#ios paid games

[httech]

Best Paid Games for iPhone | Is it Worth paying for? | Tech 101 | HT Tech

The iPhone has become one of the most popular platforms for mobile gaming, with a huge range of paid games available for players to choose from. These games offer high-quality graphics, engaging gameplay, and a wide range of genres to suit different tastes. Here are some of the best paid games for iPhone

[alynnl]

I played the first part of Turnabout Corner (the investigation) and I have more thoughts.  Spoilers ahead.

Phoenix Wright really just got hit by a car and only suffered a minor injury.  It looks like his luck from Bridge to the Turnabout hasn’t run out yet.

The Kitaki family are interesting and it’s kind of neat to see organized crime lore after getting just a taste of it in Recipe for Turnabout.

I’m actually not sure who’s sus in this case.  Even the actual mafia needs Apollo to defend someone in court.  And somehow I don’t think Wocky is the culprit because that would be too obvious, I could be wrong.

The noodle stand owner just wants to run a business.  He’d have nothing to gain from his own stand disappearing to be used as a murder weapon.

There are so many random incidents that seem like they’re not connected, but I’m willing to bet they are in the end.

I met Klavier, he’s so charming!  I totally understand the explosion of fanart that came from this one man.  He’s truly a knight in glam rock armor riding a metal steed (motorcycle!)

“No.  Not Dr. Hotti again.  Why is he here??”

The... undergarment theft. Was that necessary??? 

I guess the unseen doctor from the Meraktis Clinic is kind of sus?

If we want to talk about someone else that’s sus: it’s once again disbarred Phoenix Wright aka Beanix and his situation with Trucy.  He’s having his daughter financially support them both when she’s still in school?  She’s had to move schools before??  And Phoenix didn’t even try and get an honest job that wasn’t in the legal world that might be a little more stable for both of them?  I’m starting to think he is immoral as well as irresponsible!  And it’s hard to know what Beanix thinks of anyone.

Does he care about Apollo, Trucy and his friends he’s lost touch with or is he up to major trickery like in Turnabout Trump?  (And he lost touch with the cast from the previous games because they’d get in his way with pesky things like “morals” and “duty” and “finding the truth.”)

I’d never wish the hit-and-run on anyone but I wonder if Beanix crossed the wrong person in his backroom dealings and nearly paid the ultimate price for it.

Again I ask the question, what on earth was Shu Takumi thinking with all this?  (And how much creative control did Capcom really take away from him, and how much of this was his idea?)

I’m once again filled with mixed feelings...

On one hand, I was excited to do another investigation phase and get all the flavor text in between finding evidence and talking to people.  I think I’m close to the trial after I talk to Ema.  I just got her to open up.

But on the other hand I do not have good feelings about where AA4′s narrative is going and what’s implied when I read between the lines.

I am 100% serious in what I’m about to say next...

“I may not come out of this game shipping Wrightworth.”

From the way things are going, Phoenix Wright is becoming (or maybe has already became) the exact type of person Edgeworth would pursue in the Investigations games... a mastermind who sees people as pawns.

[slitherpunk]

hello gamer. you claim to want "shorter games with worse graphics that are made by people who are paid more to do less". in front of you is itch dot io, which has a "pay what you want" feature,

[meo-eiru]

Where will the game be available to play? Also is it paid?

It's going to be on itch io and nope it'll be free! We haven't set it up yet but I guess you could donate on itch io if you feel like supporting us (ofc you don't have to) but the game itself is free!

The one we will upload also won't be the full game, it's going to be the main story line but we are planning add in some bonus episodes in the future. Things such as glimpses into the pasts of the characters.

It's definitely going to be playable on windows and should work on linux too. Mac and mobile are more tricky so we will probably test those out later but focusing on windows for now.

[nadianova]

protip: rate itch.io games

me and some other gay itch devs friens have been annoyed by people making accounts for the sole purpose of spamming 1 star reviews on lgbt projects and like trying to report that when its blatantly obvious (like i had PAID projects that werent even purchased but still got 1 star reviews lol)

if you like my game and want to go the extra mile to support me for free rate my game on itch dot io

like i know i got patreon and donations too but im always honestly caring more about the ratings cause more ratings means algorithm is happy and more people will see my games.

its essentially the same as youtubers requesting you to like and subsribe and hit hte bell icon it really tells the algoritms that this game is good and will try to show it to more people so especially when youre playing gay games on itch io i think everyone should get in the habit of liberally rating the games they liked

[mostlysignssomeportents]

Why Millennials aren’t leaving Tiktok

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me TOMORROW NIGHT (Mar 22) in TORONTO, then SUNDAY (Mar 24) with LAURA POITRAS in NYC, then Anaheim, and more!

The news that Gen Z users have abandoned Tiktok in such numbers that the median Tiktoker is a Millennial (or someone even older) prompted commentators to dunk on Tiktok as uncool by dint of having lost its youthful sheen:

https://www.garbageday.email/p/tiktok-millennials-turns

But "why are Gen Z kids leaving Tiktok?" is the wrong question. The right question is, why aren't Millennials leaving Tiktok? After all, we are living through the enshittocene, the great enshittening, in which every platform gets monotonically, irreversibly worse over time, and Tiktok is no exception:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

To understand why older users are stuck to Tiktok, we need to start with why younger users relentlessly seek out new platforms. To some extent, it's just down to youth's appetite for novelty, but that's only part of the story. To really understand why people come to – and leave – platforms, you have to understand switching costs.

"Switching costs" is the economists' term for everything you have to give up when you change products or services. Switching from Ios to Android probably means giving up a bunch of your apps and purchased media. Switching from an airline where you're a high-status frequent flier to another carrier means giving up on free checked bags and early boarding.

In an open market, rivals have lots of ways to lower these switching costs (it's an open secret that you can call an airline and say, "Hi, I'm a 33rd Order Mason on American Airlines, will you make me a Triple Platinum Diamond Sky-Baron if I switch to Delta?"). Of course, big incumbents hate this, and do everything they can to increase their switching costs, finding ways to impose high switching costs that punish disloyal consumers who have the temerity to go elsewhere.

With social media, lock-in comes for free, thanks to the "collective action problem." Getting people to agree on a given course of action is hard, and as you add more people to the picture, the problem gets harder. It's hard enough to get half a dozen people in your group-chat to agree on where to go for dinner or what board-game to play. But once you're reliant on a social media service to stay in touch with friends, relatives around the world, customers, communities (say, rare disease support groups), and coordination (like organizing your kid's little league car-pool), the problem becomes nearly insoluble. Maybe you can convince your overseas relatives to switch to a Signal group, but can you do the same for your small business's customers, or your old high-school pals?

https://pluralistic.net/2022/10/29/how-to-leave-dying-social-media-platforms/

Taken together, switching costs and collective action problems make platforms "sticky," and sticky platforms inevitably enshittify.

Platforms, after all, generate value. They connect end-users with each other (say, little league parents) and they connect end-users to business customers (you and your small business's customers). That value needs to be parceled out among end users, business customers, and the platform's shareholders. A platform can make life better for business customers at its end users' expense by increasing the number of ads (hello, Youtube!), and it can make life better for its shareholders at its business customers' expense by decreasing the share of ad revenue given to publishers or performers (oh, hello again, Youtube!).

From a platform's perspective, the ideal state is one in which end users and business customers get no value from the platform, because it's all being captured by the platform's shareholders. But if Youtube interrupted every 30 seconds of video for ten minutes of ads and paid the video creators nothing, both users and creators would ditch the platform – and advertisers would follow:

https://www.youtube.com/watch?v=Dab8sKg8Ko8

So platforms seek an equilibrium: "what is the least value we apportion to end-users and business customers without triggering their departure?" Maybe that means giving more value to end-users (for example, keeping Uber fares low by suppressing wages), or to business-customers (crowding more ads into your social media feed).

Every business – including brick-and-mortar, non-digitized ones – wants to find some kind of equilibrium between the value going to its suppliers, its customers and its owners, but digital businesses have an advantage here: digital systems are flexible in ways that analog, hard-goods businesses are not. Digital businesses can alter pricing, payouts and other dynamics from moment to moment – second to second – and make a different offer to every supplier and customer. They have a bunch of knobs, and they can twiddle them at will:

https://pluralistic.net/2023/02/19/twiddler/

Well, not quite at will. Businesses face constraints on their twiddling. If they get too greedy, users or business customers might weigh the cost of staying against the switching costs and decide it's not worth it. But the more expensive – the more painful – a platform can make leaving, the more pain they can inflict on the people who stay.

In other words, there's two ways to keep a customer or supplier's business: you can make a better service so they won't want to leave, or you can make leaving the service so painful that they stay even if you mistreat them.

There's three ways a digital company can make things worse for their customers and users without losing their business.

First, they can eliminate competition (think of Mark Zuckerberg buying Instagram to recapture the users who'd fled Facebook to escape his poor management):

https://pluralistic.net/2023/09/03/big-tech-cant-stop-telling-on-itself/

Second, they can capture their regulators and avoid punishment for trampling their suppliers' or users' legal rights (think of how Amazon has raised the price of everything we buy, both on- and off Amazon, through its "most favored nation" deals):

https://pluralistic.net/2023/04/25/greedflation/#commissar-bezos

Third, they can use IP law to prevent competitors from modifying their services to claw back some of that value (think of how Apple used legal threats to block an Android version of Imessage, blocking Apple customers from having private conversations that included non-Apple customers:

https://pluralistic.net/2024/01/12/youre-holding-it-wrong/#if-dishwashers-were-iphones

Companies can't just use this tricks at will, of course. Antitrust laws can block companies from making anticompetitve acquisitions or mergers. Regulators can punish companies for cheating their customers, workers and users. Technologists can come up with clever ways of modding or reconfiguring existing services with "interoperable" add-ons that let users bargain for better treatment by refusing to accept worse:

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

Day in, day out, the decision-makers at tech companies test these constraints, twisting the knobs that shift value away from users to shareholders. Their bosses and boards motivate them with "KPIs" that dangle the promise of huge bonuses and promotions for any manager who successfully enshittifies part of the company's products:

https://pluralistic.net/2023/07/28/microincentives-and-enshittification/

Decades of pro-corporate, pro-monopoly policy has loosened those knobs. 40 years of lax antitrust meant that companies had a lot of leeway to buy or merge with rivals – that's changing today, but it's tough sledding:

https://pluralistic.net/2023/07/14/making-good-trouble/#the-peoples-champion

As sectors grew more concentrated, they found it easier to capture their regulators, so that they no longer fear punishment for price-gouging, spying, or wage-theft, so applying the same amount of torque to the "break the law" knob cranks it a lot further:

https://pluralistic.net/2022/06/05/regulatory-capture/

Once you've captured your regulators, you can aim them at your competitors. A monopoly-friendly policy environment has transformed IP law into a bully's charter, allowing powerful companies to strangle would-be competitors who dare to offer their customers tools to shield themselves from enshittification, like scrapers, ad-blockers and alternative clients. Big companies can crank the enshittification knob all the way over and know that smaller rivals knobs won't turn at all:

https://pluralistic.net/2022/10/20/benevolent-dictators/#felony-contempt-of-business-model

At one point, bosses faced one more constraint on knob-twiddling: their workforce. Many tech workers genuinely cared about their users' welfare, something bosses encouraged as a sneaky trick to get techies to put in long hours without exercising their leverage by quitting rather than destroying their lives to meet arbitrary deadlines. These workers would fearlessly slap their bosses' hands when they reached for the enshittification knob, threatening to quit rather than allowing the products they'd given so much for to be enshittified. Today, after hundreds of thousands of tech layoffs, tech workers are far less like to challenge their bosses' right to twiddle, and far more likely to get fired if they try:

https://pluralistic.net/2023/09/10/the-proletarianization-of-tech-workers/

All this means that tech bosses don't have to change their approach at all, and yet, their services will grow steadily worse. The boss who twiddles the enshittification knob in exactly the same way as he did a year or a decade ago will find it turning much further, because his customers are locked into his platform, his regulators won't protect them, the same regulators will stop his competitors' attempts at countertwiddling, and his workers fear losing their jobs too much to speak up for their users.

That's the contagion that produced the enshittocene: the forces that constrained companies (competition, regulation, self-help and labor – all melted away, allowing every company's MBA-poisoned knob-twiddling leaders to shamelessly caress their knobs with every hour that God sends:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel

Which is why people want to leave platforms. When a platform loses its users, those users have weighed the switching costs against the pain of staying and decided that it's better to bear those costs than to stay.

So why have Tiktok's younger users found the costs too high to bear, and why have their elders remained stuck to the platform?

For that, we have to look at the unique characteristics of young people – characteristics that transcend the lazy cliche that kids are easily bored, fickle novelty-seekers who hop from one service to another with unquenchable restlessness.

Whether or not kids are novelty-seekers, they are, fundamentally, a disfavored minority. They want to do things that the platforms don't want them to do – like converse without being overheard by authority figures, including their parents and their schools (also: cops and future employers, though kids may not be thinking about them as much).

In other words, kids pay intrinsically lower switching costs than adults, because a platform will always do less for them than it will for grownups. This is a characteristic kids share with other supposedly technophilic, novelty-seeking "early adopters," from sex-workers to terrorists, from sexual minorities to trolls, from political dissidents to fascists. For those groups, the cost of mastering a new technology and assembling a community around it is always more likely to be worth bearing than it would be for people who are well-served by existing tools:

https://pluralistic.net/2022/06/21/early-adopters/#sex-tech

Pornographers didn't jump on home video because of its superiority as a medium for capturing flesh-tones. Home video was a good porn medium because it was easier to discreetly get into the hands of porn consumers, who could, in turn, discreetly view it. The audience for porn in the privacy of your living room is larger than the audience for porn that you can only watch if you're willing to be seen marching into a dirty movie theater.

Every new technology is popularized by a mix of disfavored groups and neophiles, who normalize and refine it – and yes, infuse it with their countercultural coolth – until it becomes easy enough to use to become mainstream. As more normies drift into the new system, the switching costs associated with leaving the old system declines. It gets easier and easier to find the people and services you want in the new realm, and harder and harder to find them in the old one.

This is why tech platforms have historically experienced sudden collapse: the platform that gets more valuable and harder to leave as it accumulates users gets less valuable and easier to leave as users depart:

https://www.zephoria.org/thoughts/archives/2022/12/05/what-if-failure-is-the-plan.html

If you're a Gen Z kid on Tiktok, you experience the same enshittification as your Millennial elders. But you also experience an additional cost to staying: as late-arriving adult authority figures become more fluent in the platform, they are more able to observe your use of it, and punish you for conduct that you used to get away with.

And if you're a Millennial who isn't leaving Tiktok, it's not just that you experience the same enshittification as those departing Gen Z kids – you also face higher switching costs if you go. The older you get, the more complex your social connections grow. A Gen Z kid in middle school doesn't have to worry about losing touch with their high-school buddies if they switch platforms (they haven't gone to high school yet – and they see their middle school friends in person all the time, giving them a side-channel to share information about who's leaving Tiktok and where they're headed to next). Middle-schoolers don't have to worry about coordinating little league car-pools or losing access to a rare disease support group.

In other words: younger people leave old platforms earlier because they have more to gain by leaving; and older people leave old platforms later because they have more to lose by leaving.

This is why Facebook is filled with Boomers. Yes, their kids bolted for the exits to avoid having their parents (or grandparents) wading into their sexual, social and professional lives. But the reason the Boomers were late joining younger users' Facebook exodus – or the reason they never joined it – is that they stand to lose more by going. Facebook deliberately cultivated this dynamic, for example, by creating a photo hosting service designed to entice users into uploading their family photos while disguising how hard it would be to take those photos with them if they left:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

The irony here is that tech has intrinsically low switching costs. All other things being equal, a new platform can always build a bridge to ease the passage of users from the old one. There's no (technical) reason that moving to Mastodon, or Bluesky, or any other platform should mean cutting ties with the people who stayed behind.

A combination of voluntary interoperability (where old platforms offer APIs to allow new services to connect with them), mandatory interop (where governments force tech companies to offer APIs) and adversarial interop (where new companies hack together their own API with reverse-engineering, scraping, bots, and other guerrilla tactics) would hypothetically allow users to hop between networks as easily as you change phone carriers:

https://pluralistic.net/2022/12/19/better-failure/#let-my-tweeters-go

Tech platforms tend to offer APIs when they're getting started (to ease the inward passage of new users) then shut them down after they attain dominance (locking the door behind those users). The EU is tinkering with mandatory APIs through the Digital Markets Act (though bafflingly, they're starting with encrypted messaging rather than social media). Restoring adversarial interoperability will require extensive legal reform, which is getting started through Right to Repair laws:

https://www.techdirt.com/2024/03/13/oregon-passes-right-to-repair-law-apple-lobbied-to-kill/

The people who are stranded on social media platforms shouldn't be mistaken for uncool, aging technophobes. They're not stubborn, they're stranded. Like the elders who can't afford to leave a dying town after the factory shuts down and the young people move away, these people are locked in. They need help evacuating – a place to go and a path to get there.

Name your price for 18 of my DRM-free ebooks and support the Electronic Frontier Foundation with the Humble Cory Doctorow Bundle.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/03/21/involuntary-die-hards/#evacuate-the-platformsr

[chryza]

Torn because I love my blog title but I’ve been physically unable to stop saying “Gotta Feed Them Leeches, Babygirl” since I was introduced to Kitty Horrorshow like I feel like I can quote the tapes from Anatomy on command, the real horror is that she’s fucking infected me like a damn virus what kind of crack cocaine did she put into her deliciously jank games they’re FREE go play her FREE GAMES they’re on ITCH DOT IO I paid money for them anyway bc they’re so good what the fuck

[live-emotion]

Playing Live Emotion on Non-Japanese Device Guide

To avoid disappointment, please prepare yourself that an English language release for Live Emotion may not be likely. At least not simultaneously with the Japanese release.

However, depending on your device you should still be able to play and support the Japanese version when it releases even if you do not live in Japan.

Downloading Live Emotion on Android devices: Guide Option 1 (My old guide to using Qooapp) Guide Option 2 (Youtube video for Qooapp and Tunnelbear methods)

Downloading Live Emotion on iOS devices: Guide Option 1 (Reddit Post) Guide Option 2 (Youtube Video)

These methods may be outdated. If so I’ll look into it more and may repost a new guide in the future.

✦✦✦

Translating the game in real time in-app on Android devices: Comic Screen Translate - Nice UI, less ads. Has extra premium options that seem handy. Instant Translate On Screen - Nice UI, slightly more ads than Comic Screen Translate. Perhaps slightly slower but has a few extra nice features. Also has more convenient premium options. EZ Screen Translator - Has more invasive ads and less pleasing UI, but is pretty quick. Qooapp - Has a live translation feature, but it is paid (but not too expensive) and potentially slower than other options. I believe it has a feature that will read out the in-game text out loud. Translating the game in real time in-app on iOS devices: I'm unsure of similar app options for iOS.

I believe if you take a screenshot you may get a 'Translate' option in the bottom left without having to go to your gallery. This will still be a bit slow, and will leave your gallery full of heaps of screenshots.

The Google Translate app also works, but is slow since you have to take screenshots in-game, open the translate app, and do them one by one. It does have a 'Tap to Translate' option, but it requires text to be copy pasted which isn't possible in this situation.

✦✦✦

These methods aren't perfect, but they will help you navigate playing the game and understanding the stories if you don't speak Japanese. Let me know if you know other live translation apps or DL methods and I'll add them to the list.

[genericpuff]

The Kiss Bet Episode 172 - Hot Pot and Venting About How I Want My 70 Cents Back

Okay, look, this isn't a post I was expecting to make today but it's something that just happened and I have to fucking talk about, so let me preface this with some context.

I had to buy coins recently and because I switched to using my iPad for reading comics on, I got a "new reader" type deal from Webtoons for a coin bundle that got me like 100 coins for $5; because technically it was a 'new account' as Webtoons operates their in-game currency model on apps, not on actual emails (meaning if you use the app on an Android phone and then switch to an Apple iOS device, they're technically two separate accounts which you sync the reading data between via the account info linked via the email, therefore they have two separate coin wallets).

So with more coins than I knew what to do with, I decided to start FastPassing The Kiss Bet again, which I had recently stopped FP'ing around the S3 mark, as it's recently devolved back into the "will they won't they" trope, but instead of between Sara-Lin and Joe, it's between Sara-Lin and Joe's younger brother (the "true endgame") Oliver.

Now I don't mind the ship in essence. Joe was definitely not gonna be endgame, it was always gonna be Oliver, anyone who's read any amount of romance before - especially high school romances - knows how this shit tends to go, and The Kiss Bet isn't exactly trying to be groundbreaking or subversive in any way, it knows exactly what it's about and what it's trying to accomplish.

But it's almost become a little too good at this. Because in playing the "will they won't they" game for so long with a character that we know is endgame, it's basically been weeks and weeks and weeks of-

That said, after I caught up on the recent FP episodes, it seemed like stuff was finally moving a little bit. We were finally meeting Oliver's mom and his stepdad who he has a fractured relationship with, Joe was finally getting with his true endgame girl, Vicky (who's totally not an exact genderbent version of Joe lmao) and Sara-Lin was finally realizing she had feelings for Oliver.

And then the newest episode came out, Episode 172 - Hot Pot and Venting.

CAUTION: FASTPASS SPOILERS FOR THE KISS BET OFFICIALLY BEGIN HERE!

Already I was a little petty over the title like "lmao ok clunky title but whatever". I swept it off as not a genuine criticism, just me being a nitpicking asshole over what's essentially Fluff: The Comic.

The episode cost 7 coins, which is about roughly 70 cents, albeit closer to a dollar for Canadian readers (here's something they don't tell you about Canada - our Monopoly game currency is just as fucked as it looks) and that's where I'm gonna get into my second disclaimer that I need to be perfectly clear about (and it'll be what we get more into later on in this post).

I understand the principle of paying for art. I understand fully that many of these webtoons are being produced on tight deadlines by creators who often can only afford 1-2 assistants, if any at all. I understand and fully agree that creators deserve to be paid for their skills, time, and efforts, not just as creators working on the hellsite that is Webtoons, but as artists in general who deserve to make a living the same as anyone else. Anyone who follows my stuff here knows I'm an artist myself so I would never debate the ethical necessity of paying artists for their work.

However.

I can say that, and also agree with the people who have stated in discussion circles such as on /r/webtoons that a lot of the comics that have started charging 7 coins have been suspiciously delivering less comic since. And it's not even so much in the literal panel count, the liquid volume of these comics have remained the same, but the calorie count has dropped significantly. Food metaphors aside, what I mean is that despite many of these comics maintaining their 40-60 minimum panel count requirement, they have in fact reduced the actual amount of content that happens in them, and The Kiss Bet's newest episode is a stark example of what I mean.

I am going to start by posting only post three panels - three panels that literally sum up the entirety of Episode 172 and what it chooses to spend its time on.

That is it. That is literally all that's established in this episode. I'd tell you to go read it yourself, but honestly, this is genuinely one of those rare times I can honestly say that a 40+ panel episode is not worth 70 cents and you'd be better off, and that's saying a LOT when these episodes are only priced at the cost of a gumball. At least Lore Olympus has entertainment in how bad it is most of the time, Episode 172 of The Kiss Bet is just nothing. You will literally get more substance and flavor from an actual gumball.

Literally every other panel in this episode is either repeating the same dialogue (Sara-Lin saying the same thing multiple different times to express how Oliver is holding her hand or how his stepdad is a dick) and then Sara-Lin and Oliver staring at each other. Over. And over. Again.

I am not joking. I did not cut anything out in that sequence. That is where the episode ends. Complete nothingburger, seemingly cut off right as it was just getting started like Cait Corrain's career.

Out of the entire episode, there were 45 panels. So I can safely assume Ingrid's minimum panel requirement is at least 40 per episode, that's me assuming the best that she didn't exactly meet her panel minimum at 45 panels on the dot.

Out of those 45 panels, there were:

Two actual unique backgrounds that weren't gradients or just a single piece of furniture

4 separate panels of Sara-Lin freaking out over Oliver holding her hand and wondering if he even noticed

10 panels of Sara-Lin staring at Oliver either dumbfounded or asking him to repeat himself (or apologizing over nothing)

5 panels of the characters saying nothing

11 panels of Sara-Lin repeating information in different ways that could have been accomplished in half that time

Two separate occasions of Oliver getting Sara's attention from off-panel, literally formatted the exact same way both times (and both followed by reaction panels of Sara-Lin staring at him dumbfounded)

Way too many panels of Sara-Lin blushing in response to Oliver being an asshole tbh like literally this guy's a douchebag, Joe may have been the "out of her league" love interest but at least he was nice and didn't treat Sara-Lin like someone who just bought a Husky as a "starter pet" ???

Again, I don't usually like being a dick about the coin costs, and I definitely don't like being a hypocrite in telling people they should pay artists for their work while simultaneously posting their paywalled content like this, but I think there does come a point where it feels more irresponsible for people to not be aware of what they're about to pay for and how little they're going to be getting. This episode is literally one of the best - and worst - examples of how far the romance genre has fallen on the platform - when it's not being overtaken and oversaturated by problematic series that romanticize abuse and sexual assault, it's being dragged to death with the most boring executions of tropes that everyone has seen before and is only exciting for anyone who's never read a book or watched a romance movie, period.

And here's the thing where I do approach a bit more "hot take" territory, but every time I see this argument come up about episodes not being worth the coin cost, I see others who rightfully argue that 70 cents isn't that much to pay for what you're getting - weekly episodes of work that are usually always delivered on time, with more panels than you would ever typically see in a free to read comic.

But here's where I take issue with that argument, as much as the principle of it is sound, it misses the overall point: readers are paying for entertainment first and foremost, so can anyone who's actually paying for regular refills on their app currency step away from this and truly call it "entertainment"? Nothing was gained. The comic had 45 panels to say something, anything, and managed to not even squeak out so much of a word. Even the silent moments have no substance, they just reiterate information that we already know.

Do we really need another panel of Sara-Lin blushing at Oliver? We've known for weeks now that she has a crush on him. Do we really need another panel of Oliver getting Sara-Lin's attention? What is this actually showing of their chemistry? What is being shown here that hasn't been shown numerous times - with and without dialogue - for weeks now? What does the comic have to show for itself after four seasons?

Another point of the "it's just 70 cents, don't be an asshole" argument that people seem to miss is it's not 70 cents. It's $1. Because if you want to buy a single episode of the Kiss Bet, you can't just pay for the individual episode in isolation, you have to pay for the coins first, and $1 is the absolute bare minimum you have to pay to get 10 coins, which will only pay for one episode of a 7 coin series - of which there are many now, basically any series that's 40 panels or more will cost 7 coins and, shocker, those are the series that WT will tend to promote most, you'll rarely see the 5 coins series in the banner ads, and that's not even getting into how there are more and more series cropping up that have 5+ episodes behind FP rather than the traditional three.

So if you're someone who's (almost definitely) keeping up with more than one series? You can't just pay the $1, you have to pay at least $5 for 50 coins, and that will NOT go far anymore or cut as evenly as it used to when just about every series is now 7 coins. Webtoons knows fully well what kind of game they're playing by making the new coin cost an uneven number while still offering increments of 5/10 in their coin bundles. They undoubtedly want you to be left with an uneven number so that you'll be easily lured into buying more coins so you don't 'waste' the uneven amount you have left that isn't enough to buy the episodes for the series you want to read. Obviously this is more speculation and not fact, but it's a common business model and with the series that have adopted the 7 coin count model (rather than starting off with 7 coins outright) such as The Kiss Bet and Lore Olympus, it's becoming abundantly clear that either the creators or the platform itself is encouraging these series to meet their panel minimums with as little content as possible in order to get more money out of readers who are barely even being drip fed actual entertainment and narrative progression, let alone spoon fed.

And then there's the waiting. The goddamn waiting. So many of these series guilty of siphoning their content off through a hose that they're deliberately standing on are designed intentionally with the most egregious cliffhangers in mind to keep their audience hooked so they'll undoubtedly FP next week. Do you know what that amount of waiting does to a comic? To its readers? First off, it artificially extends the actual pacing of the comic to make it feel longer than it is, when in reality, many of these plotlines are happening in a vacuum of very short bursts of time. Case in point, Lore Olympus is commonly confused for having a plotline that takes place over the course of months, when actually when laid end to end in order of cause and effect, many of its subplots - including the romance of Hades and Persephone - takes place over the course of days. This over-inflates the plotline's actual depth and, even worse so, it makes it harder for readers to keep up with information that's being delivered, as it often takes weeks for that information to actually go anywhere - so by the time it does, many readers have straight up forgotten about it.

It's absolutely not okay that so many of these kinds of series are normalizing literal slow burning for an audience who's paying to be entertained. It's not a "slow burn". It's just slow, and deliberately so. It's absolutely NOT FUN to follow a comic that does not go anywhere week after week. It's frustrating. And before long, it starts to feel like gambler's fallacy, where readers have to essentially gaslight themselves into paying into it more and more convinced that it has to pay off eventually, based on a promise that was never actually made, only assumed in good faith. And readers should not have to fill in the bulk of the content that isn't happening with their own imaginations, which is something that happens a LOT in these series that spend so much time on the characters just staring at each other and saying nothing. It's not 'plot' to just draw characters blushing and have your audience fill in the rest of it entirely on their own. This is certainly a technique in writing, but in the case of The Kiss Bet and other comics like it, it's much less of a valid technique and more just flat out manipulating your audience into falling so hard into the sunk cost fallacy trap that they don't notice they're being robbed blind by the plot that hasn't actually happened - and they've been paying for that financial and emotional robbery out of their own pockets and brains every step of the way.

Again, I do not care about the coin cost in and of itself, seventy cents IS still an incredibly cheap price for weekly updates of a series that has to put out so many panels each week. But as a reader and a customer, I should not be leaving these updates with less information than what I started with. And I'm someone who's incredibly old school by webcomic standards, there are comics that I follow that have updated 1-2 pages a week for over a decade that manage to do more with their limited pages than Lore Olympus and The Kiss Bet manage to do after entire hiatuses filled with pre-production time.

Why does this page of Alfie manage to move both the intrinsic plot of the titular character as well as the external plot that's going on around her in one page made up of 5 panels better than what The Kiss Bet can do in 45?

Why does this page of Tamberlane manage to convey more information about the world's lore and the people in it in a way that's emotionally driven and clearly affecting the characters without outright info-dumping than what Lore Olympus has managed to spit out onto its plate since S3 started over a year ago?

How does Tales from Alderwood manage to be more entertaining and convey more meaningful storytelling through its characters in a single page consisting of zero dialogue than what The Kiss Bet can convey in its silent panels of staring, blushing, and repetitive stuttering?

Why are the creators who are relying entirely on their own efforts, resources, and ability to generate income through community interaction and support putting out better work with less panels and on slower schedules for FREE than what we're seeing from professional creators on a professional publishing platform who are being paid to do this as their job?

There's this saying in the tattooing industry: good work isn't cheap and cheap work isn't good.

At this point, 70 cents is not a 'bargain' as many people like to argue in defense of the creators. And while I do want to have good faith in the creators who don't pull this shit, the creators who clearly go above and beyond to do what they do in the pursuit of storytelling and polishing their craft to be the best piece of work that it can be - the comics that are worth paying 70 cents and beyond for - are not the comics that Webtoons is promoting to people. The creators of the works that genuinely deserve more than 70 cents per update are being left to fend for themselves without support from the platform, while those that aren't worth the price of even a flavorless gumball are consistently winning the Wonka Golden Ticket lottery.

The cost of 70 cents is relative. For some works it's a genuine bargain. For others like the The Kiss Bet and Lore Olympus, 70 cents is not a "bargain", it's not a "good deal", it's exactly the value of what you're paying for - cheap work that isn't good.

[muchimmm]

GOTHAM ROGUES DATING SIM VIDEO GAME

IM TIRED THAT MY GOTHAM ROGUES DATING SIM DOESNT EXIST SO I'LL DO IT MYSELF

Al the progress is being posted here @dating-the-rogues

(Requesting help with programming, I can do the art and story but if you want to help with that then you are welcome)

Character I want in: (colors=probability to be in game)

Riddler

Scarecrow

Two Face

Poison Ivy

Harley Quinn

Catwoman

Bane

Music Meister

Joker

Mad Hatter

The Penguin

Talia al Ghul

RatCatcher (I really want to add him but most of the people dont really care about that guy lmao)

Hope the comunity understands my vision 🙏!!

It will not have +18 content, maybe some sugestive situations, but Im not comfortable with explicit sex sorry!!

If I start soon with the art the game will probably be finished in August. , not sure yet

Will be posted on Itch. io

IMPORTANT: I want to clarify- if you want to help with the project, you will not be paid, I dont have any money!!

[vellichorom]

Thoughts on the iOS TSP port and that exclusive paywall content?

" You're just a poor baby boy playing checkers with his thumbs & I'm a GOD! "

-surely vindicated those who believe the narrator as a divine being & vindicated my belief of his god complex. we all win, also why on god does he talk like that. " rat boy, baby boy " who are you

JOKES ASIDE, i genuinely find it fascinating. this is like- what. the third technical demo under the game's belt? if you consider the mod a technical " demo? "

have you guys noticed that since ultra deluxe's release, we've been seeing an influx of stanley parable stuff SINCE? where ( assumedly; i wasn't following the game pre-UD unfortunately ) there was a bit of radio silence inbetween the initial release of the game & the release date(s) of UD?

& NOW it feels like every other couple of months, we get something new regarding the game? ironically befitting with the themes introduced by UD, as though the narrator is trying to milk his game to the nth degree, as though he's trying to stay relevant after his & the game's rise from the ashes, begging for our attention ( as well as our money ).

can we talk about how he advertised the skip button ending like " ooh what's going on here I BET YPOU WANNA FIND OUT HUH " king SHIT advertising his DEATH. is he okay. can we get someone to check on him

this isn't me dunking on crowsx3's product & saying that THEY'RE milking the franchise of course, & if anything, i'm really truly impressed by the way they come up with these kooky marketing tactics that Really tickle our balls, KEEPING the stanley parable relevant in innovative & exciting ways, without ever making it feel like the game has overstayed it's welcome. it keeps with the same humor & attitude it always has too! which always begs for your reaction, & yet EARNS it with it's outlandish EVERYTHING. i'm considerably new to the world of games, but this is the first i've seen something like it & i REALLY enjoy it.

uh YEAH! i hope kevan is getting paid well for telling me what's going to happen to my butthole. can't forget how his game is going to lubricate me. 👍

you know what. maybe he's actually getting paid too much

ANYWAY I THOUGHT IT WAS GREAT FOR NOT BEING ABLE TO PLAY IT FOR MYSELF. DAMN YOU OLD MAN I DON'T HAVE AN APPLE PRODUCT

[httech]

Best Paid Games for iPhone | Is it Worth paying for?

The iPhone has become one of the most popular platforms for mobile gaming, with a huge range of paid games available for players to choose from. These games offer high-quality graphics, engaging gameplay, and a wide range of genres to suit different tastes. Here are some of the best paid games for iPhone

[astralartefact]

NieR Re[in]carnation The People and the World Transmigration and the End of Reincarnation

If Red is the color of ______ then why did I ____ the ending of NieR Re[d ]carnation?

Between YoRHa:Dark Apocalypse, some of the RoD stories and now this, a pattern has been established:

If I didn't really like the ending of a NieR story, chances are 100% that given a couple hours to days I will figure myself into "This is the best thing ever written, I committed blasphemy against the god king by ever doubting his vision."

Because to be open and honest about it, right after playing it the ending was kinda boring to me - because if you paid attention to the periphery and knew the deep lore you already expected 90% of the reveals, the only really new thing is the rundown on what happened to His, Her and N2.

Let me phrase it like this: the Time Loop Theory didn't really need confirmation up until now. It was a thing because it fits the themes, but acknowledging it wouldn't really add anything because the vague sense of inevitability already exists simply by alluding to it and the previous narratives all already had it built into them without it anyways - so I think the only reason they hard confirmed it now was because it literally added to the story. Him and Her being stuck in the time loop of humanity's failure is why they despaired.

So long story short, the stuff they 'confirmed' I didn't really need to be confirmed (cries in no y:da) and as fine as it was, not having an immediate "Oh Shit!" Moment made the chapter kind of boring. So while kind of neat it didn't really do anything for me.

But I also finished Reincarnation at 5AM. So I went to sleep and Io and behold, I awoke to a revelation by the god king:

This was amazing. This story logistically paid off on the entirety of the game's narratives in a single chapter all while talking about something new. What the fuck. Once again, this shouldn't work. How did they do that??? How is the writing in this game so tightly unified despite being literally fragmented into 20-ish individual stories??? This game has the most writers of all NieR games and yet every single story is pulling at the same rope??? Like, how???

To me NieR Reincarnation is about two things: Number 1 - Reincarnation is a Cage, all humans are born into some level of agency-less-ness and wouldn't you know it, they have no agency about that Number 2 - 'Humanity' is a more complex thing than just 'Being of the Human Species' (which is basically the NieR theme)

I think the Robots in the cast illustrate this the best: Dimos and Marie and Yurie and 10H (and Noelle and 063y and F66x) were made for a purpose, but they didn't choose their purpose, their creators did for very specific reasons. But against all odds they find themselves human and humans have wishes and dreams, even if it's just to fulfill their purpose, they seek out the agency to make those dreams come true and if they pray for their dreams to come true they will find a way.

By experiencing the pain and despair of solitude He became human, because He wanted, He wished to not experience it anymore. By experiencing the pain and despair of the machine lifeforms N2 became human in the same way and She became human by incorporating N2's experience of pain into Herself.

And as Humans they pray for a better future. And maybe they can't do it on their own, because they're human and humans fail and cry and shit and die. Maybe they desperately need the help of someone who can help, even if it's just a little girl who is selfless enough to offer them an encouraging hand despite all of the mistakes they made. But by praying for their dreams to come true, by not outright denying the possibility of a better future, simply by hoping this better future exists we can reach it, because we're human. We will find a way.

So even I, from one Prayer to another, want to Thank You for Praying. Please believe in the future you want to see, because otherwise it will not happen. And remember, all Prayers lead to the Cage.

Also Drakengard symbolism because GODDAMN IT, JUST MAKE ANOTHER DRAKENGARD GAME YOU-----

They called her the second girl, but she's at least the third!!! (i think four if you count crym?) (but i'm pretty sure only i do that so let's do three)

I'm fucking pissed. You dare to leave the Drakengard Shit, MY beloved Drakengard Shit, as subtext symbolism??? How dare you. How absolutely dare you. I hope you know I am praying for Drakengard 5 (not a mistake) Yoko Taro and as I have established in this post you yourself have said that prayers come true if you believe in them so go ahead. I'm waiting.

No Seed of Resurrection talk, No word on Mother, No Accord, just the girl with One's horns doing the Manah stuff I deserve, because I called it back when Replicant Remake came out.

No but really though, I wonder if there might be a reason that we got basically 0 answers to Drakengard stuff and only answers to the NieR side of things. Apparently - and I have no quote for this, I just read some chatter about it - Yoko Taro has said that the next NieR game is planned, but will only come after another game he's making... and well... if this final chapter has made anything clear by omission it's that Drakengard isn't NieR... Just saying...

Also, this still it wasn't a Y:DA reference after all... They didn't even slightly allude to it q_q #AnoggForReincarnation is truly over...

But let's talk about the color Red for a second, because I have a thought.

I'm not going into it too much, we all know Red is a pretty symbolically heavy color in general, but in NieR and honestly even more so in Drakengard especially - they literally just did stain a girl in white in blood again, that's the Drakengard thing - but...

Mama's Pod is also Red. She receives a Red Carnation, a common Japanese Mother's Day gift, from 10H which is the key to 10H unlocking the truth. Clearly Red isn't just Hatred... but I haven't thought enough about it to really tell you what that's about. I will have to think about that - and if I ever come to a conclusion on that front I will tell you all about it.

Anyways, that's it for now... I can confidently state that NieR Reincarnation is my favorite NieR game and honestly by a long shot. I don't give a shit that it's a Gacha, I can't do anything about that and Yoko Taro, Yuki Wada and the Rest of the Team did the absolute most with the hand they were dealt, because clearly someone up in Square Enix does not like what the silly mask man is doing and doesn't give him the budget and creative liberties he truly deserves.

Once again a sincere Thank you for Praying - please believe in the future you want to see, no matter how distant and unattainable it may seem. You will still have to look out for and grab the hand reaching out to actually reach it - but you will only see that hand if you're hoping for one to come your way in the first place.

Speaking of which, here is my Prayer for the day: #AnoggForWhateverComesAfterReincarnationBecauseIfThisWasReplicantEndingEPayoffThenY:DAPayoffHasToBeNext

[cheritzteam]

[The Ssum] <The Ssum: Love from Today> Update (29/11 KST, v2.0.3)

Hello, dear lab participant.

You can now download the new version of <The Ssum: Love From Today>.

Google Play Store (Android) - link Apple App Store (iOS) - link

This update includes bug fixes, so you will receive 10 Aurora Batteries as Study Support upon accessing the game.

Make sure you access the Lab by the 2nd of December, 2023 (KST) to get your compensation! *You must collect your reward within 3 days.

The following are the details of the update we have received from the Lab.

***

[New Updates]

> Free Incubating AidBot ver. Mini support for all lab participants!

On a mission to protect the health of your eyes and fingers, the mini AidBot has now been distributed to all lab participants. Tap the AUTO button on the Emotion Incubator!

*The Mini version’s features are different from those of the Premium version, which is rented to Aurora-subscribed lab participants. For more details, check out the notice for <The Ssum>'s November Feature Updates.

> ‘Tis the season in the Forbidden Lab!

The Emotion Incubator has gone through a seasonal makeover! Also, some secret(yet) data for Christmas Events have been registered into your app. Find out more in the upcoming event notice!

[Feature Improvements]

> I need more Aurora Batteries so bad…

We’ve added a guide that teaches you how to earn free Aurora Batteries. Read the Guide on your My Page of the Aurora LAB! Perhaps there’s a new source of free Aurora Batteries too….

> I have to pay to download photos from chat messages which I already had paid for…

If you had sent a chat message with Aurora Batteries, the photos from your Ssumone’s following responses can now be downloaded for free.

[Bug Fixes]

> My Ssumone is repeating the conversation we had yesterday…

We fixed space-time tunnels so that the Commemorative Call happens only once per each Seasonal event period.

> I want to zoom in on the profile photos of My Ssumone’s friends and enemies while reading through past chats…

You can now zoom into the photos of non-Ssumones in your Milky Way Calendar.

> The rest dot on the Data Search button keeps haunting me…

We exorcised the ghost red dot that showed up on your Data Search button.

> (June) June’s camera is not catching the important things…

The camera has been remotely repaired through a forbidden technology and now will catch his blush perfectly.

[Others]

- Minor bugs were fixed.

***

We appreciate your reports and your activities as a part of the Lab.

Thank you.

-Cheritz-

[myguiltyartpleasure]

Cozy games recommendations! part 2

As I promised here is another one bunch of cozy games. This time it's not stardew-like only.

Carto

PC, PS, iOS, Xbox, Nintendo switch (I've completed it for 8.5 hours without any rush)

I don't really see this game in lists of recommended cozy games, but it really deserves to be mentioned! It has interesting concept and beautiful art style. You're playing as a kid, who can change landscape by making changes in their map. You've lost from you grandma, you're trying to find her and all map pieces that were lost. It's a bit of a puzzle, you're travelling through different areas and see different people. It's quite short, but I loved it a lot.

Potion Craft

PC, PS, iOS, Xbox, Nintendo switch (I've played for 32 hours. There are still things to do and developers still release new content)

You're and alchemist in medieval kind of town. You need to create potions according to customer's request (there is no time limit, so don't worry about it). Brewing potions has it's own mechanics, which is easy to get used to. There is no plot, just some optional goals. The final one appears to be creating philosopher's stone. This is a kind of a repetitive game kill some time.

Unpacking

PC, PS, iOS, Xbox, Nintendo switch (I've played for 8 hours)

You're a person going through different stages of life. There are boxes with personal stuff to unpack and to put in places the way you want to. And I've just realized that "Unpacking" isn't just about things, but also about person's own life and problems, which is shown quite subtle. It's very relaxing and cozy

Cloud Gardens

PC, PS, iOS, Xbox, Nintendo switch (I have about 8 hours, but there are still things to do)

The world seems to be post-apocalyptical and you're helping the life to thrive again. Place plants to overgrown ruins and trash to create better scenery. If you love this kind of post-apocalyptical view, you'll like it. Just relax and pick places for plants to grow

Dorfromantik

PC, Nintendo switch (I have about 16 hours)

Place tiles with few rules to create as big area as possible. No plot or quests, just beautiful landscape to create. Apparently there is also a board Dorfromantik game, but I haven't tried it

PowerWash Simulator

PC, PS, iOS, Xbox, Nintendo switch (I have about 120 hours)

You basically just washing different surfaces with pressure washer, but it's really satisfying. There are stories from customers and missing cat, but I usually got too involved in washing process to track them. There is coop mode and paid additional content, but there is enough locations if you don't want to pay extra

Storyteller

PC, iOS, Android, Nintendo switch (I have about 4 hours)

You have a book to fill with stories. You can create ones that asked to be completed or create some weird stories. All you have is a page, characters, scenes and actions to create your fable. I've created number of gay marriages and game allowed me to 😄

What's your definition of cozy game? I have some more to share, but they don't always match the "cozy" term, so I'd love to hear your opinion

[nadianova]

if im an artist with no following + want to make games for $ (i want to do game dev for work) shld i release games for free at first so ppl have a Taste (idk if ppl will buy even if it looks good n idk hiw to advertise. i hav no monies or job rip

idk really if your games look good and are good then ask for money but if you havent made games before and will be doing amateur work youre probably gonna get better results releasing free stuff for your first things.

if youre going to make eroges like me i thikn itch io is a good place if your game has a good look and you tag it with all the nsfw tags i use like porn and adult and if you relaly wanna be bold tag your transgirl game as futanari for free tourist traffic.. it should help with building audience

ultimately i dont think its about if its paid or free when getting started its more like.. dont spend 5 years working on your first project. aim to do small ones like jam games that take a month or two to make. then you can release a pay what you want free game and a paid game and see how it compares and then use that experience as your information going forwards

also if you're doing free games i thikn pay.what-you-want option with some bonus stuff like for example an artbook like how i do it is a pretty good way to approach free games as well. i dont see it as often as id expect given how nice it is

if you end up making money from your games eventually i think the best thing to invest in terms of games is to pay a good artist to make you nice looking sprites it helps with people taking your game more seriously be it a paid game or a free one

maqrketing is kindof annoying but I'm terminally online and cant stop posting so the tried and true method of posting porn and shitposts about my game on social media is what i do

but seriously IMO the most important thing is just that dont spend years making some bbig project in the dark and start with something small first to get more familiar with your skills and audience and what you even want to do first. even if your big project ends up being amazing its a huge risk and time investment.. it works for some peopel but theres many people who it wont work for

finishign games is hard so imo the most valuable skill is to just finish something like put aside some time in your life for 2 months for a jam and complete a game. if you can do that then it means you can do games and experiment what is the right play to do if your goal is to make money

idk how much money here truly is to be made with tiny indie games but itch io is good for porn and if you wanna sell out make some koikatsu waifu game for cis man audience and release a 0.1b version and put up a patreon looool <3 remember, no ntr. men are afraid of ntr