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cmdr-h-of-the-woods · 1 year ago

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CMDR H of the Woods’ logbook, June 3309

3rd June 3309 CPD-60 604

Do you know what’s even more exhilarating than canyon running?

Canyon running in my exploration ship full of exobiological data worth dozens of millions. I obviously didn’t go as fast as I would with the Eagle, but I found some nice canyons to play in for a bit.

4th June 3309 SUMMANUS A3

Watched a total eclipse that happened to be occurring just as I approached body A3.

Overheated and passed out, but must have managed to get myself back to the safety of my ship before getting toasted to a crisp.

Landed on A2, climbed a mountain to go look at A3, then raced 1.30km back to the ship before the star rose, because I didn’t feel like trying my luck again and didn’t want to risk overheating again so soon. Will have to take it easy for the next couple of days, getting almost cooked in my suit was rather unpleasant.

[There is also a timelapse video of the eclipse on my YT channel here]

7th June 3309 HECATE

Ran some quick delivery missions and visited the Daunting Hammer, a megaship located in a system also featuring a ringed ammonia world. This might be the first time one of these.

9th June 3309 GAT 1373 A1A

This system has a white dwarf that is visible from the moon I landed on to pick up some plant samples. I can’t quite see the jet cones from here, which is probably a good thing. I am not sure just how much radiation my suit can handle but I doubt it was designed to withstand that kind of thing.

10th June 3309 NGOBE

Found a ship crash site. Seemed recent, there was still smoke coming from what seems to have once been a Viper. The worst part in this was finding the pilot’s body, someone called Conrad Lynn. No idea where to even start looking to identify and notify his next of kin.

21st June 3309 PLEIADES SECTOR OI-T C3-7

The Pleiades nebula has been calling my name for a while and it’s now getting bigger and bigger in the sky. I made a halt in 48 Epsilon Arietis, where I landed on a moon (4B) with a lovely view of a gas giant and the blue supergiant. The past 10 days or so have been mostly uneventful and I found myself more tired than usual, so I’ve spent a good part of my time just resting in my ship and preparing for the next jump.

This system I am in has Thargoid-related signals. I hesitated for a while before getting any closer, but curiosity got the upper hand. I found something like... big barnacles, surrounded by a green cloud. And it made... sounds. I am unsure what it is, but it is unlike any other organic life form I’ve seen before.

Also. There’s a listening post in this system. So my short-term objective is to visit the other two systems it references, triangulate them, and get to the bottom of this.

23rd June 3309 DELPHI

Been exploring around this system, where I found one other listening post related to the one I visited the other day. And a port called The Oracle, as a reference to some ancient Earth myth. Found a lot of crashed Thargoid ships here with apparently active (and toxic) sensors. I’ve seen these before, but it was only just one. These wrecks had so many! It’s also interesting seeing a Thargoid ship like this from up close. Those things are large.

Speaking of seeing them up close... I met a Basilisk. A living one. It didn’t even attack me, but scanned me and I managed to get close enough to scan it too. Then it seemed to shift its attention to the debris field around us. I can’t quite tell if it was analysing it or picking up parts. And then, just like that, it left. I wonder if that human ship got blown up by Thargoids? Maybe this one was just a scavenger? Who knows.

25th June 3309 One of the many Pleiades Sector systems I’ve been visiting

Still hunting for whatever location those listening posts were referring to. Triangulating the data is difficult and time-consuming, I’m finding myself jumping and hoping for the best, knowing that I must be roughly in the right area. But I will get there.

HIP 17000 This system didn’t have the signal I was looking for, but do you know what I found? A black hole. Lined up with the nebula, it made for a pretty unique spectacle.

26th June 3309 HIP 16613

Finally found it. Approached the coordinates I had gathered from the listening posts. I almost turned around and left when I saw a shipwreck shrouded in a green cloud, but I didn’t go through all of this jumping around for nothing. Found out from the log uplink what happened to this young, overly confident pilot who thought it would be a good idea to try and shoot down a Thargoid vessel. It didn’t end well for him.

It didn’t end well for me, either.

First, I almost boosted into the planet upon approach, because my hand twitched when I wanted to switch fire groups and scan the wreck.

And then... a Thargoid showed up. I wanted to get closer and scan it, but I must have got too close. Suddenly, my shields were down. Less than 5 seconds later, before I even had time to try to boost away, my poor Elmwing’s hull cracked and the automated safety protocols were triggered. I woke up aboard a fleet carrier I had docked at earlier today. Good thing I had at least sold my biological samples!

[Once I had respawned, I flew back to the site and waited for the Thargoid to come back and just waved at it. We had a much friendlier, or at least, less hostile, interaction.]

There wasn’t much left for me to do there, and the escape pod I had picked up was lost with my ship... I can only hope it survived the explosion. Made my way to Taygeta. Picked up the signal of another black box. Dropped in and found myself face to face (sort of) with another Thargoid. A Cyclops, this time. Everything was going well, and then it felt like it was looking at me wrong, and those little drones around it started to gnaw on my hull. I hadn’t even turned my shields on! Thankfully, I was able to turn around, boost, pop a heat sink, boost away again, engage my FSD and escape with 62% hull. Phew!

There is another listening post here, with new coordinates. Along with some high gravity bodies that I want to try to land on, just for the experience...

29th June 3309 HIP 17892

Travelled 20LY so I could be sure to sell my exploration data before attempting a high-G landing. Not that I had much to sell, after the incident with the Thargoid, but just to be safe. That's all I wanted to do here for now. Turns out, this system has two listening posts, unrelated to the one in Taygeta. So that's now 3 stories for me to follow, 3 mysteries to investigate... And who knows what else I'm going to find!

#elite dangerous #logbook entry

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greenjokwe-blog · 2 years ago

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Pyre - Finished 20/02/2023

Going back through my Supergiant game journey after putting it on hold for a year and a half, playing through them all in order has been a very interesting experience for me. They’re a studio who both haven’t released any bad games and not only have improved more and more over time, but with the massive success of Hades warranting their first direct sequel, it’s very fun putting all of their other games in context to that without having played the game for myself. Pyre in a lot of ways is technically more impressive than both of their previous games, although for me in terms of favourites I’d probably put it in the exact middle right now.

Firstly, the structure is completely different this time. While it does keep a lot (maybe even most) of the studio’s staples, some aspects are much favoured over others, such as the more narrator-style of storytelling being changed for it’s more multi-choice, choose your own adventure story, hell most of the game is basically a visual novel! While I loved the old story presentation, seeing how perfectly it was executed in Transistor, I’m happy to see them strive for new ideas, and this game definitely shows the heights of the new formula at certain points.

First off, I must talk about the best part about this game - the characters. The cast is easily the best Supergiant has ever done, there will be at least a couple of characters you’ll be invested in their character arcs throughout, and wanna stick out from them. Which is when the game reveals its biggest secret and greatest strength; its understanding of character progression and levelling with player investment, leading to some reveals that hit the player like a brick.

Although that being said, once the game first drops its biggest ball about four hours in, the rest of the game never really seems to hit quite as hard, which is fine because it still has its moments that shine very bright, but considering that when this released it was the studios longest game, and that a lot of that is bogged down by large dialogue of lore dumps, the game really shined only as bright to me with the characters I liked and the choices I made. Towards the game’s end the game suffers the most, but also created this unique feeling of melancholy I definitely appreciated and is befitting of Supergiant's body of work as a whole.

But uh yeah, rest is as you expect. Beautiful art, wonderful soundtrack, the gameplay... even more unbalanced and exploitable than usual. I definitely still do like it, and I think that’s due to my love of sports RPGs sparked by Inazuma Eleven, but it definitely suffers from character playstyles that aren’t great or synergize very well with other party compositions, trivializing a lot of encounters or making some character styles suffer when the game forces you to use them. Still, at its best, it’s incredibly involving and exciting, with incredibly tight controls and decision-making play.

So yeah, Pyre isn’t without its flaws, but I’d still say it’s a very good game. Honestly, I’m just really glad to see them try something new, and if Hades uses the character dialogue presentation of story (which from what I’ve seen of what Hades story is) and improves on it as much as Transistor did with Bastion’s roots, I think I’ll definitely love that game as well. But considering it’s longer than the length of every Supergiant game up to this point combined, I’m not in a rush. I’d still recommend this, the most slept-on Supergiant game that’s definitely worth checking out.

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lapsedgamer · 2 years ago

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Hades (Switch)

I greatly enjoyed Supergiant’s first two games, Bastion and Transistor: mechanically rich titles with surplus mechanical depth to let the player succeed in their own preferred style, and in the latter case a variety of little nudges to try out alternatives and stay limber. Pyre honestly confused me, its sports-RPG design metaphors never quite making sense in my brain, but I appreciated that, like Transistor, it neatly rewarded you with discovery of the story if you made inventive use of its gameplay mechanics. To learn the game world, it wasn’t enough to grind out all of the content: you actually had to play with all of the toys. They were three games that punched above their weight systematically and narratively.

Hades is that same amplification applied to something much, much bigger in the first place. The looping death and resurrection premise gives space for even novice players to get out and experiment. The boons granted by the Greek gods are manifold and interact with themselves and with enemies in logical yet surprising ways. Through some clever design (discussed in this People Make Games video), a variety of plot threads rise and fall in response to your actions and attention, letting you focus on the characters or aspects of the setting you find most compelling. This is everything I loved about Supergiant’s previous games yet more.

For all its newfound scale Hades is comprehensible and hugely welcoming. Systems open up at a modest pace until there is a tidy buffet of play styles available. I am usually bad at reflex games, and steady progress in Hades expectedly unlocked alternative methods of combat, but the system of boons also let me tweak the more challenging approaches enough that I could competently practice with them. At my current point - having seen the credits once- no part of the game feels unachievable if I put in a little time. Basic interactions are so much fun, the upsides of a run so plentiful, and the downsides so absent that it’s always worth experimenting for its own sake.

Hades feels like the game Supergiant were always meant to make. It feels like a game that was waiting to be, but which nobody else had the wit and talent to put together. It’s an important step forward in gameplay-friendly narrative design and a tidy example of everything uniquely good about the modern videogame. It’s a delight. And no matter how good you are at games, it’s ready and waiting.

#Hades #nintendo switch #supergiant games

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taki118 · 4 years ago

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Ranking the Hades & Persephones I’ve encountered in Visual Media

These are just the ones I’ve consumed over the years who have visuals to make things easier on us all. Obviously there are more.

Hercules the Legendary Journeys

4/10

Overall kinda meh even with this Hades giving the great line of “I begged, I pleaded, I threatened. Theres no talking with her.” When asked why he didn’t just talk to Demeter. But the pair only had two eps giving us very little to work with, while both are rather bland characterizations this Persephone is so easily swayed its kinda ridiculous. Also minus points for having them not only watch Hercules and his wifes spirit get it on but then engaging themselves after.

Class of Titans

6/10

These two seemed far more interesting than the show allowed us to see sadly, while Persephone was a major recurring character Hades was in maybe 4 eps. I do like this characterization she’s very no-nonsense and has dual powers (Also a door to the underworld so she can make quick trips) but while the pair are very cute when on screen we dont get much of it. Also minus points for Hades voice it so does not fit.

Lore Olympus

8/10

Now I am a big fan of this series and do really love it, however the will they wont drama is always a bit of a turn off for me. While I do really like their personalities I do feel like they are a “Nicer” version of the characters lacking a bit in the edge factor. I know thats weird to say when this Persephone has literally committed mass genocide and this Hades pulled a guys eye out but its how I feel with how often the story tries to focus on how adorable the pair are (which yes they are). I am excited to where the story goes but for now they dont get full marks.

Percy Jackson & the Olympians (Film)

1/10

Yes yes I know they are not accurate to the books (which i really should read) but this is the only adaptation we have right now and it really upsets me whenever I happen to be reminded of them. I pretty much throw out any greek mythology adaptation where hades is a villain and this Persephone is just like weirdly thirsty its just bad and I hate it. Only reason its not 0/10 is cause the actress is really pretty and I could easily rework this into some weird like roleplay thing cause they’re bored.

GOD’s School

3/10

So this is a very....interesting independent web series which I do think has potential as a like Ever After High knock off. So it’s only 3 eps but the pair are here in high school teenager form. When I said Lore Olympus was too nice this version is just pure sugar well not even pure sugar like a sweetener. Just very very soft. I do thinks its worth looking at even if the series is a bit rough in the writing department but it is way too high school for my tastes.

Hades Supergiant

9/10

Ok so aside from Grade A character designs, it also gives us much more nuanced pair as they both are shown with flaws and failings, but that they are better together. Like oh my god the soft moments Hades has talking of Persephone are made all the sweeter by the fact that he is so harsh most of the time. Also love how Persephone is as much of a drama Queen as her husband. I just they are so sweet and I die. Only reason its not higher is we dont get as much time with the pair as I’d like.

Might add on to this list later.

#greek mythology #hades #persephone #Hercules the Legendary Journeys #class of titans #lore olympus #GOD's school #hades 2018 #hades game #hades supergiant #Percy Jackson & the Olympians

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zehecatl · 3 years ago

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rec post for @f-eef that got too long for its own good, and is now just. a general rec post i guess

(as of writing, today is the steam summer sale! writing this before that goes live, so no guarantee everything on here is on sale, but! most of these are older games, so it’s likely. keep them in mind~)

- Iconoclasts my absolute favourite game, ever (along with OFF, but shh), if you check out one game from this list, let it be this one. it’s a genuinely almost flawless package, with gorgeous pixel art, fun gameplay, a really good story, and a cast of characters i just. adore. it’s so so so good, and three years later, i’m still not over it

- The Binding of Isaac so there’s this genre called roguelikes, wherein the whole gimmick is that, when you die, you gotta start from the Very Beginning; and the ‘point’ is getting better and better at the game, until you win! it’s super easy to just, play a few runs (they generally don’t last that long!), and then go on with your day, so it’s a really fun game to just waste time in, if you just wanna chill with some game. and, in my personal opinion, Isaac is the best roguelike game, with so much stuff to unlock, a whole slew of items to play with, and so much content it’s kind of unreal. i definitely think the DLCs are worth picking up, but it’s mostly for more content than like. actually being necessary

- Terraria it’s minecraft, but 2D. unlike MC, it’s got a bit of guidance, which i personally prefer, with bosses to fight and such. an absolutely BLAST with other people too

- A Hat in Time a 3D platformer, ala Mario, that’s just. super charming. it’s also really fun to play. i haven’t actually played the DLC’s, since i played it way back, but i’ve heard good things about Nyakuza Metro, which does look super slick, so ¯\_(ツ)_/¯

- Slime Rancher you are a slime rancher. you ranch slimes. it’s honestly just wholesome as hell, and just exudes happy vibes. mostly for running around and collecting slimes, ngl

- The Messenger really funky retro game, wherein you play a ninja on a mission. it’s primary draw is definitely in its gameplay, but there’s a surprising amount of story for this kind of genre? i honestly really just like this one. it’s neat

- Underhero you play as a cute minion, who kind of like. managed to kill the hero. and whoops, guess you’re doing his job now? it’s got that undertale vibe, though i’d say it’s less polished than it. HOWEVER, it’s absolutely lovely and it’s climax is REALLY good

- Hatoful Boyfriend bird dating sim. trust me. the ‘secret’ finale route is just. *chef’s kiss* fantastic

- Night in the Woods if you don’t mind having a very poignant sad time, oh my god, i could not recommend NITW more. it perfectly captures that period when you’re done with school, and suddenly your whole life is stretching before you, and you feel so so fucking lost, and overwhelmed and pained with it. it’s just. so good. a sadness worth experiencing

- Shovel Knight another retro game! this one is, pretty much, the king of the genre, and for very good reasons. the first one (shovel of hope) doesn’t have much story, but the latter ones really add on it. they’re honestly just, really solid games! with funky knight characters!!!

- Hyper Light Drifter man, it’s just a masterpiece. everything about it is perfect. it’s been like, five years, and it’s still one of the very best indie games

- Tell Me Why it’s currently free for june! and it’s a story game! plus, if you like the genre, the devs got the ‘Life Is Strange’ serie(s) to delve into!

- Cat Quest honestly, i just really like this little game. the gameplay is SO much fun, and everything else is just. really charming :’)

- Yoku’s Island Express metroidvania, where you play as a dung-beetle post officer, and the gimmick is that it’s pinball-y! it’s really fun, and very cute and just an all around good time :)

- Owlboy you play as an owl boy! named Otus! and you can fly around, and there’s GORGEOUS pixel graphics, and a neat story, and just. the BEST cast of characters. it’s delightful

- Yuppie Psycho + Count Lucanor just gonna bundle these two together, because they’re both REALLY GOOD. YP is the newer one, and is therefore probably ‘the better one’, but i like them both a ton! they’re 2D horror, but i wouldn’t say they’re that spooky? though that might just be because they’re pixel games! you explore spooky place, and weird stuff happens around you. just a really fun time :)

- Angels of Death my FAVOURITE rpgmaker game, it’s main draw is, a 100%, the main characters and the relationship that develops between them. i just love it a whole lot, and it’s got that lil’ tinge of horror that i, personally, fucking adore. there’s actually an anime based on this, but i haven’t seen it myself!

- Celeste curve ball! it’s a 2D platformer! it’s really good, got a ton of accessibility features, and has like. the tightest gameplay- and, on top of that, surprisingly emotional story!

- Bastion putting Bastion here, because it’s actually the only one i’ve properly played, but you could probably buy any of the Supergiant Games, and come out satisfied. Bastion is the oldest of the bunch, and is definitely a bit less polished for it, but i personally adore it; the gameplay probably hasn’t aged that well, but i think the story and presentation more than makes up for it

- The Darkside Detective funny point and click adventure, with great wit, and a pair of characters i kind of simply adore. it’s main draw is definitely its humour

- Littlewood very wholesome and chill farming game, that feels more like an RPG than something like stardew valley- i’d not recommend it over SV, but if you want more of SV, Littlewood might scratch that itch!

- Pony Island + The Hex absolutely adore both of these, though if i had to rec only one, it’d probably be Pony Island? they’ve both got that undertale-off vibe, though Pony Island definitely leans harder into it. very interesting plays, both of them

- Oxenfree another horror-ish game! primarily story-focused, but oh boy, what a story! i’m a BIG fan of this game, and the sequel was recently announced too! definitely worth a look if you like ghost shenanigans

- Creature in the Well wasn’t a 100% sure if i should rec this, but beside the finale boss, i really enjoyed my time with this! it’s this weird pinball inspired hack and slash, with some amazing vibes

- Kindergarten 1 + 2 they’re just fun little games okay. the 2nd is much more fleshed out, but the 1st one is really fun too

- the Henry Stickmin collection I JUST... LIKE THESE GAMES A LOT... i think you can find the old versions somewhere on the internet, if you wanna check them out first? idk, they’re fun!

- LIMBO + INSIDE personally, i like INSIDE more, but both of these are classics, and also they’re made by a danish team, and i like them a WHOLE LOT

- The Final Station i could not tell you why i like this game as much as i do, but oh my god. i love this game? it’s got a dying world, neat pixel graphics, big zombie apocalypse vibes, and a weird little story

- Year Walk i love Year Walk :)

- Smile For Me if you liked undertale’s lovely cast of characters, oh boy, you’d likely LOVE this game! it’s really, really, fantastic, and the epilogue (not in the actual game lol) hit me right in the feels

- Pikuniku just a fun little game! there’s not really much there, in the grand scheme of things, but it’s a wonderful little play, one of those games that just sets out to give you a good time, and absolutely success. i like it a lot :’)

- A Short Hike wonderful game, where it’s more about exploring the island than actively finishing the game. it’s real wonderful

- ULTRAKILL ANOTHER CURVEBALL! no idea if you like FPS, but oh my god. ULTRAKILL is so fucking good. just an absolute blast to play. there’s a demo to check out, and i’d definitely recommend it, because if it’s a genre you might like, you’ll love this one (OH also it’s in early access, which means it’s not finished yet! personally, i don’t mind that, especially considering this is more gameplay focused, but ya’ know!)

- My Friend Pedro it’s honestly just really fun to play, and sometimes i still think about the implied lore, and go all !!!!

- Little Misfortune another point and click! this one is pretty short, and is set within the same universe as their other game, Fran Bow, which is much bigger, but idk. i like this one. it’s dark cute

- This Strange Realm of Mine i honestly dunno how to explain this one, because it’s kind of weird and a bit odd, but i really like it, in all its weird poetic glory. it’s neat!

- Donut County you’re a terrible racoon who’s ruined the whole city with holes. it’s great and i love it

- OneShot another ‘gives me undertale vibes’, though this one was in development before UT, if i recall correctly! it’s so good, and it’s got some fantastic meta bits, and i love Niko. i love Niko so much

- Inmost gorgeous vaguely spooky game with a neat story... my favourite genre

- Sayonara Wild Hearts i’d call this more of a spectacle than anything else, but oh my god. what a spectacle it is! the OST is amazing, everything about it just hits right, and even if you suck at the gameplay (which i did), it really doesn’t matter, in my opinion? it’s just great all around!

#ze.txt #the sale likely just went live so #steam sale #hope there's something here to your taste feef!#i honestly haven't been playing any 'real' games in. A WHILE? so all of these are older-ish #and there's a bunch of good new games out there!#but here's my little rec post of older games :')#that i have. actually played #i think inmost is the only one i never finished? plus TECHNICALLY oneshot since it got a BIG update after i played it but shhhh #also TECHNICALLY also ultrakill but that's in ea so it doesn't count okay #i just love ultrakill so much. i had to rec it. I HAD TO #also keep in mind some of these probably require a mouse!! i know ultrakill DEF does #but you might have one?? i usually play on my big pc so i. would not know #oh also DST does have a single player version which is very good also

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lakemojave · 4 years ago

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Supergiant Games: Same Bones, Different Skeletons

I just finished a retrospective of all 4 games by Supergiant on my twitch channel, and I have a few thoughts I wanna connect and questions I wanna explore. My love for these games is real strong and i could write a whole essay just gushing about them, but I wanna give some thought to what makes them so compelling: not just to me, but to damn near everyone I’ve talked to on their discord who feels the same. I myself rank Bastion among my favorite games ever, and Hades is climbing that list at a clip. And even though I could take or leave Transistor or Pyre, they keep pulling me back.

But I could talk a whole lot about each game’s appeal and waste a lot of time. I’ve gushed enough to my friends about how Bastion and Pyre’s rugged, apocalyptic atmospheres draw me in with their incredible vibrance to contrast. I could talk about how Ashley Barrett’s vocal tracks carry Transistor on their shoulders, or what makes Hades so much goddamn fun that the game doesn’t really need to be much else. But I realize that if the Supergiant library is so universally appealing to me, there must be some sort of connective tissue between them--some sort of fundamental similarity that makes them work. After thinking about it for more than five minutes, it turns out there are many; some are pretty obvious, and some less so. This brings me to the conclusion that the Supergiant library, with its four wildly distinct and different games, still follow a noticeable formula--one that is flexible enough to allow such completely different games.

Game Design

The Supergiant library are all essentially top down action rpgs, Transistor having the most elements of the genre. This is still a pretty weak connection, given how different they all play from each other. The only two that have much overlap in the most basic sense are Bastion and Hades, with the same general fast paced, real time combat. On closer examination, the two games have enough differences in the variety of mechanics at play, (Bastion with its multiple weapon slots and a shield, Hades with its sheer number of commands) that even they are hard to compare.

There are, however, several mechanics that the library loves to use. The first that comes to mind are the difficulty conditions: idols in Bastion, limiters in Transistor, titan stars in Pyre, and the pact of punishment--and arguably Chaos boons as well--in Hades. Their function is simple: increase your challenge for a little extra reward. Bastion and Pyre go the extra mile by fixing in world building elements to this mechanic; Bastion’s idols inform about the game’s pantheon, while Pyre informs about its, well, evil pantheon. The use of these conditions is indicative of Supergiant’s game design philosophy as a whole--you, the player, can make the game as hard or easy as it takes for you to have fun. The inclusion of infinite lives in Bastion or god mode or hell mode in Hades further builds on this point. This library is designed for all sorts of audiences, whether they want to be challenged by their games or simply immersed in the story.

Another repeating mechanic in these games are the use of challenge rooms, which started in Bastion as the training grounds and, to a lesser extent, Who Knows Where. In Transistor they are the sandbox test rooms, and in Pyre they are the beyonder crystal’s scribe trials. They appear in Hades a little more ambiguously; the infernal troves or Erebus rooms are not quite the same, but they serve a similar function. This function is a momentary break from the gameplay loop for a little extra reward, much like the previously discussed conditions. Transistor and Hades’ challenge rooms offer relatively negligible rewards; the sandbox rooms simply offer xp and unlock tracks for the jukebox, while the Erebus tiles offer double the reward for any normal tile. Bastion and Pyre go the extra mile by giving specific, long term rewards for their challenges. In Bastion’s training grounds, the Kid earns weapon specific abilities that are among the game’s most powerful; in Pyre’s scribe trials, exiles can earn character specific talismans that feed their specialization. For the most part, these rooms give the player a low stakes opportunity to practice, hone their preferred playstyle, and reward the effort, all while being completely optional.

Akin to these breaks in the game loop are designated resting areas/hub worlds. The Bastion, the Sandbox, the Blackwagon, and the House of Hades each offer a moment to interact with characters and lore, goof around with the environment, buy permanent upgrades, or just take a break. Transistor utilizes this function the least of the library, since it never once requires the player to enter the space. Pyre utilizes it the most since it has the most breaks in both frequency and number. In a way, this decision is both a game design and storytelling choice. Between all four games, perhaps excluding Transistor, this is where the majority of story beats take place. It is where the player can read up on some fresh lore or meet the ever growing cast of characters, and eventually grow to cherish them (as I often do playing this library). Without little breaks like these, the climactic or world/story shaking events that take place out in the actual playable space have no impact or narrative weight. The fact that all these sort of interactions are completely voluntary also rewards the player in the storytelling sense; by choosing to engage with the figures of the story rather than having that choice decided for them, the player feels as though they themselves have agency in the story unfolding.

Style

Perhaps the most distinct part of the Supergiant library, (and perhaps what I personally love most about it) is its aesthetics. There are few games that look, feel, and sound the way these games do. Yet, the four of them hardly resemble each other. Bastion is a rugged, frontier-esque sci fi apocalypse, Transistor is a sleek, cyberpunk apocalypse, Pyre is a high fantasy purgatory space, and Hades is simply stylized Greek mythology. It is a shock to remember, then, that these four games are all designed by the same artistic team.

I confess I don’t know much about art, so I don’t have anything too profound to say about Jen Zee’s art style, besides that I like it a lot. It is also worth noting that despite her spearheading art and character design for the whole library, each game still looks visually distinct, and not just in their overall aesthetics. Take the character design of the library, for instance. Bastion’s human figures tend to be short, stocky, with exaggerated facial features. Their colors are highly saturated, with a soft, almost blurry quality that gives a level of warmth to the fatalistic atmosphere. Transistor’s characters, barring Red, tend to be based around palettes centered around a single color, such as the Camerata red and the spectrum of the function character profiles. Pyre is the first of the library to use talking portraits, which contrast robed figures with stark color palettes and simple designs with unrobed figures with much noisier details. Hades is easily the most distinct of all four, using simple colors and thick outlines on all its characters. The most consistent feature of all their designs, as usual, is how wildly different they are. For Hades, Zee makes sure that characters only look alike in any way if they have some relation to each other, such as the Furies, Achilles and Patroclus, or Zagreus and his parents. On the whole, the versatility and variety in the character design is impeccable.

What I most enjoy about these games is Darren Korb’s soundtracks, which continue to vary wildly. From the closet-recorded Bastion soundtrack to the whole two and a half Hades score, Korb’s scoring keeps improving and changing in the 10 years Supergiant has operated. His music, which adds and changes motifs as each game progresses, contributes to the atmosphere just as much as the visuals do. Whenever he teams up with Ashley Barret to add vocal tracks to certain parts of the game, they always manage to place them at critical narrative or emotional beats, turning them into the games’ most memorable moments. The team goes one step further every game by incorporating a musician or source of music into each game, giving the music just as much character as the one performing it. It also sneaks its way into the aforementioned hub worlds by providing the player a means to play their favorite tracks whenever they want (except in Hades, where they have to pay in game for that privilege). In essence, Korb makes sure to give each game a distinct feel through its music, but familiar enough to connect the library in the player’s mind.

Just as Supergiant gets so much mileage from Korb and Zee alike, they also manage time and time again to make use of Logan Cunningham’s top notch voice over work. Originally the sole voice actor at Supergiant Games, Cunningham continued on from famously narrating Bastion as Rucks to remaining a ubiquitous voice throughout the library. His role as the Transistor in the game proper drives the emotional core of that game, and his role as the Voice/Archjustice proves to be a solidly effective, yet distant antagonist. In Hades, his roles are somewhat overshadowed by Korb’s performance as Zagreus, (which I’m still blown away he still had time to do) but his performance as Lord Hades is still excellent. Supergiant also uses Cunningham in Hades to sort of satirize how often he narrates for them by casting him as the narrating Old Man, then allowing Zagreus to break the fourth wall and acknowledge him. It is as if the team at Supergiant knows how much they use the same stylistic team, then mocking that same choice.

To other studios: learn from Supergiant

I’m running out of things to say and my ball of yarn that connects all these newspapers and polaroids on my wall is running thin. I would talk more about Supergiant really knows how to end a game and frequently does so in similar ways, or that their library is a masterclass in character-driven stories, but this little essay is long enough.

Instead, I wanna talk about how Supergiant does something right which so many AAA developers and publishers don’t seem to understand. To contrast with the Supergiant library, consider Assassin’s Creed, another franchise I have spent an embarrassing amount of time playing. This franchise releases a game almost every year, and in my experience, when a company does this, you tend to get the same pig with a different paint. From the original Assassin’s Creed to their most recent release, Assassin’s Creed Odyssey, the differences seem to be night and day. Combat and free running are far more complex than they once were, rpg elements to story and gameplay have been introduced, composers, writers, voice actors, and cast members have changed with each release, and the sheer size of the game has become staggering. Yet, in the 13 years and 11 main releases in the game’s history, (plus spinoffs) any change has not only felt incremental over time, but fundamentally insignificant to the skeleton of the game. Assassin’s Creed 1 and 2 play and feel differently, but the differences are subtle. The bones are different, but every year they assemble to form a vaguely Assassin’s Creed shaped thing. People who play games tend to hate this and frequently berate companies for this practice; Bethesda and GameFreak receive the same criticism that their games are so formulaic that their new releases might as well be carbon copies of the ones before it.

Yet, Supergiant Games, with its four games over ten years, has used essentially the same team and building blocks to make games that can hardly be considered interchangeable. Whether its the passion of this humble little indie studio or the sheer talent of this team, Supergiant takes the same pile of bones and assembles them in a different shape each time with care and attention. They are proof that a formula doesn’t need to be tweaked or altered or given a different coat of paint in order to be accepted; instead the formula needs versatility, the means to produce a fresh result each time. It also works best when we adore the result every time.

#thank you for coming to my ted talk #got shit to say #bastion #transistor #pyre #hades #hades game #supergiant games #supergiant tag

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ganymedesclock · 5 years ago

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outta curiosity, why do you think the bugs are human-y sized? i've seen that portrayal fairly often in fandom, but it never occurred to me during my own playthrough b/c of things like the weapons all being things like "Nails" and "Needles" (plus Cloth's huge fang club) which feel... like they're supposed to /seem/ small, if that makes sense.

Kind of a complicated web of reasons, some in-universe, some out.

The first thing I’m going to say is that I agree with you in that there is something that “feels small” about Hollow Knight’s world. When a friend of mine, @betterbemeta played the game, they spoke a bit about a “microscopic aesthetic” that they chalked to things like the amount of detail in the backgrounds. At the size we’re used to seeing the world, dirt is just dirt. From an insect’s eye view, however, individual grains are visible to a much greater degree.

This very granular nature fills the world. Nothing has the anonymity of just being dirt- it’s all shells or fossils or bits of stone and sand and glass. Our relationship with the world is intimate. We are shown spaces and the vastness of them looms, daunts. So I don’t for a second resent the impression that the scale of the world “feels small”.

What does bug me, if you’ll pardon the pun, is trying to add humans into this world as some kind of vast upper limit. Because while they wield pins and needles, nails and shears... these are not scavenged objects. This is not Pikmin. The nail is called such, but it is never a nail as we would recognize, designed to be hammered into an object. The bugs of Hallownest mine materials, and forge them into shapes that are engineered and worked artistically. The Nailsmith has spent much of his life obsessively honing his craft.

It feels arrogant, when there is no human presence in the game, to automatically slot us in an imagined supergiant slot that would trivialize the game and everything narratively important about it. It feels even more arrogant to suggest an independent culture that never shows any evidence of being dependent on humans is whimsically plucking our door nails for funny little bug sword duels, rather than that they have a culture of forging and carving their own weapons, tailored to their needs, without “divine inspiration” from anything bigger than it except its gods, which are themselves entities not in the likeness or shape of humans.

For me, I feel like it operates much better to presume Hollow Knight’s world is comparable to Nausicaa’s- it is a land of giants, rather than a land of the diminutive. A world that, if we or creatures like us were walking them, we would walk alongside Ghost, these same roads and highways, and would have this same experience of being dwarfed by the vastness of the space. I feel like if you really want to imagine humans in this world, either explicitly or for a sense of scale- we’d be on the level of the setting’s bugfolk.

Another thing worth noting is that this world is also very alien. Far moreso than, say, Pikmin, a game that does feature tiny aliens on a post-apocalyptic earth, where we can recognize much of the world and its shape even if the creatures now inhabiting it are strange. In Hollow Knight, the world is strange in its beauty and savagery. It’s really not like ours. The larger things get, the weirder they get. There’s almost no indication of mammalian life, or even, besides the bug-people having some recognizable species among them like moths, butterflies, cicadas, bees- creatures that we recognize. God Tamer is either an ant or a cockroach most likely, but her steed was originally conceptualized as a lobster- and it is an eight-eyed, quadrupedal creature with a filter-feeder mouth, large horns, an expanding translucent dewlap and neither claws nor long tail to speak of, so Team Cherry has actively avoided putting “normal creatures” in there.

This setting has a particular logic about creatures. Everything is translated through that lens, so things we would recognize come out distinctly different, and the general thrust is ‘more like a bug’. So to me, that precludes the intrigue of humans, because we have what humans would look like, with concession made to these strange rules.

They’re the characters we already see and interact with.

I dislike the idea of towering humans, because to me, the sapient bugs of Hallownest so clearly are the humans. I feel like this is a world on a divergent planet. There’s no apes for humans to come from, or monkeys to grow into apes, or even mammals for monkeys to come from- everything is bugs, so the sapient creatures come from bugs. Quirrel, in the prequel comic, even briefly holds a much smaller crawling insect and muses how it and he have similar shells, and, yet, are fundamentally dissimilar creatures. Another narrative could very easily transcribe a similar moment between a human researcher and an orangutan he spots in the bushes.

So this compels me to, in crossover contexts, put the bugs as close to humans. I feel like this is a beautifully constructed and deeply alien world, and there’s so little to gain and so much to carelessly bulldoze by adding in a sense of scale that allows us to just ignore so much of the strangeness and force our own ordinary world over it. I don’t have this problem putting in other giant or strange forces in the setting- I’d be super up to colossal forests of giant trees as a level or scene in a fanwork, for example.

But I guess that’s what turns me off of a lot of things like the bug tank AUs- the humans’ presence and society feels like a way to not just put what’s familiar to us in there, but in such a way that invalidates the refreshing novelty of the world around it. There’s no stated upper limit to Radiance’s powers- there’s nothing she can’t infect merely because it’s too large. So putting her in a glass tank wouldn’t negate her. If it was that easy to stop her, PK wouldn’t be driven to desperation and have committed a staggering amount of esoteric sin on his own children trying to find a way. It immediately undermines character plots and motivations.

Suggesting that the bugs are living borrower-style among humans and making use of their technology, likewise, cheapens the plot of the Nailsmith and his obsession, one that is shared by many, or, in the Silksong demo, Forge-Daughter’s “ancient line and honored role”.

Now, I have seen borrower-style stories and loved them! I was massively obsessed with the movie 9 when it came out, which featured tiny cloth dolls (the largest of them could be held easily in one hand by a human) surviving in an apocalyptic wasteland, and they utilized pieces of human technology cobbled together into ingenious new forms. But the thing about Hollow Knight, is it is not that world. Some weapons are large, almost oversized for their wielders- but they were still built with those wielders in mind, by other bugs, using designs developed by bugs.

Cloth’s club doesn’t really refute this by being a tooth broken from a larger creature, either- the temple of the black egg is made either from, or in the likeness of, the hollowed shell of a truly gargantuan creature.

This world has some very big things. I feel like thinking of humans as ‘the giants’ in this setting vastly underestimates the world. That somewhere in Cloth’s journey- and somewhere accessible to the kingdoms’ guards that became Husk Guards- there were vast cadavers with teeth that could be harvested is explained handily on its own by the idea that this is a world partially populated by giants- giants that play by the same lovely arthropod sensibilities of the more regular-sized denizens.

Another exciting thing worth noting is that there are ribs and spines all over this world! If these guys were truly on the scale of ordinary bugs, they wouldn’t need them- their exoskeletons would do all the supporting for them. But these guys are big enough to need at least vestigial endoskeletons. The implications of the remains that we see don’t exactly show us arm or leg bones, but rather intact limb exoskeletons. So these guys would have more complicated organs and more bones, that a bigger creature would need, but something the size of a realistic our-world ant would not.

#Hollow Knight #Silksong #readmore #thethrillof

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thewonderingstars · 4 years ago

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Alright.

Let's talk about Hades.

I'll say this out front, Hades has probably been the best video game I played this year. Not that I've played a lot. For those that don't know, I really don't like playing video games. I tend to get stressed out to easily. I scream. I yell. I throw the control. My gaming achievements is that I have over 650+ hours in Animal Crossing and barely squeaked by saving the bare minimum Mudokons in New and Tasty.

However, I will dive right into a good plot and hyperfixate on a game that I have never completed (see Hollow Knight and Bloodborne). Yet, within the short time I've had Hades, maybe two weeks now, I have put in 100+ hours, done most of the major sidequests and nearly 100% it.

So, why? Again, like the simple creature I am, I'm doing it for the plot. While, Hollow Knight is a miserable experience wrapped in cute bugs; Hades is the most wholesome thing I've played and it looks like a Meatloaf album cover. Ironically, both deal with a similar topic; nihlisim and what to do about it.

Hollow Knight and Hades live on the same line of death repeats itself, but take it in two extremes.

In Hollow Knight, you are made to feel that your attempts are for nothing. Hallownest is dead. The Infection is stagnant. It's quite literally trapped in a time bubble of undeath. You, as the Knight, are trapped in a cycle of undeath.

There is life in Hallownest, but standing on a razor's edge. In fact, most of the main NPCs (either through the Knight's own doing or their own) die. And die suddenly. Because a most of these characters are so beaten down and tired of the cycles of meaningless actions they are subjected to.

The Knight, itself, is purposely emotionless to further convey that. And in one of the endings, you are the true Hollow Knight.

Then there's Hades...

Prince Zagreus is in a similar situation as the Knight. He is in a constant state of death and resurrection. However, where the Knight feels like a (literal) empty vessel, Zagreus is probably one of the best written characters I've seen in a while. Prince Zagreus is actively involved with the plot of his story, instead of the Knight's narrow minded mission.

So, what is his plot? To put it simply, Zagreus wants to fix his family. Prince Zagreus is son of Hades, Lord of the Underworld and the nephew/cousin to that Olympian Gods. If you've ever took a 5th grade history class, you would know how fucked up the Green Gods were.

This presented as a fruitless task. Hades states to Zagreus, over and over again, that he cannot leave the Underworld. Once you go there; you cannot escape. The terrain moves to keep souls trap there. Yet, Zagreus keeps throwing himself into the meat grinder, dying and trying again. Mostly because he's a stubborn asshole, but every time he goes through he meets people and slowly starting to change their lives for the better. Prince Zagreus main character trait is his compassion for those around him.

A great example of this is that Zagreus has the ability to renovate his home which is the main hub of the game. In world, Hades let it go into disorder because he feels that there is little point into it. It's a building that he lives and works in and that's all he sees it as. Zagreus goes out of his way to improve it; fixing the walls, adding more lighting, giving it decorations. The best thing, the NPCs living in the House of Hades actually comment on it. Their moods improve. They become friendlier and happier as time goes on.

While the Knight is complicit in its repeated life cycles; Zagreus actively tries to break it. Despite of it's impossible nature. Zagreus wants to go by others. The Knight only knows one goal and does not actively support the others it comes across.

And...we kinda need that right now. Let's face it, this year was shit. And as much as I love Hollow Knight; I couldn't not bring myself to play it. It's depressing tone was just too much for me to handle. I literally still can't go to the Blue Lake because of what has happened to Quirrel.

And for a time, I thought Hades was going to be the same thing. I've played Bastian, SuperGiant's first game, and had the same reaction. I picked up Hades cause I needed something to play while I was at my sister's and I adore SuperGiant's storytelling and artstyle.

I was so wrong. As I played through the main campaign, I found that I was getting uplifted by Zagreus's positivity. I found myself cheering when he made a new friend or got pass a tough spot. Right now, I got excited over the character Tisiphone trying to say his name when she can only say one thing; murder.

I'm so happy just playing this game and talking to the NPCs when the only thing that was really doing that this year was Animal Crossing.

So please, pick up and play Hades. It's on sale right now on Steam. I think it's on sale on the Switch for Black Friday. It's like 30 bucks and it's worth every penny.

Thank you for coming to my Ted Talk.

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kittenfemme27 · 4 years ago

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Bastion: What it means to truly move on.

“Someday, your bird is gonna fly.”

Bastion is the first game released by what is now the critically acclaimed Supergiant Games, makers of other games like Transistor, Pyre, and most recently Hades. But back in 2011 they were a nobody. 7 developers from various backgrounds within the industry came together to make games that could focus on storytelling first and foremost more than any of their previous studios would allow. Bastion was the result of that. Starting out from the idea of a top down isometric RPG, Supergiant realized that they wanted to portray a world that was fractured and broken, and wanted to show the vast and empty sky as a contrast to that destruction, but realized the camera angle wouldn’t allow this. So they came up with the idea that the ground would come up in front of the player as they walked forward, allowing the empty sky to show beneath them since the groundwork would not originally be laid until the player walked towards it. To explain this choice and why the world reacted this way, a destructive event known as “The Calamity” was created in the game's story. Thus, Bastion found its ethos.

Bastion’s a masterpiece. Plain and simple. It's been ported to nearly everything under the sun for a reason, being playable on literally 3 different console generations as well as every OS a PC can run, but coming back to play this game for the first time within the current political and geological climate that we find ourselves within as time goes on only makes it more and more apparent how much the story has to say. Even if you could somehow ignore it’s absolutely incredible music, insanely varied and addictive and yet delightfully simple gameplay, jaw dropping art direction and set pieces, Bastion’s storytelling is at its core and the story it has to tell is one that I think a lot of people didn’t fully appreciate back in 2011. From what I could find online, most people either ignored it in favor of the gameplay, or let the meaning of it glaze over them. And that's really, deeply a shame. Because Bastion is one of the best games I have ever played. And I’d like to talk about why.

Gameplay:

“Kid just rages for a while...”

I want to start first and foremost by talking about the gameplay and how you engage with the world. Combat in Bastion is simple and not exactly groundbreaking. An isometric hack ‘n’ slash with 2 weapon slots and a single ability, with a shield that has a parry mechanic and a dodge roll with fairly lenient invulnerability frames. Player movement is very, very slow which encourages you to very quickly become proficient in dodging and blocking. It’s fun, for sure, if just a little bit easy. But it’s nothing to write home about at first. As you play, though, you’ll begin to uncover Bastion's hidden depth and variety within its combat. A lot of that depth comes from the sheer number of Weapons, Upgrades, Passives, and Skills you can equip in any combination.

You are given 11 weapons, each of which can be upgraded with collectibles found within the levels for a total of 5 times per weapon, and these upgrades form a loose “trees” of upgrades that you can switch between at will. You can make the Spear better at critical hits and critical damage and faster thrusts, or make it better at throwing with more spears per throw, for example. Every single weapon has a 2 distinctive upgrade “Trees” in this way that clearly make it better at one specific aspect of the weapon, but you are free to mix and match these upgrades as you see fit. Maybe you want the Spear to have a high critical hit rate, but also throw 2 spears per throw, you can do that. It’s also worth mentioning that there are no restrictions placed upon you on what type of weapons you want to take. You can take two melee weapons, or two ranged weapons, whatever combination you desire is up to you. The narrator even has a line for literally every combination you can have that you’ll hear upon exiting the armory. Some compare you to legends of yore from the game worlds past, others point out just how plain silly it is for the Kid to carry both a mortar launcher and a rocket launcher.

Each weapon also comes with two skills that you can use during gameplay, ranging from protective skills like one that makes you block all attacks for a few seconds, to damage based skills such as the Bow’s skill that fires a ricocheting arrow between enemies. Even then, there are other Skills that are tied to no weapons at all which brings the total of skills in the game to 30.

In addition, there’s the Tonic system in which each level up confers a slot that you can equip a drink from the bar, for a total of 10 at max level. These function as passives applied to your character that allow even further customization. Some are basic things you’d expect, such as overall more health, or more restoration or ability potions, a flat 15% damage resistance, and so on. A number of these however offer a very very strong benefit in exchange for a side effect. Werewhiskey, for example, gives you a 100% crit rate but only below 35% health. Doomshine offers a permanent 10% crit but takes away 10% of your health permanently. Or Leechade, which allows you to gain health from striking enemies, but makes your health potions only 1/3rd as effective. These can all be stacked upon each other in any order or combination. You choose and be changed at any point between missions..

All of these systems together enhance the very simple hack ‘n’ slash combat to be something with infinitely more depth than presented to you at first glance, and something that you can experiment with as much as you want, since no choice is permanent. Part of the way it encourages you to experiment are the Weapon Challenge missions that crop up each time you obtain a new weapon. They ask you to complete some sort of challenge related to that weapon with no Skills, no other weapons, and in some of them not even the ability to dodge or block. Besting these will net you 1 of 3 prizes, depending on how well you did, With the first two prizes being upgrade materials and the last being a Skill for the weapon the challenge is based on.

Beating Bastion unlocks a “Score-Attack” version of New Game+ that keeps a running overall score during the whole game and during stage specific score for each mission, with a multiplier and a timer to keep that multiplier up. This effectively turns the game into a leaderboard chasing isometric arcade game. Every enemy adds 1 to the multiplier, and resets the timer, so it's up to you to run through each mission as fast as possible and challenge yourself to see what kind of score you can get, and since it lets you replay any mission you want, you can always find ways to get a higher and higher score. One of my playthroughs of this game was on the PS Vita and even since beating it, I've found myself trying to one-up my own score while i’m just sitting around since each mission only takes about 10-20 minutes. The most challenging content in the game is a set of 4 different repeatable combat arena’s with 20 waves of some of the toughest enemies in the game. You can make this even harder by invoking each God within the games Pantheon and raising the difficulty of every enemy you encounter. Doing this raises how many points you get per kill, and in these combat arena’s I’ve regularly topped a million points in just a single stage from precise gameplay.

I think that’s what I find amazing about Bastion’s combat is that despite 3 playthroughs, I never once found myself bored or annoyed by any of it. All 3 of my playthroughs had me switching up Weapons, Upgrades, Skills, and Tonics between every mission just to experiment and see what crazy builds I could make. Every challenge was always a delight and a real test of skill, every mission a romp where I got to find a new weapon and play with it each time. Often, I would die, but that was fine! Losing in Bastion is fun. It’s part of the experience, because you can always go back and change your build to whatever you desire to try again. In a way, it’s fitting for the entire theme of the game. It’s the End of the world, and there are no more rules. Do whatever you’ve gotta do. Might as well have fun with it, while you do.

Art & Sound:

“I suppose all that's left... is to try'n remember this moment.”

I think the other reason that I didn’t get bored on any of my 3 playthroughs of Bastion was the absolutely breathtaking art and music the game features. The soundtrack, composed by Darren Korb, clocks in only at an hour and while that does sometimes mean that there are repeats of songs, I'd be lying if I told you there was a single song on that score that I didn’t absolutely love. Or that I thought was out of place during any section of the game. Each and every song is its own radically different soundscape that, in songs like “Brynn the Breaker”, invokes a feeling of complete and utter destruction around you and a sense of leaning into that destruction. It’s fitting that the first time this song plays, you are almost assuredly going to hear the line “Kid just rages for awhile...” as you wreck each and every enemy and object around you after waking up on a floating rock in the sky. Meanwhile, in other songs such as “Build that Wall”, it's clear that Supergiant was acutely aware of the impact their music could have on a scene. In Caelondia, the games world, “Build that Wall” is a jingoistic anthem meant to inspire the Cael by noting the danger they face from the outside world and from the Ura, a people who live to the east, and implores them to build walls to keep everyone else but keep themselves safe. But the first time you hear that song, you’ll be rolling through the dilapidated ruins of Prosper Bluff, a place overrun by birds ready to rip you apart and barely hanging together by literal boards between each floating island, and not a wall in sight. Guided only by the simultaneously soothing and haunting voice of an Ura girl singing the theme of the people who hate her. In that moment, it sounds much more sorrow and sad than any anthem for a nation ever could.

Darren Korb has stated that the point of Bastions music was meant to invoke a sense of the “American Frontier”, of exploring new and uncharted land, but it’s interwoven with melodic and slow moments of tragedy and despair, featuring lots of slow acoustic guitar and lots of slow vocals when there are any at all. I really cannot praise enough this choice of frontier-ism interwoven into the music itself, as it sells the entire theme of the game perfectly.

The art of the game is just as fantastic, too. Supergiant set out to make sure you could see the sky in a top down game, which sounds a little absurd and like a nearly impossible feat, and yet they succeeded with such aplomb it almost seems like it was easy. Below each stage is a blurred barrage of trees, nature, clouds, sky, sometimes ruins within those things, it reminds you constantly that the world has ended and nature has reclaimed it. Progressing further and further down the set of missions and further away from the Bastion and Caelondia sees you going more and more into what's left of those wilds and away from the ruins of civilization, before reaching the icy peaks in the east of the Ura. It creates this feeling of loss and tragedy at what's lost, a sense of exploration into this new and unknown world, before finally getting to it's cold center as you get closer to the truth of the Calamity.

In general, the art style of Bastion feels like a living breathing oil painting. Features on people are exaggerated with small bodies, yet large heads and eyes and hands or feet. Making them feel like something out of a children's book. Every single thing in the game is full of color and life, down to the animals and the foliage, with the only notable exceptions being the ruins of buildings that are oppressive and gray, and the final cold reaches of the Ura’s leftover ruins. Because of the oil painting aesthetic, the narration, even the surreality of the world coming up before you, Bastion feels a lot more like playing a fairy tale than anything else I've ever played, even things that have tried to emulate that same effect. Bastion reminds us that the presentation of a game, in both its art and its music, tell just as much about the story and the world of a game as the actual story itself does.

Story: (Spoiler Warning)

“Now here’s a kid who’s whole world got twisted, leaving him stranded on a rock in the sky.”

Bastion is a game about a lot of things, but at its heart, it’s a game about Tragedy. A tragedy you can’t prevent no matter what you do, because it has already happened. Setpieces in the game constantly remind you of this, like going through the Hanging Gardens, a place where people used to gather and finding nothing but ashen corpses. Rucks, Bastion’s narrator, will even tell you the names of these people. I remember playing this game in 2011 and being upset at this. I wanted to know about Maude the Tutor, I wanted to hear the life of Percy the Snitch, but I couldn’t. That was the tragedy. It didn’t register with me at the time, but that was the point. I was supposed to be upset I couldn’t know these people, that they died in a tragedy I couldn’t prevent.

The core story of Bastion revolves around a war that took place some 50 odd years ago. Caelondia and her people, versus the Ura. In the modern day, before the calamity, the war was over. There was an Ura named Zulf who was trying to broker peace, even. But the Caelondian’s military-science division, the “Mancers” had a secret weapon. One they intended to use to get rid of the Ura for good. It would cause a genocide of the very land the Ura lived in and cause it to literally fall into nothing, ripping apart the physical earth where it stood before. Worse yet, this weapon was being created by an Ura inventor that lived within Caelondia named Venn under threat to his daughter, Zia. Venn couldn’t stand to aid the destruction of his people and sabotaged the weapon that ushers in the Calamity with vengeance in his heart, so that it would backfire and take Caelondia down with it. Imagine Venns shock, then, when the mancers asked him to pull the trigger.

Turns out an eye for an eye makes the whole world blind. Just like that, the Calamity has already happened. The Ura who were discriminated against in every part of Cael society and the racism and cycle of vengeance and violence within the Caels and the Ura reached a boiling point that caused the literal end of the world.. And that’s where you wake up. In a world already torn apart and crumbling before you. On a rock in the sky.

Tragedy permeates everything about the game. In the Hanging Gardens, you find Zulf as he’s about to kill himself after watching his Cael wife crumble to ash right before his eyes. When you meet the second survivor, an Ura singer who just so happens to be Zia, Venns daughter. She’s mournfully singing the tune of Caelondia that was the anthem used to inspire the Caels to oppress her own people, and her sweet voice sounds like the dying breath of an entire nation. Bastion makes it very clear that these people's lives as they knew them are over. But then Bastion asks you a simple question: You have to keep going, so what are you going to do with that world?

Before you get to make that choice, though, you’re asked to decide the fate of a man who hurts you. Zulf at one point reads the journal of Venn that he obtains from Zia and learns everything about the Calamity. He learns about the Mancers plan to genocide his people. He learns about Venns sabotage. Zulf spent his entire life advocating for peace between the two peoples, and this is what he’s met with. Unable to stand it, he attempts to destroy the Bastion and flees after injuring Rucks. As you chase him, he lures you far from the Bastion and sends the signal to an entire army of Ura survivors to attack the Bastion, even persuading Zia to come with him to try and convince her to abandon the Bastion. In the end, though. You chase him all the way to the heart of the Ura nation and as retaliation for bringing someone so powerful who kills so many Ura, the Ura forces attack Zulf and leave him for dead. You come across his body and are given a choice to either leave him and carry on, or take him with you and abandon your weapon. You’re asked right then and there, can you forgive someone who hurt you and your chance at fixing the world and break the cycle of violence? Or will you press on, like Venn, with vengeance in heart. If you choose to save Zulf, you walk forward with zulf on your shoulder through multiple Ura archers shooting you nearly to death. It’s only once they realize that you’re trying to save Zulf do they stop trying to attack you. This moment of compassion, this breaking of the cycle, inspires the Ura to let you pass. If you choose not to save him, you must battle an entire army, which isn’t even hard for you at that point. It’s a bloodbath. You, a Cael kid from nowhere, end the last of the Ura outside of Zia who knows so little of her culture that she can’t even read the journal her father left over. You succeed where the Mancers failed. The cycle of violence remains unbroken within you and within your heart.

You’re given two options upon returning to the Bastion at the end. You can use the power of the Bastion to reset the world to where it was before the Calamity. You’ll lose all your memories, but everyone and everything that died will be okay and alive again. There’s a risk, though. Rucks has no way of knowing if this plan will work. If it will prevent the Calamity in the end. “Problem with a machine that sets things back to a bygone time,” he says, “Is that you can’t test it.”

Your other option is Zia’s choice, though both her and Rucks support whatever decision you make, they know it’s not an easy choice. Her plan is to turn the Bastion into a floating island ship that can travel anywhere. To forge a new world and look for survivors on other floating islands and carry on in this destroyed world and find hope within that tragedy. Make something new, and beautiful, from the ashes of something dead. Maybe that’s not possible, she thinks, but it’s better than recreating a world with institutional violence, with cycles of hate and vengeance, a world where something like the Calamity could happen in the first place.

Supergiant knew what most people would pick, though. Resetting seems like the only real choice, at first. Maybe the Calamity will happen again, maybe it won’t, but you can’t just let all those people die. The whole game has been building up to fixing the Calamity. Rucks, old and clinging to the past, is sure that resetting it will work and that things will be okay again. He’s a bit like a father figure to you, too. He’s narrated every action you took, made sure you were never truly alone in this ruinous world. So of course you trust him. An overwhelming amount of people chose to reset the world the first time they play. I did, too. I knew that maybe the Calamity would happen again, but I couldn’t just let everyone die. Maybe things would be different, I thought. Maybe this time people won’t let something like a genocide happen again. Maybe Venn won’t pull the trigger. I didn’t know, but it was better than letting everyone die, right? It had to be. I had to hope that I made the right decision. So with trepidation in my heart. I chose to reset everything.

Rucks comforts you when you choose to reset that “No matter what happens next... you done good.” Credits roll. You see pictures of the lives of each character in the reset Caelondia. The lonesome Kid continues his work as a mason on the wall built to keep the Ura out, where he isolated himself after losing everyone in his life. The only person to ever sign up for 2 tours on the Wall. Rucks continues his work on the Bastion, refining it for the future, meaning that there’s still a need for a safeguard like it in the first place. Zia plays a concert on her harp with a mournful look on her face, she found comfort in music but that comfort was equally as isolating and lonely, what with her being an Ura girl in Caelondia. Zulf gets married to his fiancee, blissfully unaware of the impending genocide on his people while he fruitlessly brokers peace. Upon seeing these credits, these images of the lives of these characters, I knew I made a mistake. History is going to repeat itself. Sure they were alive, and so was everyone else, but the cycle of violence remains unbroken and eventually, even if the Calamity that befell the world the first time doesn’t happen again, another will. Rucks final words in this ending are a simple forlorn goodbye. “So long kid... Maybe I'll see you in the next one. Caelondia... We’re coming home.”

Choosing this ending left me feeling anxious at first, and then hollow and empty. I didn’t save anyone, I just clung to the past. I expected things to be different in a world where something like the Calamity could happen in the first place. I knew, then, that for there to be any hope at all I had to move on from the old world. I had to do right by Rucks, by Zia, even by Zulf. They were my friends. They deserved better, they deserved more. They deserved a world without the conflict and violence that Caelondia brings. I understood even more clearly what I had done when, upon starting a new game, Rucks final words echoed over the loading screen. As far as I could tell, the Calamity had happened again. Rucks even makes comments of feeling a sort of deja-vu while retelling the story and is much less confident resetting will work the second go around, for a reason he just can’t quite explain.

Bastion is a story about tragedy, about generational trauma left over from a war, about the cycle of violence and all that it perpetuates. It’s a story about waking up in a world that has already crumbled and fallen apart through no fault of your own and being told there is nothing you can do about that destruction. And there isn’t. Climate change is a bigger problem now in 2020 than it ever was in 2011. People are going to die, it’s just an awful fact at this point. Those in charge continue to ignore that fact and these issues while also continuing to stoke the fires and flames of the impoverished and destitute more and more every day, bleeding them dry for any pennies they might have.

But that’s not all Bastion has to say. It’s not fair for the next generation just like it wasn’t fair for the Kid, to wake up in a world already destroyed, and yet still, people like the Kid and Zia found hope. Within Bastion, you can save Zulf and end the cycle of violence, you can choose Zia’s option and set out on a world that is better for everyone in the end, as ruined as it is. Even in the end of the world and everything you knew, there is hope. Bastion doesn’t just ask, it begs on hands and knees for the next generation to take up this dying world and make it better. Bastion, and Supergiant, believes in the next generation. that it's possible to move on from the past and make something better, to seize control and make a better world while purposefully never forgetting the cycles of violence that led us to the end of the world in the first place. Our great Calamity is already unfolding before us and there isn’t anything we can do to stop it, only delay it. Bastion tells us that it's okay, that we can make something beautiful, and new, and better from those ashes.

In the scene for the Evacuation ending, Rucks tells us that he’s not sure how to live in a world like this, but he’s willing to learn. And excitedly offers to help teach you how to fly the Bastion through the skies. The very first image you see during the credits then, is the Kid finally collapsing of exhaustion and resting while Rucks tucks him in. The next is Zia looking forward on the deck of the Bastion, a smile on her face and hope in her heart. You get to see Rucks later teaching the Kid how to fly the Bastion, finally giving the Kid the family that he so desperately needed, and finally you see Zulf. He’s got a frown on his face, he’s still lost everything in the Calamity after all. More than anyone. But he’s chopping food for everyone else still, helping out where he can. I couldn’t help but think upon seeing his expression that he might hate me for the rest of my life, and that was alright. I’d always just be happy he was alive. Seeing the smiling faces of everyone in the Evacuation made something very clear to me. In the Old World, Zia was an outcast, Zulf was a fool, Rucks was nostalgic, and the Kid was alone. In the Calamity, they found friendship, they found happiness, they found love and family in each other, they found adventure and they found hope for the future. Zia’s final words to the Kid echoed in my head:

"Any moment I'd want to live again... happened after the Calamity. Not before."

And I was at peace. I knew I had done the right thing I had chosen to move on, accepting the world for what it was and not looking for miracle solutions to fix it or change it, but to forge on ahead with what I had and make something better.

Bastion’s story is not directly told to you, especially after the ending. There is no epilogue that tells you exactly what happened, just a few lines of dialogue that you can make of what you will and some pictures of the lives after your choice. it’s never explicitly stated that the Calamity happens again if you choose to reset things. It’s meaning is in between the lines that Rucks has to say. It’s In the subtext. It's in the art, it's in the environment, like the tragedy of finding nothing but ashen corpses around a lone peace talker right before he’s about to jump to his death. It’s in the music, like the haunting melody of an outcast’s voice singing the song of her oppressors while never realizing how much the very city she was raised in tried to exterminate her. But more than anything it's in the feeling you get while you play. Bastion’s story plays out in your heart as much as it plays out in your mind and on the screen in-front of you. What you feel, what you make of it, that’s just as important to the meaning of the story as what you’re hearing and seeing. Obviously this can be said of all stories, but Bastion is maybe the one that’s resonated most in my heart and in my soul more so than any other story. It offers no simple answers, no painless choices, and no easy ways out. Move on, or cling to the past, those are your only two options and Bastion forces you to make a choice.

In the end, I chose a new world. A better world. A world with my friends that would never let the cycles of violence and the generational trauma that caused the Calamity to happen again. Sure, resetting technically brings everyone back to life, but it wasn’t until I chose to move on and move forward that I felt I could even say in my heart that I’d saved anyone at all.

Conclusion:

“I dig my hole, you build a wall.”

“Build that wall, and build it strong, Cause we’ll be there before too long.”

Bastion is, and I'm not saying this lightly, a perfect game. The gameplay loop and combat is phenomenal and addicting, the music and art and aesthetics are so top notch you could honestly create an entire art style out of them all on their own, the storytelling is amazing and has so much to say that I cannot believe something this important was just thrown out by an indie studio nobody had ever heard of while it was only 7 people strong, and how many people slept on it or completely missed the point of the tragedy of Caelondia and the Ura.

This game will live in my heart for a very, very long time and its music and messages it conveyed will stick with me even longer. My only regret with Bastion is that I’ll never get to experience it for the first time again. But, even with the spoilers here, you can. Play it, Kid. You won’t regret it.

“We can't go back no more. But I suppose we could go... wherever we please.”

#Bastion #Review #Played on: PC #Played on: PS Vita

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fuse2dx · 4 years ago

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October ‘20

Hades

Hades is a great roguelike for people that don’t like roguelikes. As you start out, you may be back to the start again frequently, but as well as taking the smart step of making the beginning one of the most endearing parts of the whole process, it also rarely lets you leave on your journey without some kind of permanent upgrades in tow. This tweak to how the genre typically plays out may not be new, and could almost be taken as a gap in its armour, if only it weren’t so effective and damned confident in every other facet of what it does.

Combat is very much at the heart of it, with a variety of fundamentally different (and yet all entirely viable) weapons being just the foundation of the ways in which your play style is catered to. Movement is quick, smooth, and satisfying, and clearing rooms feels good even before you’re then offered a reward. Some of these fulfil the role of currencies that can be used back in the house of Hades, while others are more focused on trying to improve your chances of survival this time in particular, through either direct changes to your weapon, or God-granted boons that help shape your build in their image. As you progress you’ll find even more ways to diversify your loadout, and with so many of these layers being randomly generated each time, there’s an impressive breadth of diversity that goes far beyond the procedurally-generated level layouts and your chance encounters within them.

Sitting atop all of this is a rich and dense story, neatly crafted around Greek mythology. It’s drawn out to match the longevity of a soap opera, yet somehow retains a momentous level of quality in both the writing and the voice performances. Minute details of your tragedies and triumphs are pored over in frankly stunning detail by the characters you interact with, often linked with changes that are then reflected in their behaviour during your runs, and then reacted to once more when you get back to them again. Aside from the sheer number of conversations to have with them, there’s plenty to love in each of the characters - they’re charmingly presented in both the art and and the performances that bring them to life.

Even once I’d reached the point where winning became more of an inevitability than a lofty goal, I still found myself enthused by each trip back to the start - raring to go, armed with new stories to unravel, new upgrades to pursue, heightened challenges, and new kit to play with. The level of all-over polish is rarely seen to begin with, and to do so when the volume of game is as substantial as it is here is frankly staggering. Bravo, Supergiant - this is really something quite special.

Hide & Dance!

A rhythm game spin-off of an already quite esoteric title - Hidden my Game by Mom - seems just the kind of thing that’d get my attention, right? Diving right in, it’s pretty simple as far as rhythm games go, with four basic inputs mapped to d-pad and face buttons. The unique addition is in-keeping to the theme of the original game, and has you constantly keep an eye on the door behind you - spotting when it begins to crack open, and right on cue, pressing the L and R buttons to avoid your family, before then resuming your throwing of shapes. That said, ‘avoid’ is a catch-all term here, and every character has a variety of daft poses, dodges, and deceptions that all fall under this header, the only connection being the their crucial suggestion you’re doing anything but dancing. These are totally ludicrous, and often hilarious. Please: see above.

Songs are cheerful, upbeat, poppy numbers, and typically are under a minute in length. See, it’s not trying to set the rhythm game world on fire, but it is charming, pleasant, and even a little challenging once you start to crank up the difficulty. The smattering of songs you start out with is quickly bolstered with an in-game store (see: gachapon machine) that doles out characters, songs and sound effects - though it really doesn’t take long to clear it out and have the complete collection available to you either. It’s not essential, but it’s a modest, and modestly priced, diversion that’s worth a glance.

13 Sentinels: Aegis Rim

Even with the heavily-cliched setting of teenage school kids piloting giant robots and being pitted against cataclysmic invaders to preserve the fate of the earth, anyone who’s familiar with Vanillaware, or more specifically, the work of George Kamitami, will still easily be able to identify his work. His art is as beautiful as it is recognisable, and with the more sedate story sections of the game panning, scaling, and dynamically lighting all of this, it’s certainly quite a striking thing to look at.

Yet, the visuals aren’t the most over-reaching part of the game by any stretch. The titular 13 sentinels are manned by the 13 central characters, who each have their own little narrative arcs for you to see through. You start off with a small selection of them, but you’ll soon be expanding your horizons and juggling the full roster, choosing which angle to tug the narrative threads from. A whole other layer of the game is arguably the most game-y bit of the package, leading the sentinels more directly in real-time strategic battles. These sections are more fun than I’d expected; different sentinels have different skills and strengths that must be played to, and effective use of upgrade materials between fights are equally satisfying to put into practice. There’s even more storytelling at the beginning and end of each of these fights too, and balancing these two main parts of the game is left entirely in your hands. Your progress on all fronts is clearly tracked and visible throughout, and although you’re very like to come across a roadblock on one side, the game is always very open about what’s holding you back and needs to be done first to prepare you for the next big revelation in the story.

In truth, the story is a little bit too ambitious - given the number of characters, the complexity of its scenario and sci-fi concepts, and the likelihood of out-of-sequence dipping in and out of each story, it’s very easy to lose track of what’s happening, or even worse, the desire to keep up with the details. Thankfully, the overall mission is straightforward and compelling enough, with plenty of good moments to propel you forward. Backed up with great art, and an impressively competent battle system underpinning it all, this has turned out to be the first Vanillaware game that I’ve ever been inspired to see through to completion.

#hades #hide & dance #13 sentinels: aegis rim

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daily-rayless · 5 years ago

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favorite games of the 2010s

Games with an American release within the 2010s. Arranged roughly in the order I played them, because figuring out favoritism is hard. Spoiler-lite. Also, in case it needs to be said, saying a game is my favorite doesn’t mean I endorse everything the game endorses.

Also important: this is about favoritism, not quality. I’m not saying these are the best games.

Okay.

Persona 3: Portable (Atlus)

P3 was always secondary to P4 to me until Persona 3: Portable came along. This isn't everyone's experience, but being able to play games as a female character is a big deal to me. FeMC's positioning as a capable, respected leader who isn't temporary and isn’t just some guy’s love interest is so wonderful. And I love that the game allows her to social link the entire main cast. While Ken's romantic option was a terrible choice, many of the others benefit: her friendship with Junpei is rich, touching, and believable, even when it devolves into resentment; Akihiko's and Shinjiro's arcs are sweet, but also melancholy; Yukari, Mitsuru, and Fuuka are supportive best friends without all the baggage of the male MC's love routes; even Koromaru gets his spotlight. Ryoji's social link adds important depth to his character, reframing the later stages of the game. As wonderful as Elizabeth is, I find I like Theo even better. The battle system is vastly improved, and while the visuals suffer in the PSP transfer, the story's still told well. P3P remains one of my absolute favorite games and was a great start to the decade.

Nier: Gestalt (Cavia)

Something you’ll see repeated across this list is that I love strong, complex character bonds. The emotional core of a game is really important to me. In combination, this game has one of the most unique main casts, and, in their closeness, one of the most powerful. The jaggedness of Nier, Kainé, Emil, and Weiss fit together as an intense and sympathetic whole. You want so much to see them all safely escape the dark stories surrounding each of them. Nier's secondary strength is its New Game +, which is wrenching, but reminds the player that you never see the whole story in just your first glance.

Fate/Extra (Type Moon & Imageepoch)

For seven weeks, Hakuno fights her way through a blood tournament; the story never spares her from it. Most often, a repetitive story structure is a liability, but in Fate/Extra, it builds the drama. Knowing from week to week that most of the cast is going to die – understanding, increasingly, that Hakuno may not have a happy ending waiting for her – the repetition and inevitability adds to the experience. All three of her potential Servants are interesting, funny, lovable, and morally troubling, and each plays well off of Hakuno's personality. Which Hakuno, despite being a silent protag, has plenty of. The game falls short in a number of areas, but for me, intercharacter relationships are always a big deal, and Hakuno's bond with each Servant is detailed, compelling, and develops across the entire game.

Tales of Xillia 2 (Bandai Namco Studios)

The original ToX is the richer, more complete, more epic game, and definitely the place where you should first meet these characters and this world. But for me, ToX2 edges out its parent for the uniqueness of its premise, its endearing silent protagonist, and the shattering twists and turns of its later plot points. I don't usually like kid characters, but Elle is a useless sidekick worth fighting for, every inch of the way.

Resonance of Fate (tri-Ace)

Set in a broken post-apocalyptic city, this game feels like a combination of Wild Arms and Xenogears. The story is intense and cryptic with a carefully controlled delivery to the player. The three main characters hide their wounds as well as their strengths – until circumstances force them into the open. There's some regrettable juvenile humor, and the story remains too shadowy in places, but Vashyron's, Leanne's, and Zephyr's bond kept me wanting to know more about them and the punishing circumstances they've been left in.

Nier: Automata (PlatinumGames)

Nier: Gestalt taught me that not everything would be as it seemed, and Nier: Automata fulfills that warning a second time. But what makes me love it are the three protagonists, 2B, 9S, and A2. Throughout the different story paths, each one sees their role change from hero to antagonist or antagonist to hero relative to the others' positions. This is such a stand-out concept, and it's written very well. Even when a character shifts from hero to antagonist, they still keep your sympathy; perhaps you don't agree with them, but you still feel for them so much. Incredible music and rideable moose are also a plus.

Horizon Zero Dawn (Guerilla Games)

I can always find room for improvement, but, for me, there's just too much to love about this game. Traveling over the gorgeous environments is wonderful by itself. The gameplay is engrossing, allowing you to try so many different strategies across different fights. The npcs are intriguing. The setting is unique. The monster designs are fantastic. The game gives you reasons to want to fight the villains, yet doesn't leave them unrealistic or ludicrously unrelatable. The hero, Aloy, is no-nonsense but not invincible, practical but also tender, and it's so satisfying building her legend alongside her. The story ends satisfyingly, but leaves the world wide open, just waiting for a sequel. This is a horizon I want to cross again and again.

Transistor (Supergiant Games)

People complain about the story being too obscure, and that's justified at times. But the heart of the game isn't about plot – it's about emotions. Specifically, the emotions Red and Boxer have towards the city, and the emotions Red and Boxer have towards each other. The game organically builds both of these relationships across five hours of gameplay, latching right on to the player's heartstrings and making you worry and fight every step of the way. The gameplay is deeply customizable, the art direction is velvety and lush, and the music is not only gorgeous, but sometimes subtly intermixed with the narrative. The world is shrinking around these characters, and you want to see them through to safety – and you wish you had more time to know them better.

The Banner Saga (Stoic Studio) (all three games)

Its narrative overlaps different plot arcs. There's more than one hero. The story is mature and serious, often threatening you with despair, but still urging you to believe that somehow your brave characters can make it through safely. Your decisions directly influence who lives, who dies, and where the story turns. The music is haunting. The game evokes Lord of the Rings, from its art style to its Norse influences to its focus on the significant actions of humble people. But it still shoulders its way out of that shadow with its giants, centaurs, and multiple central female characters. A game you want to play repeatedly, if you can stand the responsibility of having so many characters’ lives in your hands.

Pyre (Supergiant Games)

Purgatory Basketball sounds like a nightmare premise for me, focusing on the kind of gameplay I'm terrible at. However, the game is accommodating enough that I not only won my rites, I enjoyed the process. Even when I was bad at it. But what makes me love the game is its cast. While not all characters can get equal focus on a single playthrough, each is interesting, some very outside the typical RPG character cast. The main villain is handled atypically, and the story avoids many of the tired plot beats I've gotten sick of over the years. The main character, the Reader, is given a surprising amount of flexibility, and they're just another one of Supergiant Games’ protagonists who are silent, but still make a definite impact on the game's story and playing experience.

In short, this was a good decade for me, game-wise, especially in the last two years. Hopefully there will be lots of stand-outs in the 2020s too.

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tinygamertris · 4 years ago

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Cat’s Top and Bottom 5 Video Games of 2020

As with last year, I count only games that I played for the first time this year, regardless of the year they were released. All opinions are personal and all flames will be met with a hearty ‘fuck you’ and used to roast marshmallows.

5th Best: Outer Worlds

Goddamn this was a beautiful game. Bright and colourful, filled with character, dripping with sarcasm and incredibly insightful satire, Parvarti... There was almost nothing about this game that I didn’t love. It’s what Fallout could be again if only Bethesda had the balls, pretty much the diametric opposite of the bland yearly release FPSes like CoD, and every inch of it screams of a dev team filled with passion and creativity. The only reason it’s not higher on the list is because it was locked to first person when I played it and first person inevitably makes me sick sooner or later.

5th Worst: Seer’s Isle

This game isn’t bad as such. It’s very pretty and intensely mystical, with a plot that could have been remarkable. It’s what it promises but doesn’t deliver that killed it for me. I was promised a game with interactivity, where every choice I made impacted the ending, where my actions would determine who lives or dies. NOPE. What I got was a game that only holds up for one playthrough, because the moment you try to make good on the supposed varying plot you discover that it’s going to be the same thing over and over again with only two endings. At least it’s short.

4th Best: Ghost of Tsushima

Another ridiculously pretty game! It’s typical that in a year when the new consoles were released (oh what a clusterfuck that was) that the most graphically impressive game was on the PS4. The gameplay loop is a delight, allowing you to customise your approach to many situations, and the ability to challenge enemies to a duel to start a fight is buttery smooth and viscerally enjoyable. It’s only let down by the predictability of the main plot, to the point where I only did story quests when I ran out of other things to do and wanted to open a new area. Absolutely worth your time and money regardless, it’s a game that will make you feel like a badass samurai from the comfort of your own room.

4th Worst: South Park - The Fractured But Whole

This is a game where its strength is also its weakness: It’s like playing an episode of South Park. Much like the show, when it’s good it’s absolutely on FIRE, and when it’s bad it’s the most profoundly uncomfortable cringe I’ve ever experienced. In the end, all this game did was remind me why I stopped watching the series years ago.

3rd Best: Monster Keeper

A very recent Switch release, Monster Keeper earned it’s place with its simple but lovely graphics, its delightful Metroidvania gameplay, and the almost Pokemon-like pleasure of fielding a team of badass monsters to kick the asses of other badass monsters. When I’m not playing 1 or 2 on this list, I’m playing this game.

3rd Worst: The Last of Us 2

In almost any other year this would absolutely top my worst of list. This game takes everything that I thought was worthwhile about the first game (Joel and Ellie’s relationship, complicated morality, and fuck all else) and shoves it down the toilet and takes a great steaming dump on it. The fact that this game swept the game awards in a year with Ghost of Tsushima, Hades and the Final Fantasy VII Remake is disgusting and final proof that the awards are as corrupt as the industry they celebrate.

2nd Best: Elder Scrolls Online

I’ve never been much of an MMO player. I find the presence of other humans in my games to normally be a nightmare. But this long drawn out dumpster fire of a year got me watching a LOT of videos on YouTube, and when my favourite channels did a few challenges in the new Greymoor chapter, I decided to give it a go as a birthday present to myself. And good lord did it pay off! Elder Scrolls Online is bloody huge, bloody beautiful, allows you to choose the level of interaction you have with other people, and has some of the best NPCs I’ve ever met in any video game. Not to mention the wonderful friends I’ve made both inside and outside the game, who have made this year of lockdowns and crises worth living through. Love you guys.

2nd Worst: Deadly Premonition 2 - A Blessing In Disguise

Holy transphobia, Batman! Swery really made an idiot of himself with this game and his reaction to the backlash, and yet again in any other year it would absolutely top the list. Sadly, it’s 2020, and it gets worse.

Honorable Mentions: Best

Dragon Quest Builders 2 (For having the wonderful combination of Dragon Quest’s ridiculous sense of humour and Minecraft’s dedication to building cool shit), Animal Crossing: New Horizons (for being the pure and gentle escape that I needed during the first few weeks of total isolation), Portal Knights (Another game with Minecraft’s addictive building mechanics and delightfully ridiculous characters), Final Fantasy VII Remake (honestly it earns this through the Honeybee Inn scene alone).

Honorable Mentions: Worst

Astral Chain (apparently it gets good a couple of hours in but I can’t fucking get that far so screw it), Death Stranding (what did I even?), Sin Eaters (utterly incomprehensible to the point I couldn’t figure out how to get out of the first room).

Best Game of 2020: Hades

How could any other game top this list? Hades is truly the best game Supergiant has created yet, and considering how incredibly good their games are as a rule, that’s saying a LOT. The art is just *chef’s kiss* perfect, the characters are all filled with personality and voice acted with incredible talent and dedication, the gameplay is a delightfully chaotic rampage through the various levels of the Greek Underworld, Zagreus is possibly my favourite protagonist of all time, and every single aspect of this game is sheer delighful perfection. Thank you, Supergiant Games, for a truly transcendent gaming experience that will stay with me for years to come.

Worst Game of 2020: Cyberpunk 2077

This game should have had it all. It was made by darling publisher CD Projekt Red, it starred Keanu ‘Most Perfect Human Being’ Reeves, it had years and years of hard work behind it... And it somehow managed to be an absolute shit-show the likes of which I’ve never seen before in a lifetime of gaming. From the lighting that gave people migranes and actual seizures (thanks a lot you assholes it took me three days to recover from that migrane), to the disgusting crunch forced upon the dev team by shitty management, to the plague of bugs, to the returns controversy, to the patches not arriving until some time in January... Not even Fallout 76 failed this hard. This proves once and for all that when Jim Sterling speaks, the industry needs to FUCKING LISTEN.

#Cat Meows #Top 5 games #Bottom 5 games #Top 5 #Bottom 5 #2020 #What a dumpster fire of a year

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gildedusurper · 5 years ago

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Such profound vigor had baffled him from the start. His morning routine went as normal with an unusual peppiness he hadn’t felt in an age. As worrying as it should be, drastic change for the positives were warmly welcomed instead, causes chalked up to that of recent good company and a pleasant night’s rest.

Warmth from a prolonged shower only helped further his good mood, finding himself taking boisterous strides in place of once sluggish movements. It’s when he’s near ready for the day that he begins to question it; the sudden upswing in both body and mind mulled over with a fresh cup of coffee. Was it something he ate? Perhaps a change in his training routine? A gloved finger taps against ceramic, brows furrowed, concentrating on recalling the events of yesterday.

Nothing truly substantial happened as far as memory served - mayhaps Lady Luck had finally swayed on his side. No matter. There was much to do for the day; shopping, visits to those close, the unfortunate work awaiting in the afternoon hours... Whatever contents were leftover had been dumped into the sink drain and left to be filled with water. A quick stretch has the decadent Monarch making way for the front door before giving pause when his own gloved hand extends for the handle, reminding him of unequipped wears. Silly him.

It wouldn’t be the first time he’d almost walking out the front door lacking his proper attire. An easy fix; he’d simply need to open his inventory, seek out his wonderful armor--

“ WHUAAUH?! ”

Rodents scatter in an instant as their owner recoils from the doorway, stumbling backwards with hands catching the edges of a kitchen counter top to keep himself steady.

Armor... Ar-mors?! ARMORS...

Six of them, in fact. Lined up side by side, filling once empty spots and leaving him bewildered and terrified by the suddenness of it all. Curiosity calms the waves of nausea - they weren’t there before, perhaps he’d been imagining...?

Battery Brigandine had been his first test. The strong sight of green-blue tint would surely break him from this spell were it all true. Confirmations come in the form of shining wears starkly different than normal painted golds. It’s with a wary chuckle that he unequips to try another - Vestments of Vigor - burgundy hues soon adorned with the ever slight increase of excitement bubbling within.

Akin to a child who’d been given a world’s worth of toys, he falls into a frenzy. Examining every last item within his inventory, yanking them out into his hold as though to confirm that this was no mere illusion. Dueling Glove, Turn Coat, Bubble Frog, Healing Hammer, SCORCHING SABER... All the pieces fall into place as the warmth radiating from the hefty burning claymore overwhelms. His vigor, strength, health and weaponry, gear and more! Years upon years of struggles with so few now to be gifted all. His heart flutters - sings with such glee that he’d hardly the chance to contain himself. Bursts of laughter echo in empty halls as his only audience begins to crowd around him. Bundles of curious rodents, many of which had left the comforts of nests made inside the walls, had gathered to investigate, watching with beady little eyes as their owner loses himself to the eruption of emotion.

Such strength had long since been forgotten after his arrival; magic tied to his physical health having had it’s burdening weight lifted free, after so long. So very long... Powers buried deep in the confines of his memory now resurfacing with each passing second.

The last remains of energy only allow for very few spins before he staggers into a nearby chair with rapid breaths. He’s beside himself despite every ounce of joy flooding in his chest. Smile wavering for all but a moment before it falls completely. Everything was back - he’d long since confirmed that much - but... For what reason? For as long as he’d remained here and elsewhere, in his five years of torment in this prison, what use had they spare fleeting occasions? Burdened by his newfound blockade, he leans further back against the chair, entirely helpless. No thoughts come to mind, left to stew in an odd mixture of both euphoria and bitterness while fingers brush against an affection seeking rodent curled on his lap...

...One of many loyal servants. A wonderful sort, despite their oftentimes grating flaws. Soft furs do well to soothe, clearing his mind of worries. Heirlooms and Armor might not be of use now, however, the future itself was always unpredictable. Though he had to admit, he’d entertained the idea of laying waste to several portions of this cruel city seconds after leaving the front door. After all, they’d made the biggest mistake of a lifetime; both gifting him his full arsenal and for taking granted just how long he was capable of holding a grudge.

Fingers abandon his pet in favor of drumming rhythmically against the table. With no Enchantress and no Monarchs in this modern era, how would he come to lay claim over a portion of this city? How could he make certain this city paid for its crimes against him? He’d need a plan - one that would take far longer than those made once before. No errors nor pests to get in the way of him and his goal; to conquer and rule as he’d rightfully deserved. The name King Knight would carry fear once more, no matter how long, how many failures or deaths harbored him from the end. He’d a goal, a newfound means to wake up in the morning beyond that of simply surviving.

All the cards would fold in his favor. Years of playing submissive paying off in stacks of gold. Who would expect p o o r l i t t l e h i m to overtake what was now rightfully his?

Satisfied, he rises from his seat and once more opens his inventory to equip familiar wears. A trip to the store for quill pens and papers swiftly added to a mental to-do list... Just below another addition, one that was a little more self-indulgent than the rest.

After all, he did have some showing off to do!

[[ RANK UP :: SUPERGIANT --> HYPERGIANT ]]

// WOOOOOOOOOOOOOOOW HOLY SHIT 5 YEARS ALREADY PASSED??? I AIN’T GOT NO WORDS EXCEPT WHAT THE FUCK AM I STILL DOING HERE FSYHJGSDGD. Jokes aside, I would so like to thank everyone for still having interest in my dumb golden boy, I would have never expected to still be here with his muse for this long, but god am I so glad I stuck with him despite the hardships.

To friends new and old and soon to be met, I hope you’ll still stick around and rp with lil ol me and me boy for however long we stay! And also a big thank you so so much for your support and friendship; y’all are amazing, fantastic writers and I so wish I could compare to some of y’all’s skills. aNYWAYS... HERE’S TO ANOTHER 5 YRS EVEN IF I JEST ABT HATING THIS BOY BEING MY MAIN MUSE!!! LOVE YOU ALL!!!!!! THANK YOU FOR MAKING ISOLA (and even c*tta) SUCH A WONDROUS EXPERIENCE!!!!!!!!! HECKO!!!!!!!!!!

#RANK UP DRABBLE #HYPERGIANT RANK #DRABBLE #{ I FINALLY FUCKHGIN MADE THIS OOOOOOOOOUGHGHGNHGNHNNFHG #anyways KK: ima take over this city after I make a plan! *gets distracted by lovin Ludwig hours* *gets distracted by loving friends hours*#*gets distracted by loving pets hours*#*gets distracted by }

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