#it has some really lovely character designs and i thought some bits of the narrative were really cool but that’s mostly it <33< /div> Explore tagged Tumblr posts

[rhinoyo]

hey cos!! what are your favorite rune factory games in order :0!! im super curious!! have a nice day!!!

helloooo!!! <3 oou thank you so much for the question.. <333

of the ones i’ve completed in full — 4 is my favorite, followed by 3, and then 5! <3

including the ones i’ve just played enough to have an opinion — it’d be 4, 3, oceans, 2, 5 :> <3

[tackykachowch]

I wanted to make this post really extensive, with a lot of screenshots etc, but I'm literally operating at 0% so forgive me this one time.

So, you all know how I'm constantly after season 2's blood because of how it butchered well...Everything, but especially my favorites Silco and Jinx. And what do you know, they even screwed up Silco's glass. Yes. A Glass. Let me explain.

Animators at Fortiche are real professionals, so they know that every object tells a story, so even small things like glasses or cups can tell us a story or let us understand the character better, or even reflect the whole meta of the show. Arcane season 1 really exceeded at this. Going through every scene of this season I noticed that Piltovans use elegant and neat glasses and cups, and the glasses that are particularly used by the councilors are made out of gold. While Zaunites drink from simple glasses without any ornaments, metal mugs or straight-up out of bottles. But there's this one single glass that's different from any other glass or cup in the ENTIRE season - Silco's glass (also Jinx's cup but I'm not gonna talk about it here).

It's made out of simple glass and is pretty bulky to give an association with Zaun, but also has golden ornaments to associate it with Piltover. This single glass perfectly encapsulates Silco as a character - a Zaunite who rejects living under the status quo and who strives to get his people opportunity and freedom Piltover has. Also it reflects his unique position in society - he operates the entirety of the Undercity, yet even this amount of power is barely enough to compete with Piltover. Silco represents the middle of the barrel, a fusion of both cities at their current states. Then, in ep9 it gets destroyed, foreshadowing Silco's death and destruction of the relative peace the two cities had until this time. It's perfect, no notes.

But theeeen we have season 2 *barely disguised rage*. In it we have my favorite flashback out of all of flashbacks ever, where we see- huh??

Silco's glass?? How did it get in there?? And there's THREE of them now???? This is surely some kind of mistake, right? Let's fast forward a bit- WHAT IS IT DOING IN A CAVE????

So, you want to tell me, that an object unique to Silco and Silco only, which perfectly represented his character and even played a minor narrative role, is in fact NOT unique and its destruction in the season 1 finale meant Literally Nothing???? WHAT??????

This is what I meant when I said that s2 jumped headstrong into the fanservice without the second thought about how it impacts the story and characters. You see, Silco now HAS to keep a glass from the times he, Vander and Felicia were friends. He HAS to keep a diary where he says how he admires Felicia, even though nothing indicated that someone inspired him or something of that sort in prior material. (UPD: Also, Silco is more of an idealistic character in the first place. He DOES care about people to some extent, but he always seemed to fight for the idea itself, and not some people in particular. So to give him this new unknown character as part of his primary motivation is....strange, to say the least. It's almost like writers want to make him more sympathetic hmmm). He HAS to keep a photo of the three of them and an "Our Love" record, because he's a sap like that and he lowed his fwiends so wewy much. We already knew Silco had a soft side because he kept things Jinx made for him, we already knew that he hadn't completely let go of the past because he kept Vander's knife. There's no point in adding all this garbage except make the audience go "awwww". It's disgusting and insulting.

But back to the glasses. It makes no sense that the three of them have the glasses and use them, because none of them have any amount of power yet. Moreover, Vander never has ANY Piltovian aesthetic in his design, and Felicia is literally a non-character, so what is exactly the reason to give her such an important object to begin with? I don't know a thing about her, except that she's arcane's most manic pixie girl ever and that by her sheer existence she ruined Silco and Vander's dynamic. Cool. And why would Silco keep the glass with him throughout all these years? And then openly drink out of it in his office? Is it supposed to mean that he carries on the dream the three of them had? But Vander openly rejected this dream, and the remnant of this is located in the very same office (Vander's knife). Orrr maybe um. Maybe. Ughhh. I can't. Think of anything. Hang on. Maaaybeeee it's ssssupposed to represent how Silco's fight for independence went back to the place it started in (The Last Drop)? Okay, maybe, whatever. But then again, what was the purpose of destroying his glass in season 1 ep9 if presumably the two other glasses are still intact? Except Silco dying it doesn't tell us anything, because it lost the previous weight it had in the narrative.

Then we fast forward again to my favorite episode out of all the episodes ever - s2 ep7. In it Silco appears only for a few seconds, but by God are these one of the most destructive few seconds for his character. First he comes to the scene with his flask in hand. A....weird thing to have in a BAR, but okay.

But then as he says the infamous line about forgiveness Vander hands him- oh. Uhhh...A. A Piltovan glass.

Not Silco's glass, or maybe some entirely new glass to represent Zaun's progress as a free nation, but a Piltiovan one. Okay. You were pretty obvious with the line here writers but I guess it wasn't enough.

S2 proceeds to be an insulting, disgusting mess in its every aspect and I will fight with it for the rest of my life.

[tamberella]

Congratulations on your author debut, I'm so excited for your book!! 😇💕

Would you consider talking about the whole process of becoming a book illustrator /children's book author?

Thank you so much, I really appreciate it!! And I'd be happy to share the process!

It all started for me with my 3dTotal artbook. 3dTotal is a small publisher in the UK, and they mainly focus on collections of artists' work. They use Kickstarter to fund each book, and my agent (the amazing Seth Fishman at Gernert) discovered me through the Kickstarter for my artbook Windows to Worlds!

He asked if I had any interest in working on graphic novels or picture books, and I had already been thinking about picture books! He found me my first picture book project with Penguin Workshop, Mother of Sharks, written by the awesome Melissa Cristina Márquez, which came out last year!

While I was working on Mother of Sharks, I was also talking with him about developing The Bakery Dragon, based of course on this painting, which was (and is) one of my proudest artistic moments.

For a little background on the painting, I painted it right after a really challenging couple of months medically - I was dealing with medical complications from my chronic illness for about 6 months, and I wasn't able to finish a single painting the whole time, I was just too exhausted from hospital visits and being in pain. That painting was the first piece I was able to actually complete (both emotionally and literally) in about half a year. So it always held a really special place in my heart, and I really wanted to keep living in that little world. I think there's something in it that is very special to me, about being outside in the cold, seeing warmth and love through a glass barrier, and wanting desperately to reach it.

With Seth's guidance, over a couple months, I developed a pitch for it. The script developed slowly alongside the designs for characters, locations, etc.

(Early version of Ember above! He has changed a bit!)

I thought I had already read a lot of picture books, I've always loved them, but I read hundreds and hundreds during this process. There is something uniquely fun and challenging about telling a complete narrative in 48 pages (which is already a long picture book, many are 32!) My book also pulls some elements from comics, such as speech bubbles, which I found to be incredible assets for humor and character development.

My pitch included designs, some early example spreads, and a rough script with story beats and jokes! My agent took it out into the world, and the publisher we ended up going forward with was Knopf, an imprint of Penguin Random House! I absolutely love the Knopf team and the beautiful books they put out! My editor, Katherine Harrison, really understood what I wanted to accomplish and has been so incredibly helpful in her guidance!

And from there... through rewrites, dialog adjustments, and lots and lots of drawings, it became a book! I'm happy to answer questions about the process! I'll leave you guys with a little preview from the interior of the book! (And of course you can pre-order it here, gotta learn the author skill of always including that link haha!)

[sgiandubh]

Delulu vs. trululu

As expected, promo for the overall stodgy TCND just started in NYC, including with this released and then quickly deleted Instagram pic, shared by the Sassenach Spirits' account:

Not the cleverest marketing & sales move, if you ask me. Knowing this fandom's usual bigot and/or scoffing triggers (which I tend to think S & team do, and rather very well), why even entertain lurid speculation and, by the same token, an unnecessarily juvenile image of The Co-founder? Oh, how I wish they'd step up their game a bit and perhaps be more coherent with that fresh, witty sales approach that first caught my eye!

Why. A rhetorical question that never grows old, as far as SC are concerned. Take for example the latest interview released yesterday by the Fangirlish.com website, which is barely a blurb in the great Instagram tapestry. 6k followers do not a great media outlet make, I believe and they've been around since 2011 (!).

Perhaps on design or perhaps because both of them DGAF anymore, we were treated to these parallel public statements on a rarely brought about and carefully censored calibrated topic: personal lives.

[Source: https://fangirlish.com/2025/01/12/interview-sam-heughan-and-caitriona-balfe-on-jamie-claires-growth-in-outlander/]

While C ambiguously mentions what Claire's character brought to who she is now, she is probably throwing to the scrapheap that constipated but convenient braggadocio that she was 'totally able to separate between Claire and herself'. Something we kept on reading ad nauseam from EFH to the Remarkable Week-end and beyond. She now readily acknowledges she has led 'this project alongside S', all the while - which is even more telling - 'assuming everything that implies'. For some reason, I doubt she simply meant the rather decorous EP functions, but also the entire emotional burden of it all, to which this damned fandom is not exactly a stranger. As we have long surmised, they are in this thing together and they did it together (been together, loved together, lived together, lied together...) all along this tortuous path. Cue in the usual venom that they can't stand each other anymore, I don't really care, at this point in time.

S dutifully obliges as C's sounding board and takes it the needed (but completely unnecessary, Narrative-wise) extra mile: JAMMF has given him 'an incredible relationship, one I never thought I’d have'.

Surely he does not mean Flukenzie Floozy or the entire Fitness Harem panoply, Ha-wa-wee 🐰and Dubai Burlesque included. And she could have rectified on the spot or poked fun at him or anything in between. Yet, she did not: surely Tracula is again the 'very understanding' character of that plot!

Why even bring it up all of this now? Why even mention personal stuff both of them have a rather appalling PR management of, from unnecessary exposure to gaslighting an entire fandom and probably also the kitchen sink?

For the sake of an ending series?

Oh, come on - give me a break, here. We are neither delulu, nor stupid.

PS: Thank you for the pic. You know who you are ;)

Later edit: I am told with good reason that is was not Sassenach Spirits which posted that pic, but the Instagram user @stevieme88 - a bartender at that last SS event in the US. He then proceeded to go private again, but the pic was downloaded and shared by that very well informed vigilante account, which then chose to tag Sassenach Spirits (why?).

Gracias a ti, siempre.

[indigosfindings]

replaying super paper mario, sporadic thoughts post-chapter 2:

very easy so far--& although ttyd was also easy, spm's gameplay is sadly substantially less rich thab ttyd's was

having said that the game design in spm is! unrelentingly charming!! the use of platforming as a framework for a varied stream of stage styles (straightforward levels, dungeons, towns, the entire 2-3 Situation) is creative in a way that imo predicts the sort of things the mario maker community later ended up making. chapter 2's set pieces in particular are extremely quirky (the rooms with traps, the rubee thing, the mazelike basement, the merlee game show lmao)

few platformers have boss fights that feel like genuine Combat, so that's pretty cool

i will confess that as a First Dungeon, yold ruins doesnt have half the sauce of hooktail castle--it's much more linear in layout, with far less of that zelda-y "explore & comprehend the space" principle that made ttyd's dungeons hit

in a similar vein, it's kind of crazy how tippi has like a fraction of the personality that goombella had. it's a bit sad for the character doing the vast majority of the talking to just.... not really have any opinions on anything

the momentum of the chapters likewise means very few npcs ever get to stick out. like, even the "first town crotchety old mayor" character was a total one-and-done, one dialogue and you never have a reason to speak to him again (mostly just speaks to the game structure, which is as mentioned a bold enough exercise that i feel i cant really fault it for that)

bringing up a menu to use items In A Platforming Context is not at all natural to me, so im finding myself just not really using them

this game is a masterclass in visual design imo. the npcs & enemies & pixls being made of primitives that reconfigure themselves into different shapes really elevates the interplay of 2d & 3d, the backgrounds/environments are extremely aesthetically satisfying (the Mathmosphere in lineland, the optical illusion in the sky in gloam valley, all of castle bleck), & i love how the constant "digital/tech" motif (eg the "dragging selection boxes to flip/teleport", the trees & shrubs looking like something youd make in ms paint, etc) is an ingenious progression of paper mario's core aesthetic design

dimentio is so fun

i ADOOOORE nastasia

the inter-chapter dialogue flashbacks are surprisingly earnest? for such a tongue-in-cheek game where almost every line of dialogue contains a joke of some kind, those exchanges feel humourless & sincere. that probably contributes to the Space the game occupies in all of our memories lol

likewise it was really interesting how peach's "escape" sequence after chapter 1 was (while, again, still extremely sardonic) aesthetically & narratively framed with such a sense of Hopelessness. that's not to say like "woahh this mario game is 10x darker than you thought!!!!", more that it's just not a space the series commonly ventures into

the Ancients stuff is being leaned into extremely hard lol. ttyd mostly teases at that kind of "mysterious rpg lore" thing peripherally (the riddle tower inscriptions, grifty, etc) so it's interesting how spm puts it front & centre in contrast, without ever sacrificing the sense of mystique

this game really highlights how interesting the wiimote is as a controller--pressing the A button while holding it sideways (ie removing your left thumb from the direction input to press a button) is something that i cant think of any other controller doing, & it projects onto that button a really interesting sense of, like, Valence

it's the kind of game that seems to beg for one of thsoe posts like "things that ACTUALLY HAPPEN in _____"

[themostdearofspaghettis]

Hiya! Based on your tags you have listened to A Lot of audio drama and I'm always looking for some expertise to help with my decisions making process sooo- What's your Top 5? The MUST listen to list iyo? (and a bit of why if you're so inclined)

Boy I sure do listen to A Lot of audio drama. Here’s my top five!! (Ranked in overall composition terms, not necessarily on How Much I Love the Characters or Plot— let me know if you want plot description???? I’m mostly ranking from an overall level rn).

1. The Silt Verses. 5/5 stars. Beautifully written, excellently executed. The characters and plots are all immersive and all realistic. Sound design on point (especially later). It’s the only podcast that has a 5/5 rating for me. I’m a huge fan of both character building and lore, and these feature heavily in this story. Jon and Muna produce wonderful work, and I sincerely think that whatever their next project looks like, though it will be different from TSV and their previous project I am in Eskew, it will be no less thoughtful or well-executed.

2. Red Valley. 4.5/5 stars. Speaking of character-centric work, this podcast is hugely character focused. Atmospheric, dealing with many of the ethical qualms The Silt Verses does in a wildly different way. More humorous than horror, no less bleak at times.

3. Old Gods of Appalachia. 4.5/5 stars. Huge fan of the deep work Steve and Cam do here on creating a rich narrative that has a cavern of family history and lore. I really enjoy the folklore of this area, and I really enjoy the anthology aspect of this show that slowly weaves together to create a delicate web as the podcast goes on.

4. Midnight Burger. 4.5/5 stars. Funny, humorous on purpose, which makes it a standout on this list because most of them are more serious horror centric ones. Character focused, but also so so clever, Joe creates just a caring environment for his fans and for the characters. It celebrates the weird, celebrates the combination of fiction and physics and comedy and philosophy. Hopeful, human, lovely.

5. The only other 4.5s on my list that I have to make a combo of, I’m sorry I’m not sticking to the technical limit of five!

-Malevolent: Produced, written, and acted by one man, contains some of my favorite tropes and makes Lovecraft fun for me.

-The Magnus Archives (not Protocol): You can’t avoid TMA on tumblr audio drama spaces, so I’m sure its presence is unsurprising. At the time I listened, it was my first exposure to anthology work in an audio drama medium. If I listened to it now, who knows! But I had to stay true to my rankings.

-Ghost Wax: Hugely original concept written by passionate and creative creators. Anthology once again, with more complex lore and thoughtful composition.

-SCP: Find Us Alive: I think the character work draws me most strongly to this show.

Honorable mentions: Ethics Town and Camlann.

[thecarnivorousmuffinmeta]

Sorry if you’ve already answered this, but what are your thoughts on Wicked? Have you seen the new movie? Any impressions?

You're in luck, anon, I've seen both the play and the movie.

Thoughts on Wicked

Wicked is a very excellent musical and it's not shocking it's survived on broadway and the west end as long as it has and been such a sensation. It has a soundtrack with multiple hit songs, memorable and interesting characters, a compelling story, great set and costume design, and it leans on (in a generally tasteful way) one of the most iconic films American cinema has ever seen.

It is a very good show and I enjoy it immensely.

However, that is to preface, it is also one of the dumbest things I have ever seen in my life.

Wicked is, to those who are unfamiliar, essentially what happens if a Wrong Boy Who Lived fic (in which some other twerp is called the Boy Who Lived, instead of Harry, and Harry is very upset about this for an entire fic) becomes a smash hit musical sensation.

The entire plot is just "but what if Wicked Witch of West never did anything wrong and everyone else is just meeeeeeeeeeeeaaaaaaaaaaaaaaaaaaaannnnnnnnnn" this requires making Glinda vapid, shallow, power hungry, while also being less talented than Elphaba at magic (read has no magic) because Elphaba has to be her superior in every way now, the Wicked Witch of the East is actually just a bitter old hag who blamed her sister for everything, the Wizard has gotten an upgrade from sleazy con man to sleazy ineffectual dictator, every single character in the original story (except that boring twerp Dorothy) has a deep and complicated history with the Witch of the West, that funnily really doesn't make sense given none of them ever mention knowing who she is (looking at you especially, Fiero the Scarecrow, what the fuck man), and well, I could keep going.

We also get songs to justify the bad things Elphaba did in Wizard of Oz, which we won't show on screen because they were bad, but we'll allude to them. Vaguely. Very vaguely. So, what we're left with is several numbers where Elphaba says "I really fucked up" and her fucking up is... she was tricked into creating Flying Monkeys.

It's a ridiculous show in which we have to explain that everyone sucks to Elphaba/sucks in every way because they're just so stupid (read the Munchkins who are constantly celebrating dead people).

Now, that said, it does have a very compelling narrative about racism via Elphaba as well as the treatment of the animals--but that doesn't also mean it's not about how Elphaba is the most special person alive and even the animal narrative is made secondary to the fact that she is the most specialist person ever.

The Movie

Fantastically done movie, one of the best movie musicals I've seen in a very long time. Casting was spot on, singing was great, choreography was extremely well done, I loved the sets, the costumes, and even the parts that were added in in addition to the play's original material, I thought seeing bits of Elphaba's past and such as well as explaining a little more about how the Wizard got where he is really added to the film.

I recommend seeing it and am looking forward to part two.

[agentgrange]

I saw this post and couldn't stop thinking about it, so here is the answer I gave after some consideration-- I'll tell you when I find out. Sometimes it really feels like it depends on your Agents, and what they're accustomed to. I have two groups that I play with, one is mostly serious with a handful of gallows humor quips while the other one is absolutely clown-shoes-goof-goof-times. You could lovingly craft a deeply unsettling body-horror scene or run a tried-and-true encounter straight out of an established campaign and your mileage will greatly vary depending on your audience. That's not *necessarily* a bad thing, a handlers job is to guide a narrative in a way that's first and foremost fun for the players. If they want to take it seriously and buy into the horror they will, but if they want a bit of levity then there's nothing wrong with playing to the crowd. But I do really, really empathize with struggling to convey the awesome and terrible might of some cosmic horror with nothing but your words in a group of people that (hopefully) instinctively feel at ease and jovial while fooling around playing games with their buddies. Here's a few practical pieces of advice I can give you.

Try to cultivate an unsettling environment for your players. This one seems obvious but is actually really hard to get down right, especially when people mostly play online these days. But you’d be surprised how much regularly providing good visual aids, a Discord bot playing ambient music, and a good playlist can really set the tone for your session. Don’t just provide visual aids for the money shots of alien greys and deep ones either, running a campaign based on The Conspiracy era gives you ample opportunity to post a ton of weird, liminal 90s photographs to set the vibe for everyone even during otherwise mundane scenes.

Make a point of explaining to your players the difference between what they are experiencing and what their characters are experiencing. Yes, facing off against a 8ft tall fish man with a crossbow is inherently ridiculous as a fictional abstract. Its an entirely different experiencing actually being there, face to face under an incredible amount of stress seeing something that should not exist. In a lot of ways your players aren’t their characters so much as they are mad gods guiding their characters’ fates. THEY can laugh from the safety of this higher dimension we all exist in, that’s part of the fun. Hell their characters might even have a passing thought or two about how absurd the situation might be—but that entire time they’re fighting their lizard-brained instincts just to stop from mentally imploding. Let them laugh, but then tell them how their characters' hands might be shaking, or how any clever quip they wanted to say just comes out as a mumble as their body betrays whatever thoughts their rational mind tries to convey.

Know the rules of comedy. Comedy usually needs a straight-man, so if your players are goofing around don’t be afraid to give them a straight-man NPC to react to their antics in a way that makes it feel like you’re in on the bit but keeps the narrative going. Better yet, try to get ahead of it. Set up designated low-stakes areas in your story that are designed to add a bit of levity. They say comedy comes in threes, so you should structure these segments to let your agents to do some dumb shit about three times before they get all the sillies out and are ready to move on. And the emotional highs during these side quests will just make the crushing lows in the main plot feel that much more horrifying.

Building off that last one I have one more secret, forbidden technique. Buyer beware on this one honestly, but I cannot overstress just how much. Players. Love. Silly. Characters. And as David Lynch has proven, you can have silly characters that are still deeply unsettling. Try adding a few characters in that flip the script on your players and make *them*  want to play the role of the straight-man reacting to what your NPCs are doing every once in a while. If done right, it can kind of trick them into taking things seriously or feel like the eerie out of place comedy is at their character’s expense even if the players are in on it.

I hope some of this was at least partially useful. Good luck out there.

[alexanderwales]

I've started playing Persona 5 Royal, my first Persona game, because it was ridiculously cheap on Steam. Back when I had GamePass, I installed it but never played past the opening, which I think is a bit weak. I'm about 20 hours in, through the first two palaces, and I'm not sure that my opinion is going to change too much, but I'm registering it now just in case (with some spoilers for the first fourth of the game):

I think having a division between the physical world and the mental world, which is physically represented, is super cool. I used it in Dark Wizard of Donkerk, and am overdue for using it in something else. Psychonauts did it too. Inside Out as well. I will always love this concept.

I don't think I like the gameplay. The last major JRPG I played was Final Fantasy VII Remake, and I thought the same there, so ... I don't know, maybe just a whole genre that I don't have that much of a taste for. It's mostly the random inventory items and pointless mob fights that I'm frowning at.

Severe lack of harmony between the battle stuff and the story. The mob fights have fuck all to do with infiltrating someone's mind. There's stupid elemental shit. The mob designs are interesting but mostly disconnected from each other and any theme.

So far, the psyche stuff has been surprisingly shallow, given that it's the main focus of the game. First palace was a gym teacher (Kamoshida) who's abusing students (physically and sexually), and sees the high school as his castle, but ... I don't know. I wanted more. We're literally walking around inside a character's mind, why is the character study so shallow? He should have layers, like an onion, each more horrible than the last. Kawakami is the other teacher we know best at the start, and there's no sense of how he views her, whether she's a sex object to him, or a non-entity, or someone he's worried about, or what, and I kept expecting that narrative beat to happen. I don't know, I think my fanfic would just radically change the entire palace concept so we get ten times the interplay between real world and mental world, and so we can turn these characters inside out and see all their gross bits.

I wish that Joker spoke more often. He's not really a blank slate protagonist, but there's very little personality there, as much as I'm trying, and that means that other characters are driving the plot and scenes and in general being more interesting than him. This is just a matter of personal preference, and a place where I definitely depart from what the average JRPG enjoyer likes.

I generally enjoy the slice-of-life elements, and to a lesser extent, the time management, though there's a part of me that's just screaming that I should be looking at a guide to maximize values. And if I do that, I'll no longer be playing the game, I'll just be watching scenes and doing inputs. I am definitely not playing this game twice, so if there's a difference in endings, or a big chunk of content I might miss, so be it.

It's relatively low on the anime shit that I hate, though there's still plenty of time for me to be disappointed. The way they're handling Ann is ... kind of not great. She was sexually harassed and then immediately after they have this whole "nude modeling" plot that's played for laughs and titillation, and it's possibly just a me problem here (avoiding spoilers for now), but "girl who was leered at and sexually pressured by her gym teacher being then jokingly pressured by her friends to do sexual stuff she's uncomfortable with" is ... not how I would write it. (The answer to "how I would write Ann" would certainly be pretty long, and I haven't finished the game yet, so maybe it gets better, or gets given more meat in the hangouts or whatever.)

There's still time, but I sort of assume that we're just never going to go into the minds of the protagonists, which is a shame. Tons of possibilities there, and I think if they were going to explore any of them, they would have done it by now. I guess I feel the palaces are underdeveloped enough that I probably wouldn't be satisfied by how they treat the protagonists anyway, but it's what I would have done. Let me see a physical manifestation of how Ryugi feels about his alcoholic father. Let me see Joker's defiance. Let me see Ann's self-image. Show me links between these characters, the differences in how they see the social web.

The frame story for the game is an interrogation by the cops, and I am not a fan. Half the time they're just yanking me out of the story I was in the middle of to signpost "hey, this guy is important". Possibly this will all payoff later in some interesting way, like halfway through the game we reach the "present" and the frame breaks. I usually like that. I've had thoughts on the interesting ways the frame story could be used, and so far they haven't used it in those ways. (Also, there's a bit of weirdness where ... I am pretty sure that I was fighting shadows and using powers outside the Metaverse? Unless the interrogation is actually taking place within the Metaverse. Unsure whether I can register a prediction on this basis, or if there are just more mechanics/wrinkles later on. So far, the interrogation taking place within someone's Palace doesn't seem like it would comport with the rules/expectations that have been set up, but there's still time. I'd prefer not being spoiled if there is a clever payoff or twist.)

This game is apparently 100 hours long, which means it's going to take me forever to finish it. I am enjoying it in spite of any quibbles above, but I'm also feeling like it's only 80% of the game that I want it to be, partly down to execution and partly down to personal preference.

[kiraridertime03]

We need to free the Weasel

A brief discussion about the way that Creature Commandos uses politics in its narratives.

Spoilers for it and everything else James Gun DC up to this point though, below the cut.

Also, it is a busy post, content warnings for discussions of white supremacists and cops, as it is necessary.

With the release of the trailer of James Gunn's Superman film, hype for his grand DC Universe has kicked into high gear, and for good reason. That trailer, no matter the quality of the final film, is a goddamn work of art. A piece of film that understands Superman better over the course of 2 minutes and 20 seconds than Zack Snyder did over the course of 3 overlong movies. That mixed with his solid back catalogue of Superhero films. However, slightly more obscurely, this universe has already started with the animated series Creature Commandos, and especially with the fourth episode, which released hours before Superman's trailer, shows the kind of skill and thought Gunn and co. are putting into this new universe.

At its front, Creature Commandos feels very... blunt, in a lot of ways. It's like The Suicide Squad but with Creatures! It's big and raunchy, being an animated series with blood and swearing and sex and whatnot. And, when it comes with its politics, some of the early villain's mooks are a bunch of weird incels, and one of the main characters constantly advocates for killing Nazis. It is a work that immediately shows its hand, making the type who would decry the wokeness of modern movies and games or whatever. However, with these early examples, it can feel like a bit too much, maybe. I love it, don't get me wrong, I'm the type to really enjoy blunt earnestness. Though, given the more comedic approach that many of these elements take in the early episodes, it can feel a bit like it's only there for the bit.

Where the series really starts to excel, though, is when it starts integrating its flashback segments. As a whole, even outside the point of this post, the flashbacks feel like a wonderful decision. A way of fleshing out our characters while giving each episode a distinct feel, justifying the series as, well, a series rather than just one long movie. However, here, I want to discuss some of its political ideas, and how they integrate. Because, for these, they integrate more thematically, being an undertone to each character's own story.

For the bride, her story is centered around this idea of the objectification of women. I mean, it makes sense. She was literally made to simply be the bride of Frankenstein, an object of his affection. However, as she gained her own independence, the masculine figure who feels he is owed her hand in marriage breaks out into a rage, harming her and the person she actually loves. This story is what gives her the cynical edge she gains in the series proper, giving her an interesting, sympathetic story while using the elements of said story to say something about how many men perceive woman. A strong enough parable that acts as an undercurrent for her character.

Then, we get to G.I. Robot's episode, a real tear-jerker of a thing about a silly robot character, the exact thing to set my brain off in all sorts of ways. Much of this story is designed to set up his tragic past, so that we can feel catharsis once he gets his big moment, then feel the tragedy when he gets brutally murdered. However, it again is saying a lot of complex things. Many have discussed the PTSD angle for GI, which I do see, however, in GI's story specifically, I see the way that the American state treats veterans. Like, think about it. This being who was forged and created for the purpose of making war, goes to war, then once the war is over, they are, best, used for spectacle on live TV (Where they are unable to properly adjust to the tone of peacetime, accusing the audience of being Nazis themselves), studied not to help them, but to make the next generation of soldiers even more efficient at their goal of warcraft, then thrown to the side when they are no longer useful. The man selling GI to the collector literally says he slipped through the cracks. It, again, is a wonderful metaphor that takes advantage of what GI is, and uses it to emphasize these issues in a more literal way. It is a lot easier to show a robot who was programmed in a specific way weird the room out than the rocky adjustments a veteran may have to go through. It then, also, shows the kinds of people who really benefit from this warcraft, those it appeals to. The collector who buys GI turns out to be a part of a White Supremacist group in America, a group of people who gladly use Nazi iconography, identify with it, and gladly push it. Those also happen to be the types who want to buy old war memorabilia. Obviously, not all war collectors are Nazis. But these are people who see this kind of might makes right ideology that America so often employs with its military, and latch onto it. GI, rightfully, finds this appaling, and kills them on sight. It is this wonderful moment from this delightfully twisted series.

However, even that could be seen as a tad blunt. Again, GI is very clear with his words, he doesn't hide much. So, where I see this series going from good to great is with Weasel's flashback segments. This begins when a lawyer, a member of a nonprofit, demands she see Weasel, as she is putting on a case for him. In essence, she states that, at least to her and her organization, he was unjustly prosecuted. To both Rick Flag and us, this seems absurd, as we have a lot of predisposed biases towards Weasel. You see, he is one of the few pre-existing characters in this cast. Weasel was previously seen in James Gunn's The Suicide Squad, though only briefly. There, as a member of the Decoy Team, he makes weird, gross noises, they make a joke about him having killed 27 kids, then have him promptly drown before the mission even starts (Though, in the post credit, it turns out he survived, because that's even funnier). Even if you hadn't seen that film (Which you should if you haven't), they reestablish all that in this series in the first few episodes, portraying him as a stupid, vulgar, violent creature who isn't worthy of rights. However, expertly, this is all a front.

In the flashbacks, we learn that Weasel only interacted with about 8 kids, a bunch of students left at an after school program. Contrary to what we had been told, he really just played around with the kids, chasing around a ball. They eventually get inside the school and, while messing with stuff they shouldn't have, start a small fire. However, some antics are afoot. While he is playing around, an old senile man sees this and, rather than asking about what's going on, decides to run back to his home, call the cops about what is a clear, if odd, misunderstanding, then grab his gun to try to take things into his own hands. And, as he does, shakily trying to shoot Weasel, he makes the problem of the small fire worse, shooting a gas canister behind them, turning the small fire into a school-destroying explosion and fire. Then, the cops show up. Many of the kids are already dead, seemingly, but one survived. So, as he pulls her out of the wreckage, what do the cops do? They start shooting. Throughout this whole sequence, the cops do nothing but shoot and get in the way of things. It all culminates in the final shots, where Weasel has dropped the kid after being shot. And, instead of either of them going to get the kid, they both pin Weasel down, try to pull him out. This leaves the young girl to be crushed.

This is a massive tragedy, a game of tragic misudnerstandings that gets kids killed. However, again, it does this by hiding its politics into a genuinely moving character based story to make them more effective. It is a story, in part, about our predisposed biases. I mean, the narrative literally sets this up. Characters around Weasel say things about him without him being able to have a say. Because he's a Weasel. Then, our characters make judgments based on what they believe and what they've heard from secondhand sources over what they actually see. Even when Weasel is his most violent (taking down Circe in episode 3), he does it to protect his teammates, and he doesn't actually kill her. In his backstory, characters make rash decisions based on their misinformed judgments in hopes of "protecting the kids," when all they are actually doing is harming them. They get 8 kids killed all because Weasel is a little freaky.

Then there's the cops themselves. It so masterfully uses showing rather than telling. The most it tells us is of the trail at the start, and again, this is moreso used as setup, playing into our dispositions. However, when it is time to actually depict the injustices, it shuts the fuck up. It doesn't just say that cops are bad with a couple of clear shitheads and moves on. It shows how cops are bad. Their only answer to this situation is violence. They don't actually serve their community, in this instance the children stuck in the fire, their only answer is to start shooting things. Because they have no other answer than state sanctioned violence. And they did this all with an episode about FUCKING WEASEL!

Now, imagine what they can do with Superman. It doesn't even have to be political, like these previous examples. However, to me, this shows that he can do what, to me, some of the best storytellers do. They weave every element of their story together with deliberate choices that strengthen each other. If anything, more than any well edited trailer, it is that that excites me about everything James is working on. Of course, he is doing this with a team, but James is the type to surround himself with smart people who understand these things inside and out. That one David Corenswet quote about the shorts proves that to me in shades. That's what gives me hope about these works. That they will be movies and shows that mean things. Which seems like a low bar, but hey, so many fail at it that it's kind of impressive.

[mountmultimuses]

My Top 5 Favorite Godzilla Designs

(poll at end)

I used to say that Millennium Godzilla was my favorite design for the character, but that might not be the case anymore. I still love it, but after thinking about for a good long time, I have found that there are designs that I like better. And I finally narrowed down my top 5 favorites. So here it is. My Top 5 Favorite Godzilla Designs

#5. Millennium Goji.

More specifically, his look in Godzilla Against Mechagodzilla and Godzilla Tokyo SOS, AKA "KiryuGoji." The jagged elements and wolf-like face are very sleek, the golden eyes really pop, the teeth are nice and visible, it has pretty much everything going for it. The one thing it's got going against it, and this is just a personal thing for me, is the size. Of all the designs in my top 5, this one is the smallest at a mere 50 meters. Some may argue that that's how big Godzilla should be, but personally, I like my Gojis in the neighborhood of 100 to 120 meters. But aside from that, Millennium Goji is fantastic

#4. Monsterverse Goji

More specifically, his design in 2019 and 2021. It's big, it's menacing, and it looks like it could be an actual animal. Sure the head's a bit small and the teeth could look better, but it still works.

#3. Gemstone Goji

This design is brilliant, in my opinion. It's like a perfect blend of Heisei Goji and Monsterverse Goji. Sometimes the skin looks less like scales and more like lumpy, gray warts. It's not bad, but it can be a little distracting. Most of the time, however, it's not a problem, and this Goji definitely fits with the narrative Gemstone is creating. If they make more media with this design, I am game.

#2. Heisei Goji

You can't go wrong with what is, arguably, the most recognizable design Godzilla has ever had. Some even consider this the definitive design for Godzilla, and I can't say I disagree. Most days, you hear the word "Godzilla," and Hesei Goji comes to mind, especially his look in Godzilla vs Spacegodzilla, AKA "MogeGoji," with his enormous size, expressive eyes, two rows of teeth, and bulging muscles. My only two drawbacks is that sometimes the shoulders are a bit to slim, and sometimes the legs seem a little too massive. It's not a deal breaker, mind you, but it can be distracting from time to time. Still, the Heisei era does have, arguably, the most consistent and recognizable design, and it's definitely makes the top 2.

#1. Final Goji

I have thought about it the entire time I was making this list, and I think I can safely say that Godzilla's design in Godzilla: Final Wars is my personal favorite. The red eyes, the teeth, the longer ears, the slim yet powerful build, it all works. Is he as powerful-looking as Heisei Goji? Not really. Is he as imposing as Monsterverse Goji? No. But something about this design strikes a near-perfect balance for me. Not only that, but Godzilla's personality in this film is great. Godzilla feels like a battle-hardened rōnin warrior with a chip on his shoulder. And now that I think about it, this Goji might be the most powerful. He goes through the whole movie beating the other kaiju left and right without even breaking a sweat. He's unstoppable. If they made a whole film series with Final Goji and all the other monsters in Final Wars, I would absolutely LOVE it. So yeah, after a lot of thinking, Final Wars Godzilla is my favorite Godzilla.

BUT WHAT ABOUT Y'ALL?!

[fruitsofhell]

I am amazed by so much about Hazbin Hotel now that I'm finally, FINALLY watching it. There's so much to comment on but I have GOT to get this out of the way that has been distracting me going into the final episode. I need you to know that I'm like grimacing in a mix of pain and amusement rn. I feel like a teacher about to tell a student their essay earned the most entertaining F I've ever seen.

I want to do a little case study in Vivziepop's design ethos in the Cannibal Town bit y'know. I don't have the steam to write a full essay right here but I will try to get into this and how it relates to something that so fascinates me about her art. I was a fan of Vivziepop back in like 2014 when she first gained some notoriety in the animation community from her Die Young short and I watched nearly every piece of her old art content where she expressed her character designs and story ideas. I was really invested in them when I was younger, I thought and still do think her designs and ideas are very evocative in a good way, but which have slowly unraveled with time and scrutiny in all respects.

In her show... there's a district in hell run by cannibals, and the WHOLE gag of them is that instead of being your usual sort of racist stereotype they're a kitschy little victorian looking district who still sing about loving consuming flesh and blood and all that. See, this was evocative IN 2014, but it's not 2014. Which is not really interesting to say in itself because the show is utterly drowning in early 2010s Hot Topic-ass design sensibilities that I will probably talk about some other time, what I'm really getting at is the hypothetical thought process behind this.

Vivzie is a lover of all things impish and vintage, so of course in hell she thinks there should be a place full of cannibals who go beyond the usual stereotypes. And in her mind she's imagining how evocative the idea of smiling genteel demons running around eating human fingers is and goes with it. And a plus for her, it skirts around the racialized baggage attached to the taboo of cannibalism, maybe she even thinks its anti-racist to spin things like this. But like. It really really just stops there.

Hazbin Hotel wants to use its framing of heaven and hell to make a social commentary on morality obviously, and in the way its doing it it also is creating a sort of statement on class. There is this idea of moral meritocracy that angels are exploiting to keep themselves and those humans they like above those they dislike for arbitrary reasons, and just in the language - written and visual - of how heaven and hell are distinguished you see this slums vs metropolis thing going on. But I mean, someone else can probably tell you about how busted it is so I won't get into it, I'll just say that comparing hell to any sort of metaphor for a ghetto where disadvantaged and flawed people are grouped together unsafely looks bad for Vivzie lol.

This is where I come back to Cannibal Town which is so so so SO obviously a chance to make the most blunt-obvious social commentary on human exploitation that Vivzie just DOESN'T cause she finds people in victorian pristine garb talking about eating flesh funny and that is the full extent of her conversation on these ideas together. There's really really nothing else it seems that Vivziepop feels like saying about a kitschy upper-middle class town of people who eat other people other than isnt it funny when upper-middle class people want to eat others. And it does boggle my mind when so much other talk of exploitation, abuse, and class stratification is so laid bare on the table of this show.

In design and narrative this show really likes to touch on these deep but kinda basic tenets of social commentary but keeps doing the 2014 Hot Topic reversal of motifs and then just leaves that there like its something in itself. MMMaybe we could be doing more to say something about how when a bunch of people are arbitrarily thrown together in a lawless area under very broad assumption of moral degeneracy some seek to wield powers over others by reinforcing their simultaneous dehumanization. And how then those slumlords try to sell scraps of privilege to enrich themselves and stuff and how bad that is.

Like we kinda do sometimes, but then you have Cannibal Town which could have so fucking obviously been about liiiike??? IDK, the overlord of the area is someone who takes peoples souls and then gives them an insatiable urge to consume both physically and material goods that is symbolized through cannibalism and exploitation of other demons so that they are further reliant on the overlord??? ANd they all sit in their little village thinking theyre above others because they keep everything so orderly only by running themselves on the exploitation and consumption of other human resources. I don't even fucking know man but I just know that the Cannibal Town in the show is nothing but a joke and wank session for Vivziepop's historical fashion fetish and it drives me up the wall.

I want to be really invested in the politics of this world but this Vivziepop motherfucker just wants to create things like the town of white middle-class victorian cannibals for the lolz.

[codenamethebird]

Okay if we are going to develop the Circe/Odysseus dynamic in Hades 2, they have to go all in. Give me all the drama and murder haha. So Cassiphone is the daughter of Circe and Odysseus, whose name literally means "brother killer". There's a lot of nonsense in her myth, she marries her half-brother Telemachus at one point, but I think they can just ignore that part and keep the murder. Sorry Tele I do this cause I love u!

Random extended thoughts below cut (also trigger warning for some discussions of dubious consent):

Okay I think a lot of Hades fans are hoping that Odysseus is lying about how happily he was with Circe, which I won't pretend I'm not one of them. While I do enjoy a reimagining where Circe and similar characters escape the kind of gross tropes of woman being either the dutiful wife or the vile seductress, I do think Circe being shitty works within the larger themes of the game. How the gods trivialize and are just generally the worst to mortals (and u know, Circe is a god, she's the daughter of a titan).

So while it does pain me a bit for female characters everywhere, for the grander narrative, Odysseus being coersed into having sex with her is interesting. And that producing a child after he left the island is just ripe for drama. While also a bit cartoonish, Circe naming her kid "brother killer" as a sort of curse, dooming poor Cassiphone to her fate is witchy and on theme.

I imagine Cassi showing up in Ithaca after Odysseus dies, so Telemachus is king. And well it doesn't go well as I drew above. I haven't entirely decided what happens after that, but I do know she's wreaked by grief and regret. And while she always had a complicated relationship with her mother, it goes absolutely sour after this, realizing her whole life was to be a weapon.

I go back and forth whether she dies or not, but either way, when Chronos rises, she sides with him against her mom and the gods. And who else sides with Chronos: Penelope and, more importantly, Telemachus. Incredibly awkward family reunions ensue.

But in more serious, I like the idea of Telemachus being incredibly emotionally mature about the whole thing, understanding how Cassi didn't really have any choice in the matter, and trying to reach out and bond with his sister. But Cassi is guilt ridden and constantly avoids him.

I don't think they'd do this, but I think it would be really cool if Cassiphone and Telemachus were the final surface area's mini bosses (like Asterius). And through Meli interacting with them, it allows them to finally get over the awkward murder between them and bond as siblings. And maybe after u fix their relationship, they fight u together as a boss fight, so Meli accidentally made things harder on herself pfft. (And fun angst potential for Mel as she's missing her older brother).

But yeah, other bonus thoughts about my version of Cassiphone:

She's a vegetarian because of the trauma of her mom turning sailors into pigs.

She has pig ears for the same reason, and because it's cute haha.

I didn't really do enough to show this on her design, but I like her having owl feathers, kind of replacing her mom's pelts. I imagine she has a very weird relationship with Athena. So it can both be a sign of respect for her or insult (you don't need to kill an owl to have its feathers, but that's one way of getting a bunch of them).

There's also a lot of interesting ideas to explore with her and Penelope. Penelope being forced to look at an embodiment of her husband's 'betrayal'. But she could also be the one who tells Penelope actually what happened, finally revealing why her husband was so weird about it all and paving the way for reconciliation.

But yes, I've talked about this before, but Hades 2 lacks witch related antagonists for Melinoe. Give me more witches!

[aliceisathome]

Man I love Wandee Goodday - this is a grown up bl that's managing to be funny, sexy and informative without becoming preachy. They are repping for everything from mental health and vaccines to communication, consent and fun sex. There's a femme guy who's managing a gym, an ace psychiatrist who's designing sex aids, sensitive boxers, and no evil female character. All this and a villain we all want to the boxer to punch. It's glorious.

Anyway our 'fake' boyfriends continue to be incredibly supportive of each other but NO! DOC! You got that pic of you and Ter out of the bin and saved it. Poor Yak - he looked so content poking around your shelves. Gah. Now he thinks you're still into Ter. Please tell me you're not still into Ter Dee - he's just a toxic habit you've given up surely?*

Kao channelling the viewers in this convo with Dee, and throwing truth bombs as usual. Once again proving he is the true MVP of this series - now give him someone to cuddle dammit.

I'm not sure how Yak resisted punching Ter just now but I loved Cher's little mother moment.

Holy arms Batman.

Aaand I'm back.

Every now and again I forget that there's nearly a decade's age difference between Dee and Yak - Dee might be smart but, as Kao knows, he's a little immature emotionally.

I'm more shocked by the fact that Dee wore his Teeny Tiger gear to Ter's place than that he left the candles burning. What are you doing Dee? Why did you stay? That smug bastard is complimenting your tiger costume - the tiger costume you should be keeping for Yak.

Honestly I don't blame Yak one little bit - he waits for ages then finds Dee in his sexy tiger getup with a half naked Ter. Do we think Ter deliberately sabotaged his bathroom tap? Yes, yes we do.

Loved Kao here.

Noooo - the inevitable break up. Sometimes I hate the narrative arc - I'd be happy just watching another 5 eps of Dee and Yak just being boyfriends and snuggly and domestic.

And now we have the crying. You silly men, both thinking it's the other who doesn't really care. The reach for the comfort of the necklace that's no longer there? Gutted. Literally gutted.

And now I feel sorry for Taem as well - I thought she liked Mr Student Council. Ter, not so much - even if I believed the manipulative fucker. And of course he passed out so we didn't get to see if Dee would have given him his first kiss while we did see Yak decide not to kiss Taem.

Cher, my sassy little queen, I love you so much. Please give your big boyfriend a smack for us. He is an idiot.

And this is not how I wanted the first kiss - I wanted it to be joyful. It was a good kiss - a great kiss - but neither of them were wearing their colour and they weren't lit by them either. That's what I want to see - them dressed in their yellow and purple, bathed in their light and declaring undying love. Give it to me now!

Wandee Goodday has been a happy counterbalance to the sheer stress and tension of My Stand In. Except this week. Ter and Tong are cut from the same cloth and they both deserve to have the snot slapped out of them.

But because Wandee Goodday has been so delightful so far, this episode has hit me hard - I need to go and watch something tooth achingly sweet and cuddle my cat.

*much like me and cigarettes - I gave up years ago but every now and again I still REALLY want one.

NB the interviews, bts etc are excellent - I don't usually watch these but Great and Inn are so good in them. They're both older than other GMMtv newbies and haven't grown up with the company so are just brilliantly relaxed and playful with each other. It looks like some of the dialogue and action is developed and/or improvised by these two as well - they're very naughty and Golf just lets them go for it.

[rookinthecrownest]

Discussion about romances + expectations under the cut (I'd put it as like..mildly critical, but also coming from a place of understanding?). As usual, will tag as such so you don't have to engage/read on if you don't wish to. I always invite open discussion, just keep it respectful (as I will endeavour to do so myself).

This is going to be a bit of a ramble, so I apologize if my thoughts are not clearly laid out like they should be.

I think I've found the reason why I (and maybe others), feel that the romances in Veilguard feel a bit... idk, hollow, at times (not BAD!!! just feeling like there could be MORE). And that's because of the trap of expectations. I may also be speaking completely for myself here.

Anyway, let's rewind to 2014.

Be me, 10 years ago. You're not really a gamer, but indulge in action RPG's casually.

See a commercial for this hot new game coming out called Dragon Age: Inquisition. Be intrigued by the character designs, but know nothing about the world. Come to find out it's part of a trilogy. So naturally, you buy the first two games and play through them before playing the third.

Be amazed, and completely hooked on the characters, the lore, the world, the darker elements and themes. It becomes your favourite game series of all time.

But you had no idea that you could romance any of the companions going into the experience. And man, does it fundamentally rewire your brain chemistry to fall in love with cRPG and get ridiculously attached to your Warden/Hawke/Inquisitor.

So, you romance Alistair first because he's funny as hell, and has a really interesting story/character arc. Then you romance Zevran, and love that too - he's charming and suave and awkward and funny. Then you go onto DA2 and romance Fenris and Anders, and each of those romances pack their own emotional gut punches. Then it's finally time for DAI, and predictably, you go for Solas (a veritable slow burn that spans TWO games), Cullen, and partially (I never finished those playthroughs lol) Blackwall and Dorian.

I had no idea you could romance companions going into these games. It was a pleasant surprise! It always felt like an important part of the story, while not overshadowing the main plot. There was enough material in the codexes, the cutscenes, and party banter to make each romance feel complete and whole and awesome and nuanced.

And then, like some of you I suspect, I read an article that touted Veilguard as "The Most Romantic Bioware Game Yet", and I thought - "Wow, if they're saying this then the romances must be something else", given the quality of the previous romances you've experienced in these games!

But you get to the game - and while you're having fun, it definitely leans more into the ARPG style where romances feel a bit more pushed to the side in order to tell a certain story than the traditional Bioware/Larian RPG experience you've come to love.

Which is fine! Again, once I stopped thinking of Veilguard as a classic Bioware CRPG, and more like GOW/The Witcher, I found I was able to appreciate it a lot more for what it is. Things have to Happen A Certain Way for the narrative to work, and that's not a bad thing. DA2 was similar - it was a harrowing, personal tragedy about the Hawke family and their struggle to survive in Kirkwall.

Just like DA2, there are aspects of Veilguard that make me glad things happened the way they did. I'm not mad that Rook has so much dialogue without a ton of player input and you can't 'be evil' - because the game doesn't make sense if you can. At its core, Veilguard's narrative is centered around Regret, after all - you can't have an evil protagonist running around because Solas' Regret prison would never work (evil people don't generally tend to regret their actions...)!

Now, if you're expecting a long-winded, fully researched academic breakdown of every romance I'm sorry but that ain't happening tonight lol. This is not based in any fact, this is all opinion.

I can't quite put my finger on it, but sometimes it feels like the romances in this game (and I say this with the biggest grain of salt as I've only done Emmrich and Lucanis' - and am going through Neve's now), are just missing....something, to take them from good to great.

I loved Emmrich's romance. I thought it was very well done. I think a lot of people would agree it's one of the stronger ones in the game - doubly so if you play as a Mourn Watch Rook (you get a TON of MW specific lines going this route, it's great). His side romance with Strife if you don't get together is very cute, I enjoyed it. But as superbly well done as it was, somehow, I wouldn't even put it in my top 4 Bioware romances.

With Lucanis' romance - whatever my hangups may be about how it was handled, certain parts of his romance were done excellently (even better than some of the previous Bioware romances, I'd say). You can read more about my thoughts on his romance here which is why I'm not going into detail about it. Unlike Emmrich's, I would put it in my top 4 because I fell in love with the character that much (both in the game but really, I've loved him since Tevinter Nights), and I've grown very attached to my first Rook and him as a pairing. I've seen others share a similar sentiment on here (and I hate to say it but I agree) - sometimes it feels like I fell in love with Rookanis despite the way it was handled, not because of it. I can't say that for many other romances. While it's been fun to think up a lot of HC/write fics/make art about those abandoned concept sketches and parts where I felt the game could have showed us more of their dynamic, I can't help but feel like his (and other) romances would have immensely benefited from even 1 or 2 extra small scenes to flesh it out a bit more if they weren't going to let us freely talk to our companions.

The issue with the romances might also have something to do with the pacing of the game itself. I think Act 2 is where the pacing goes a bit awry, before picking back up in Act 3 (which is great, I love it).

Sometimes I also felt that there was a little too much reliance on codex entries and party banter to tell the story of the romance rather than showing it explicitly through cutscenes. I think that's what makes the romances feel a bit truncated at times, compared to the previous entries? Some of the romance-specific party banter was so good, it probably deserved its own cutscene. But it's also highly dependent on the party you have, and it's easy to miss/not trigger. I remember absolutely living for the cutscenes in the first three entries and I can't explain why I feel like, subjectively speaking, Veilguard just has less romance content (this may not be objective reality - I haven't compared the amount of romance specific content head to head with other games).

I also couldn't tell you why I feel DA2 doesn't suffer the same problems as DATV in terms of romance interaction - because you can't freely talk to your companions in that game either. Yet somehow, it always felt like I was getting enough of them to not notice that. I do miss being able to chat my LI's ear off and ask them questions about their life/their views/etc. like I could in DAO and DAI. I think it's a shame we can't because the companions in DATV are SO interesting. I want to ask them all a billion questions about their lives/stories/etc even if they're not my love interest. The party banter in this game is immaculate but being able to talk to them individually about this stuff would've been SO nice. I feel that I've missed out on SO MUCH of these characters just because I didn't have two of them in my party at the same time!

Anyway, I need to wrap this up.

In closing, perhaps, if I hadn't read that article about how it was going to be Bioware's most romantic game ... maybe I wouldn't feel this way? I think it sent my expectations through the stratosphere, and that's no one's fault but my own. Not Bioware, not EA, mine.

I know that this game's development cycle was a unique sort of hell that the other games didn't suffer. To go from Joplin -> Morrison -> Veilguard. To have so many of the original staff leave the team when Joplin got scrapped. To have to pivot from Live Service and then back to single person RPG. More lay-offs. It's a miracle this game got made. I'm happy I can sit around thinking about it. And I hope its successful enough that we get DA5 so we can all sit around dissecting that in 5-10 yrs time.

Don't get me wrong - I enjoy the Veilguard romances for what they are. I'm enjoying them more I play and discover additional banter/codex/etc that I missed the first time around. Like any Bioware romance, there are spots where they hit their stride, and spots where they falter a bit. When they hit their stride they knock it out of the fucking park. But when they falter, you can really feel it. Romance is hard to write! And you'll never fully please everyone.

But a small part of me wishes I'd gone in blind, and checked my own expectations a bit.

Maybe you agree, maybe you don't. Tell me about it. What was your experience with the romances? Did you also read that article and get your expectations up?

I hope this makes sense.

Kind regards good fandom folks,

Keep the discussion respectful. And please don't use this post as an excuse to just blatantly hate on the game.

-Rookie

[morkitten]

I'm sorry Dimps

(art by virtanderson)

I just replayed Sonic Rush Adventure…. it's fun!! The last time I played it was back when it first released... Why didn't I ever revisit this game before? I remembered being a bit disappointed with Rush on a revisit (still a good game but there's just a lot of deathpits and the bosses get mean) and I remembered Rush Adventure being similar but with a lot of grinding that tired me out back then. But now replaying it, it's got really cool bosses (some of the best and most interesting of the whole series!), the stages are a bit easy but fun, the (several!) seafaring vehicles are cool, and it really doesn't have as much grinding or mindless sea charting as I thought it had. Plus it has this relentless blue skies sea adventure energy to it that's just so much fun. I love going back to my little island after every level, I love seeing it upgrade and become more populated and more full of fun stuff.

It's clear Sonic Rush Adventure was Dimps' biggest Sonic project and it's a shame they never got to make another original Sonic title after this, bc they were seriously getting better at every iteration… I'm sorry I was on the Dimps hate bandwagon because I was so hurt by Sonic 4. I didn't have the context that the game was supposed to be a phone game by a smaller team that then got hastily re-branded and given more budget. I was just so sick of everyone eating up the aggressive SoA advertising and I got nothing when I was proven right.

But I also wasn't comfortable with the narrative that emerged a bit after Sonic 4's release that Dimps was the source of all evil, despite agreeing with the level design criticisms, it's obvious even back in the Advance games they love the games & characters, and the shortcomings of their games come from an impulse to try to make them harder and longer. But honestly, it's a problem I sympathize with! It's difficult to figure out how to add difficulty to a Sonic game because these games aren't really supposed to be hard, and it's difficult to add longevity in some other way because designing Sonic levels and creating all the assets for them is relatively a lot of effort compared to other 2D platformers. Sonic levels need to look flashy and elaborate but also they go by really fast AND they have a bunch of alternate paths, so they also need to be really big. And it's not like Dimps were given amazing budgets anyway. So Dimps would often come to this conclusion of "let's add more and more stuff that will kill you outright as the game goes further in" to add that needed friction, and it gets especially bad and mean on the Advance games with stuff that you can't see coming up. This ramp-up of one-hit kill hazards as the game goes on is still there on the Rush games, but Rush Adventure especially gets more and more comfortable with the idea that Sonic levels should be on the breezier side, possibly because all of the extra content put them at ease that it wasn't going to be a game that would be easily beaten in a couple of hours.

Despite being Dimps' best and most full-featured Sonic game to date, Sonic Rush Adventure really didn't sell well. It came out in 2007 so maybe it was a victim of Sonic 2006's infamy. Maybe the title made people confused as to what it was (Sonic Rush? I already have that game!), who knows. It really does feel like they were gearing up for a third original Rush game, I feel like they wanted Marine to be a character that would develop. this is part of why people find her annoying - she's a kid who isn't yet a hero, her character is that she fucks up and is ahead of herself. she learns a bit but isn't there yet. there's an obvious follow-up to this that didn't happen. It's retroactively cruel how the ending to Rush Adventure makes you feel for Marine saying goodbye to Sonic and Tails and wanting to see them again, and then it never came to be! I'm just left with a sniffling Marine and the knowledge that it never happened!!

And I know that "Sonic Colors DS is a third Rush game made by Dimps!". It is but it isn't. Maybe if Rush Adventure did well, SEGA would have given Dimps a bigger budget (or at least similar budget to Rush Adventure) and let them do an original game rather than a tie-in. But Rush Adventure's low sales apparently meant Dimps was relegated to Tie-In Hell, instead of being given more reigns to do what they want. I'm sorry Dimps! I'm sorry I didn't defend you, I'm sorry I was part of the hate bandwagon against you because I had my feelings hurt! I really, truly appreciate what you've done for Sonic, even if some of your decisions on these games were very frustrating (have you tried getting all the Chaos Emeralds in the Advance games? have you tried unlocking Amy in Advance 2?), there was a ton of labor of love in your games regardless. Thank you ;__;7