#immersion evolution series

[syrinq]

me being obsessed with bg3 causing me to read forgotten realms lore even though i think 99.9% of it is pretty stupid because they ain't telling me why something exists outside the "oh events just happened" or "it's cool" reasonings (like the majority of rather popular fictive settings)

[neptuneiris]

could you pretend to be in love? (04/10)

The Evolution

pairing: modern!aemond × fem!reader (fake dating)

summary: the time comes for you to step out of your comfort zone a bit, so the party begins and you and Aemond must pretend in a new environment.

word count: 7.3k

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new chapter!🥳

before you start reading, I want to thank you for all the support I've received with this fic, it's the best and it means a lot to me that you're liking it so much🥺 there's still a lot to come and I can't wait for you to join me in the future chapters, so look forward to it!❤

and now yes, read and enjoy!

warnings: smoking, mention of weed, alcohol.

It's not like you're an alien, you've been to parties before, it's just not your favorite way to have fun.

And as you enter the huge house with DJ, colored lights pointing in all directions, beer pong tables, people dancing in the middle of it all with the music blasting in your ears and the smell of beer in the air, along with cigarettes and weed, you don't let go of Aemond's hand at any moment.

Fortunately not everyone notices you when you enter the house together, mostly because everyone is immersed in the big party, but some heads do turn to look at you and Aemond.

And together, you walk through all the bodies moving to the rhythm of the music, where Aemond has the purpose of looking for a less overwhelming place for you.

He skillfully guides you through the whole place, greeting some guys he meets on the way and congratulating him for tonight's victory, without him letting go of your hand for a second.

Until they finally find a less crowded and a little quieter corner on the back terrace, having in view the kitchen of the house where there are people smoking and drinking and in the background are all the people dancing.

Although the music is still blaring in the background, at least you can talk to Aemond without having to yell and he will hear you. And when you lean against the railing of the terrace, he looks at you with a knowing smile while you try to adapt to the environment.

"You don't really like this, do you?" he says, knowing the answer before you can say anything.

"Do I show it a lot?" you say, letting out a nervous laugh, "And I don't dislike it," you clarify, "It's just not my favorite place to be."

He nods sympathetically.

"I know, but we won't stay long, I promise," he assures you, "Do you want something to drink? A soda or water?"

You smile as you lower your gaze, a little shyly.

"Actually... I think I can handle a beer. It's a party after all."

You don't normally drink alcohol but considering you're at a party, you don't want to look like a party pooper. And you're sure that if you don't relax a little, you'll never make it through the night.

"Are you sure?" he watches you completely attentively, "If you don't want to—

"I'm sure, don't worry," you say, nodding.

"Good," he smiles softly at you, "I'll be right here," he points to the kitchen in front of you, serious and wanting to make it clear, "I'm not going anywhere else and I'll be back very soon."

You let out a small laugh.

"Yes, I know. Now go," you nod to him, smiling.

Aemond nods and walks away towards the kitchen, leaving you momentarily alone but not quite, as you can see him from where you are, moving back and forth with the two plastic cups. And then you focus around you, watching people dancing, laughing and playing party games.

The smell of cigarettes and weed reaches your nostrils, but you don't take much notice, as Aemond's company makes it all seem more bearable.

The music continues to echo in the atmosphere and after a few seconds, Aemond returns with the two cups in both hands, offering you your beer and you accept it with a grateful expression.

"Thank you," you say, feeling more relaxed to have him by your side again.

"I really didn't expect you to be up for a beer," he tells you with a playful smile.

"Please, it's just a beer," you reply with a laugh, taking a small sip.

"Careful or you might become the queen of the party."

"Don't overdo it," you tell him, laughing. "And what are you drinking?" you observe him curiously.

"Just beer," he says with a shrug, "But I drive, remember? So this will be the first and last of the night."

Aemond raises his cup in a casual toast in your direction, you smile and clink your cup lightly with his, then both of you drink in sync.

"Hey, what do you say we take a selfie?" he says animatedly, grabbing his phone, flipping open the camera, "I want to get a picture of you with my initials on your cheeks."

"As long as you don't put it as your wallpaper, it's fine," you joke.

"That's exactly what I want it for. Now smile."

That's what you do, you place your face close to his and you both smile. He takes a few more, where you make funny faces and also where he insists that you give him a kiss on his cheek, taking the selfie.

He then also insists that they take pictures from your phone as well, reminding you that you have to post them to your Instagram later and you rolling your eyes amusedly nod.

And once that's enough, Aemond looks at the photos with satisfaction.

"I'll definitely set this one as my wallpaper."

"Which one?" you ask him curiously.

He smiles and proudly shows you his screen, which features the picture of you with his initials painted on both of your cheeks, smiling and with the colored party lights uniquely illuminating your face.

"I look like an idiot," you say slightly embarrassed.

"A pretty idiot."

He says back, leaving a soft kiss on your cheek, careful not to ruin his initials.

"Now, what's your background going to be?" he asks you intently, watching your phone screen.

"Hum," you also focus on your screen, looking at the selfies, "This one."

You point to the picture of you kissing his cheek and he nods with his little grin. He is about to speak when a third voice makes itself heard between the two of you.

"Aemond!" exclaims Aegon, heading towards you both from a distance with a huge grin and a drink in hand, with Helaena behind him, "There's the star of the night!"

Aemond suddenly tenses up and indeed so do you. You both exchange a quick, discreet glance, where he warns you and gives you a reassuring look at the same time.

And you mentally prepare yourself to pretend and look as in love with him as possible, telling yourself that you can't fuck this up.

"Congratulations, brother!" exclaims Aegon happily, coming towards you both and giving him a friendly pat on the shoulder, "You kicked all those fucker's' asses," he says proudly, then focusing on you, "And you must be Y/N," he adds, grinning at you.

"Hi," you smile, trying to look relaxed and not at all nervous at the sudden appearance of Aemond's siblings.

"I'm Aegon, the older brother who always leaves everyone impressed, the most handsome and intelligent of the family. Pleasure," he introduces himself, extending his hand to you and you shake it almost instantly, laughing softly.

"So he says," Aemond says next to you with an amused smile.

"A pleasure."

"He's just envious and he's already told us so much about you," he lets you know, "Oh and this is our sister, Helaena," he points behind him.

"Hi," you smile at her too.

"Hi, I finally meet you!" she says with a smile bigger than yours, extending her hand in a friendly gesture, "And honestly the handsomest of my brothers is Daeron and the smart one in the family is me."

"See?" points out Aegon to Helaena seriously and incredulously, "Another envious one."

But Helaena pays him no attention and continues to focus on you.

After the introductions, you continue talking to them, who show great interest in getting to know you without losing their friendly and playful touch towards you, they ask you questions and share some comical stories about Aemond, where the conversation flows easily, wich surprises you.

But that's exactly what makes them create a relaxed and fun atmosphere for you, making the party more bearable. Besides Aegon is extremely funny and Helaena conveys a calmness to you that totally goes with your personality, pleasing you.

"I'm excited to have someone new in the family," she says excitedly, "And if you want, we can sit together sometimes on break," she offers, getting your attention more, "I've sat with Aemond and his friends before and I know what it's like, they're frustrating."

"Hey," Aemond reproaches her hurt.

"Am I wrong?" Helaena observes you expectantly.

"Hum," you look at Aemond and then back at his sister, a little nervously, "They are frustrating but fun."

"Want one?" says Aegon to Aemond, offering him a cigarette.

"Sure."

"But yes, sure, we can eat together, I'd love to," you smile at Hel, honest.

"Great."

Aemond lights his cigarette and lets the smoke escape between his lips, then places his other arm around your waist, pulling you a little closer to him confidently, wanting to clearly demonstrate his supposed connection to you.

When suddenly, Aegon takes his leave, watching a group of girls walking past you with great interest.

"I'm going to get something to drink, see you in a bit," he says without even looking at you, already walking away, following the girls and disappearing into the crowd.

Aemond and Helaena roll their eyes before sharing a knowing look between them, this being so typical of Aegon, then she too takes her leave for the moment with a smile.

"I think I'll leave you two alone for now too," she says starting to walk away, "Have fun!" she exclaims before getting lost in the crowd just like Aegon.

And once you and Aemond are alone again, you both can finally relax.

"They loved you," he tells you with a small smile, taking a puff on his cigarette, "You did very well."

"Not that they were hard to be with, but now we can relax a little more," you say with a soft smile, "I really liked them. They're very nice.

Aemond nods, agreeing.

"Aegon is a idiot. He loves to have fun and all he cares about is girls, but he's still funny," you nod, "And Hel, well, sometimes she's weird... but she's really sweet and fun too."

"Yeah, I noticed," you say nodding, "And do you have another brother? Daeron?" you ask, remembering how Helaena mentioned him.

"Ah yes, he's the youngest of all," he tells you and you listen carefully, still feeling his hand around your waist, "He's at Honeyholt on exchange in high school. All of a sudden he had the idea of wanting to see another place and Mom supported him. We have family there, so they are taking care of him until he gets into college."

"Oh," you nod, now understanding, "And is he really the best looking of the three of you?" you ask amused and he smiles.

"Of course not, obviously I'm the handsomest," he says condescendingly, smugly and you laugh, "I also have a half-sister, Rhaenyra," he adds, "But she's older than all of us. She's already married, with children and focused on her own family."

You nod again, attentive and interested, keeping that information, since you had no idea.

In fact about the families is something you haven't talked to him about, well, except that you know Aegon and Helaena, but you don't know anything else like for example his father and mother.

And he doesn't know anything about yours either. You suppose it's just a matter of time to build more trust between the two of you as this goes on.

"You don't have any brothers or sisters?" he asks you curiously, watching you intently and you shake your head.

"I'm an only child."

He is about to speak when, again, a third voice interrupts him.

"Aemond!"

You both turn your heads and see one of his lacrosse friends calling from the kitchen.

"Want to play beer pong with us?"

Aemond doesn't answer him right away, as he turns his attention back to you.

"Do you want to play or do you want to talk about it?"

"Hum... the truth is I've never played beer pong," you say a little nervous and embarrassed, "And I don't want to talk about it."

"Then I'll teach you, come on, it's really easy," he says excitedly, taking you by the hand, "It'll be fun, you'll see," he tells you as he guides you towards the kitchen.

You let him guide you, and you too enter the lively atmosphere of the kitchen, where the sound of music and laughter mixes with the aroma of drinks and cigarettes. And Aemond leads you towards the beer pong table where his friends you already know are, setting everything up.

"First, you need a ball."

Aemond says, taking one from the pile on the table and placing it in your hand. And before he can speak further, you do.

"Actually I do know how to play but I've never played," you clarify, "Besides, I have really bad aim."

"No matter, just have fun," he tells you with a reassuring gaze, "And forget about everyone, the stares, the talking, Alys, everything. Let's just have a good time, okay?"

You nod, watching him a little nervously but attentively and he leaves a soft kiss on your forehead, making you feel a strange sensation in your body that you haven't felt before.

But you know that he has done it because you are now among his friends and other people at school, so you have to pretend very well.

Music blares in the kitchen as you and Aemond join the beer pong game and take up position at one end of the table, facing your first opponent.

Aemond still repeats the rules to you once again, but his focus is more on enjoying the moment.

You hold the ball in your hands with a mixture of nervousness, not knowing exactly why, and excitement. And Aemond next to you gives you an encouraging look.

And finally you throw the ball and to your surprise, and also delight, it lands perfectly in one of the cups on the other side of the table.

"Yes!" exclaims Aemond excitedly, with a huge smile, instantly making a high five with you, being his turn.

This definitely makes you feel more relaxed and encourages you to forget about everyone and focus on this moment with Aemond, immersing yourself in these party games you've never tried before.

Aemond continues to hug you and celebrate each successful release, accentuating your complicity so you both keep pretending. That moment of the night progresses with laughter, exchange of complicit glances and impromptu pretending moments.

And every time you suddenly feel Aemond's hands on your waist hugging you and pulling you closer to him, it makes you feel strange and weird sensations through your body, which you try not to give much importance to.

Both Aemond and you immerse yourself in the illusion of the fake relationship, taking every opportunity to enjoy each other's company.

The party continues and as you share laughter and affectionate gestures in the midst of it all, you realize that although the relationship is fake, the connection you now have with Aemond and the fun you share is real.

And when the round of beer pong is over, Aemond introduces you to more of his friends, like Qyle Martell and Cregan Stark. Martell is like Aegon, you can tell and Stark is friendlier and also very nice.

"Are you friends with Alysanne?"

He asks you curiously in the middle of the conversation, as Aemond has one arm around your waist, leaning against the kitchen island, his other hand smoking a new cigarette and you find yourself in the middle of his legs, your hands on top of his arm and hand.

"Yes," you nod to him, "We recently became close."

"I assumed so because I saw her at the game with you," he tells you with a small smile, "But, do you know if she has a boyfriend?" he asks you more curious than before, getting your attention.

You're about to speak when Aemond steps forward.

"Cregan has had a crush on her forever," he says over your head and you turn your attention back to Cregan.

"Well, she hasn't," you let him know, "She told me she recently broke up with a guy from another school."

"Really?" he looks at you hopefully, "And could you talk to her about me? You know, see what she thinks."

You smile, nodding.

"Sure."

"I wouldn't ask you but I thought she was coming to the party."

"Oh no, no, it's fine," you assure him, "I'll talk to her."

"I'm going to go to the bathroom," Aemond announces suddenly, catching your attention.

He gently removes you from between his legs, standing up straight and leaving the rest of his now non-existent cigarette on the kitchen island, then watching you completely attentively.

"You can stay and talk to Cregan. I'll be back soon."

"Sure," you nod to him.

Aemond wanders off towards the second floor bathroom, already knowing that the bathroom down here always has huge lines for wanting to get in, and so you stand around talking animatedly with Cregan, mostly about Alysanne.

As Aemond slips through the crowd, up the stairs and disappears down the second floor hallway, heading for the bathroom.

Actually he doesn't take long at all and soon enough he finishes washing his hands and exits the bathroom, walking back down the hallway to return to the big party downstairs.

But just as he turns down the hallway, Alys appears in front of him, stopping him in his tracks.

Aemond watches her without expression really, feeling a little surprised inside, but only ignores her and tries to walk past her, but of course, Alys immediately blocks his path.

He watches her confused and she places a small grin on her perfectly painted red lips.

"What?" he asks her, disinterested.

"Can't I talk to you? Your girlfriend already so soon set rules for you?" she inquires him too, with a look of superiority, crossing her arms.

He certainly decides to ignore most of her comment and looks at her seriously.

"There's nothing to talk about."

Once again he tries to walk past her but she blocks his path again, irritating him and making him let out a sigh.

"What do you want?" he watches her in exasperation.

"Y/N? Really?" she inquires again pouting and with disdain, making Aemond again let out another sigh, "She's your new girlfriend?"

"Yes, she is," he tells her seriously and firmly, "Do you have a problem with that?

"At least you could be able to get something halfway better than that," she says with a mixture of mockery and seriousness, "I can't believe you dated me and now you're dating her, literally a nobody," she says confused, furrowing her brow.

Aemond frowns, definitely starting to get annoyed by her attitude and the way she's talking about you.

"First, it's none of your business who I'm dating now nor do you even have the right to reproach me for that. And second, Y/N is not a 'nothing.' She is an amazing person and I will not allow you to speak of her like that."

Alys further demonstrates her mockery.

"She's amazing?" she repeats, "Please, no one here even knew her from before she started dating you. She's just another one of those pathetic boring girls who sits in the background and can't say more than three words."

Aemond clenches his jaw, watching her seriously and sternly.

"Watch your mouth."

"Or what?" she teases him, watching him defiantly, "Am I telling lies?"

"Stop talking about her like that," he warns her with determination, "And before you judge her, first see yourself in a mirror, maybe you can fully surprise yourself."

She lets out a cynical laugh.

"Oh, look at you," she coos, "You have become the advocate for shy and invisible girls. No one would have expected it from you, not even me. But I'm sure you're only dating her to annoy me."

Aemond takes a deep breath, having enough of this.

"What I do or don't do doesn't matter to you. And don't get ideas in your head either, you're the last thing on my mind. Don't think you're important, because you're not," he tells her seriously and honestly, "Now, if you don't have anything important to say to me, leave me alone and let me enjoy the night."

Alys grits her teeth, obviously frustrated at not getting the reaction she was looking for from him. And finally Aemond is able to walk past her, away from her. But before he turns and starts down the stairs, Alys stops him with her next words.

"We'll see if the shy girl still likes you that much when you see if she can fuck you well, which I doubt," she says seriously and teasingly.

Aemond purses his lips, taking a deep breath to try to keep his composure. He feels a knot in his stomach, with a mixture of disgust and frustration throughout his body.

"You're completely insane, Alys, insane."

He spits the words at her completely seriously and finally walks away from her, leaving that unpleasant conversation behind.

As he returns to the bustle of the party, he struggles to clear his mind of Alys' words, which are still present and the unpleasant feeling still lingers. And it makes him angry to know that he allowed her to manage to ruin the party for him.

Finally he enters the kitchen and you are still there, talking to Cregan and before heading towards you, he tries to put on his best possible face so that his annoyance and bitterness is not noticeable.

And after a few seconds he turns to you.

"Hey," he says with a forced smile, placing himself back next to you.

Your smile fades a little and this immediately catches your attention.

Fortunately at that moment Cregan leaves you both alone, saying he'll fix himself a new drink, so you give him your full attention, noticing the seriousness on his face that he's trying to hide.

"Everything okay?" you ask him, slightly concerned.

"Yeah," he says softly, taking your hand to entwine his fingers with yours.

"Are you sure?" you ask him, not entirely convinced, "Did something happen?"

"No, no, I'm just a little tired," he lies, "Maybe in a little longer we should go."

Aemond, despite the feeling in him that still lingers, feels that he shouldn't overwhelm you with what happened with Alys. Being here, in the middle of the party with everyone watching them, is enough for you.

He doesn't want to make you feel uncomfortable when everything has been going too well so far.

"Sure but... are you sure you're okay?" you insist in a soft voice, running your hand gently across his forehead, gently brushing his hair.

"Yeah, yeah, don't worry," he smiles softly at you.

He holds you against his body, wrapping his arms around your waist and holding you between his body, while you look around and realize that there are still, at this point in the party, people watching you.

When then Aemond's gaze falls on all the people dancing, an idea crosses his mind.

He puts on a small amused smile and lowers his face to look you in the eyes, tracing gentle circles with his thumb on your lower back.

"Do you wanna dance?" he asks you with his smile, instantly catching your attention.

You watch him with your eyes slightly wide open and your lips parted, but not because of surprise, but because you were dreading exactly this proposal.

He points with his gaze to where everyone is dancing and you follow, seeing how there are some girls dancing alone and shaking their butts in a fantastic way, there are also couples dancing together and people in groups dancing and singing along to the songs of the moment without a care in the world.

But that's not what catches your attention.

It's the way some girls, not to say most of them, dance in a sensual, sexy way, moving their body and waist in a magnetic way, also their buttocks as if it was as easy as breathing, attracting the attention of boys and girls.

There is no way you can move your butt and body like that. You would like to, but you don't know how.

There are also couples who dance very close to each other, in a very intimate way, chest to chest. Even the guy runs his hands all over the girl's body while they dance to the music and touches her butt in front of everyone.

And that definitely horrifies you.

You know Aemond would never try to touch you like that. Doing something like that didn't enter into any part of the contract.

But you still grimace involuntarily and feel embarrassed. You immediately turn your gaze to Aemond and with a flash of sincerity, you confess.

"I don't know how to do it," you say in complete embarrassment.

You think he's going to make fun of you and you're only going to feel more embarrassed than you already are, but instead, he smiles at you with understanding gently and begins to try to convince you enthusiastically.

"Come on, don't worry about anything, it's easy," he assures you, "Just follow my lead, okay?"

He takes you by the hand gently and guides you towards the center of the house, where everyone is dancing and music is enveloping everything.

Your heart starts pounding, feeling nervous, but you still follow with a certain heaviness.

The music, the colors of the lights and the energy of all these people become a kind of bubble around you. And as you walk, you feel the gaze of some people on you, but Aemond deliberately ignores them, focused on making you feel comfortable.

And once you're both in the center of it all, surrounded by more people, you watch him with some trepidation but he confidently places his arms around your waist, hugging you but leaning back slightly so he can look you in the eye.

"Is this okay or are you uncomfortable?" he asks you attentively leaning down to speak in your ear so you can hear him over the music.

"It's fine," you nod to him, but you lick your lips and really don't even know what to do with yourself.

He glues your body to his, still watching you intently, mostly because his lips brush against the bridge of your nose and it sends an electric current inexplicably through you.

And you feel like your heart will leap out of your chest at any moment from such closeness.

"And this is okay?"

You swallow hard and nod, unable to speak for all the sensations overwhelming you in that instant.

"Now you put your hands around my neck," he tells you as he takes your hands and places them himself where he directs you, then puts his hands back on your waist.

Again you bite your lips, while avoiding looking him too much in the eye, nervous and still not having the slightest idea what to do, but you stay like that, already feeling more the sorrow that maybe he can feel your accelerated heart rate.

"And now we dance, no choreography or specific moves... we just move," he says in your ear softly but loud enough for you to hear.

And just then you turn your attention to the song; One Of The Girls by Lily-Rose Deep, Jennie and The Weeknd.

Oh Gods.

"It's very simple, just sway your hips back and forth to the beat of the song."

You avert your gaze, feeling the awkwardness grow inside you, because you really don't know how to do this. Yet you force yourself to stay in the moment and do this, because it's no big deal, it's just dancing.

"Like this," he says, moving your hips with his hands gently from side to side, guiding your movements patiently, just as he moves his body slowly in sync with yours.

The song swells loudly in the background, creating an intimate atmosphere between him and you. And carefully, you begin to follow the rhythm, letting your hips sway to the music.

And honestly... you just get uncomfortable and barely more so, feeling completely awkward.

"Am I doing this right?" you ask fearfully, already knowing the answer.

"Easy, you're doing excellent," he assures you, "Just let yourself go," he says in your ear, his voice soft and encouraging.

Hearing his comforting words, you strain to relax, letting the melody envelop your senses, as Aemond looks at you with a reassuring smile, encouraging you.

And with his confidence and also his comforting presence, he makes you start to forget about everyone around you and focus on this moment, on him.

And with every movement you let yourself go with the rhythm of the music, as you both move in sync and the tension you felt before seems to dissipate with every second. Especially since some funny gestures from him during the dance make you relax more.

"See? It's not hard."

He tells you as he makes you both move with more rhythm, keeping his hand on your waist and the other on your lower back, not going any further, where every movement makes your body rub against his.

"You're even better at this than me," he mentions amused and you laugh softly.

"Don't be a liar," you tell him watching intently between your body and his, afraid of getting it wrong and missing a beat.

He maintains his grin and your eyes meet his, sharing complicity and amusement. And he encouraging you to let loose even more.

And only then do you start to really enjoy the dance, because you realize that you're probably not the only one who feels a little out of place, besides no one is even paying attention to you.

All the people here are enjoying the music in their own ways. So with each step, you become more immersed in the moment, forgetting the stares of others and remembering that you're also pretending with Aemond, so you stick a little more towards him, if possible.

"Yes, just like that," he says in your ear, his voice soft and soothing, "Alys is watching us."

He says as he glances out of the corner of his eye toward the entrance to the kitchen, where Alys is leaning against the wall.

And you discreetly look around for her, finding her and seeing the surprise and disbelief in her gaze as she watches the two of you, pursing her lips, looking clearly annoyed and even... indignant.

Immediately the look on Alys' face makes you feel uncomfortable and embarrassed, but you decide that won't distract you and don't pay too much attention to her, preferring to focus on the moment.

With each movement, you feel more in tune with the music and with Aemond next to you, who brings his forehead together with yours, sharing a moment of complicity as they continue to move to the rhythm of the music.

"I'm going to kiss you now, okay?"

He says suddenly and you instantly feel tense and nervous again. But you understand why he wants to do it, clearly because she's watching right now.

"Okay," you say swallowing hard, having no idea if he even heard you over the music.

When he separates a little, just a little from you, still keeping one of his hands on your waist while with the other he gently places it on your right cheek, sliding his fingers across your soft skin.

Your gaze meets his, where there is a new lightness of silent complicity but in a more intense way that you can't quite describe.

His gaze is totally determined and even makes you feel nervous immediately, where not only his eye inspects your face, but also your parted lips just centimeters below his, this drawing more than anything else his attention.

This does not go unnoticed by you and you feel more nerves in your stomach, but when he leans forward, closing the short distance between the two of you, you tell yourself that you must be pretending just as well as he is.

You both close your eyes and the brushing of lips is soft and hesitant, where a barely audible sigh escapes your lips as you too let the overwhelming feeling of having to kiss Aemond in front of all these people.

The sound of your heartbeat echoes in your ears as his lips finally catch yours in a soft kiss.

You think it will be like the first time, just the contact of lips against lips, but Aemond literally moves his mouth, really starts kissing you, caressing his lips with yours... and you unexpectedly and instantly follow him.

Surprised and completely unsure, you feel Aemond take a firmer hold of your waist and deepen the kiss, while you try not to gasp into his lips and let yourself be carried along by his movements.

For you, each movement of his lips is like a new melody, awakening a surge of emotions that take your breath away.

This is completely new to you.

It is completely different from the first time you both kissed.

Your hands instinctively cling to his shoulders, seeking support amidst the whirlwind of sensations that engulf you, unable to help but feel a pang of surprise as you feel the softness of his lips against yours.

And though you are both pretending, both you and he let your own emotions mix with it.

Aemond continues to tenderly caress your soft skin with his thumb as he tilts his head and latches onto your lips once more, slow and deep, letting you feel everything.

His hand slides deftly down your neck and tangles in your hair, drawing you closer to him in an intimate, passionate gesture. And though you can't help it, everything about him envelops you.

You feel every detail, his comforting closeness, the smell of his cologne, so manly, the cigarette taste in his mouth that somehow you don't dislike at all and the way he is holding you against his body.

And finally when you are both out of breath, you separate and silence fills the space between you, broken only by the distant sound of music and the racing beat of your hearts.

Your gaze again meets his and strangely you find yourself lost in him, with an unspoken question hanging in the air as you both process what has just happened.

When he smiles softly, as if he is complicit in a secret shared between the two of you, which he is and leaves another soft kiss on your lips before continuing to dance with you, wrapping his arms around you confidently and firmly.

You again let yourself be carried away by the music, wrapping your arms around his neck again, with a question in mind:

What the fuck just happened?

Then, in the middle of the dance, Aemond again whispers in your ear, his warm breath sending shivers down your spine.

"I think that went very well," he murmurs knowingly, "Alys keeps looking at us."

And then reality comes back into your mind.

Oh... right.

Reality comes back to you like a sudden blow, reminding you of Alys' presence and why you made out with Aemond like that, leaving the magic or spell of the moment.

You try to keep your composure, as if the kiss hadn't affected you in the slightest, but deep inside you know that's not true.

You try in vain to ignore the feeling of discomfort and surprise that creeps up inside you as you continue to dance with Aemond. Each movement seems stiffer, the music sounds louder and the weight of the kiss suddenly weighs on your shoulders.

Although you try to maintain the appearance of normalcy, Aemond seems to notice your change in attitude and looks at you intently, his brow slightly furrowed.

And despite your attempt to keep your face serene and completely unconcerned, he can still see the tension building up in your expression.

So finally, Aemond breaks the silence that hangs in the tension-laden air.

"Do you want me to take you home?"

The question instantly catches your attention, but first you focus entirely on him.

"Don't you want to stay a while longer?"

"We've done enough and besides... I'd like to go get some rest."

"Okay, yeah, sure," you say in a soft voice, starting to pull away from him.

Aemond offers you a comforting smile before taking you by the hand and leading you towards the door, but not before saying goodbye to his friends and warning his siblings, who he asks if they will go home with him, but Aegon is still enjoying himself and so is Helaena.

The cool night air envelops you as you leave the house, bringing with it a feeling of relief and release. And as you walk away along with Aemond, you feel the tension slowly dissipate, giving way to a feeling of peace and tranquility.

But there is still that uneasiness and uncertainty within you.

The sunlight enters through the kitchen windows, while you finish placing your breakfast on the table and your father's too, starting a new week.

Normally on Mondays your father comes in a little later to work and taking advantage of his free time, he always drives you to school, so early in the morning you text Aemond that you don't need him to pick you up and that you'll see him at school.

At first you and your father talk about anything between scrambled eggs and sips of coffee, when suddenly the conversation takes a serious turn when your father mentions college, your future.

"Have you applied for college entrance exams yet?" he asks you, with a look of slight concern on his face, "I understand the application season is almost over."

Instantly you feel a knot in your stomach and involuntarily tense up, nervous.

"Yes, Dad," you reply in your slightly shaky voice, trying to hide it," I already have."

"Very good," he nods at you with a small smile, "Just make sure you're aware of all the deadlines and requirements. This is important and who knows...maybe you can get into Oldtown."

God.

This makes you even more nervous, but you tell yourself that you trust Aemond completely and that he is handling your direct application to Oldtown.

You haven't talked to him about it but that's what he's surely been doing, he has to. He promised to deliver on this if you fulfill your role as a girlfriend in love so he must already be doing it.

So you feel confident that everything will work out.

Again you nod in your father's direction and both of you resume breakfast, while you think that you have Aemond totally on your side in this.

Breakfast doesn't last any longer and soon your father is already dropping you off at the school parking lot. You kiss each other on the cheek, wish each other good day and finally get out of the car.

Both the hallways and the parking lot are flooded with students as you try to weave your way through them to get to your locker, hoping to run into Alysanne soon.

But instead you see Aemond who is engaged in a lively conversation with his friends at the lockers. And you don't know exactly why but seeing him immediately makes your nerves explode.

Since that kiss on Friday, neither you nor he has talked about it. He only drove you home after the party was over for him and you, where neither of you made a comment about it.

And honestly... you still feel a little weird about it.

You mean, you've never made out with him like that before, or with anyone else. And that's why you haven't stopped thinking about it, but you don't want to talk about it either, you feel it will be awkward.

And you don't need to turn to him and talk to him for him to notice you, as unconsciously his gaze meets yours as he laughs at a comment from one of his friends.

And he instantly says goodbye to his friends to head towards you with a small grin on his lips, which you return to him from a distance, until you both close the distance.

"Hi."

"Hey," he says to then unexpectedly drop a soft, quick kiss on your lips.

You remain static for a moment, as you're never really going to get used to this.

"Everyone's watching us," he says quietly to you in a discreet manner as he places one of his arms around your shoulder and begins to walk together with you down the hallway, "So, your dad drove you today?"

You nod as you both walk down the hallway together, where admittedly, you notice how some people are still watching you as you pass, but with Aemond's closeness, you are comforted.

"Yes, he did."

And as the two of them approach your locker, a nervousness begins to grow in your chest and stomach.

You hesitate for a moment before you renew enough courage to ask Aemond what you want to know, with the question hovering constantly in the back of your mind, ever since breakfast.

And releasing a long breath, you dare to speak.

"Are you already working on my college application?"

You immediately regret it, but what can you really do? He's already heard you.

Aemond's eye reflects surprise for a moment before a more serene expression settles on his face.

"Why do you ask?" he asks with genuine curiosity.

You bite down on your lower lip, feeling a bit awkward at the revelation of your concerns.

"N-no, it's just... I had a conversation with my dad about it, and I just wanted to know, that's all," you explain, hoping you don't sound too anxious.

"Well, don't worry about it, I've got it under control," he assures you with his reassuring look, when he quickly changes the subject, "And listen, I've got training now, so I've got to get to the field already but I'll see you in class later, okay?"

You say nothing, he doesn't give you the time, as he gently this time leaves a soft kiss on your forehead and walks away, leaving you with your heart beating fast and a mix of emotions that leave you reflective.

And then throughout the school day, you meet Aemond at various times during the day and each time, he is there for you. And the next few days too.

You walk to class together, share laughs at lunch or just in the hallways, as well as Aemond always pretends and proves to be an attentive and gentlemanly 'boyfriend' in the eyes of others.

Every affectionate gesture from him to you, from his gentle kisses to his warm hugs or holding your hand, even to post new photos together to the social, is perceived as genuine and affectionate.

And to you, each of these acts is just a facade, a role you're both playing to keep up appearances in front of others. And you remind yourself that these gestures mean nothing, other than to pretend.

But despite your attempts to keep yourself emotionally distant, you couldn't help but feel touched and to some extent 'special' by the way Aemond treats you.

It's like acting in a movie and being actors playing a couple in love, but you wonder; how come in real life actors don't fall in love for real?

And every time Aemond gives you too much attention and treats you like a boyfriend should treat his girlfriend, a little part of you starts to fear that these gestures might start to be more than just acting for you.

But you know you can't get confused and you can't get your hopes up foolishly. You also tell yourself that you can't let your feelings get complicated now, because it's not the right thing to do.

But still you fear that maybe you might mistake his actions for something real, when you shouldn't.

taglist:

@melsunshine @at-a-rax-ia @jxdegodfrey @ttkttt @yentroucnagol @kate-to-the-ki @iamavailablesstuff @bluerskiees @urmomsgirlfriend1 @toodlesxcuddles @rosie-posie08 @iloveallmyboys @bellaisasleep @deliaseastar @cupcakesminicakescupcakes @dixie-elocin @lilostif16 @wickedfrsgrl @a-beaverhausen

[felassan]

Game Informer:

"A Deep Dive Into Dragon Age: The Veilguard’s Combat, Abilities, Skill Tree, And More by Wesley LeBlanc on Jun 18, 2024 at 02:10 PM If you're at all familiar with the Dragon Age series, you likely already know BioWare has experimented quite a lot with its gameplay. From Dragon Age: Origins' real-time strategy RPG approach to Dragon Age II's mostly-set-within-one-city action experience to Dragon Age: Inquisition's strategy-action mix, BioWare hasn't quite defined the franchise's combat. However, a through-line is apparent from Origins to Inquisition: BioWare seemingly wants this franchise to be action but has attempted to shift to that without abandoning its longtime fans.  With Dragon Age: The Veilguard, BioWare has completed its transition from strategy to real-time action, but thanks to an optional tactical pause-and-play combat wheel that harkens back to the series' origins, I feel it's found a great (battle)ground for Dragon Age combat. Of course, it's hard to tell how Veilguard's action will hold up over what is sure to be a dozens-of-hours-long RPG, but if what I've seen so far is any indication, the studio is on to something. A Shift In Strategy"

""I think the first thing to keep in mind is that combat [...] in the franchise has been an evolution," game director Corinne Busche tells me within BioWare's Edmonton office. "Every single entry reimagines what combat is like and I would say our goal was to make sure we had a system that allowed players to feel like they actually were able to step into the world of Thedas. They're not a player observing from afar – they are inside of this world. Being this authentic world that's brought to life, the combat system needs to support that, so you are in control of every single action, every block, every dodge, every swing of your sword." Busche says players complete every swing in real-time, with particular attention paid to animation swing-through and canceling. On the topic of canceling, I watch Busche "bookmark" combos with a quick dash. With this mechanic, players can pause a combo's status with a dash to safety and continue the combo where they left off afterward. Alongside the dash, there's a parry for some classes, the ability to charge moves, and a revamped healing system that allows players to quickly use potions by pressing right on the d-pad.  Busche says each character will play the same in a way, regardless of class, in that you execute light and heavy attacks with the same buttons, use abilities with the same buttons, and interact with the combo wheel in the same way. During my demo at one point, we use a sword-and-shield Warrior Qunari that hip-fires and aims their shield to throw it like Captain America while hammering down big damage with a sword. Pressing the same buttons as a mage might throw out magical ranged attacks instead of a shield. [embedded link to DA:TV gameplay reveal video] Abilities, like a Spartan-like kick from a Warrior or a Mage's firewall that deals continuous damage, add to the player's repertoire of combat options. Warriors can parry incoming attacks, staggering enemies in the process. Rogues have a larger parry window, and Mages can't parry at all but instead throw up a shield that blocks all incoming damage so long as they have the mana to sustain the shield.  "That is just the baseline that allows us to get that level of immersion of, 'I'm actually in this world; I'm a part of it,'" Busche says. "But again, the abilities, the strategy, linking my companions' abilities together to perform devastating combos, that is really where the depth and the complexity comes into play." Abilities And The Skill Tree"

"[caption for image above] Warrior Rook Skill Tree This extends to companions, who, at your choosing, bring three abilities (of their five total) into combat, executed either with quick select buttons or the pause-and-play combat wheel. Every time you rank up a companion's Relationship Level, you unlock a skill point to spend specifically on that companion – this is how you unlock new combat abilities.  Though companion skill trees pale in comparison to Rook's expansive tree, which features passive abilities, combat abilities, and more, as well as paths to three unique class specializations, there's still some customization here.  You can find the skill tree for Rook and companions within Veilguard's start or pause menu. This menu contains pages for Veilguard's map, journal, character sheets, and a library for lore information, too. Here, you can cross-compare equipment and equip new gear for Rook and companions, build weapon loadouts, and customize your abilities and builds via the aforementioned skill tree, which looks relatively easy to understand."

"- Large circle: Class - Diamonds: Abilities - Medium circle: Major Passives and Ability Upgrades - Small hexagon: Traits - Small circle: Minor Passives and Stat Boosts You won't find minutiae here, "just real numbers," Busche says. In other words, a new unlocked trait might increase damage by 25% against armor, but that's as in-depth as the numbers get. Passive abilities unlock jump attacks and guarantee critical hit opportunities, while abilities add moves like firewall and spartan kicks to your arsenal. As you spec out this skill tree, which is 100% bespoke to each class, you'll work closer to unlocking a specialization (which doesn't take reaching the max level of 50). Every class has three specializations, each with a unique ultimate ability. Busche says BioWare's philosophy with the skill tree is "about changing the way you play, not the statistical minutiae."  Companions In Combat"

"If you completely ignore companions in combat, they will attack targets, use abilities, and defeat enemies all on their own. "[Companions] are their own people, "Busche says. "They have their own behaviors, they have their own autonomy on the battlefield, they'll pick their own targets. As their plots progress, they'll learn how to use their abilities more competently, and it really feels like you're fighting alongside these realized characters in battle." Speaking to companion synergy, Busche adds, "I see all the abilities Harding has, and I see everything that Bellara is capable of. And sometimes, I'm using vulnerabilities synergistically. Maybe I'm pausing or slowing time with Bellara so that I can unleash devastating attacks with Harding, knocking down the enemy, and then me, as Rook, I'm rushing in and capitalizing on this setup they've created for me. It is a game about creating this organic sense of teamwork." Busche says there are more explicit synergies, with intentional combos where specific companions can play off each other, and you can queue up their abilities to do just that. That’s what the pause-and-play combat wheel is for in Veilguard.  In this screen, which pauses the camera and pulls up a flashy combat wheel that highlights you and your companions' skills, you can choose abilities, queue them up, and strategize with synergies and combos the game recognizes, all while targeting specific enemies. Select what you want and release the wheel to watch your selections play out. Putting It All Together"

During a mission within Arlathan Forest after Veilguard's prologue, Busche utilizes Veilguard's dual-loadout mechanic. As Rook, you can create two weapon loadouts for quick switch-ups mid-combat. As a mage Rook, she uses magical attacks to add three stacks of arcane build-up to make an Arcane Bomb on a Sentinel, a mechanical set of armor possessed by a demon. If you hit the Sentinel's Arcane Bomb with a heavy attack, the enemy will take devastating damage. Once the Sentinel has an Arcane Bomb on it, Busche begins charging a heavy attack on her magical staff, then switches to magical daggers in Rook's second loadout, accessed with a quick tap of down on the d-pad to unleash some quick light attacks, then back to the staff to finish charging its attack. She then unleashes the heavy attack, and the Arcane Bomb explodes in a liquidy whirl of green magic.  "I've seen [Veilguard's combat] refined over time [and] I love it," BioWare general manager Gary McKay tells me. "I love that balance of real-time fluid action, but also the ability to have the depth in the RPG, not just in terms of pause-and-play, but the depth in terms of how you bring your companions into the battlefield. What are you going to do with their skill points? What's the loadout you're going to use? Everything is about bringing Rook to the center of the battlefield, and I love it."  Former Dragon Age executive producer and Veilguard consultant Mark Darrah feels Veilguard is the first game where the combat is legitimately fun. "What I see in Veilguard is a game that finally bridges the gap," he says. "Uncharitably, previous Dragon Age games got to the realm of 'combat wasn't too bad.' In this game, the combat's actually fun, but it does keep that thread that's always been there. You have the focus on Rook, on your character, but still have that control and character coming into the combat experience from the other people in your party."  I get the sense from watching Busche play several hours of Veilguard that BioWare has designed a combat system that relies heavily on players extracting what they want out of it. If you want to button mash and use abilities freely when their cooldowns expire, you can probably progress fine (although on the game's easier difficulties). But if you want to strategize your combos, take advantage of elemental vulnerabilities, and min-max companions and Rook loadouts, you can do that, too, and I think you'll find Veilguard rewards that with a more enriching experience.  For more about the game, including exclusive details, interviews, video features, and more, click the Dragon Age: The Veilguard hub button below."

[source]

[demifiendrsa]

Clair Obscur: Expedition 33 | Reveal Trailer

Clair Obscur: Expedition 33 will launch for PlayStation 5, Xbox Series X|S, and PC via Steam and Epic Games Store in 2025. It will also be available via Xbox Game Pass.

Key visual

Character headshots

Screenshots

Overview

About

Lead the members of Expedition 33 on their quest to destroy the Paintress so that she can never paint death again. Explore a world of wonders inspired by Belle Époque France and battle unique enemies in this turn-based RPG with real-time mechanics.

Year by Year, She Erases Us

Once a year, the Paintress wakes and paints upon her monolith. Paints her cursed number. And everyone of that age turns to smoke and fades away. Year by year, that number ticks down and more of us are erased. Tomorrow she’ll wake and paint “33.” And tomorrow we depart on our final mission: Destroy the Paintress, so she can never paint death again. We are Expedition 33.

Clair Obscur: Expedition 33 is a ground-breaking turn-based RPG with unique real-time mechanics, making battles more immersive and addictive than ever. Explore a fantasy world inspired by Belle Époque France in which you battle devastating enemies.

Reactive Turn-Based Combat

In this evolution of JRPGs, real-time actions enhance the heart of turn-based combat. Craft unique builds for your Expeditioners that fit your playstyle via gear, stats, skills, and character synergies. Open an active dimension in combat—dodge, parry, and counter in real time, chain combos by mastering attack rhythms, and target enemy weak points using a free aim system.

Tomorrow Comes

With only one year left to live, join Gustave, Maelle, and their fellow Expeditioners as they embark upon a desperate quest to break the Paintress’ cycle of death. Follow the trail of previous expeditions and discover their fate. Get to know the members of Expedition 33 as they learn to work together against impossible odds.

A Hauntingly Beautiful World

Explore an enchanting realm populated by surreal adversaries. Wander through breathtaking landscapes, from the Island of Visages to the Forgotten Battlefield, discovering secrets and hidden quests along the way. Find allies of fortune in creatures of legend and recruit special companions, access new travel methods and discover secret areas in the World Map.

Experience the debut game from Sandfall Interactive, fully realized in Unreal Engine 5 with stunning graphics and a heartbreaking soundtrack.

[ranchstoryblog]

PRESS RELEASE: Second Annual ‘Marvelous Game Showcase’ Delivers Exciting Updates on Fan-favorite STORY OF SEASONS and Rune Factory Series; Reveals NARUTO: Arcade Battle for North America, and More

Second Annual ‘Marvelous Game Showcase’ Delivers Exciting Updates on Fan-favorite STORY OF SEASONS and Rune Factory Series; Reveals NARUTO: Arcade Battle for

North America, and More

New Looks for Additional Titles in Development Include Opening Animation for

Monster Farming / Action Title Farmagia and Striking New Teaser for DAEMON X MACHINA: Titanic Scion

TORRANCE, Calif., — May 30, 2024 — Marvelous USA, Inc. and XSEED Games today shared a localized version of parent company Marvelous Inc.’s second annual ‘Marvelous Game Showcase,’ which debuted today at 3:00pm PT. President Suminobu Sato hosted the showcase and was joined by key members of development teams to provide updates on titles announced in last year's event, and announce new regional and global initiatives for the Marvelous family of companies.

Farmagia (formerly Project Magia): Product Manager Takehiro Ishida revealed the official title of the project, Farmagia, and presented the game’s opening animation, giving gamers an action-packed look at the cast of characters and powers they wield. Ishida-san also shared details on key characters in the game, designed by popular artist Hiro Mashima, including Ten, the protagonist who often acts before thinking; Arche, his childhood friend who balances both kindness and a competitive nature; Chica, another childhood friend with a more reserved demeanor; and Lookie-Loo, Ten’s sidekick and de-facto mascot. The title is planned for a global release in 2024.

STORY OF SEASONS: The next, as-yet-untitled entry in the beloved franchise continues its development as the team focuses on improvements to the visual presentation and natural environments. Series Manager Hikaru Nakano joined to debut a fresh look at the results of their efforts, highlighting how aspects such as updated natural lighting and festival fireworks have been improved to enhance immersion and atmosphere. The project remains in active development and will be fully revealed at a later date. In the meantime, Nakano-san confirmed new gameplay features including a player-controlled glider and the return of fan-favorite pets.

Amusement Section: Marvelous Inc. supports more than just PC and console entertainment and announced a number of new arcade initiatives including NARUTO: Arcade Battle, which will be available in North America this summer. Players will experience the world of NARUTO on a massive 50” screen, where they’ll engage in intense ninjutsu battles and collect plates to reach the highest rank they can! Arcade titles for Japan release only were also presented.

Indie Partner Lineup: The Marvelous family continues to invest in helping creative and exciting visions from smaller indie developers become a reality with global support for titles! Titles introduced for worldwide release include Bitsummit 2023 Grand Prize winner Death the Guitar, where players become an electric guitar fighting with the power of death metal to avenge their owner, planned for a 2025 release; and Moonlight Peaks, the supernatural-themed vampire farming/life sim title from Dutch developer Little Chicken, scheduled for 2026 release. One additional title, Bō: Path of the Teal Lotus, was also presented for release in Asia and Japan by Marvelous on July 28, 2024.

Rune Factory: Following a brief history on the evolution of the Rune Factory series and how it has grown across nine titles released over 18 years, Rune Factory series Director Shiro Maekawa joined the stream to reveal a new video for Rune Factory: PROJECT DRAGON sharing a look at the title’s protagonists. Players can choose to play as either Subaru or Kaguya, two new Earthmates with a twist; they will use the power of dance, rather than farming, to communicate and interact with the world around them. This new approach to interacting with the world comes with non-combat tools, including parasols and drums; series staple weapons like swords; and brand-new weapon types to experiment with, including bows and talismans.

DAEMON X MACHINA: Titanic Scion: First revealed during last year’s Marvelous Game Showcase, DAEMON X MACHINA: Titanic Scion once again closed out the show, where President Sato-san shared an evocative look at Marvelous’ First Studio’s mech-action sequel.  Additional details including platforms and a release window will be announced at a later date.

To celebrate the Showcase, select STORY OF SEASONS and Rune Factory titles will be on sale for up to 60% off on the Nintendo eShop for Nintendo Switch™ through June 7, 2024.

More information about XSEED Games’ products can be found at www.xseedgames.com Fans can also follow XSEED Games on Facebook, X, Instagram, Twitch, Threads, get in depth info from their developer blog, and join the discussion on their Discord server at: http://discord.gg/XSEEDGames.

About XSEED Games

XSEED Games is the independent-minded publishing brand of Marvelous USA, Inc., a wholly owned subsidiary of Marvelous Inc., which is a publicly traded company listed in the Prime Market of the Tokyo Stock Exchange. Formed in 2004 by a small group of industry veterans, XSEED Games is headquartered in Torrance, California and publishes video games on PC and consoles in North America. The publisher's diverse portfolio of over 100 titles includes releases from Marvelous Inc. including STORY OF SEASONS (Bokujo Monogatari), Rune Factory, and DAEMON X MACHINA, titles from third-party partners including AKIBA’S TRIP, Corpse Party, and Granblue Fantasy: Versus, and titles from independent developers including Sakuna: Of Rice and Ruin, Potionomics and Cuisineer. XSEED Games has grown its reputation among global gamers with its critically acclaimed localizations and commitment to fans, remaining ever dedicated to its “indie spirit, player-first” approach for quality games.

[watchnrant]

A Discovery of Witches Season 2: A Darker, Richer Narrative

If you thought A Discovery of Witches was just another fantasy romp with a bit of historical flair, buckle up for Season 2—this ride gets delightfully more treacherous. Based on Deborah Harkness’s All Souls Trilogy, the show kicked off with a seductive blend of magic, academia, and some good old-fashioned supernatural skullduggery. But with its sophomore season, it doesn’t just dip its toes into darkness—it dives headfirst into the murky waters of power struggles, betrayal, and Elizabethan angst. The result? A more prosperous, textured narrative that wraps around you like a cloak on a chilly London night, refusing to let go.

Power and Betrayal: The Core of Season 2

This season isn’t content with picking up where the first left off—it’s a full-blown transformation. Power dynamics take center stage; with stakes so high, you’ll need a ladder to catch your breath. In a world where every glance, whisper, and seemingly innocuous gesture could be a precursor to betrayal, the relentless pursuit of control gives the season its teeth. Whether safeguarding ancient secrets or simply trying to survive another day, the characters are pushed to their limits, leaving you glued to the screen, wondering who will crack under the pressure first.

From Modernity to Mystery: The Haunting Atmosphere of Elizabethan London

Say goodbye to the sleek, modern settings of Season 1—this time, we’re strolling through the gritty, shadow-laden streets of Elizabethan London. The production design team has outdone themselves, crafting an environment where every alleyway feels like it’s hiding something sinister. With dim lighting and claustrophobic sets, the atmosphere is laced with palpable tension. It’s a visual feast that perfectly complements the season’s darker tone, making you feel like danger lurks around every corner—and honestly, it probably does.

A Walk Through Time: The Immersive Historical Detail

For the history buffs out there, Season 2 is a love letter to the past, filled with all the pomp and peril you’d expect from the era. The Elizabethan setting isn’t just a backdrop; it’s a living, breathing character in its own right. Every detail pulls you deeper into this world, from the meticulously crafted costumes to the period-accurate architecture. This historical immersion doesn’t just serve the aesthetics—it enriches the entire narrative, grounding the fantastical elements in a world that feels as real as your own. Unless you know something we don’t, except for the witches and vampires?

The Dark Evolution of Matthew Clairmont

Matthew Clairmont’s past comes back to haunt him with a vengeance, and Matthew Goode’s performance is captivating. He expertly navigates the fine line between restrained intensity and explosive emotion, bringing the character to life with smoldering intensity and magnetic terror. It’s a masterclass in understated menace that makes for some compelling viewing.

Love and Power: The Shifting Dynamics of Matthew and Diana

The relationship between Matthew and Diana remains the beating heart of the series, but in Season 2, it’s fraught with tension from external threats and an evolving power struggle. Diana is no longer the hesitant scholar we met in Season 1—she’s coming into her own, challenging Matthew in ways that shake the foundations of their relationship. The patriarchal backdrop of Elizabethan society adds another layer of complexity, making their love story as much about power as it is about passion. It’s a push and pull that keeps the drama sizzling, and you’ll find yourself invested in every charged exchange.

Blending Fact with Fiction: Historical Figures in the Plot

One of the season’s most delightful tricks is its seamless blending of historical figures with its fictional narrative. Queen Elizabeth I and Christopher Marlowe are more than name-drops—they’re integral to the plot, adding a layer of authenticity that enriches the story. Their interactions with Matthew and Diana aren’t just for show; they’re pivotal to the unfolding drama, offering some of the season’s most electrifying moments. This blending of fact and fiction grounds the supernatural elements in history and sets the series apart from other contemporary fantasy offerings.

A Delicate Balance: Romance and the Supernatural

A Discovery of Witches has always balanced romance with its supernatural elements, and Season 2 is no different. The romantic tension between Matthew and Diana is as intoxicating as ever, but it never overshadows the show’s broader mythos. Instead, the romance enhances the narrative, adding an emotional depth that complements the dark intrigue at the heart of the plot. It’s a careful dance between the heart and the supernatural, and the show pulls it off with aplomb.

Star Performances: Matthew Goode and Teresa Palmer

Matthew Goode and Teresa Palmer continue to anchor the show with stellar performances. Goode brings Matthew Clairmont to life with a smoldering intensity and magnetic terror, while Palmer’s portrayal of Diana Bishop is a revelation. She embodies the character’s transformation with grace and strength, creating an electric dynamic that crackles with every scene. The supporting cast also shines, each actor bringing something unique to the table, further enriching the narrative’s tapestry.

A Visual Feast: The Cinematic Brilliance of Season 2

Visually, Season 2 is a triumph. The cinematography is nothing short of cinematic, with each shot meticulously crafted to enhance the story’s mood and tone. The interplay of light and shadow, the rich color palettes, and the precise camera angles all work harmoniously to create a world that is as visually compelling as it is narratively rich. It’s the kind of show where you could pause at any moment and find a frame worthy of hanging on your wall—a testament to the care and craft that’s gone into every aspect of its production.

Fan and Critic Reactions: Embracing the Darker Narrative

Season 2 has struck a chord with fans and critics alike. The darker, more intricate narrative has been widely praised, with many appreciating the show’s boldness in deepening its themes and expanding its world. The shift to the gritty realism of Elizabethan London has been a particular highlight, adding a fresh dynamic that keeps the series from stagnating. Critics have lauded the show for its character development, atmospheric tension, and historical detail, solidifying its place as a standout in the fantasy genre. It’s a season that doesn’t just continue the story—it elevates it, pushing the boundaries of what a fantasy series can be.

Building on a Solid Foundation: How Season 2 Outshines the First

While Season 1 laid the groundwork, Season 2 takes it to new heights. The progression in tone, plot, and character arcs is evident in every frame, with the creators intent on building something more ambitious and complex. The historical setting, darker themes, and more intense character dynamics contribute to a fresh yet familiar season—a continuation of the story, but one willing to take risks and challenge its audience in new ways.

Delving into Darkness: The Weight of Season 2

The thematic weight of Season 2 is undeniable. It’s not just a stylistic shift—it’s a narrative evolution that delves into the darker corners of its characters’ psyches and the world they inhabit. The exploration of power, betrayal, and control resonates deeper, making the stakes feel higher and the choices more consequential. This isn’t just about good versus evil—it’s about survival, legacy, and lengths to protect what one loves. It’s a season that engages the heart and the mind, leaving you pondering its themes long after the credits roll.

Season 2’s Triumph: A Captivating Blend of Fantasy and History

Ultimately, Season 2 of A Discovery of Witches is a triumph. It’s a masterful blend of fantasy and history, romance and intrigue, all wrapped up in a visually stunning package. The darker, richer narrative pulls you in and refuses to let go, offering an experience as intellectually stimulating as it is emotionally engaging. Whether you’re here for the history, the romance, or the supernatural spectacle, Season 2 delivers on all fronts, leaving you eagerly awaiting what the series has in store next.

[papermonkeyism]

Poking at the dinosaur project thingy, this time with some production technicalities point of view.

Here be musings.

I originally thought of the project as a calendar, then a series of calendars that could be collected into an art book once enough art had been made for it, and at some point I thought of just skipping the calendar part and going straight for art books.

I've been going back and forth between those options multiple times over the years, and it's still kinda open. Like on one hand a simple calendar with just thirteen illustrations (twelve months plus cover) is the easiest and cheapest option, though pretty limited (what to do once the year presented in the calendar ends, and you still got unsold leftover stock?), and the other hand art books are big projects requiring lots of work, even more money, but be a lasting and very satisfying thing to have.

Maybe I should take a middle road and make a zine instead?

Maybe.

Though, this is where the shape of the actual project comes in.

I've always planned the project as having a slice of life style format, with little story and more focus in exploring the setting. Kinda just looking in and enjoying the view while you go. But I've noticed that keeping the "narration" as illustrations kinda keeps the immersion at arm's length too. While that is fine and dandy for a calendar where the space for any narrative would be very limited anyway, if I was going to do more with the setting, I kinda need something deeper. Even if the audience is fine just looking at pretty pictures, with ADHD it would be better to have something deeper to help keep me personally invested enough to actually plan, plot and produce the materials needed.

Should I make an actual story, with plot and stuff? Feels kinda unnecessary for a thing focusing on just illustrations, and I don't know if I really "click" with a text heavy picture book format. I kinda feel it would make comic as the best option, though that has its own downsides. I've always wanted to do full colour paintings of the dinosaurs, yet going comic it would have to simplify a lot and make it grayscale just to keep me sane. And, as someone who has done well over 250 pages of a long form comic, that's still a HUGE commitment I don't think I have the resources - mental, physical nor financial - to pull off.

I also kinda feel having a plot story would sort of detract from the "exploring the world" aspect and put more heavy focus on characters, which. Well, it's not *bad* exactly, just not quite what I want.

(Also I am aware the dinosaur clan I have has a kid character, and I don't want to make her the point of view character for the story. I have no interest doing a childrens' book. I mean, I am perfectly fine if kids do eventually end up liking my stuff, but I don't consider them my target audience. My target audience is me, an adult person in their later 30s, and a handful of nerds I consider friends and/or mutuals.)

Another option I've been toying with is kind of a double edged sword.

Those who got the Almost Real speculative evolution zine volume 5 got a bit of a taste of this, as I kinda tried it out there.

So... I've gone to pretty great lengths as a layperson to work in the setting of the project thingy. It's always bothered me when dinosaurs get just dumped into a story with no regards to when and where they actually lived, making for an anachronistic hodgepodge of what's popular forming into a mismatched fantasy setting, usually with throwing humans into the mix. I don't like that. I'm more interested in seeing the actual animals as they were, when they were and where they were, where the focus is in the dinosaurs themselves. Thus the limit to Two Medicine formation (with some of the surrounding areas included too, though still keeping to the same time period).

I do not want humans in my dinosaur stories. Period.

But what if...

So, imagine a research journal. There's a scientist visiting the clan of Singing People the project focuses on, with the mission of studying them, their life and their world. The book or zine or whatever could be a story of the dinosaur clan introducing themselves and their life to this person. An outsider point of view to excuse learning about them by them teaching this POV person how their world works. There could be some interaction and maybe interviews, and of course illustrations because you need to document your subjects after all.

Like, I'm kinda excited about the idea. It would let me get into the details I want to picture without getting too into the heads of the characters to limit the chances of artistic exploration. You gotta document the surroundings your study subjects live in after all! But you'd still get to know the characters because it's the job of the POV person to learn about them. Win win!

It's just that I don't want to put too much attention on this hypothetical scientist. Like I said before I don't want to mix my settings. The dinosaur project thingy's world IS Laramidia in the Campanian period of late Cretaceous, it's not meant to be a scifi setting, nor do I want to have any focus on any time travel.

Wonder if it would be possible to leave the scientist character vague enough to never actually get explained? They're just nameless outsider from undetermined time and place who's interviewing some dinosaurs. Maybe with some peronal opinions or musings but no anecdotes about their own life or themself. And whenever there's interactions between the scientist and any of the Singing People it just gets handwaved away. (Of course the Singing People are curious about them too, but that's not the point of the study so it just doesn't get documented or something?)

I don't know. Could that work?

[choiceofgames]

Author Interview: Jeffrey Dean

It’s been four years since we had Werewolves 2: Pack Mentality and I know we couldn’t be more excited for Evolution’s End, the third installment of the “Claw, Shadow, and Sage” series. Tell me all about what we can expect in this game.

It’s been quite a trip! In the immortal words of the venerable master, Hideo Kojima: “Kept you waiting, huh?”

Now that that’s out of my system, Evolution’s End continues the events of Werewolves 2: Pack Mentality right where they left off, exploring characters and mysteries previously left unanswered. We’ll experience the endgame of the mysterious scientist Maker, and what could very well be a final battle between the main character and the former Colonel, Elan Williams. Depending on the player’s choices, there are many possible deaths to brace yourself for by the end.

I’ve also written enough romance content to fill an actual novel. Each of the five romanceable characters has several unique scenes associated with them and hundreds of lines of dialogue. Warning: It gets spicy!

Some characters who were missed in Werewolves 2 make their return here as well, and I’ll enjoy seeing readers’ reactions to it!

What was the biggest challenge in writing this third part?

The biggest challenge was definitely a little gremlin of mine called ‘scope creep,’ which is easy to get caught up in when you have pre-established characters who all have their own desires and goals.

I wanted to put everything into this installment and I got more than a little carried away over time. The word count for this monster is almost twice that of Werewolves 2–comparable to my other game, Vampire the Masquerade: Parliament of Knives. I wanted to explore every aspect of the story that I could, and that resulted in a longer development period. Gods bless the patience of my editor, Jason!

So, I had to balance the responsibility of reeling in my ambitions to make sure I get the game out to the readers who have been waiting (patiently!) to continue their story from book 2. My partner suggested that I’d either have to invent a time machine or clone myself in order to write down all the ideas I’ve discussed for this game over the last two years of development. I’m still working on the cloning thing. Any day now… (I should have started with the time machine…)

Has it been hard to hold all the pieces of two other games in your head (and your code!) coming into this final stretch?

Not particularly. The hard part wasn’t so much the number of pieces, but shifting gears from Vampire: the Masquerade back to Werewolves. The language used is different and I wanted to make sure there wasn’t an accidental tonal shift in the writing from book 2 to book 3 in the Werewolves series. Dialogue in particular is very different in Werewolves than it is in Vampire: The Masquerade, so I spent some time just writing out conversations between main characters, noting how they talk, etc… Even the main character’s observations are written differently than the MC in Parliament of Knives.

There are a lot of other elements to consider than tone as well, like making sure that I write “humans” instead of “mortals,” that kind of thing. That may sound silly, but when you’ve spent two years writing one way for a franchise, it gets ingrained in your style and it requires a manual shift in one’s brain space.

It took me around two months to fully immerse myself into this world again, and I had to re-read my own Werewolf games multiple times to get myself in the heads of the characters. What helped in this process was writing an extensive interactive recap for returning players. Putting together all the important plotlines and permutations for returning players got most of it sorted in my head right off that bat. Once I was there, it flowed fairly easily.

What do you think will surprise fans of this series the most about Evolution’s End?

There are several surprises in store! I think the biggest one is the return to a setting that most readers probably expected they’d seen the last of and it probably isn’t the first one that comes to mind. Both Maker and Williams have some interesting tricks up their sleeves for the pack, and it will be up to the player to overcome them or even possibly benefit from them if they can put their morals aside.

Oh, and there’s also some significant hints regarding the origins of the modern incarnation of the werewolf race and how they’ve been harnessed and manipulated by secretive government projects over the last century. If you like diving into the lore, there are some real treats in store!

Do you have thoughts about additional stories set in this world?

Absolutely! I had a few people ask me this a while back on the official CoG Reddit. Originally, Evolution’s End was intended to be the final book in the series, and while it largely wraps up several major plot lines in what I feel is a satisfying way, there are still areas to explore that are very relevant to the main character’s life.

Long story short, I have every intention to bring a fourth installment of the series to readers if the demand is there.

In the meantime, I’m actually writing a series of short stories set in the “Claw, Shadow, and Sage” world, and it’s been fun to explore the story from various perspectives outside the main character’s head.

What are you working on outside of interactive fiction?

I’ve put all other projects on hold while I was scrabbling to finish Evolution’s End, but earlier in the year I spent time writing the short stories I mentioned, including the story of Colonel Williams, what happened to Haken between Werewolves 1 and 3, and a series of shorts from the perspectives of Dena and Jolon’s parents. I plan to work on more of these in the future, and possibly start a Patreon to fund their creation if readers are interested in that sort of thing!

I’ve also been working on an (unofficial) prequel novel to Parliament of Knives that follows Sheriff Qui’s arrival in Ottawa during the 1970s. Qui meets and falls in love with his ghoul, Sam, and forges an alliance with Arundel before he was Prince. That’s been an absolute blast to write. Once it’s finished, I intend to make it available for free.

Last but not least, I’ve been outlining some interesting ideas I have for a novel in the LitRPG genre, since I’ve been devouring that type of book lately and would love to take a stab at making one of my own. It’s a bit out of my wheelhouse (No vampires? No werewolves? What?!?) but sometimes it’s exciting to take on something new every so often. Speaking of projects, I’d better get back to work on that time machine or I’ll never get all this writing done! Can’t wait to see what everyone thinks of Evolution’s End this November!

[classicmarvelera]

The Evolution of Ghost Rider: A Journey through the Stern-DeMatteis Era

In the vast and ever-expanding universe of Marvel Comics, certain runs stand out as transformative moments for characters, reshaping their narratives and defining their identities. One such epochal period occurred within the Ghost Rider series, spanning from issue number 68 to the poignant conclusion in issue 81. What began as Roger Stern's stewardship transitioned seamlessly into J.M. DeMatteis' tenure, crafting a storyline that not only delved into the depths of Johnny Blaze's tortured soul but also elevated Mephisto to the status of his arch-nemesis. As the flames of vengeance intertwined with the intricacies of demonology, readers were treated to a saga that not only expanded the mythos of Ghost Rider but also explored the complexities of morality and redemption

The Genesis of Change: Roger Stern's Reign

Roger Stern's takeover of Ghost Rider marked a significant turning point in the character's mythology. Issue 68 served as a catalyst, introducing subtle yet profound alterations to Johnny Blaze's origin story. By retconning Satan's role and replacing it with Mephisto, Stern not only streamlined the narrative but also established a more intricate dynamic between the Spirit of Vengeance and his eternal foe. This shift laid the groundwork for future explorations into the depths of Johnny's torment and the insidious influence of Mephisto's machinations

Throughout Stern's tenure, themes of redemption and the eternal struggle between good and evil permeated each issue. Johnny Blaze's internal conflict was brought to the forefront, as he grappled with the consequences of his Faustian bargain and sought to atone for his sins through acts of heroism. Stern's masterful storytelling, coupled with the dynamic artwork of Bob Budiansky, brought a sense of gravitas to each panel, immersing readers in a world where the boundaries between light and darkness blurred

The Ascension of Mephisto: J.M. DeMatteis' Magnum Opus

As Stern's run drew to a close, J.M. DeMatteis took up the mantle, guiding Ghost Rider through his final trials and tribulations. Issue 81, aptly titled 'The End of Ghost Rider,' served as a poignant conclusion to this chapter of Johnny Blaze's journey, offering closure while paving the way for future narratives. DeMatteis' writing brought a sense of depth and introspection to the series, delving into the psyche of both hero and villain alike

One of the most significant contributions of DeMatteis' tenure was the elevation of Mephisto from mere antagonist to Johnny Blaze's ultimate nemesis. Through intricate storytelling and nuanced characterization, Mephisto emerged as a formidable adversary, a dark mirror to Johnny's tortured soul. Theirs became a battle not only of strength but of willpower and resilience, with each confrontation pushing both characters to their limits

The Redemption of Zarathos: Unraveling the Demon's Past

Central to the Stern-DeMatteis era was the exploration of Zarathos, the demonic entity bound to Johnny Blaze's fate. As the series progressed, glimpses of Zarathos' tragic past emerged, shedding light on the origins of the Spirit of Vengeance and his eternal quest for redemption. Through intricate storytelling and subtle foreshadowing, Stern and DeMatteis wove a tapestry of intrigue and mystery, unraveling the layers of Zarathos' identity while deepening the connection between host and spirit

By delving into Zarathos' backstory, the series added depth and complexity to the character, transforming him from a mere instrument of vengeance into a figure of tragic heroism. His struggles became emblematic of the eternal battle between light and darkness, as he grappled with his own nature while striving to protect those he cared for. In the end, Zarathos' journey mirrored Johnny Blaze's own quest for redemption, forging a bond that transcended the confines of flesh and blood

A Legacy of Flame and Shadow

The Stern-DeMatteis era of Ghost Rider stands as a testament to the transformative power of storytelling within the realm of comics. Through meticulous characterization, intricate plotting, and dynamic artwork, the series breathed new life into the mythos of Ghost Rider, reshaping the character's identity for generations to come. From the retconning of Johnny Blaze's origin to the elevation of Mephisto as his arch-nemesis, each issue served as a building block in a narrative tapestry that explored the depths of human emotion and the eternal struggle between good and evil

As fans look back on this seminal era, they are reminded not only of the trials and tribulations of Johnny Blaze and Mephisto but also of the enduring legacy of Ghost Rider as a character. Through flame and shadow, redemption and damnation, the Spirit of Vengeance endures, a beacon of hope in a world consumed by darkness. And though the fires may wane and the shadows may lengthen, the spirit of Ghost Rider lives on, eternal and unyielding, a testament to the power of storytelling to transcend the boundaries of time and space

Buy Marvel Masterworks: Ghost Rider Vol. 6

[x-heesy]

Jen Stark’s art is driven by her interest in conceptualizing visual systems to simulate plant growth, evolution, infinity, fractals, mimetic topographies, and sacred geometries. Using available materials—paper, wood, metal, paint—Stark strives to make work that balances on a razor’s edge of optical seduction and perceptual engagement. In recent years, Stark has introduced new technologies into her diverse practice, delving into the digital realm of interactive projections and distinctive NFTs.

The resulting works often resemble organic, molecular, cloud-like structures, and are imbued with kinetic, undulating effects that serve to dislocate the viewer from staid reality into an immersive ecosphere of echoing patterns and the implausible designs found in nature. Even her vivid colors are in direct conversation with the natural world; the attractant/repellent properties of flowers encouraging pollination or insects warning birds of their poisonous traits, and the luminous mystery of phosphorescent sea creatures are among Stark’s concerns.

Via these corporeal abstractions, spectators are led onto the astral plane; there’s a transcendence to Stark’s work where the vibrational phases become a sacrosanct and curative experience for the viewer. Traces of mandalas or nautili reveal themselves as sacred geometric forms in Stark’s spiritual reservoir.

Stark’s ability to create atmospheric, minimal, naturalist configurations that only reveal themselves after deep engagement align her with the artistic legacies of Yayoi Kusama, Sol Lewitt, Tara Donovan, Tom Friedman, Andy Goldsworthy, Ernst Haeckel, and the Finish Fetish artists of 1960s Los Angeles.

Not limited to the confines of museums and galleries, Stark’s diverse practice—a series of sculptural objects that rely on a commitment to process and hypnotic repetition; charismatic wall works; widely seen murals; intricately animated films; NFTs (non-fungible tokens) and interactive projections—has been exhibited throughout the world, permeating both the physical and digital realms. By adopting cutting-edge techniques to showcase her aesthetic, Stark activates her universe through constant adaptation and transformation.

Stark was born in Miami, Florida in 1983, and studied at the Maryland Institute College of Art, graduating in 2005. Since then, Stark has realized exhibitions globally, with major shows in New York, Los Angeles, Miami, Chicago, Thailand, and Canada. Recently included as one of Fortune’s “NFTy 50,” Stark made history as the first female artist to make Foundation’s top 10 highest selling NFT creatives. Her work is in the collections of the Smithsonian American Art Museum, the West Collection, Crystal Bridges Museum of American Art, NSU Art Museum and MOCA Miami, among others.

Stark lives and works in Los Angeles. Part1 Part2

#sculpture #sculptureart #sculptureartist #sculptures #sculpturelovers #sculptureoftheday #sculpturepark #sculpture_art #sculpturegallery #sculpturesofinstagram #sculpture_gallery #sculpturesurbois #contemporarysculpture #sculpturecontemporaine #sculpturephotography #sculptured #modernsculpture #abstractsculpture #handsculpture @frenchpsychiatrymuderedmycnut 🌈 #artsculpture #instasculpture #skulptur #skulpturen #skulpturer #skulpturensammlung #skulptures #skulptūra #skulpturia #skulpturenausstellung

Soundtrack: I Feel Space by Lindstrøm 🌈

[thesoulshyperrealaslacreatura]

Drakenier: Violence as expression and affirmation - Pt.1

It has become a rather well-known piece of trivia (or at least, well-known within the niche internet circles I flow through) that 2010's Nier Replicant / Gestalt had its overall message thoroughly inspired by well, 9/11 - the discourse that produced it, that came of it, and became it. Although it may not be a direct quote, "to kill someone, you don't have to be out of your mind, you just need to believe you are correct" is a sentiment clearly echoed throughout the game; as the many layers of its central and side conflicts drop alongside the curtains to its second, third (and maybe kind of fourth) playthrough, so does what had, for quite a ways into the game, seemed like a story mostly about finding, nurturing and protecting a community - people to call home.

However, the statement above seems to somewhat conceal-so-as-to-merely-hint-at what I'd argue is a much more complex argument the games lay forth, when looked at as one series. I, myself, have found it difficult in the past to distill both Replicant and the wider series as a whole into one coherent message or thematic frame; partly (and beautifully), because there mustn't be one - this singular reading which eclipses the broad range of experiences that people have come to share with the series - such an idea is preposterously reductive. Still, I think that this mish-mash of "the game is about philosophy and tragedy and nihilism and existentialism and society and humanity and life" and whatnot misses a bit of where the different themes intersect, producing further instances of meaning from the text. I hope to discuss the evolution (were I to sound even more pretentious, I might have used the word genealogy, but I would never stoop to that) of a few central concepts surrounding drakenier's "philosophy of violence" and where they seem to have informed or have been informed by other aspects of the works.

Strap in, because just from writing the introduction I can already tell this is gonna have to come in multiple parts. Hopefully my writing can steer away from boring you to tears throughout all of it.

Spoilers for the whole series!

Part 1: Replicant, and the subjective experience gained from that funky 9/11 fun fact

"Blood is sound, sound is words, and words are power"

This quote, almost a chant from Weiss as the player starts to grasp the gameplay loop of attacking enemies to allow for magical attacks, ties in the game's teaching of that system with what I consider to be the most powerful writing from Replicant (I'm going to refer to it as Replicant for the sake of convenience, obviously Gestalt is included in that). And it is deeply tied to what Taro himself has credited as a major source of inspiration for Replicant in relation to his previous game, Drakengard.

In some ways, Nier Replicant isn't introducing a new, foreign idea over the original Drakengard, so much as bringing out new elements from within its predecessors' critiques of the gaming landscape. Though that only really becomes clear by taking future foresights the series would reach into account; this is the point at which it becomes prudent to ask ourselves one question - how might the game's design regulate the player's interaction with the game world? (A question that, if you're at all even familiar with Drakengard, you probably already know the answer to)

From this, we can extrapolate a lot of meaning from how the original Drakengard was conceived: a game about violence, from the perspective of people who were so immersed in their own awfulness and the general precarity of their world that they cannot enact anything but that same violence. And it is that violence which comes to define them.

I'd also like to do the pedantic thing and bring up the fact that violence can be thought of as more than just physical harm, but also in terms of violation. In that sense, when I claim that Drakengard's characters are defined by violence, I mean it in that their reduction of other people to objects serves as an exertion of themselves - the Dynasty Warriors inspired combat of cleansing battlefields as the only win state reflects back at Caim as his only method of building an identity of his own, one based on strength demonstrated from conquering his enemies. You might find that these 'enemies' are violated the moment they're placed into the game as props that sustain its overall narrative.

In fact, this 'loss of personhood as self-affirmation' theme reverberates into another key factor of the game's story: pacts. They explicitly deprive humans of something of themselves - their ability to communicate, to see, to age, to have hair (sure????) -, and reduces both parties into one shared essence, yet it is what permits its characters to have strength through which they find themselves as able to inflict that dehumanization onto others. Dehumanization becomes their characterization, both from the audience's perspective as well as in-world.

Following that, Nier Replicant does not dispute that destruction of the other simultaneously inflicts upon the self both corruption and affirmation. If anything, it only takes measures to strengthen that sentiment, in light of how the added theme of perspective brings forth a need to now more closely study the subjective experience of perpetrating violence. Thus:

"Blood is sound, sound is words, and words are power"

The gameplay system I've anchored this analysis to comes into play; attacking your enemies gives you the literal strength to continue your offense, by design - ridding them of their life force, their blood, perpetuates the narrative, the words being built, the sealed verses of a prophecy you've set for yourself: that of being a hero to your sister/daughter, friends and general community. This even extends to the lyrics of Ashes of Dreams:

"Are we the plaything of fiends or merely the dreams that we're telling ourselves?"

Though we shouldn't forget that Weiss' comment takes the form of X=Y=Z=W, and it seems I've neglected the 'sound' part of the sentence. As I was writing this, my brain immediately made the association between that and Drakengard 3's focus on the power of Song, which, in fairness, definitely was made with the rest of the series in mind - but, in this instance, that sounds like a bit of a lucky coincidence. Still, what the concept of sound brings to the statement doesn't seem too far off from what meaning could be made at a bit more of a general, rudimentary level, that being: our lifeforce (blood) translates into our ability to be heard (sound), thus effectively giving us narratives about the world around us (words), which gives our actions direction, purpose (power).

From that, we can take a closer look into a lot of different aspects of the game. After all, the reason I proclaimed this piece of writing to be so powerful isn't really because I could - and did - stretch its interpretation to its fullest, but also from the way it manifests itself around the struggles of various characters, while being tied to the game's overall systems and world. Emil receding into his identity as a weapon in order to redirect what he sees as his curse onto those who seek to harm his friends - leading to his sacrifice; Weiss, who also goes on to sacrifice himself, does so in the name of putting an end to this now 5-year mission, grown into his own center of existence; Louise, perhaps reacting to the world around her, saw humanity as something to claim from others, and faced erasure upon perceiving herself as incapable of acquiring it. For better or for worse, the moral codes characters create from their own intentions of living become rigid scripts to follow as self-fulfilling prophecies of their own identities.

We can see that, ultimately, characters across both games tend to follow journeys with a general structure of: bleak circumstances > feeling of powerlessness > violence as a misguided means of reclaiming the power to define oneself > entrenchment in violence becomes overbearing, coming to annihilate the very self which sought to instigate it. From the first Drakengard to the first Nier, this hasn't changed a bit. What changed is a distinct awareness in how the self, or what we might call "us" stands in conflict with the generalized other, "them", and where it uses morality as a catalyst for smoothing out the uncomfortable edges of that conflict.

In fact, the annihilation of the self as, paradoxically, an act of self-affirmation is the very core of ending D for Replicant. And this is, partly, where the inciting 9/11 quote comes into play - given our newfound empathetic understanding of where violence comes from, how do we process it? How do we make sense of it? From the way the world is established, the very act of surviving, for both replicants and gestalts, is somewhat tainted as immoral, and predicated on the erasure of an 'other'. It leaves room for later material to find itself more at ease with this question (and those circle back nicely to ending E from the new version, as well). For now, most of what the game feels comfortable in concluding comes from Kainé, who stands in contrast with most characters by fully rejecting the notion of being a moral agent throughout the entire story, yet the game still offers us the chance to save her - it, mirroring the protagonist, relentlessly believes in her. Not even that "she can be better", whatever better might mean, just that "she can be".

And obviously, finally, we can extrapolate plenty of social commentary from this. Playing off of the thematic material introduced in Automata, we could argue that Replicant's plot is, in retrospect, about slowly building up to the depiction of a certain "Death of God" - which, in nietzschean terms, is not merely society straying from religiosity, but represents an irreparable shattering in the very idea of a centralizing narrative that everyone could subscribe to and fit within. So ends humanity, not just as a species, but as a concept; no longer are people able to identify themselves as containing some unified essence of 'humanity', recognizing the other as a complete self in its own right, as they retreat into the violence that was inflicted against them, which they inflict back at the world - to have your totality reduced to a role in a play that the winner gets to write. And in that sense, I'd argue it captures specific facets of a post-9/11 climate pretty well.

Anyway, gonna make a separate post that's just about Drakengard 3, and then one that's just about Automata, but at a later time!

also, this thesis becomes more relevant when the time comes to analyze automata, but it was still helpful in having me think through the previous games, so I'll drop it here as a reference for now, and will mention it more loudly once we come to specific sections later (not about to be the next target for hbomberguy lmao): http://dspace.library.uvic.ca/handle/1828/14525

Cool that there are people writing about it!! Thank you Xinlyu Tan, the goat!!! Would love to go through more material, but I'm writing this for fun on the side... hope anyone reading this has enough fun with it to go looking for more on their own, go extend the discussion further, blah blah blah. Also hope that I make any sort of vaguely coherent point. And, lastly, I hope you enjoy yourself!

[pagesandpothos]

Sorcery and Small Magics by Maiga Doocy

Official Blurb:

Desperate to undo the curse binding them to each other, an impulsive sorcerer and his curmudgeonly rival venture deep into a magical forest in search of a counterspell—only to discover that magic might not be the only thing pulling them together. Leovander Loveage is a master of small magics. He can summon butterflies with a song, or turn someone’s hair pink by snapping his fingers. Such minor charms don’t earn him much admiration from other sorcerers (or his father), but anything more elaborate always blows up in his face. Which is why Leo vowed years ago to never again write powerful magic. That is, until a mix-up involving a forbidden spell binds Leo to obey the commands of his longtime nemesis, Sebastian Grimm. Grimm is Leo’s complete opposite—respected, exceptionally talented, and an absolutely insufferable curmudgeon. The only thing they agree on is that getting caught using forbidden magic would mean the end of their careers. They need a counterspell, and fast. But Grimm casts spells, he doesn’t undo them, and Leo doesn’t mess with powerful magic. Chasing rumors of a powerful sorcerer with a knack for undoing curses, Leo and Grimm enter the Unquiet Wood, a forest infested with murderous monsters and dangerous outlaws alike. To dissolve the curse, they’ll have to uncover the true depths of Leo’s magic, set aside their long-standing rivalry, and—much to their horror—work together. Even as an odd spark of attraction flares between them.

My Thoughts:

Sorcery and Small Magics might be my absolute favorite read of the year! I absolutely devoured this book and loved everything about it.

First, the worldbuilding and magic system are both creative and really well done. Locations include a prestigious magic school, a rural countryside filled with people who use magic to make simple livings, and a dangerous forest filled with terrifying monsters. All of these settings are lush and described well. I felt fully immersed in this world while reading! The magic system is also unique and ended up being one of my favorite parts of the story. Sorcerers are divided into either Scrivers (people who can write spells) or Casters (who cast spells). This division was inventive and it added a lot to the story. There's also some music-based magic that plays a really cool role in the story.

The characters are also really great. At the start of the story, Leo is a loveable screwup who lacks confidence in his magic abilities. He's from a wealthy and esteemed family that has high expectations for him. Sebastian, on the other hand, is from a working-class family and is an excellent student and spellcaster who takes his abilities (and most things) very seriously.

Their opposite personalities have caused conflict between the two at school and they start the story as rivals. A spell-gone-wrong demands that the two work together and their story truly begins to develop here.

I adored their dynamic from start to finish. Their dynamic in the first half of the book reminded me of the Harry/Draco fanfiction I read as a teenager. Their evolution in the second half was even more interesting and led to a lot of depth and complexity in their relationship.

I will caution that this is a true slow burn! So don't go in expecting feelings to be fully realized or spicy scenes to happen. Sorcery and Small Magics lays the groundwork for what should become a really amazing relationship in later books but there are a lot of misconceptions to overcome and growth that has to happen first. This series feels like it could finally be the amazing queer slow-burn love story that so many queer fans in so many fandoms have longed for. I, for one, am fully on board this ship and I'm ridiculously excited to see where it goes!

Along with the relationship growth, both Leo and Grimm have great character moments. Both young men are more complicated than they seem and I loved slowly discovering more about them.

In addition, there's also a whole cast of supporting characters that I enjoyed and look forward to seeing more of in future books. Some interesting political and moral issues are also set up.

I can't recommend Sorcery and Small Magics enough. I enjoyed reading this immensely and I can not wait for the sequel. If future books in this series match the quality of this book, I think this could easily become my new favorite series!

Honestly, I need everyone on Tumblr to read this and start making fan art and writing fanfiction because it's going to be a long wait for book #2 and I need more of this world and Grimm/Leo!

My Rating: ⭐⭐⭐⭐⭐

Tropes/Tags: Achillean, high fantasy, romantasy, slow burn, rivals to allies to ???, magic, forced proximity. You can see a trope graphic from the author here!

Content Warnings: If you have emetophobia there are a few scenes where a character vomits due to a curse or other magical influence.

If you liked this I think you will like Sorcery and Small Magics: The Last Binding series by Freya Marske, The Simon Snow series by Rainbow Rowell, anyone who has ever enjoyed Harry/Draco fanfiction, anyone who has ever wanted a good queer slow-burn romance

Other Notes: Maiga Doocy posted some beautiful art of Leo and Sebastian on her Instagram!

Links: Storygraph | GoodReads | MaigaDoocy.com

Sorcery and Small Magics will be released on October 15, 2024, and is available for pre-order!

I received an advanced copy of this book for free thanks to NetGalley and Orbit. The above are my honest feelings on the provided book.

[i-am-the-wayward-traveler]

So with the wrapping up of the current Fallout TV series there has been some Discord about some of the choices surrounding some of the more historical points of the Fallout universe.

Preferably the off screen destruction of previous well-known Fallout locations from games pass such as shady Sands this has been a contentious Point against some group of fans as they were anxious to see the bustling NCR Metropolis in real life.

In games previous mostly the first two as the player you would wander the Wasteland and find different locations both remnants of the old world and signs of civilization trying to start again there was also a continuity between the games that showed the evolution of these small bustling settlements and the fading away of the more desolate locations of the old world.

This is one of the reasons I was not upset about the destruction of Sadie Sands in the current TV series as it provides a way to explain why things are so bad even so many years later after the rebuilding of society had begun in certain areas of the United States.

The Wasteland aesthetic that's always been president and many of the Fallout games really stopped it's progression when Bethesda took over the franchise and started with Fallout 3 it's one of the things that always bothered me maybe as a small nitpick but as a glaring one at Best after 200 years places like the capital Wasteland the Commonwealth and especially New Vegas seeming as it was one of the few cities spared the destruction of the Great War but we find that most of these places are still dealing with Wasteland junk towns and destroyed ramshackle shanties as it's main centers of civilization. Now compare and contrast this to some of the original games where you actually see a simple thriving town get built up into a bustling metropolis relatively clean with working water and electricity between games.

For me it's one of those things that always felt very lazy as it should have been pretty easy to create a aesthetic of some kind with a functioning town or settlement for the player to rest in and then you walk outside to see a Wasteland and it's hard desolation. Such a contrast would actually created a greater immersion the surrounding wastelands appearing even harsher and more desolate.

Now without this visual contrast or type of aesthetic storytelling you would always need more of a story or an idea of why after so long with so many functional people you couldn't do any better than a couple sheets of metal and filthy potato sacks stapled onto a twisted rebar frame around an undetonated bomb.

[felassan]

EA Blog Post on hair tech in DA:TV, under a cut due to length.

"Innovating Strand by Strand for Lifelike Hair in Dragon Age: The Veilguard Strand Hair technology adds visual fidelity and realism to characters, and it redefines what’s possible in Dragon Age: The Veilguard --- In the fantasy world of Thedas, where heroes rise and legends are forged, every detail breathes life into an epic saga. Dragon Age: The Veilguard introduces players to a crafted and beautiful world where even the finest elements like strands of hair tell a tale of their own. Each strand of hair weaves seamlessly into the fabric of the game, enriching your character’s journey through treacherous labyrinths and beyond. Together, the Frostbite and BioWare teams embarked on a quest to elevate Strand Hair technology, focusing on the following elements: - 50,000 individual strands per character for over 100 hairstyles – EA’s Strand Hair technology brings natural motion to your hero’s hairdo in Dragon Age: The Veilguard. - Adaptable to various character movements and environments – Frostbite and BioWare pushed the limits of hair rendering, achieving realistic material response and shadows. This collaboration introduced detailed, physics-driven hairstyles tailored to the unique world of Dragon Age. - Industry-leading realism – Dragon Age: The Veilguard sets a new standard for lifelike character hair at 60 FPS on PlayStation®5, Xbox Series X, and PC with compatible hardware, showcasing EA’s leadership in innovation and BioWare’s craftsmanship in enhancing immersive storytelling. This is how Frostbite and BioWare brought Strand Hair technology to the next level, letting you be the hero you want to be as Rook in Dragon Age: The Veilguard. Weaving Magic Into Reality Harnessing the power of the Frostbite engine, Strand Hair technology transforms your character's locks into a living tapestry of thousands of individual strands. Strand Hair technology combines physics with real-time rendering to simulate believable modeling of human hair."

"Incorporating realistic hair within games is quite challenging, which is why Frostbite has already spent years advancing hair rendering technology. Strand Hair was featured in previous EA SPORTS FC™, Madden NFL, and NHL titles, but the technology is always being upgraded for new releases. While Strand Hair is present in other EA games, the BioWare team had to push the limits even further for Dragon Age: The Veilguard. For example, implementing Strand Hair technology for characters who have waist-length hair with horns on their head presented some unique challenges. With hair attachments that move seamlessly, and the decoupling of simulation and render tessellation, this is the first EA game to offer such detailed physics-driven long hairstyles. The Frostbite team increased maximum hair length from 63 points to 255, and implemented a new system for complex hair structures like braids. Frostbite and BioWare also collaborated to achieve accurate hair material response and shadows across diverse lighting environments. Strand Hair technology in Dragon Age: The Veilguard features a new hair lighting model with improved light transmittance and visibility calculations. Dragon Age characters can have various builds and physical traits, each with unique hairstyles that adapt seamlessly to different garments and dynamic movements. Whether jumping at high speed in combat, slowing time, or going prone, the hair responds fluidly while maintaining realism across all scenarios. A Heroic Collaboration With Trials and Triumphs The evolution of Strand Hair technology has been a collaborative journey, beginning with Frostbite’s partnership with the EA SPORTS FC™ team that pushed the tech to a shippable state. Frostbite continues to refine and enhance this innovation, bringing its magic to titles like Battlefield 2042, UFC 5, College Football 25, and now, Dragon Age: The Veilguard.  The Frostbite and BioWare teams worked closely together to get Strand Hair tech within Dragon Age: The Veilguard. The engineering team played a huge role in making sure hair looked good in new scenarios, like being surrounded by magical particles, underwater, or interacting with waterfalls. Their tireless work made these complex interactions both performant and robust. “The collaboration between Frostbite and the BioWare engineering team was key to supporting complex hairstyles. Advancing the technology for intricate styles and optimizing performance ensured that specific moments, like when hair covers a large percentage of the screen in certain cinematics, run smoothly.” – Maciej Kurowski, Studio Technical Director, BioWare Together, they tackled challenging lighting conditions and pushed the limits of strand length and tessellation, achieving hair designs far more complex than any previous EA title."

"Complex Hair Rendering and Enchanting Visual Magic A major difference between Dragon Age: The Veilguard and existing Frostbite titles that have shipped with Strand Hair is the sheer variety and quantity of visual effects and transparent objects. From magical spells to smoke, fire, and fog, the technology needed to blend seamlessly into the environment and magic of Thedas. Strand Hair is not rendered like traditional objects are within Frostbite. The technology utilizes a bespoke compute software rasterizer and is composited into the frame and blended with other opaque and transparent objects when resolved. Due to the complexity and uniqueness of the software rasterizer, the hair supported limited options for blending with the game world and characters. It was specifically designed to favor blending with depth of field, which is an important broadcast camera technique used in sports games. This did not blend well with transparent objects, which while few in sports titles, are extremely common in Dragon Age: The Veilguard. Thus, the BioWare team needed to develop a new technique for blending hair with transparent visual effects and environment effects like volumetric fog and other participating media. This technique involves splitting the hair into two distinct passes, first opaque, and then transparent. To split the hair up, we added an alpha cutoff to the render pass that composites the hair with the world and first renders the hair that is above the cutoff (>=1, opaque), and subsequently the hair that is lower than the cutoff (transparent). Before these split passes are rendered, we render the depth of the transparent part of the hair. Mostly this is just the ends of the hair strands. This texture will be used as a spatial barrier between transparent pixels that are “under” and “on top” of the strand hair."

"Transparent depth texture, note the edge of the hair."

"Once we have that texture, we first render the opaque part of strand hair, and then we render transparent objects. The shaders for the transparent objects use the transparent hair depth texture to determine whether the shading pixel is “under” or “on top” of the strand hair. If it’s below, it renders the hair and marks a stencil bit (think of it as a masking texture). If the pixel is “on top” or equal to the hair, it simply discards that pixel and renders nothing. After we’ve drawn the transparent objects once, we then draw the transparent hair since we are sure that there are no transparent objects ‘under’ the hair that have not been rendered yet. Finally we draw the transparent objects again, this time checking that stencil mask to see where we did not draw the transparent objects before, thus layering the pixels of transparent objects that are on top of the hair properly. This results in perfect pixel blending with transparent objects. – James Power, Senior Rendering Engineer, BioWare"

"Left, without “Layered” transparency. Right, with “Layered” transparency."

"Another challenge the BioWare team faced was handling the wide range of cinematic lighting rigs used for cutscenes, which must be rendered in real time in order to support customizable characters and followers. Because pre-rendering cutscenes was not possible, performance in cinematics was still paramount to the technical vision for the product. The team also wanted to maintain the same consistent frame rate across gameplay and cinematics to avoid jarring transitions if the cinematics were to be locked to 30 FPS.  With that in mind when lighting scenes, there needed to be support for a wide range of lights that would be less computationally expensive to render, but would have extreme consequences on the quality of hair self-shadowing. This is a major contributor to the overall quality of the hair. Any given Strand Hair object, which has tens of thousands of individual thin hair strands, requires high quality shadow maps in order to have good coverage of the hair strands in the resulting shadowmap texture. Wide angle lights, distant lights, and non-shadowcasting lights do not provide adequate coverage (or no coverage at all, in the case of the non-shadowcasting lights). When the lighting routines are run, the hair would occupy a low amount of pixels in the shadowmap.  When attempting to calculate light transmission inside the volume of hair, the fidelity would be poor, resulting in flat shading lacking detail near the edges of the hair where a fine gradient of light transmission is expected. To solve this, hero shadows are rendered for every Strand Hair object and every light that lighting artists designated as important to the shot. These hero shadows are generated at run time, using a tightly fitting light frustum that is adjusted to each hair’s bounding box, ensuring there are high fidelity shadowmaps.  When applying shadows to the hair, we test to see if a shading point is in the hero shadow or the regular shadow (since the hair will not be in both) and composite the final results."

"Left, Bellara rendered without Hero Shadows. Right, with Hero Shadows. Note the differences in fidelity of transmission on the left side of the character head."

"Harnessing Efficiency With Performance and Memory Throughout development, Dragon Age: The Veilguard aimed for high performance and strict memory requirements across all platforms to ensure players have a smooth and scalable experience.  Strand Hair is a memory and GPU dependent rendering system. Optimizations needed to be made in order to conform to the limited amount of system resources available for the following considerations: - Strand Hair assets, especially those with high strand counts and tessellation settings (which are necessary for the complex hair BioWare authored for both followers and Rook alike), have a high memory footprint. - The system is designed to allow for a large number of Strand Hair assets, but this comes at the cost of additional memory allocations to support the number of characters on field in other titles like EA SPORTS FC™. - For Dragon Age: The Veilguard, the team had a lot of control over which characters are on screen, and how many hair assets are supported. BioWare developed a system to control how large these allocations are to tightly fit the number of hair assets for the best possible memory utilization. On average, there is a flat GPU cost of around 128MB of GPU memory for the full field of followers (eight hair assets). Outside of this fixed memory cost, the system can dynamically adjust the size of system memory, GPU memory, and group shared memory in compute shaders using custom permutations with set thresholds.  This provides the ability to scale additional memory costs from 300MB to 600MB depending on quality settings and resolution. Both Xbox Series X and PlayStation®5 sit at around 400MB depending on the number of characters and the assets loaded, as they each have their own memory costs.  These costs are dynamically adjusted due to hair needing less memory to occupy less pixels. Lower resolutions (or lower dynamic hair resolution on lower quality settings) can get away with smaller buffer allocations for many of these per-frame costs without sacrificing any image quality.  This work was especially important for PC due to the wide array of available graphics memory on GPUs available to consumers. This amount of memory being allocated per frame can push the GPU into demoting or paging memory, which can result in significant performance loss and hitches. For lower quality settings on PC, as well as Xbox Series S, swapping out Strand Hair assets for Card Hair assets is supported. These assets have significantly lower memory footprints and allowed the team to push for higher fidelity on systems that can handle the load without sacrificing performance on lower end systems. To achieve the performance requirements of Dragon Age: The Veilguard, BioWare implemented a number of scalable performance features that are applied across various quality settings on PC and performance modes on consoles. Strand Hair is normally rendered at render resolution and is unaffected by upsampling technology such as NVIDIA DLSS, AMD FSR, or Intel XeSS. Therefore it does not scale as well with other render features when those settings are applied.  To ensure great performance across all configurations, BioWare implemented technology that scales the hair render resolution for a set of minimum and maximum targets based on said render resolution.  Hair rasterization performance scales fairly aggressively with resolution and screen coverage. As hair covers more of the screen, a larger primitive count is required to render the strands at adequate detail. This requires both more memory and GPU resources."

To ensure we meet our frame time requirements, we set a maximum frametime budget for strand hair rendering for consoles at 6.5ms for 30 FPS (33.3ms frame time) and 3ms for 60 FPS (16.6ms frame time) with eight strand hair assets on screen.  Our hair resolution control will adjust the resolution within a minimum and maximum resolution based on our upsampler and DRS settings and keep the hair costs proportional to those targets. This is important since hair does not go through upsampling, as mentioned earlier, and will not have its load reduced by those technologies. Running hair simulation costs are also done on the GPU in compute, and change dramatically depending on the asset, but tend to hover around 2ms with some spikes to nearly 5ms depending on complexity of the hair and whether we are loading/teleporting new assets. This cost does not scale with resolution.  We have a variety of systems for cinematics and gameplay that will disable simulation for hair assets off screen or far away and do not contribute to shadows that are on screen. Controlling simulation costs is largely done by cinematic designers ensuring their scenes do not go over budget. – James Power, Senior Rendering Engineer, BioWare As mentioned earlier, BioWare’s Hero Shadows provide the hair with high fidelity shadow maps, but come at a heavy cost to GPU performance.  Support for scalable hair decimation was added to combat this, allowing for the reduction of strand count when rendering shadows, thus reducing the cost of hero shadows. This enables lighters to use more of them, and support them for both 30 FPS and 60 FPS targets."

"Head and Shoulders Above the Rest Examples above describe only some of the improvements the BioWare and Frostbite teams worked on to redefine state of the art, real-time hair simulation and rendering technology for Dragon Age: The Veilguard. This groundbreaking accomplishment underscores EA's innovative spirit and highlights BioWare's exceptional craftsmanship. Whether you're uniting the Veilguard or facing the gods, the lifelike detail of your character's hair allows you to make this heroic story truly your own. As you journey through Thedas uniting companions and forging your legacy, remember that every detail down to the last strand of hair has been crafted to enhance your adventure. Join the ranks of innovators shaping the future of gaming realms. At EA, we forge alliances and craft powerful tools like Strand Hair. Explore open roles and embark on your adventure!"

[source]

[demifiendrsa]

Grand Theft Auto VI Trailer 1

Grand Theft Auto VI will launch for PlayStation 5 and Xbox Series X|S in 2025.

Key visual

Overview

Grand Theft Auto VI heads to the state of Leonida, home to the neon-soaked streets of Vice City and beyond in the biggest, most immersive evolution of the Grand Theft Auto series yet. 

[satoshi-mochida]

Turn-based RPG Clair Obscur: Expedition 33 announced for PS5, Xbox Series, and PC - Gematsu

Publisher Kepler Interactive and developer Sandfall Interactive have announced Clair Obscur: Expedition 33, a turn-based RPG with unique real-time mechanics. It will launch for PlayStation 5, Xbox Series, and PC via Steam and Epic Games Store in October 2025. It will also be available via Xbox Game Pass.

Here is an overview of the game, via its store pages:

About

Lead the members of Expedition 33 on their quest to destroy the Paintress so that she can never paint death again. Explore a world of wonders inspired by Belle Époque France and battle unique enemies in this turn-based RPG with real-time mechanics.

Year by Year, She Erases Us

Once a year, the Paintress wakes and paints upon her monolith. Paints her cursed number. And everyone of that age turns to smoke and fades away. Year by year, that number ticks down and more of us are erased. Tomorrow she’ll wake and paint “33.” And tomorrow we depart on our final mission – Destroy the Paintress, so she can never paint death again. We are Expedition 33. Clair Obscur: Expedition 33 is a ground-breaking turn-based RPG with unique real-time mechanics, making battles more immersive and addictive than ever. Explore a fantasy world inspired by Belle Époque France in which you battle devastating enemies.

Reactive Turn-Based Combat

In this evolution of JRPGs, real-time actions enhance the heart of turn-based combat. Craft unique builds for your Expeditioners that fit your playstyle via gear, stats, skills, and character synergies. Open an active dimension in combat—dodge, parry, and counter in real time, chain combos by mastering attack rhythms, and target enemy weak points using a free aim system.

Tomorrow Comes

With only one year left to live, join Gustave, Maelle, and their fellow Expeditioners as they embark upon a desperate quest to break the Paintress’ cycle of death. Follow the trail of previous expeditions and discover their fate. Get to know the members of Expedition 33 as they learn to work together against impossible odds.

A Hauntingly Beautiful World

Explore an enchanting realm populated by surreal adversaries. Wander through breathtaking landscapes, from the Island of Visages to the Forgotten Battlefield, discovering secrets and hidden quests along the way. Find allies of fortune in creatures of legend and recruit special companions, access new travel methods and discover secret areas in the World Map. Experience the debut game from Sandfall Interactive, fully realized in Unreal Engine 5 with stunning graphics and a heartbreaking soundtrack.

Watch the announcement trailer below. View the first screenshots at the gallery.

Announce Trailer