship: Crafting Factory and it's a game that's clearly taking some inspiration from Factorio, except you have a mobile "sandship" so have to do some constrained little builds to output iron plates or whatever. The gameplay is in hitting production goals, building and rebuilding these small internal factory floors, and it's exactly what I want in a mobile game ... but then it comes to a standstill unless I want to engage with their microtransactions, or grind through the "free to play" stuff.

I am more than happy to pay money for games. I have more than a thousand games in my Steam library. But there's no option to have the game without that junk, and even if you paid money, you would have to pay money again down the road, because that's how they design their system.

So there are hundreds of games that look fun, and for the first ten minutes are fun, but it's all a colorful, predatory trap. And look, I don't want to be complaining about microtransactions on mobile games in 2024, it's not a new problem, but it's just so damned pervasive and I hate having a hobby where I've got people trying to trick me.

(The use of misleading art has been a whole other thing, because you get these gorgeous, evocative screenshots that lead into shitty games. It's always been a problem, but I think AI art has made it a lot worse.)

[fleur-a-whump]

Hey!

....I guess it's about time I got around to doing this, huh? I'm Alise. I'm an adult and I use she/her. I've been around a while, building up from lurking to interacting to posting in this community. I've been writing whump as a hobby since I was around ten years old, but I didn't discover the actual whump genre until I was in high school, and even then it was just on ao3. honestly, finding this community has done incredible things for me, because it allowed me the space to freely enjoy something I've long had a deeply guilty pleasure for. my relationship with whump hasn't always been healthy as I've used it a lot as a coping mechanism and I attached a lot of misplaced guilt and shame to that enjoyment. but learning about other people's relationships with it and exploring why I use it as a coping mechanism has helped me so much. like I've learned so much about myself through this community, and I've received nothing but kindness and encouragement from people in the community as I dipped my toes in. you are all incredible and I can say nothing but thank you for everything you've done for me so far.

ANYWAY now for the fun stuff

My Writing:

Overloaded - ex-villain whumpee, hero whumpers, hero caretakers, supervillain whumpers, multiple whumpers and caretakers, bad team dynamics, shock collar

Asks are totally open btw!!!

loves:

kidnapping/captivity

restraints/bondage/gags

hero and villain stuff, especially villain whumpee

pet whump

just about any supernatural whump, especially demon and vampire whumpees

team dynamics!

RANSOM/HOSTAGE SITUATIONS

I do enjoy nsfwhump so you will see that on my blog

carewhumpers and caretaker new whumper

intimate whump

comfort and recovery arcs (I swear I'm going soft, I'm now actively seeking out recovery series lmao)

dislikes:

I need at the very minimum the possibility of a happy ending

on the same wavelength, I kinda hate character death

medical/lab whump

I tag like a mad woman so stuff should be pretty well labeled I hope

I guess thats all. thanks for having me :)

[wutheringmights]

Thank your for the chapter. This is me submitting my request for director's commentary.

Sorry this is very late.

But, you know.

*gestures wildly at the state of the world*

This is the first chapter in a long time where I was actively having fun writing more than 30% of it. Writing doesn’t always have to be “fun” for me to write it, but spending most of this year stuck on two chapters I absolutely hated did a number on me. 

I still didn’t get to everything I wanted in this chapter; I have been trying to get to the fallout for the Knights of Hyrule encounter for most of this year now (jfc!), but I’ve had to expand the plot points leading up to it. This entire Castle Town arc was planned to be one chapter. Past Frankie was insane for thinking that was possible. 

Pacing-wise, this chapter really did need to be on its own. The important plot points needed their own space to breathe; trying to shove all of this and the contents of the next chapter into one would have led to a lot of things being overshadowed. So even though everything is still moving along relatively slowly, the pacing is somewhat on purpose this time. 

As previously stated on this blog, I sorely neglected updating AO3 with the new chapter total. There is 6 chapters left (5 plot chapters, then an epilogue). Rest easy. This story will take me a while longer yet to complete. 

That being said, don’t be too surprised if I keep budgeting in more chapters. But if this story needs more than 40 chapters, I will abscond from society and become a sheep herder in, like, Iceland.  

(Sorry to front-load the housekeeping information; I usually keep this stuff for the end,  all of this provides context for my first bit about the actual chapter.) 

I am so happy that pre-heart connection stuff with Proxi got its own chapter, as opposed to being included with the post-connection drama of how Link starts clawing his way out of his depression. 

I mentioned last chapter that everything with the first Proxi meeting was an utter failure to me. While this chapter doesn’t erase the problems of the former, it nonetheless is an improvement and more in-line with how I wanted this Proxi storyline to go. 

Link’s depression baths is 100% me projecting-- I had a season of my life where everything in my life kinda fell apart and I became extremely depressed and anxious. One of my coping mechanisms was to constantly take showers. Like Link, I got up to around four showers a day before I was told to knock it off for the sake of the water bill. 

Depression causing a lack of hygiene and self-care is fairly well-represented in media at this point. I relate way more to depression causing a spurt of “good” habits (that are just maladaptive coping mechanisms in their own right) more, and I want to include more of them into my writing. Link seems like the kind of guy who would overcompensate like that too. 

The events of the chapter were condensed from my original vision. The party and the fireworks were going to be two separate incidents, but I wanted to cut down on the bulk of writing each chapter requires of me (more on this later). Luckily, the original idea for the fireworks also included celebrating a holiday (New Years), so the change was easy to pull off. 

I did lose an aspect of that scene I really liked though: Link knowing he was experiencing a trigger deciding to hide in his cellar, all the while congratulating himself for reacting normally while Proxi is like hiding in a cellar isn’t coping, Link!!!!

Fireworks being a trigger is a bit of a cliche, and a part of me really wishes I found something more unique to trigger Link with. But fireworks is a really effective shorthand, partly because it’s so prevalent in real life, and partly because contrasting a celebratory activity with war trauma is so evocative. 

It’s also very silly how significant events in Link’s life keep coinciding with holidays and birthdays. I want to acknowledge both for the sake of world building, but going through the effort of developing them is only worth it if there’s a plot point attached.

But who hasn’t had moments of great revelations while at the family Thanksgiving party?

I like the idea of various holidays/feasts in Hyrule having different levels of importance depending on your tribe or what region you live in, as well as them being celebrated differently depending on your culture. 

Both the Sheikah and the Hylians would place heavy significance on the feast since Hylia is one of their main goddesses, but they would be celebrated differently. I brushed a bit on the idea of the religious ceremonies being different, but I cut back on sharing more of my ideas for the specific celebrations. 

Very specifically, I wanted the Sheikah to have a tradition of performing theatrical plays of significant cultural moments (basically a kabuki-theater version of a nativity play) (can you tell I was raised catholic?). 

I have plans to do something involving a kabuki play next chapter, so I won’t elaborate more on what the play was supposed to be. However, the play did get cut because I planted Link in the banquet hall with no care to move him from that spot. 

I like the idea of moms who are flawed moms in really normal ways. The way Ayane’s mother is very sweet to Link while having these rigid standards for Ayane is very real to life, in part because it’s based on how a lot of mothers I know act to their child’s friends versus their actual child. 

In a similar vein, I’m also fascinated by mothers who fail their children in such specific ways that it would only be a failure to their child-- like a mother giving too much independence to a child who needs more help, etc. That’s my design for these slow (and hopefully subtle) reveals of how Link struggles with his mother’s memory. On one hand, it’s obvious that he was made to feel like a failure of a child, and he probably knows that was wrong of her. On the other, she was a good parent overall and she’s dead. If you have never experienced that particular cocktail of guilt, let me just say that it messes you up. 

The kids who were doing the snowball fight are Ayane’s friends, which is why one of them remarked that Link was going to yell at them again (see: when Link yelled at Ayane the first time he picked her up from school). Katsuki is the only friend of Ayane’s I’ve consistently named-dropped, so I hope that cued you in to who these kids were.

Speaking of which: I stole that name from Bakugo from My Hero Academia. I was watching the show at the time, and I like the character. Ergo, I stole his name.

Link being very aware that he had been triggered during the fireworks show-- I have a very specific gripe about the way people write PTSD that bleeds through this sequence that I cannot explain in a sentence or two. But what’s important is that I have experienced that moment when your body is triggered but your brain isn’t-- so you can start to feel yourself freaking out while in your mind you know there is no threat, yet the body’s reaction starts to cloud your mind, causing a spiral of anxiety and panic. 

Proxi visiting the fairy fountain in Kakariko is one of my favorite scenes. I just like how simple it is, and how it gives a glimpse into what Proxi’s life is like outside of Link.

I did momentarily freak out after posting because I was worried I didn’t make it clear before this chapter that while there is magic lingering at the fountain it can’t heal. But no one has mentioned it yet, so I think I’m safe to wait until a future chapter to clarify that.

Fairies being too small to have more than one emotion is of course taken from Peter Pan. As a long-time lover of fairies (my childhood hyperfixation), it’s a whimsical idea that I just adore. I originally wanted to use that idea as justification for Proxi mirroring Link’s emotions without Link mirroring hers. 

There would be scenes where he is utterly calm while she’s freaking out or crying because he’s good at covering his feelings, but she can’t. I thought this would rid her of too much agency, so I changed it to a mutual sharing of emotions so that Proxi has more space to her own person while still being his “translator.”

I also like the idea of Link being able to gather the ability to talk, but only in relation to comforting Proxi. That’s development, baby. 

I do wish I rewrote that last scene where he feels Proxi’s joy for the first time, as I really like the idea that he would feel a sense of helplessness and horror to be controlled by another person like that. What’s there now is fine, but it could be better.

Now, onto the present-day section: 

It is very, very obvious that I meant to end the last chapter with that conversation between Warriors and Lincoln. Like I said, the original version really sucked (or at least, my original prose describing what the Chain’s arrival at the castle was like). It makes more sense for Lincoln to drop the information about Lionel in the same chapter Lionel is name-dropped.

Lionel was originally going to be Lincoln’s name, but I picked Lincoln since it has the more obvious tie to the Link-Linkle naming pattern. 

Also, this chapter includes a much needed discussion about the ethics of blaming all of the nation’s problems on a single ethnic group. On one hand, it is stupidly effective to utilize bigotry to gather power, and it’s a rhetorical technique even a more morally-upstanding Warriors would use. On the other hand, that’s an objectively terrible thing to do oh my god. 

So I kinda had to go in and cover my bases of having the characters talk and acknowledge what the implications of Warriors’s plan is. The big glaring issue of this conversation is that it also implicates Lincoln and rids him of his moral superiority. 

Personally, I kinda struggle to think of a real-world equivalent to the dynamic I established in the story, where the institution of the Sheikah does a lot of harm while the people within the institution are experiencing the social-consequences of being associated with it. The best I can come up with is Mormoms. 

Either way, I live in fear someone is going to tell me that this is actually about an underprivileged group I am not aware of currently, and I am contributing to their oppression by not critically analyzing Link and Lincoln’s plans correctly. Which would be a valid criticism to make, but one I could avoid if I had just worked out in advance what the hell is this is an accidental allegory for, educated myself, and then fixed the issue. 

If you guys can think of something, let me know so that I can get started on educating myself and such.

The Castle Town arc’s recurring theme is just bureaucracy, which does not make for exciting storytelling. But I do think it’s fitting for Warriors, who used to benefit from the system, to realize all the ways it’s not made to actually help people. I also think he’s the kind of person to realize he doesn’t have the time or ability to rehaul it entirely and has to settle on trying to work within it.

I can finally reveal my “Midna is a fantastic public servant” agenda. My girl was explicitly stated to be a good and dedicated ruler in Twilight Princess, and I will not let anyone else forget it. 

I really wish that this was more of an ensemble story so that I can write about Hyrule and Sky’s adventures in the Castle Town nightlife

If there is one thing I don’t really like about this chapter, it’s the sequence from Warriors talking to Lana about Cia to the end of Icarius’s capture. Reading it back, it really comes off as very corny and very carelessly written.

I initially planned for Icarius to be captured during the bell ringing in the lead up to Warriors trying to draw the Master Sword

I was imagining a scene where they are watching the news about the invasion be announced and, as Warriors is cursing the bad luck of it all, Spirit would just scrunch his brow and say, “Captain.” And Warriors, who is unfortunately drift compatible with him, would be like “go ahead.” And then Spirit would motion for Linkle to follow, and the two of them would reappear after the Master Sword rejected Warriors with Icarius already tied up.

The problem was that would block Spirit off from understanding the whole Master Sword rejection thing, and I really needed him to carve up Warriors’s hand. 

So I punted this whole ordeal with Icarius off to another chapter, and I have been scrambling trying to find another spot for him.

Ultimately, I do think this worked out because I have no idea what the hell the would have done with Icarius during the networking scenes.

After being disappointed with how this version of the capture scene turned out, I was very tempted to cut it and just have Spirit and Linkle haul Icarius into Warriors’s office, but I didn’t want to cut out a scene of Linkle being a bit of a badass. 

And let’s talk about Icarius, because it’s been a while since we’ve thought about him.

First off, you can tell that I was having a lot of fun this chapter trying to find ways to let them have a conversation with Icarius when he can’t speak verbally and they don’t know his sign. The dictionary combined with the gesturing seemed like a fun but logical solution.

Though, in the back of my brain, I kept remembering how stupid I thought that bit in Iron Flame about the translation was. So when I wrote about Warriors translating Faovarian with just a dictionary, I was sitting there feeling like the biggest idiot in the world. 

This scene also reminded me how tragic it is that Icarius can’t speak, because I know how hilarious this man would have been with sassing his captors. 

I also got a chance to put forth the core tenant of Icarius’s feelings for Warriors: mainly, that he thinks Warriors is both insanely handsome but ultimately stupid as all fuck. 

When I first made it clear that the House of Nephus was a reflection of Warriors, Time, and Spirit, I totally thought someone would put together that Icarius, as the Spirit-equivalent, was trying to save Philo. No one ever remarked on it, so maybe it was too obvious to mention. 

(If I were to ever do another one-shot side story in the style of Smoke the Pipe, I would probably do one about Icarius’s life before the events of the plot, if only because I have a lot of ideas of how Faovaria works and how Icarius and Nephus got to where they are now; though I doubt anyone would be as interested in my silly OC’s as I am). 

I also thought someone would figure out Philo was related to the whole Fused Shadow plotline when, in his introductory scene, he used Midna’s powers. I thought it was obvious. 

I also like the idea of the Dark Interlopers having different legacies outside of Hyrule; generally, I’ve just had a lot of fun taking different bits of canon Hyrule lore and figuring out how they could fit into a greater world. My favorite (not in this chapter) example is when Nephus referred the the Three Goddess as oracles mistaken for goddesses. We know Din and Nayru appeared as oracles outside of Hyrule, and Nephus’s line implies that they are still important folk figures in Faovaria, just not goddesses. 

Spirit’s snarky good luck being the nice version of his thoughts is exactly the kind of bullshit I would pull as a socially-inept kid; he realized what he originally wanted to say was too mean so he wanted to convey some kind of recognition that he understood Icarius’s thought process but still wanted to warn him how hard it was going to be. He really, genuinely thought good luck would be the nicest way of conveying that. He’s so bad with people. I love him. 

And, god. Time. Poor guy has walked around his entire life feeling like there has only ever been one person who ever cared for him, only for that one person to turn around and be like yeah I regret helping you. 

Then there’s Warriors who is starting to learn to not let himself get tangled up in fights against Spirit, who is so wrapped up in trying to stop this war that he doesn’t even have the energy to entertain Spirit’s bullshit right now.

Which leaves Spirit alone, with only Warriors to cling on to. 

His conversation with Warriors in the hallway is another favorite of mine, if only because it sounds really natural. I think my dialogue is too on the nose sometimes, so I’ve been trying to let the characters talk around themselves way more. 

Hot tip: if you are writing about men, make sure you mention their facial hair and shaving habits. As a long-time lover of facial hair, I love hearing about characters growing stubble or having to remember to shave in the morning. It’s a little detail that gets overlooked in fiction a lot, and I’m so bitter about it. 

Oh, the newspaper article. Let’s chat about that now. 

Public opinion plays a big role in political intrigue, which I never see enough stories taking advantage of. I knew from the beginning that I wanted Warriors to get exposed in the newspaper after he was well into cleaning up his act, but I wasn’t sure how to go about it. 

As many of you know, one of my most infamous cuts from the story is an original character who was a journalist during the war producing propaganda about Warriors. In the present day, this journalist would have felt so guilty for the role they played that they would have been on the pursuit of writing a story about what really happened back then. They would have been a neutral to antagonistic force in Warriors’s life. 

You can probably guess that this expose was supposed to be their work-- a decision to finally report truthfully despite being asked to lie once more for the greater good. I really wanted to juggle with the ethics of propaganda, and to have a moment where Warriors straddles that moral line by wanting to utilize propaganda for the greater good (but for real this time). 

I cut the character because a) there were too many bozos in this story already, and b) I didn’t think that a plotline about propaganda would be the most useful in a story about a kingdom where the people’s opinion does not matter (in retrospect, that’s a misconception on my part about what propaganda is used for). 

In some ways, I think it did hurt the story a bit to not have a specific character attached to the article. However, I ultimately like having no specific journalist attached to it since it places the blame more squarely on Impa. 

Writing the full article out was most definitely not the best use of my time or the best use of space, but I was worried that if I did not, readers would be really confused as to what the general public did and did not know. 

Stylistically, the article is meant to be more of an profile/investigation piece over a straight-informative blurb. The best example I can find is this article from the Cut on Usha Vance.

(I have spent the past month deep in the anti-Vance think pieces. Fuck both of them. I can’t believe I am going to have to keep hearing about these bastards probably for the rest of my life.)

As you can see, there is the occasional use of first person and more storytelling techniques used alongside facts. I chose this style mostly to make sure the article wasn’t too boring to read. 

I also struggled picking good numbers for the article that would sound severe, without being over the top. I think I picked some realistic stats. But if I messed up, it would be very funny and would invalidate all of my bitching about Fourth Wing’s bad numbers. 

At least I got to use this as an opportunity to drop some new info on you, such as...

Marigold was 19 when she gave birth to Warriors. Yeah, there’s a bit more to the Marigold story that is still left to be uncovered. There is a thematic reason to why Warriors does not seem to acknowledge how young she was when she became his mother.

How do I put this? There’s an irony in him knowing that he was failed by being made responsible for the kingdom at 17, and then not realizing that Marigold was also failed in a similar way. I think people generally have a problem realizing that the problems they see in the world are more widespread than they are, and that they take on multiple forms. And when one thing is wrong in the world, it usually is reflected elsewhere in an unexpected way. 

Warriors believes that Marigold had a responsibility to take care of him because she was his mother despite her age. Warriors had a responsibility to be the hero, despite his age. He understands that just because society at large saw this as his duty, it doesn’t mean it was right. He doesn’t realize this wasn’t Marigold’s duty either to take care of him.

I explored this idea earlier in the story with the use of child soldiers being contrasted with Kat’s underage prostitution. 

Also, Anders Brecht. His last name is a reference to Bertold Brecht, the playwright.

It’s nice to get his story out of Warriors’s perspective of my friend betrayed me and into this is a well-educated activist who was executed for trying to make positive change in the world. To this day, it surprises me how many people were not sympathetic to the turncoats in this story.

Another thematic point: both Anders and Marigold were the Hyrulean-equivalent of leftists. Despite having their influence on him, Warriors still turned out far more moderate than them, and far more prone to causing harm. Insert rant here about how just because you surround yourself with good people doesn’t mean you will turn out like them, etc. 

Spirit being ashamed about the article-- Spirit is definitely someone who understands that just because someone knows you went through some shit, it doesn’t mean they will really give you the validation you want. He’s what happens when the vitamin fantasy doesn’t yield the acknowledgement you thought you were going to get. 

And, finally, Warriors gets put into a corner and manages not to resort to using Spirit to his advantage. I enjoy that Warriors’s determination to not use Spirit as a pawn to sway public opinion back into his favor comes at the cost of, well, being on the verge of losing the goddamn fight. Oh Warriors, you can be a better person now but being a good person doesn’t win wars. 

While the opening conversation between Lincoln and Warriors would have 100% worked better at the end of the last chapter, I do think it’s nice that their conversations are bookends. 

I do think it’s kinda silly that celebrities have to apologize for doing something wrong to the general public, and a part of me wanted to use this story as a means to point that out. But I also have to admit that there is a social reason why we expect it, and I have come out on the side of pro-apology. 

This is the first time in-story that Lincoln hugs Warriors. 

Warriors really needed someone to tell him that they were proud of him and, I won’t lie, I also kinda needed it at the moment of writing. As much as Warriors still has a lot to learn and improve on, it feels good to see him get some of the praise he desperately needs. 

Warriors’s character arc really is just him realizing that while he has to do his heroic duties, he would much rather be living a quiet domestic life with his family. Well, he always knew he wanted that. He just went about it wrong with Spirit and Time. He’s just getting to start over with a better perspective and less coercion. 

And finally, the Knights of Hyrule are arriving. I’m not lying when I say that I have spent most of this year trying to get to this stupid plot point. I thought the trip to Castle Town to now was going to be one chapter. That was back in March. It’s November now. Ugh. 

So yeah. That’s the chapter. 

You might have noticed that my style is a bit different this chapter. Looking back on old chapters, I can see myself overwriting in a lot of places, especially in the narration the explore’s Warriors’s thought process. I’ve been trying to cut that back in order to both clean up my writing and cut down on the sheer bulk of words every chapter requires.

I think it’s working out so far, but I won’t blame anyone for thinking the chapter is a little underwritten, or it seems like I’m putting in less effort into the story. 

Ideally, I would like to get two more chapters out by the end of the year-- one for each month. I have no idea how that will work out when I am as busy as usual and the holidays are coming up. But I will try my best. 

(I also just realized that there is three weeks left to the month and I have not started the new chapter yet. Oof.)

(If I keep up the chapter a month pace, the story will end around April, aka: CTB’s next birthday.)

Thank you to everyone who has kept up with this story for so long. I love writing long stories, but there’s always a point where readership peters out (not surprising; comes with the art form). CTB has long hit this point (taking a four month break this year did not help), so I appreciate everyone who has kept up so far and everyone who has recently given this story a shot. Hopefully the next chapter will worth all the time and dedication you have shown this story so far <3