#my puzzle principles....

[the-valiant-valkyrie]

ok one person liked that post so you're all getting my in-depth puzzle analysis based off of jesse schell's metric of what makes a good puzzle, exclusively for the puzzles in ieytd1 because those are the only ones i've had the time to dissect.

First thing's first, before we talk about how well IEYTD1's puzzles have upheld the puzzle principles, we must understand what the puzzle principles are. In total, there are ten of them, some more self-explanatory than others:

 Make the Goal Easily Understood (Without a hunch as to how to even begin, a player will be hard pressed to spend the time solving your puzzle)

Make It Easy to Get Started (Even if you know what your goal is in the grand scheme, if you don't know the first steps to get there, you'll be at a roadblock the second you start)

Give a Sense of Progress (Your player may be on the right track, but without knowing that for certain, there's a risk of abandoning the path forward)

Give a Sense of Solvability (A puzzle should never be obtuse to the point of being obsolete. You're here to play a game with your player, not to stump them. You both want them to have fun)

Increase Difficulty Gradually (If you throw players into the deep end too quickly, they may end up backing out. Coax them gradually, build their confidence, and show them they can do this)

Parallelism Lets the Player Rest (If a player gets stuck on one puzzle, let them work on something else for a little while... If they have other things to do, they won't hit a roadblock as quickly)

Pyramid Structure Extends Interest (What's better than a linear narrative of puzzles? One, two, or even three solutions from prior puzzles coming together to solve one big finale!)

Hints Extend Interest (If a player can't solve a puzzle, don't expect them to keep ramming their head into a brick wall. Make sure they're being steered in the right direction)

Give the Answer! (Contrary to popular belief, it's not a bad idea to allow your player to have the answer- so long as you do it properly. They function similarly to clues, and can be important. Sometimes, the player may not know they have the answer at all up until they finally need it)

Perceptual Shifts Are a Double-Edged Sword (Consider any riddle that forces you to think outside the box. Where it may be satisfying to either solve or receive the answer, you either get it, or you don't. There is no chain of reason rather than a rule you must break to see the puzzle from the correct perspective. While fun in certain contexts, it is a huge gamble for a potential player)

Right. Now with our method of judgement out of the way (with our biases leaning towards Schell, considering he was the one to create the rules our puzzles must follow), lets get onto the missions themselves, and see which ones adequately follow and embrace the rules of the principles:

Friendly Skies

Easily understood goal

Easy to get started

Sense of solvability

Hints

Friendly Skies really is a great tutorial mission, if not a rather short one. But what’s probably its best attribute is its setting, believe it or not. Not being in a plane, but being in a car. Right off the bat, it hits not only one, but two of the 10 puzzle principles: It’s easily understood, and easy to start, and the two complement one another rather nicely. 

It’s highly unlikely that a player would have never set foot in a car before. It’s a familiar environment, and partnering that up with their objective (that being to steal the car without becoming a fatality), the gears begin turning in the player’s head before half a minute’s even passed. You have to steal the car. Okay. Key’s not in the ignition, so you have to find a way to turn it on. There’s only so many places you can look, and you- familiar with cars, of course- know exactly what each of those places are…

One of my favorite parts about this puzzle from a tutorial standpoint is not only the fact that it teaches the player the ideal thought process for engaging with puzzles in the series, but the actual location of the key is probably one of the last places you would be searching for one. Meaning that it’s likely the player is going to find all the clues they’re going to need later in the level before they actually progress to those sections of gameplay.

I have to say the same with the bomb manual hint- it doesn’t just allude to a future puzzle, but also to the sort of thought process that you’re going to have to use for the entire rest of the game. The game’s not just going to hand everything over to you for free. You have to really pay attention, make your own deductions, and if you don’t, you’re not always going to get the proper leeway to recover from it.

Another thing to note- on the subject of hints- is that the game goes out of their way to show you exactly what button you need to push to activate the grenade canons. What it doesn’t do is give you any way of figuring out what each of the other buttons do. In this level in particular, that’s not much of an issue, but in future missions I’ll touch on it more. 

As an introductory level, Friendly Skies is pretty smooth. Of course, though, there’s one notable gripe that I don’t even think I need to mention. That being the game prohibiting you from using the knife as a screwdriver. A conscious choice on the developers’ behalf- and if the handler’s lines didn’t make that obvious, they’ve mentioned it themselves on a few occasions. They were aware players would want to use the knife as a multipurpose tool, and directly disallowed it.

While I have no confirmation on the matter, I have to assume that they did this because they wanted the player to experience the toxic gas- either to teach them to take risks, or to show them that some hazards are less immediately lethal than others. Whatever the case, though, it comes at the consequence of teaching the player something that isn’t true: that levels have one concrete ‘solution’ that the player must stick with.  One of the things IEYTD is known for is their leniency with puzzles. Their speedruns and achievements encourage the player to experiment and find different methods of solving the same puzzles. So, while it’s not the worst decision in the world, I find it odd that they would choose to send such a misleading message about their gameplay mechanics in the tutorial level, of all stages. Beyond that, however, Friendly Skies is a great stage for easing new players into the gameplay, if not a bit flat in comparison to future missions.

Squeaky Clean

Sense of progress

Hints

Easily understood

Easy to get started

Sense of solvability

Difficulty of scaling

Squeaky Clean is certainly a bold jump forward from the tutorial, going from one of the shortest missions to one of the longest in the entire game. Out of all of Schell’s principles, its strongest one is the player’s sense of progress.

Nearly every time the player accomplishes something, the environment changes around them. And while it may not exactly correlate to what it is the player’s done, there’s still an innate sense of progression through the new obstacles. Broke the glass to the lab? Now you’ve got to deal with security systems. Got access to a new chemical? Better hope you can blend in, because you’ve been noticed by an operative. Even if the player isn’t certain on what their next course of action is, they still know they’ve made progress in some form or another.

I also have to say that the hints- while occasionally a little too indirect for some players- encourage thought and memorization. Especially by the means of giving the player one of the chemical reactions (the purple and green smoke bombs) before they’ve even touched anything. They can observe the compound, and if they mishandle it enough, see what the reaction is. If they cross compare it to their cheat sheets, it doesn’t take long to identify what each specific chemical is, and how to match up the ones on the periodic table to the formulas to create their own.

I will confess, though, that in many ways, Squeaky Clean is quite poorly constructed- especially for a second level. As aforementioned, the jump from Friendly Skies to here is quite immense; to the point where even spawning into the level might give the player some whiplash.

Squeaky Clean is neither easy to understand, nor easy to start, as opposed to its predecessor. Of course, no matter how well the player performed in high school chemistry, they’re not even going to know where to begin disarming a chemical bioweapon. It isn’t always bad game design for a player not to know how to solve a problem presented (more often than not, figuring that out is what the puzzle is supposed to be). But in a circumstance like this one, it can quickly become rather overwhelming.

What’s more, the player has gone from a closed off car with all the tools at their disposal, to a packed laboratory that’s completely unfamiliar to them. Even if, hypothetically, they were aware of how to make an antivirus, with so many new tools introduced at once, it’s hard to know which ones are relevant. Will they need to freeze chemicals? Will they need to burn them? How would they know which chemicals are safe to burn? Are there any other tools they need to uncover before they start? And what does that red button do? It’s good to get your player asking questions, but less so when they’re asking them all at once.

By far what has to be the biggest hurdle in this mission is its difficulty scaling. Both in regards to the level itself, and its position as the second level in the game. The lead up to the final puzzle is slow, cautious, methodical- and it has to be when you’re working with chemicals you haven’t even heard of before. But the climax of the mission throws all of that out the window when it introduces the player’s first timed puzzle.

There are many issues with this. There’s no build up to prepare the player for an encounter of that nature. On a first playthrough, there’s zero indication you’ll be remaking (or that you should be premaking) chemicals that you’ve already made until the timer’s already begun. And even beyond that, time trials introduce frantic behavior, which a level such as this one doesn’t benefit from. 

The player, in their haste to complete the objective, may accidentally put the wrong combination of chemicals into the mixer and blow themself up. They may create the wrong chemical compound, making a canister they don’t actually need. They may properly make the chemicals, but may destroy the vial on their way to use it. Not to mention, since you’re several stories in the air, if you accidentally drop it with that new telekinesis mechanic you’re getting used to, you’re not getting that thing back. And worst part of all, it’s at the very end of a mission. If you die- for whatever reason- it’s back to the very start. As great as it feels to actually succeed at the mission, players may never get that satisfaction if they build up too much tension from the trial and error. Even if- to a particular extent- trial and error is what the series is known for, it’s different when you know what to do, but circumstances beyond your control make that objective more difficult.

Deep Dive

Parallelism

Hints

Answer

Easily understood

Difficulty scaling

Deep Dive is notorious for being a cramped and uncompromising level, and those with claustrophobia tend not to rate it very highly. However, in regards to its puzzles, there are a variety of things it does very well. 

One of the highlights of this level in regards to the puzzle principles is its use of parallelism- and it’s the first puzzle in the game to actually employ it. Though it’s only relevant for about the first quarter-to-half of the mission (depending on how quickly you can make it through everything else), the player is given free reign to handle a myriad of small tasks, complete with a checklist so they’re not left in the dark on what’s left to do. Much like the act of finding the key in Friendly Skies, this also acts to introduce the player to the shape and feel of the level, and the resources held within.

This is also one of the earliest examples of the player receiving an answer to a puzzle- granted, it’s in a roundabout way of needing to piece it together themself. While the grenade hint is far more ambiguous, relying on resourcefulness and not moving too hastily, the self-destruct code serves to test the player’s competency under pressure. Despite presenting the player with the answer, the puzzle itself isn’t made much easier. 

Though speaking of competency under pressure, it’s what the entire level is known for. And despite that being the theme for that particular mission as a whole, it doesn’t change the fact that its difficulty scaling is less than desirable. Ironically enough, it suffers the exact opposite issue that Squeaky Clean did. Whereas the previous mission was slow and steady up until the last possible moment, Deep Dive keeps a brutal tempo pretty much all the way through, with no chance to breathe until the mission’s over. 

The game takes some initiative to alleviate the actual input the player needs to do (for instance, implying that the player specifically needs a pin to neutralize Zor’s grenade, thereby making the fire extinguisher unlocked and primed by the time it needs to be used), but- same as the last level- it can very easily lead to trial and error as the player hacks away at each individual malfunction, having reacted too slowly to understand what to do in the time they were provided. The challenge of the mission comes from being quick on your feet, but there’s only so many things a player can keep in their head all at once.

Also, while it’s not necessarily the biggest issue to be found in the stage, I find myself fascinated with the way that it’s presented in the introductory briefing. Certainly it was meant to tie back in with the motif of unexpected change of plans, but it’s the first time a mission briefing doesn’t at all aid with the puzzle the player will be facing. The escape pods are mentioned by your handler, true, but very briefly, and with nothing good to say about them. So when the player enters the mission only to find themself exactly where they were told not to be, chances are they’re already at a loss as to how to handle the situation. To reference a specific principle on the list, players’ ease of understanding is likely to be low.

Thankfully, the game does a good job at combating this potential paralysis spot by specifically giving the player a list of tasks to complete. And while this helps, the player is doing them because they have no other plan of attack, instead of in accordance to (or in spite of) a potential strategy. I would even argue that the wording of the briefing could have made the onboarding a little easier to understand. Say, if the player was warned that the escape pods are often tampered with, or that one wrong course of action could lead to a mouthful of saltwater. It still communicates the same feeling of dread, but now the player has things to look out for. I should make sure there aren’t any traps in here. I need to make sure I’m ready for any leaks. Instead, the player is left at the bottom of the ocean with the pre-instilled knowledge that they’re going to die any second. And while that’s probably true, it doesn’t make puzzle solving (or puzzle identifying) any more intuitive.

Winter Break

Sense of progress

Parallelism

Pyramid structure

Hints

In regards to well crafted and engaging levels, Winter Break just about knocks it out of the park. Ironically enough for being just about halfway in the game, it’s probably one of the most methodical levels sans the tutorial itself. But that doesn’t mean that it isn’t still exciting, or any less well constructed than the others. Quite the opposite, in fact.

Similar to Deep Dive, Winter Break has a heavy emphasis on parallelism. However, unlike the previous level, the amount of tasks that the player is able to complete at one time is vastly increased. This greatly helps with the pacing of the level; the more things the player is able to do at any given time, the less likely it is they’ll be sitting around, butting their head against one specific thing.

This specific puzzle format also introduces an elusive principle yet to be discussed: pyramid structure. The climax of the mission can only be unveiled once the player has found the security chip, and the Zoraxis orb, a process comprising of four separate puzzles the player can tackle at their leisure. Though a casual player may not even realize the leeway they’re given, there’s a greater sense of reward that comes from all of their actions leading to one high stakes encounter.

The hints in this level come in a wide variety, from diagrams on sheets of paper, to clues hidden within picture frames, to secrets unveiled through the classic art of bookshelf scouring. An important thing to note though, beyond the ways in which the hints are given to the player, is the order. More specifically, all hints that focus around the final objective are locked in the same location as those two key items. Even if the player doesn’t understand their importance initially, by the time they actually need to put that knowledge to use, they’ve already primed their minds with the information they need.

The ebb and flow of the difficulty is to be greatly admired as well. Working in tandem with the parallel puzzle solving, it keeps the player at a comfortable pace the whole time, riding the line between peaceful downtime and engaging action moments. Winter Break’s traps are also noticeably more readable than some of the prior missions’.

The bear archer’s method of attacking leaves plenty of room for the player to identify the hazard and react accordingly, and in regards to the final act’s lasers, the player is given ample time to study their speed and direction before it becomes an immediate threat. Not to mention the lasers only activate upon destabilizing the first crystal, ensuring the player knows what’s expected of them before the situation gets dicey. Even the deer gas feels more like a puzzle to solve than a hazard to evade, seeing as a player would only recognize it as a key to a lock after a thorough examination of its diagram.

Overall, Winter Break manages to be cohesive, readable, engaging, and exciting, without sacrificing player experience in the same way some prior levels did. As it stands, it’s probably one of- if not the best constructed level in the entire first game.

First Class

Difficulty scaling

Easily understood

Answer

Hints

Sense of solvability

First Class was Schell’s first level post IEYTD1’s official release, and the team intended to go in a far more experimental direction than their previous missions. Though they accomplished the task on numerous levels, their puzzle implementation was equally as unusual, and not always in the best of ways.

If there’s anything the mission can be commended on, it’s the difficulty scaling. By this point in the game, players are well equipped to handle most threats that come their way. While the mission doesn’t pull any punches, it has a pretty comfortable flow, working its way up from slow and experimental deduction to pushing the limits of the player’s reaction times. While a surprising number of the puzzles in this stage have lethal consequences for failure, most of them still remain feasible and fair.

… Except for the birthday puzzle, anyways. It’s potentially the weakest puzzle in the entire series, all due to its surprising complexity. The game asks the player to keep track of three variables- the day of the week, the date of the month, and the number of the month itself. On top of that, they’re given nothing to help them keep track of the information they’re given. There’s no method of writing it down, and with a headset strapped to their face, counting on their fingers isn’t even an option at their disposal. The player only has three attempts to punch in the number correctly. And what’s worse, there’s no indication on whether the date needs to be arranged month-to-day, or vice versa.

It has the potential to be quite the frustrating roadblock, and certainly puts the game’s sense of solvability into question. The variety of feedback the player receives is far too slim for all the tasks they’re expected to perform. Even if the panels behind the numbers lit up for each unsuccessful attempt (yellow, perhaps, for a correct number in the wrong spot, and green for a correct guess) would at least take some strain off of the player’s shoulders. But by the time it takes to return to the puzzle, should the player have failed it before, they may have forgotten what combinations they previously tried.

This mission is also one of the slim few examples of an answer being presented in a way that isn’t exactly intuitive. Though phrased in a way that would imply it a clue, when the handler contacts you over intercom, he straight up gives you your first objective. Find clues to light up certain buttons in the panel on the wall. Seems simple enough on the face of it. But its usefulness as an answer can only get the player so far, if only because of one specific reason: it’s a spoken answer. 

In a perfect world, a player may find and open all four panels as soon as possible at their handler’s request. But what’s most likely the case is that a player will be quick to enter the most obvious code- the one etched into the phone casing, before promptly forgetting about the instructions all together. Which poses a significant issue as far as the defector’s request is concerned. At best, it takes stumbling into a new hint for the wall for the player to recall the buttons’ existence. At worst, they may tear the entire train car apart, seeking for the clue that they don’t even know they’re missing.

We must also take the opposite into consideration- what if the player is too obedient to the handler’s command. After all, he specifies four total doors… But two of the four possible hints could have been literally flung out the window by the player, with no indication of it being a bad course of action. It’s a strange case of revealing a little more than necessary- even for the standards of the answer- and the player may end up relying upon the advice, even to their own detriment. 

There’s also the context of the mission itself to touch upon, and the ease of understanding (or lack thereof) that comes with it. In a way, it’s similar to Deep Dive’s briefing; the context you’re given contrasts with the actual scenario at hand. While it becomes obvious rather quickly that you’re not on vacation, and while it doesn’t take too long for your handler to explain what he’d like you to do, halfway through the mission you end up… completing the objective. The remainder of the level is a gauntlet of Zoraxis operatives (and one spear wielding man), steadily ramping up in intensity. 

Though it’s not exactly a detriment to the level, there’s a heavy sense of sporadicness throughout the latter half of it. It feels less as though you’re playing the level, and more as if you’re outlasting it. It proves a fun challenge, though there leaves a strange sort of “Now what?” feeling in between obstacles that can make the pacing feel a little stilted. While it can be exhilarating to perfect after a bit of practice, an initial playthrough takes a bit of bobbing and weaving through the occasional pocket of confusion.

Seat of Power

Sense of progress

Hints

Difficulty scaling

For as late as it appears in the game, Seat of Power is one of the quicker missions the game has to offer, when it comes to repeated attempts. This doesn’t make it easy by any means- quite the contrary, most of the speed of a second playthrough comes from a thorough understanding of the mission’s mechanics.

The mission’s strongest puzzle principle would have to be its sense of progress. While future IEYTD titles would really push the boundaries of evolving setpieces, Seat of Power was a pretty good starting point. The world around you is snappily responsive to your meddling, and the further you probe at Zor’s head controls, more tools and mechanics reveal themselves to you.

And that isn’t even mentioning the way that the level’s NPCs react to your actions. While they serve as lethal puzzles in their own right, they also convey that the player is doing something right (or if not exactly right, then on the right track).

In many ways, this particular mission has some excellent hints. Between learning about Professor X-Ray, to being steered towards the conclusion that there’s one placard too many for the number of seats at the table, the reveal of the goggles sparks a sense of excitement as the pieces click together. Even if the player stumbles across the solution, the recollection of the hints gives them the same feeling of satisfaction, despite the fact that a puzzle wasn’t exactly ‘solved’, per say. 

However, in other ways, the hint system in Seat of Power is deeply flawed. The control panel you unveil rather early on in the level is a great example of this.

In order to solve the second wave of puzzles, the player is expected to experiment with the buttons at their disposal. While experimentation is hardly foreign to the series by this point, hidden within the control panel is one button that kills the player instantly, unless certain conditions are met. And what's more, there’s nothing in the level that would even vaguely point the player to that conclusion.

It’s made even more frustrating by the fact that the tools you need to avoid that death can only be found if you push the button to the right of it. I Expect You To Die was originally an English exclusive title. With that audience in mind, it seems rather obvious that players who would read text from left to right would also push buttons in the same order. For how much care the game seems to take to warn the players of the threats around them, this one being so haphazardly strewn in feels almost like an intentional kill.

Unlabeled buttons- if you can recall- had a similar presence in Friendly Skies. However, at least in that mission, buttons the player needed to know about were labeled, and optional buttons were left undisclosed. It would have been quite easy for the same premise to apply here, with the button that unlocks the gas mask being referenced in some sort of note floating about the office, or some text scratched on the side of the button panel, with the poison gas button left the same. Or vice versa, where the trap was clearly labeled, but the resource to defend oneself against it was up to the player to decide. 

In a level that hinges on the player pushing all the buttons at their disposal, it seems suboptimal to ‘train’ them into being wary of doing exactly what they’ve been asked to do. Oh, I probably shouldn’t push buttons when I don’t know what they do, the player might think. Which, while very true, doesn’t help much when they’re left with little other choice.

Of course, I don’t believe I can talk about Seat of Power without referencing the Madrid puzzle, either. While your handler states very bluntly in your briefing that you’re going to Madrid, expecting your player to hold onto key information for a level they haven’t even entered yet is quite a tall ask for any player. But even beyond that, the developers admitted that no one listens to the handler anyways.

To aid with this, they attempted to sprinkle in some Spanish themes in the set dressing to better set the tone. While this certainly helps to a certain extent, the people who it helps are those who can identify the culture they’re being presented with. In that regard, the puzzle becomes more akin to a trivia game, or a riddle, where a player needs context derived from outside of the experience in order to solve it. Generally not a very good practice in escape rooms, both in the real world, as well as virtual ones.

However, the other- perhaps far more pressing complication with the Madrid puzzle is assuming that the average person knows where Madrid is on a map. For the geographically uninclined, this is a very bold assumption to make. Thankfully, it’s not a mistake they repeat in their future installments.

Seat of Power is generally a very engaging level, once one can finally wrap their minds around the little quirks about it. It has a unique pacing system, and finally introduces the player to the concept of an overarching plot. It’s just that some of its decisions on puzzle mechanics seem a little half baked- especially this late into the game.

Death Engine

Easy to get started

Sense of progress

Hints

Answers

Easily understood

Death Engine was originally set to be the game’s final send off, and as a result, the developers didn’t want to pull any punches. It was players' final trial, and they would have to put all the skills they learned in their prior missions to the test. As a result, this particular mission throws threats at the player almost as quickly as it possibly can. But that doesn’t mean that the difficulty scaling is completely unfair. It scales at a rate proportional to most of the other missions; it simply starts a few degrees higher.

Deaths in Death Engine normally come quickly. There’s little room for the player to revert any errors that they make. The agent can’t just shake off an electrocution, or being bathed in radioactive waste. However, the very first threat they encounter (a setpiece threat, rather than something caused by the player’s actions) gives the player enough time to process what the issue is, and to react accordingly. It’s the most lenient hazard in the entire mission, but still sets the tone for the level going forward: dangers will be quick and uncompromising, and going forward, a lot more unforgiving.

Death Engine also waits until the player is well accustomed to their location and the tools at their disposal before they throw the next, far more lethal timed encounter at the player, in the form of Solaris’ direct radioactive assault. Though they also have the decency to warn the player ahead of time with vocal cues. Though the puzzles are meant to test the full extent of what the player’s learned, it doesn’t feel as though the game is throwing impossible odds at them.

Though, what may seem impossible to the player is the mechanisms of their space shuttle. At a passing glance, it seems incredibly overwhelming to have all of these tools at their disposal. However, the mission actually tackles the easy to start principle in a pretty ingenious way- one that Schell would take with them into their future installments.

Yes, the player has several dials and buttons and resources at their disposal, but after the laser’s backlash ripples through your shuttle, only some of them are actually functional. While this seems to only introduce problems to the player, it actually does them a great service: 

The player can only engage with one to two portions of the ship at a time- typically just one, as far as a first playthrough is concerned. True, the shuttle has a rather extensive list of information about all of its components and how they operate (a rather useful aid, and quite a good example of the answers principle coming into play again). But the hands-on experience of swapping power and seeing what new tools are unlocked is a far more effective method of communicating the rules of the stage to the player.

This use of fuse swapping also serves as another principle, in a roundabout sort of way. It communicates steady progression with each ‘fuse-specific’ puzzle solved. The gravity adjusting puzzle feels rewarding to complete in its own right, but there’s an extra sense of satisfaction that comes from ripping the fuse out of that section of the fusebox. I’m done with that, the player thinks to themself, onto something else, now.

Even Solaris aids in the player’s sense of progression to an extent, hurtling canisters of radioactive waste at them only after they’ve made a significant amount of progress. While it’s jarring to be given a new obstacle to face, a villain turning from cocky to antsy is just about the clearest tell there is that the player is making a good amount of progress. Not to mention the entire encounter turns into a (admittedly incredibly lethal) tutorial on how to actually use the shuttle’s external arm- something that will be critical to actually finishing the level. 

Death Engine was meant to serve as the player’s final hurdle; the ultimatum of their career as a field operative. While it’s by no means a cake walk on a first playthrough, its puzzles remain understandable and fair. While it’s unlikely the player will make it through the level completely unscathed, the difficulty doesn’t rest at a point where it overrides the sense of satisfaction they feel by the end of the mission, as well as the end of the entire game as a whole. For a grand finale, Death Engine serves its purpose rather expertly, setting the standard for the series’ subsequent final acts.

[suddencolds]

.~

[rararasputins-dick-mind-control]

im his favorite :D

[precalamity]

the talos principle 2 will be out on november 2nd. what will I even do. what will become of me. you will not hear from me for three days at least.

[hauntedhamster]

I sense it...there's puzzles...over there...

[spectrearia]

i just now learned that not only is there apparently a sequel to the Talos Principle, but it literally JUST released this month?! how did i not know that the game was even in development at all kfjgdfg i might have to get it at some point :0

[syrupspinner]

i just beat the talos principle

this cant be happening

so right away, a quick disclaimer that this is a situation where i tried a game for like a few hours, decided "yeah ill totally play more later" and accidentally forgot about it for a few years. i got the achievement for entering elhim's temple in 2016, and the achievement for using hexahedrons in 2021. so my experience is a bit fractured, to say the least. i dont think it influenced my experience negatively, i didnt forget mechanics or lose the plot. the philosophical musings seem a bit more disconnected, which is a shame

i wanna talk about pretentiousness. i hear that word thrown around a lot, especially at games like this and braid. sure, the atom bomb stuff is pretty thematically disconnected from the time puzzles (hotline miami is a good example of the games mechanics and story elements: the instinct/purpose of violance) but fucking... the entire story of this game is about humanity, how machines may theoretically be built to replicate us and how this relates to our understanding of counsciousness, and how religion plays a role in understanding humanity's place in the world. ignoring these, and the sophisticated presentation, and the plot is basically the stanley fucking parable. i think it all comes down to presentation. TP has the same air of sophistication that something pretentious would, and since pretentiousness is easier/more common than actually thoughtful and engaging writing, people jump to conclusions (not unjustly) and prepare for a condescending experience that only serves to elevate the artist as the smartest one in the room. now, i dont think TP is trying to break ground and be revolutionary in its gameplay and storytelling, its just a basic puzzle game with a religious and philosophical story, so... honestly, if anything, its great for people to start with. kinda.

a lot of puzzle games have central mechanical gimmicks. superhot has the time synchronization thing, superliminal has the perspective size thing, viewfinder has the camera thing. talos kinda doesnt have that, at least not in a way thats as easily conveyed. its like... item management? using tools in specific ways. a lot of the actually puzzle-solving, when not just figuring out eccentricities of the game's rules (like eagle's nest and up close & jammed. easy as shit if you can rationalize the illogical mechanics) it's mostly about just managing the fact that you can only hold one item at once, or figuring out what configuration you need to place the items in for a gate to open. its either a fox-chicken-grain puzzle or a jigsaw.

this is at its worst in the late-game puzzle seven doors of recording. i personally enjoy taking an experimental approach to puzzle solving, a bit of "this seems like it might work" instead of feeling the dread of an engineer who has lives depending on their blueprints. but god damn. i think it would be fun to play around with the recording item's moody blues mechanic, if there werent so much waiting. i just pull out my phone for a few minutes to give future me enough time to experiment, which is the opposite of enjoying a game. when i forsaw needing to do that like ten more times i just made the fuck it adjustment and looked it up.

id call it honest, especially since figuring out the hidden interactions is part of the puzzle solving. thematically, i think this relates well to the ideas of human observation and membership in the world at large; arent we all just solving inventory management puzzles? finding our place in the world among boxes and mines and jammers or some shit? i dunno im not religious. just because i cant articulate myself doesnt mean the connection isnt there. but besides all that, good lord can the inventory management feel like pulling teeth. the puzzles shake out with either you knowing exactly what to do and needing to go through the motions of putting the crystal tripods at exactly the right angles and if you didnt put em right start over, or youre cursed to fuck around to try and see if inspiration strikes in a game structured around you sticking to a precise mental plan. to be fair, this only really gets bad in the late game, like halfway through world 3/3, but jesus did it take the wind outta my sails.

im glad im not alone at least

the story itself is like, alright? its a straightforward story about having an outsider lead you astray from authority and encouraging rebellion. i love the twist that its what elohim wanted all along too, its actually a really cool way to think about the free will problem. i also like the idea of internalizing milton, its really congruent with the themes of rebellion and refusing blind faith. other than those cool (and optional?) things right at the end of the game, its just a basic tower of babel/original sin plot. cool stuff, i love the religious themes, but like...

ugh im sorry but this game is so annoying. there were too many puzzles where i knew the solution and i just felt annoyance having to go through the motions of going back and forth and picking up the jammer and putting it back down and bringing the crystal tripod with you but oops you accidentally left-clicked instead of hitting [Unbound By Default] so now its not aiming anywhere so go back and do it again. also the last puzzle of the tower has like 5 sections but you can softlock and there arent checkpoints so fuck this game and play any other puzzle game. i dont feel accomplished just relief that its over

[prokopetz]

Thinkpieces about why people seem to become more authoritarian as they get older tend to focus on neuroscience and survivorship bias and such, but based on my experience in various activist communities, I think a big piece of the puzzle that these sorts of discussions often overlook is that a large chunk of people just never had any principled objection to authoritarianism in the first place.

It's easy to talk about fighting the power when you're under the boot, but when some folks get hold of any sort of power or authority for themselves and sticking it to the Man is no longer a proposition with no perceived downsides, they start backpedalling in a real hurry. Power didn't corrupt them. Nothing changed about their politics. Their commitment to anti-authoritarianism was only ever as strong as their perception that it personally benefited them.

(You absolutely can't tell who they are just from looking at them, either; a person can use all the right jargon and support all the right causes and show up at all the right protests, yet the moment their private emotional calculus determines, rightly or wrongly, that they have more to gain by putting a boot on your neck than by lifting it off, watch out!)

[alice-everafter]

"Stop moving around, herbivore."

The otherwise heavy silence is broken by Leona's deep timber of a voice. Rolling onto your back puts you in line of sight of his bed, where you can see the Savanna prince half covered in sheets you couldn't even afford to breathe on. He's facing away from you, barely moving. If he hadn't just spoken you'd assume he was dead or something.

"I could hear your squirming from half way across campus. Settle down or get out, you're disturbing my sleep."

"...Sorry." Your throat twinges with the faint reminder of how you got to sleep in the dorm room of Leona Kingscholar in the first place.

After being so rudely ejected from your beloved Ramshackle home on such short notice, possible sleeping arrangements were few and far between. Now, you could've taken Ace and Deuce up on their offer, but Jack was... he was Jack. And only Jack could convince you to stay in Savanaclaw. But, then Leona had to come and say no, and then you panicked cause you saw yourself and Grim on the street. And that panic plus the sleep deprivation from finals lead you to perform your own rendition of "Cotton Eye Joe" outside his bedroom out of sheer desperation.

You didn't even get to the second verse before he bodily dragged you inside with a growl that had you accepting death like an unspoken principle.

The room was once again blanketed in a thick silence. Grim, who slept by your feet, didn't even make a peep. Banging those pots around while providing you backing vocals must've taken it out of him. Poor guy. Out of anyone in this room, he's the one you'd feel the most bad for disturbing.

So, with a sigh, you accept your fate and get up from your collection of floor blankets. Your destination being one of the Savanaclaw couches.

You knew your mind, you wouldn't be sleeping for a while. There was just... too much. Azul and his contracts, Jade and Floyd and their sharp teeth, Leona and his eyes. The ones that once looked at you like you were vermin to crush through the haze of a raging sandstorm. While Ruggie batted and kicked and cried for breath. And you swore his eyes had glazed over as he fell limp and━

"Hey."

You stop, both bodily and mentally, as his voice once again breaks the silence. There's a cold sweat you didn't notice gathering on your back. You turn to find him staring at you with those same green eyes. You can't tell if he's searching for something in you or debating heavily with himself. But, whatever it is, it isn't for long before he seems to come to a conclusion with a rumbling sigh.

"Come here."

What. "What."

"You heard me, come here."

To say you were conflicted would be the understatement of the century. You had just been spiraling not even 30 seconds ago and now the object of your trauma was beckoning you closer like the parent to your distressed child.

"I don't have all day, herbivore. You coming or not?"

"...It's night."

"..."

"..."

"Just get over here before I change my mind."

"Right."

He heaves another grumbling sigh as you shuffle across the room. Stood next to his bed gives you a view reminiscent of that time in the greenhouse. Him, splayed across his bed, hair cascading over his pillows. While you're stock still and more than a bit puzzled and kind of scared. Even though you're looking down on him, you don't feel like you have the advantage that you should. He looks almost too calm, too relaxed. Like he's assured of a victory yet to come.

That thought sends a chill up your spine, reminding you of the sweat that persists on your back.

"Well?" He raises a brow expectantly.

You blink, "well, what?"

"Are you laying down or what?"

"...Am I laying down or what?"

"Need me to spell it out for you? Or should I help you into bed?"

"Not necessary."

You don't know what possesses you━whether it's self preservation or annoyance or curiosity or just straight madness━but you get in. You pull back those luxurious sheets and slide beneath them where you're immediately accosted by warmth. Heat seems to be radiating from him like a fire.

The revelation is... not an unpleasant one.

You realize he's still staring at you. But, not intently, not like he's trying to pry a secret from you. Leona never looks at anyone like he means to take their person apart. He simply observes and acknowledges, anyone and anything.

"Think you can finally go to bed and stop flopping around like a dead fish?"

"...Haven't I dealt with enough fish today? And now you bring them up in Savanaclaw of all places. Is no where safe?"

You're surprised when his brows pinch in amusement and a short but gruff chuckle leaves his lips.

"My bad then, for touching on such a tender topic."

"Yeah, your bad indeed."

No one says anything else afterward and he seems to take that as an invitation to turn onto his back. Letting out a deep breath through his nose while nestling an arm behind his head, eyes sliding shut.

Somewhere between you climbing into his bed and him settling down to sleep, the sweat has cooled off your skin. Not to mention the sudden heaviness dragging at your eyelids. Seems that you would be able to sleep some after all.

You turn away and towards the open balcony, towards the spot where you had once laid and Grim continues to snooze. The moon lights up the room, and though it's not the sun, it still feels just as warm somehow.

Speaking of warm, there's a heater pressed to your back. Scratch that, Leona is pressed to your back. And that's his arm, sliding over your hip and resting draped over your side.

It feels like the world hiccups when you feel his next breath puff against your hair. But, surprisingly enough, you're not shaking in your metaphorical boots. Just... very confused, once again.

"...Is this supposed to be punishment for 'Cotton Eye Joe?'"

He says nothing at first, and you begin to fear for your safety before he eventually does.

"Whatever helps put you to bed faster."

That arm over your side moves before you feel his hand settle atop your collarbone. Those same hands that had once brought ruin and pain were now just a small brush away from your neck.

This should terrify you, but it doesn't. Because he's gentle in this moment. His arm isn't an insistent press, it's a steady weight. His hand isn't a branding clasp, it's a soft touch.

There are words left unsaid between you two that his body seems to carry instead. And you drift off with the feeling of his tail draping over your ankles beneath the sheets.

[prisonpodcast]

Maybe I’ll start using #not mcyt for when I want to ramble about another interest

[grungepoetica]

talos principle go brrrrrr. brain rewiring go brrrrrrr

[ohhgingersnaps]

I'm seeing some frustration over fandom creatives expressing anger or distress over people feeding their work into ChatGPT. I'm not responding to OP directly because I don't want to derail their post (their intent was to provide perspective on how these models actually work, and reduce undue panic, which is all coming from a good place!), but reassurances that the addition of our work will have a negligible impact on the model (which is true at this point) does kind of miss the point? Speaking for myself, my distress is less about the practical ramifications of feeding my fic into ChatGPT, and more about the principle of someone taking my work and deliberately adding it to the dataset.

Like, I fully realize that my work is a drop in the bucket of ChatGPT's several-billion-token training set! It will not make a demonstrable practical difference in the output of the model! That doesn't change the fact that I do not want my work to be part of the set of data that the ChatGPT devs use for training.

According to their FAQ, ChatGPT can and will use user input to train itself. The terms and conditions explicitly state that they save your chats to help train and improve their models. (You can opt-out, but sharing is the default.) So if you're feeding a fic into ChatGPT, unless you've explicitly opted out, you are handing it to the ChatGPT team and giving them permission to use it for training, whether or not that was your intent.

Now, will one fic make a demonstrable difference in the output of the model? No! But as the person who spent a year and a handful of months laboring over my fic, it makes a difference to me whether my fic, specifically, is being used in the dataset. If authors are allowed to have a problem with the ChatGPT devs for scraping millions of fics without permission, they're also allowed to have a problem with folks handing their individual fics over via the chat interface.

I do want to add that if you've done this to a fic, please don't take this as me being upset with you personally! Folks are still learning new information and puzzling out what "good" vs. "bad" use is, from an ethical standpoint. (Heck, my own perspective on this is deeply based on my own subjective feelings!) And we certainly shouldn't act like one person feeding a fic into ChatGPT has the same practical negative impact, on a broad societal scale, as a team using a web crawler to scrape five billion pieces of artwork for Stable Diffusion.

The point is that fundamentally, an ethical dataset should be obtained with the consent of those providing the data. Just because it's normalized for our data to be scraped without consent doesn't make it ethical, and this is why ChatGPT gives users the option to not share data— there is actually a standardized way (robots.txt) for website servers to set policies for how bots/crawlers can interact with them, for exactly this reason— and I think fandom artists and authors are well within their rights to express a desire for opting out to be the socially-respected default within the fandom community.

[lebensmudewing]

Men don't care about the facts

I once met a die hard misogynist who also hated men

He refused to date women and made a lot of efforst to not have any kind of relationship with them. To talk to him I had to wait two weeks since he was doing a vow of silence to not talk to any women.

He told me he left an english academia, because a woman started to talk to him and trying to hang out with him. Of course, I don't talk to him anymore.

He was and as far as I know still is, a genuine MGTOW. He just left women alone and minded his business. But he wasn't a high IQ successful six figures as MGTOW swear all men can become if they stop dating women. He usually drove while drunk, didn't had a career or a real job, lived with mom and dad and had a family completely progressive and contrary to his values. He also used to bet.

His misogyny was rampant, inflammatory and sophisticated. But he also seemed to hate men. He had a huge prejudice against men, he said that they are predatory, inherently selfish and violent.

But there was a major difference, he also believed that men are superior, that men are smarter, more beautiful, with mind and soul. So every bad characteristic had to be forgiven, while women had to be tightly controlled and punished.

And he acted accordingly, when I showed him a clip of a woman being harassed, it was her fault. If the woman rejected the man and the man exploded violently, it was her fault for not rejecting him nicely. If the woman tried to be polite and still molested, it was her fault for not being more clear.

He was aware of the constant damned if you do, damned if you don't rethoric and didn't have a problem with it. It was part of the principles, because women had to be punished and put on their place. Logic and fairness were not a problem for him, in fact, I believe that for him women had to endure the mistreatment since they were inferior.

Nowadays, everytime I see men talking about women online I see that man talking. It's always the same, doesn't matter who say it, with what words, the nuances of it. It all comes from the same place and it's the same game. Logic doesn't matter, facts don't matter, fairness doesn't matter.

I feel frustated everytime I see women online trying to educate men and respond to them. I understand the importance of counteract male bullshit stories, but everything seems to operate from men's frame. It's us responding to them, instead of them trying to convince us.

For example, the idea that men are entitled to fuck around a lot of women and demand a virgin bride. Everyone ask, well if all women have to remain virgin till marriage, with whom those men will have sex? And I can't help but feel that this is a loser move.

Men don't care about the maths, they care about what benefits them. If when young they feel like fucking around and then later they feel like settling and don't find the promised virgin wife, then it's not "my behavior was wrong" or "I have contributed to the problem", is a "women are the problem and society has to fix it for me". They are not thinking long term, they think it what they want now.

It is not a lack of math what makes them think this way, for them the pieces of the puzzle are fitting perfectly. Women have to gatekeep, be submissive, not think in their own desires and try to please them. They have a whole fantasy around being a kind of predator or a seductor who has conquered the virgin innocent women and has corrupted her, making her impure and damaged. They want to spend their lifes doing that and then settle with women who could not be conquered before.

Their whole self steem and validation relies on that. If a woman wants it and seek it, then they are not worth as much, since they don't have to put any effort or force. It's cheap and easy. If a woman has been with others before, then he is below those men.

It's perfectly logical for them, actually. When they become fathers, they still see themselves as part of the puzzle. Men who want to conquer his daughter have to conquer him too.

Of course, this take doesn't apply to all men perfectly, but all of them have a version of this idea. It seems inherent to men. Men who are succesful with women are sexist but benevolent and men who are not are hostile and misogynistic. Men who are good with women are good because they are getting validation from them, not because they are moral deconstructed people with strong feminist values.

They can't think of women as people by default, their view on them is conditioned on how they see themselves and what they have obtained from women. Their narratives and ideas stem from this, they don't respond to any external logic, their internal clock is right everytime of the year and your facts and math can't and won't change that.

It is said that if women would start act differently, men will act accordingly. I see more truth on it, but it won't solve everything. Not only because of the male allies, but because men will still act whitin their frame. If all women start to reject men, an unknown number of men will act from their entitlement and could literally kill us before seeking inside or listening to women about what they actually want. If women start to set the standard high and only reproduce with decent men, a lot of men will be excluded and will protest and sabotage.

Their firmware remains the same, they are superior, they worth more, they are entitled to you, you owe them something. It's not possible to reason a man out of that, so stop trying wasting your time and mental health on it. If they wanted to reach out, they would and they don't.

[mostlysignssomeportents]

Amazon’s financial shell game let it create an “impossible” monopoly

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me in TUCSON (Mar 9-10), then San Francisco (Mar 13), Anaheim, and more!

For the pro-monopoly crowd that absolutely dominated antitrust law from the Carter administration until 2020, Amazon presents a genuinely puzzling paradox: the company's monopoly power was never supposed to emerge, and if it did, it should have crumbled immediately.

Pro-monopoly economists embody Ely Devons's famous aphorism that "If economists wished to study the horse, they wouldn’t go and look at horses. They’d sit in their studies and say to themselves, ‘What would I do if I were a horse?’":

https://pluralistic.net/2022/10/27/economism/#what-would-i-do-if-i-were-a-horse

Rather than using the way the world actually works as their starting point for how to think about it, they build elaborate models out of abstract principles like "rational actors." The resulting mathematical models are so abstractly elegant that it's easy to forget that they're just imaginative exercises, disconnected from reality:

https://pluralistic.net/2023/04/03/all-models-are-wrong/#some-are-useful

These models predicted that it would be impossible for Amazon to attain monopoly power. Even if they became a monopoly – in the sense of dominating sales of various kinds of goods – the company still wouldn't get monopoly power.

For example, if Amazon tried to take over a category by selling goods below cost ("predatory pricing"), then rivals could just wait until the company got tired of losing money and put prices back up, and then those rivals could go back to competing. And if Amazon tried to keep the loss-leader going indefinitely by "cross-subsidizing" the losses with high-margin profits from some other part of its business, rivals could sell those high margin goods at a lower margin, which would lure away Amazon customers and cut the supply lines for the price war it was fighting with its discounted products.

That's what the model predicted, but it's not what happened in the real world. In the real world, Amazon was able use its access to the capital markets to embark on scorched-earth predatory pricing campaigns. When diapers.com refused to sell out to Amazon, the company casually committed $100m to selling diapers below cost. Diapers.com went bust, Amazon bought it for pennies on the dollar and shut it down:

https://www.theverge.com/2019/5/13/18563379/amazon-predatory-pricing-antitrust-law

Investors got the message: don't compete with Amazon. They can remain predatory longer than you can remain solvent.

Now, not everyone shared the antitrust establishment's confidence that Amazon couldn't create a durable monopoly with market power. In 2017, Lina Khan – then a third year law student – published "Amazon's Antitrust Paradox," a landmark paper arguing that Amazon had all the tools it needed to amass monopoly power:

https://www.yalelawjournal.org/note/amazons-antitrust-paradox

Today, Khan is chair of the FTC, and has brought a case against Amazon that builds on some of the theories from that paper. One outcome of that suit is an unprecedented look at Amazon's internal operations. But, as the Institute for Local Self-Reliance's Stacy Mitchell describes in a piece for The Atlantic, key pieces of information have been totally redacted in the court exhibits:

https://www.theatlantic.com/ideas/archive/2024/02/amazon-profits-antitrust-ftc/677580/

The most important missing datum: how much money Amazon makes from each of its lines of business. Amazon's own story is that it basically breaks even on its retail operation, and keeps the whole business afloat with profits from its AWS cloud computing division. This is an important narrative, because if it's true, then Amazon can't be forcing up retail prices, which is the crux of the FTC's case against the company.

Here's what we know for sure about Amazon's retail business. First: merchants can't live without Amazon. The majority of US households have Prime, and 90% of Prime households start their ecommerce searches on Amazon; if they find what they're looking for, they buy it and stop. Thus, merchants who don't sell on Amazon just don't sell. This is called "monopsony power" and it's a lot easier to maintain than monopoly power. For most manufacturers, a 10% overnight drop in sales is a catastrophe, so a retailer that commands even a 10% market-share can extract huge concessions from its suppliers. Amazon's share of most categories of goods is a lot higher than 10%!

What kind of monopsony power does Amazon wield? Well, for one thing, it is able to levy a huge tax on its sellers. Add up all the junk-fees Amazon charges its platform sellers and it comes out to 45-51%:

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

Competitive businesses just don't have 45% margins! No one can afford to kick that much back to Amazon. What is a merchant to do? Sell on Amazon and you lose money on every sale. Don't sell on Amazon and you don't get any business.

The only answer: raise prices on Amazon. After all, Prime customers – the majority of Amazon's retail business – don't shop for competitive prices. If Amazon wants a 45% vig, you can raise your Amazon prices by a third and just about break even.

But Amazon is wise to that: they have a "most favored nation" rule that punishes suppliers who sell goods more cheaply in rival stores, or even on their own site. The punishments vary, from banishing your products to page ten million of search-results to simply kicking you off the platform. With publishers, Amazon reserves the right to lower the prices they set when listing their books, to match the lowest price on the web, and paying publishers less for each sale.

That means that suppliers who sell on Amazon (which is anyone who wants to stay in business) have to dramatically hike their prices on Amazon, and when they do, they also have to hike their prices everywhere else (no wonder Prime customers don't bother to search elsewhere for a better deal!).

Now, Amazon says this is all wrong. That 45-51% vig they claim from business customers is barely enough to break even. The company's profits – they insist – come from selling AWS cloud service. The retail operation is just a public service they provide to us with cross-subsidy from those fat AWS margins.

This is a hell of a claim. Last year, Amazon raked in $130 billion in seller fees. In other words: they booked more revenue from junk fees than Bank of America made through its whole operation. Amazon's junk fees add up to more than all of Meta's revenues:

https://s2.q4cdn.com/299287126/files/doc_financials/2023/q4/AMZN-Q4-2023-Earnings-Release.pdf

Amazon claims that none of this is profit – it's just covering their operating expenses. According to Amazon, its non-AWS units combined have a one percent profit margin.

Now, this is an eye-popping claim indeed. Amazon is a public company, which means that it has to make thorough quarterly and annual financial disclosures breaking down its profit and loss. You'd think that somewhere in those disclosures, we'd find some details.

You'd think so, but you'd be wrong. Amazon's disclosures do not break out profits and losses by segment. SEC rules actually require the company to make these per-segment disclosures:

https://scholarship.law.stjohns.edu/cgi/viewcontent.cgi?article=3524&context=lawreview#:~:text=If%20a%20company%20has%20more,income%20taxes%20and%20extraordinary%20items.

That rule was enacted in 1966, out of concern that companies could use cross-subsidies to fund predatory pricing and other anticompetitive practices. But over the years, the SEC just…stopped enforcing the rule. Companies have "near total managerial discretion" to lump business units together and group their profits and losses in bloated, undifferentiated balance-sheet items:

https://www.ucl.ac.uk/bartlett/public-purpose/publications/2021/dec/crouching-tiger-hidden-dragons

As Mitchell points you, it's not just Amazon that flouts this rule. We don't know how much money Google makes on Youtube, or how much Apple makes from the App Store (Apple told a federal judge that this number doesn't exist). Warren Buffett – with significant interest in hundreds of companies across dozens of markets – only breaks out seven segments of profit-and-loss for Berkshire Hathaway.

Recall that there is one category of data from the FTC's antitrust case against Amazon that has been completely redacted. One guess which category that is! Yup, the profit-and-loss for its retail operation and other lines of business.

These redactions are the judge's fault, but the real fault lies with the SEC. Amazon is a public company. In exchange for access to the capital markets, it owes the public certain disclosures, which are set out in the SEC's rulebook. The SEC lets Amazon – and other gigantic companies – get away with a degree of secrecy that should disqualify it from offering stock to the public. As Mitchell says, SEC chairman Gary Gensler should adopt "new rules that more concretely define what qualifies as a segment and remove the discretion given to executives."

Amazon is the poster-child for monopoly run amok. As Yanis Varoufakis writes in Technofeudalism, Amazon has actually become a post-capitalist enterprise. Amazon doesn't make profits (money derived from selling goods); it makes rents (money charged to people who are seeking to make a profit):

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Profits are the defining characteristic of a capitalist economy; rents are the defining characteristic of feudalism. Amazon looks like a bazaar where thousands of merchants offer goods for sale to the public, but look harder and you discover that all those stallholders are totally controlled by Amazon. Amazon decides what goods they can sell, how much they cost, and whether a customer ever sees them. And then Amazon takes $0.45-51 out of every dollar. Amazon's "marketplace" isn't like a flea market, it's more like the interconnected shops on Disneyland's Main Street, USA: the sign over the door might say "20th Century Music Company" or "Emporium," but they're all just one store, run by one company.

And because Amazon has so much control over its sellers, it is able to exercise power over its buyers. Amazon's search results push down the best deals on the platform and promote results from more expensive, lower-quality items whose sellers have paid a fortune for an "ad" (not really an ad, but rather the top spot in search listings):

https://pluralistic.net/2023/11/29/aethelred-the-unready/#not-one-penny-for-tribute

This is "Amazon's pricing paradox." Amazon can claim that it offers low-priced, high-quality goods on the platform, but it makes $38b/year pushing those good deals way, way down in its search results. The top result for your Amazon search averages 29% more expensive than the best deal Amazon offers. Buy something from those first four spots and you'll pay a 25% premium. On average, you need to pick the seventeenth item on the search results page to get the best deal:

https://scholarship.law.bu.edu/faculty_scholarship/3645/

For 40 years, pro-monopoly economists claimed that it would be impossible for Amazon to attain monopoly power over buyers and sellers. Today, Amazon exercises that power so thoroughly that its junk-fee revenues alone exceed the total revenues of Bank of America. Amazon's story – that these fees barely stretch to covering its costs – assumes a nearly inconceivable level of credulity in its audience. Regrettably – for the human race – there is a cohort of senior, highly respected economists who possess this degree of credulity and more.

Of course, there's an easy way to settle the argument: Amazon could just comply with SEC regs and break out its P&L for its e-commerce operation. I assure you, they're not hiding this data because they think you'll be pleasantly surprised when they do and they don't want to spoil the moment.

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

https://pluralistic.net/2024/03/01/managerial-discretion/#junk-fees

Image: Doc Searls (modified) https://www.flickr.com/photos/docsearls/4863121221/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[thedivineden]

Purrfect

pairing: Shota Aizawa x Hybrid!Cat

genre: Fluff x Smut

words: 3k+

notes: coworkers, hybrid cat, car sex, choking, blood, biting, breeding, exhibitionism, voyeurism

Hybrids are a normal sight in U.A, there is nothing in particular that sets any of them apart. Except you, a new hire from overseas. The day you arrived, Hizashi was forcing Shota to the library, he knew for a fact once Shoto laid his eyes on you he’d be hooked.

Boy was he right.

You were a vision of perfection from head to toe. You were sitting with your legs crossed with your tail flicking behind you. Your excitement made his hands sweat and his ears hot. Your jewelry intensifying your already obvious beauty. You were sitting with your legs crossed with your tail flicking behind you.

He especially loved your black pointed ears adorned with silver and gold. When you stood up to greet the two men, Shota could hardly keep from reaching out to stroke your ears.

Hizashi was being his usual bubbly self, asking you questions about your quirk and what you used to do before coming a teacher at U.A. but Shoto couldn’t even muster up the courage to say hello. He hid behind his scarf trying to contain his face from turning red. “SHOTA MY MAN! WHY ARE YOU SO QUIET?!” Hizashi had knew what effect this would have on his poor friend and he was loving every minute of it.

“Hello, Welcome to U.A. hopefully you can be a competent addition to our team” Shota has regretted that statement since that day he’s met you. He noticed the grimace spread across your face morph into a half smile. Sweetly you responded “Nice to meet you gentlemen but I should really get back to work.” Making your way through the two men, especially Shota couldn’t help but watch you tail swish behind you accentuating your curvy figure.

After that day Shota didn’t see you for a week he would find himself walking past your office everyday. It wasn’t until his interest was subsiding did he see you in his classroom — his whole body felt like it was on fire, his eyes scanned your whole body starting at his favorite part. Your ears. The way they flicked while you read the roaster for the class calling his students out one by one made the front of his pants tight.

The rest of your body is just as perfect from your silky brown skin to your coily hair framing your adorable round face. Everything about you is intoxicating and Shota wants a taste. He finally musters to walk in the class to be greeted by the students but most importantly you. “Good Morning Mr.Aizawa, Principle Nezu assigned me to the wrong class. I ended up being placed with Mr. Hiro but I couldn’t understand a word he was saying.” You ended your statement with a small giggle which made Shota fall for you harder. Why did you have to be so damn cute.

Shota didn’t realize how much silenced until your friendly demeanor turned into a reserved one. Quickly getting himself together he laughs sharply at your response causing you to jump, some of the students to puzzled looks and some to giggle. You laugh nervously stepping out of his way allowing him to walk past you and sit at his desk. For the remainder of the day you were practically glued by his side, your proximity made him squirm. He couldn’t even focus on his students because whenever he heard you laugh or instruct one of them his eyes were glued on you.

However, once the students went to lunch you brought a chair right next to his desk and proceeded to bring out two bento boxes. “I made too much this morning and brought two. “Don’t mind the dog shaped rice ball I thought I was going to be with Mr.Hiro today” opening the bento box Shota couldn’t help but laugh at the awkwardly shaped rice balls. “Heyyy! What’s funny? I worked really hard on those!”

He placed a hand on your thigh giving it a gentle squeeze attempting to reassure you.

“I assure you these rice balls are perfect just like you.” He took note of the way your ears flattened and your tail wrap around you. Removing his hand he grabs the chopsticks inside of the box picking up the rice ball giving you a soft smile. During the entire lunch hour you and Shota sat in silence except for the praises he would give you on the various items you packed in the lunch box.

The next few weeks went the same, you would bring a chair over to his desk and give him a bento box full of food. Except, you two started talking more and the more Shota learned about you, the more he wished you were his. He started to notice the way your ears would flick and your tail would swish in his presence but remain content with everyone else. He makes you nervous and he plans to use that to his advantage.

“Miss? Can I bother you for a moment” there’s no way in the world that Shota could bother you and you were trying your hardest to make sure you didn’t tell him that. “Yes Mr. Aizawa? What can I assist you with?” He didn’t say another word before taking out a medium velvet box and opening it to reveal a necklace adorned diamonds along the collar with a diamond bell shining on the end.

Your heart tightened seeing the gorgeous item “It’s beautiful, Whoever this is for is very lucky!” your heart twinges. You thought over the past couple of weeks you and him were getting close. He could see your ears hang low and your tail wrap around you. “It’s for you.” he said this without looking you in the eye grabbing the chain. Shota stand up and comes close to you, unlatching the clasp and instructs you to turn around.

Obeying his command you feel him lean over you to wrap the piece of jewelry around your neck clasping it. His smell is overpowering and his proximity makes you dizzy. His hands move from the back of your neck caressing your shoulders gently. Finally making their way to your arms placing you in a firm grip. A small yelp emerges from you which pleases Shota — he brings you closer now wrapping his toned arms around you. His breath on your neck flusters you and makes your skin hot.

Closing your eyes in anticipation you ears start to flick, not only at Shota and the compromising situation you’re in but you can now also hear someone coming down the hall. Frantic you whisper to him “Shota! Shota! I think someone is coming!” Attempting to wiggle out his grasp only for him to grip you harder. He plants soft kisses where the jewelry is shining on your neck — the adrenaline and his kisses are making you weak and lightheaded.

“Try to relax darling” the sultry tone in is voice sent shivers up up your body making your tail fluff up. His teeth graze the side of your neck making your eyes close in anticipation. You can feel his lips change shape and his tongue trail up and down your neck. Nibbling each time attempting to savor this moment. Once he heard the bell Shota put a considerable distance between you two.

Not even a minute later his star student is opening the door instructing everyone to sit down. It felt like eyes were on you as you tried to defluff your tail. The remainder of the day you kept your distance from Shota and this pissed him off. You excused yourself to the bathroom ten minutes after the kids got back from lunch and haven’t been seen since.

Shota even sent a handful of his students to retrieve you from the restroom but each one came back with the same results. “She’s not in there Mr.Aizawa” he was beyond confused. Shota kept an eye out for you all day only when the day ended is when he saw you. There you were standing in front of the window of the teachers lounge, ears down, twisting and turning the bell adorned on your neck.

The sunset reflecting off of you made you look angelic. Shota couldn’t help but admire the slight crease that appears on your forehead every time the bell jingles. He adored looking at you and even when you were doing nothing, you found a way to be breathtaking.

You can feel a hand on the small of your back causing you to turn around and once again you’re in a enclosed space with your coworker. His other hand caresses the side of your face, using his fingers to tilt your head up. “I apologize. I never want to be the cause of your agitation.”

Staring into each other eyes makes your furrow increase and your cheeks burn. It felt like you were under his spell as his tired eyes bore into yours. He makes you shrink while also making you feel seen. “ I accept your apology but don’t you think this is a little inappropriate?” without batting an eye he replied with a firm no.

“Shota I’m not entirely sure what you want from me.” He didn’t say anything just held you in place, slowly closing the distance between you two. Carelessly you let him do it closing your eyes, your mind was racing you could only focus on the way he pulled you in. “Will you let me take you out?”

Opening your eyes you could see a slight tint on his cheeks. Surprisingly, enough you weren’t the only one that is nervous. “I would be delighted to go out with you Shota.” Leaning over slight he places a kiss on your cheek finally giving you your space. “We’re leaving together Friday. Don’t worry about going home, you look good in everything.”

He left without another word leaving you alone with your thoughts again. For the remainder of the week you two continued on as normal. As normal as two coworkers who spend their lunch tucked away in a classroom playing footsies and eating the lunch you each prepared for one another.

Even due to unforeseen circumstances you two managed to keep your distance until Friday. You made yourself scarce that day, attending meetings with principal and going around to assist other instructors. It wasn’t until the final bell rang and the halls were empty is when Shota finally laid his eyes on you.

There you were standing next to that window —instead of seeing agitation across your face, he could see anxiety and excitement bubbling up inside you. Shota didn’t even think about changing but wish he had once he laid his eyes on you. His eyes trailing up you body starting at the slender black heels you have on.

When eyeing your legs he couldn’t help but notice how soft and supple they look, he fantasizes about laying on them, massaging, and being buried in between them. Your pencil black skirt stops at your mid thigh which you meticulously paired with a silky dark green blouse. You were holding your tail delicately running your fingers through it. Everything about you made his body hot and his dick twitch.

What he wouldn’t give to run his fingers your tail and knead your ears until you purr for him. Once he stepped into the lounge your ears perk up making your head his way. “Good evening Shota, sorry I wasn’t there to exchange lunch with you!”

“It’s fine kitten! Let’s go, we’re going to be late for our showing” putting a hand on the small of you back he leads you all the way to his car door. For weeks you gushed to Shota about your love for black and white films and drive-in movies. He distinctly remembered the films you talked about the most, how you always wanted have a date there but never had the times because of school.

That’s when he realized what he loved about you the most. Watching you talk about something you love is like watching the sun come up. You were so excited telling him about the variety of films they had and how you’d always end up knowing how it ends. The entire time he observed you and your mannerism — the way your pupils expand and your ears flick, the sight of your tail feverishly swinging behind you. That’s why he wanted to do this for you, to see you like that because of him, to see how much he yearns for you.

The car ride there felt like you two were in the classroom again. Instead of footsies, Shota kept his hand on your thigh the entire ride and always giving in a squeeze whenever you two stopped. It wasn’t until you two arrived at Musutafu Park. Shota found a secluded corner near the screen so you be unseen by others and still be able to see the movie. “Let’s move to the backseat.”

Being the practical man he is, Shota opens his door to get out until he felt leg bump into his arm. Turning to look at you he gets a eyeful of your butt and a smack to the face with your tail as you climb in the backseat. He didn’t hesitate to close his door back and climb to the back with you. Shota made sure to prepare everything almost a replication of how you described it.

He had place blockers in the back windows so no one can see you two, snacks for you and him, and blankets draping the backseat. You didn’t say anything at first just silently admiring his effort and that’s when you see it. Tucked into the backs of candy is a flyer for a black and white movie showing ‘The Fated Lovers’. Scooting close to him you while stating “This is so sweet Shota! It’s perfect and they’re playing my favorite movie!”

He wouldn’t tell you that he paid the teen at the ticket booth to play your favorite. Instinctively he wraps his arm around you closing the distance between you two. Throughout the movie you two shared laughs towards the film and as usual Shota is asking questions about you. He wants to know everything about you down to the last minuscule detail.

You two got so lost in each other that you didn’t realize what scene is playing until you hear the sound of a woman moan. Turning your attention to the screen watching the escapade unfold. You watch as the two people fight for dominance with their mouths while ripping off each others clothes.

Shota is watching you like a hawk — he’s watching the way your ears flick and go low, he notices how your rapid tail movement slows down, and lastly he could feel how hot your body is. Your body is so reactive and it’s making it harder not to bend you over the console and fuck you.

He didn’t want to impose on you more than he already has. The feeling of your warm hand travel up his thigh shocks Shota in place. You stop short at the base of his cock squeezing the most inner part of his thigh. He jumps on you after this — entrapping you under him you can feel his hand roaming all over, he places a kiss on your supple lips before lightly sucking the bottoms of your lip.

Shota wants your consent verbally and non verbally. He wants to hear you give yourself to him while your body shows how much you want him. His kisses makes you feel juvenile, Shota is gentle but passionate. You two fight for dominance with your tongues — sucking, biting, and licking one another in between kisses.

Shota sees you’re ears rapidly flicking and he took the opportunity to knead them. You purr under him immediately making the bulge in his pants stiffen. Removing his lips and hands from you — he sits up looking straight at you he says, “Am I allowed to have you?” and without another word you sit up with him taking off your shirt and skirt.

“I want to hear you say it doll, say that I can have you”

You’ve never felt so exposed and seen at the same time. He stares at you with low eyes, admiring every part of you. “You can have me Shota, all of me..” He gently laid you back hovering over you once more. His hands knead at your sides as he leans towards your neck. Kissing and sucking Shota leaves a trail of saliva down your neck to your cushy v-line.

He didn’t waste anytime putting his hands under your knees pushing your legs out and forward to give him a full view of your soaking cunt. “It’s beautiful love.” He didn’t hesitate to bring his face close and drag his tongue through your folds. Between his stubble and his eagerness to devour you everything about him makes your core throb with excitement.

His tongue is precise and slow, everything he does makes your clit throb. You can feel the rough pads of his fingers touch your lip. His eyes are looking up at you like he’s commanding you with his gaze. Opening your mouth his rough pads slide past your lips massaging his finger with your saliva. Removing his slick coated fingers from your mouth, Shota tease your hole before slowly sliding one finger inside then another.

Your hips buck and tail fluffs at the insertion — Shota is watching your body closely, sucking and fingering your cunt just the way you like. You didn’t know what to focus on. His fingers made your cunt tighten and your heat build up. “Shota, please- go faster” he hummed in response gradually picking up pace. His tongue became more calculated in its movement and his fingers curled and pumped feverishly.

Your tail snapped around his neck pushing his face closer. The soft feeling of your fur on his neck made him moan into your heat causing you to release on his face. You jump up pushing Shota back — he couldn’t get a word in when hurriedly release his cock from his pants freeing his erection. You stare in awe at his long shaft, taking note of the significant girth he has. You can hear him clear his throat looking up at him you see the blush across his face “Did anyone ever tell you it’s rude to stare?

“I didn’t count you as the shy type Mr.Aizawa, Do I make you nervous?” You smile make his dick jump, hell everything about you makes his mind, heart, and dick throb. He doesn’t even realize he’s saying something before “You’re perfect” falls put of his mouth. Your eyes light up and before he can say anything else, your mouth is on his tip, swirling your tongue around the angry mushroom. Pretty moans from the man bless your ears and making your cunt throb.

He could barely keep his eyes open as you envelope your tongue around his shaft. His voice is low and whiny “You’re-you’re doing so great” — you hum in response the vibrations makes Shota buck his hips up. For a moment you choke taking everything in at once. “I’m sorry, I’m sorry! I couldn’t-“ you hum in response refusing to come up for air.

Your speed picks up, you can feel his legs shake and saliva coat your chin. He could see your hand wipe your chin and grasp his scrotum. The sensation of you deepthroating and massaging his testis is overwhelming. You hear him whimper, plea, and moan out for you. “Please kitten~ don’t stop.”

You can feel his member throb before he releases in your mouth. You don’t hesitate to swallow his nut coming face to face with him “Want to know how you taste?” Nodding his head up and down you use your tail to bring him close kissing him passionately. “I like the way you taste Shota, can I taste more of you” your eyes are full of lust he nods in agreement.

You climb on top of him coming close to his collar. He feels your tongue slide along his collarbone and up his neck. Opening your mouth you bite the side of his neck making sure to break the top layer of skin. Shota winces at the pain feeling his body swelter. “You taste so sweet. Let me make you feel good” you line your cunt to his tip and slowly descend on dick. You were teasing him now, you would start with his tip, and slowly slid to the middle of his shaft and bounce.

Shota could only take so much, your cunt was warm and soaking — he wanted nothing more than to slam into you and fuck you until his dick is numb. This is true bliss. All it took was for you to slam down fully taking him in for Shota to launch forward.

He wraps his arms around you to keep you in place, he looks up at you and smiles. “You’re being naughty now. Let me take over” you can feel his hips move achingly slow, he wants to savor this moment with you. “Shota~ faster..please” he wants to remember the feeling of you, how you smell, how you cunt feels convulsing around his member.

When picking up the pace he can feel you tightening around him. Wrapping your legs around him you’re able to match his rhythm. Your forehead meet his then your lips. Only the muffled sounds of moans and whimpers can be heard from you both. You two are ravaging each other and the smell of sex heavy in the air. He can feel your long nails dig into his back and your legs tighten around him.

“Be a good kitten for me, don’t bit me too hard” you can feel his rough hands grip your tail and pull it. You bite his bottom lip in response squirting on his lap. This doesn’t slow his pace, Shota continues to bully your cunt, hitting that sweet spot over, and over, and over. “Shotaaa~ I can’t- I can’t-“ letting go of your tail he places his hand on your neck holding you in place while he fucks you. The sound of the bell on your neck pushes him further.

His eyes never leave yours, you can see his resolve crumbling and his release approaching. Your moans were stifled but loud. He groans as he releases inside of you still keeping you close and your neck in place. “I’m sorry I didn’t mean to be rough with you” he lets go of you noticing a large smile appear on your face. “I didn’t think you had it in you eraser head”

Even as you were getting dressed he is mesmerized. He could watch you all night and never get tired of you. “Aw we missed the movie.” even your pout is cute. He chuckles at your statement, putting his hand on your cheek he leans in and kisses you passionately. “I can bribe the kid at the front to play it again, just for us.” He didn’t even have to wait for your reply because your rapid tail movement said it all.

“Yes please!”

[blueskittlesart]

i kinda really wanna see a big ol vent/rant from you about genshin now lol. I would read an essay

I'm not sure you understand the insanity you just unlocked in me but ok

genshin impact is probably the clearest modern example i can think of of capitalism absolutely eviscerating a creative project. For context, I started playing genshin in 2021, just after the 1.4 update. it was venti's first rerun/the first windblume festival if that means something to you. and I really genuinely thought that it might have had something special. It was a gacha that didn't FEEL like a gacha, which was a huge feat to me.

it began with a very simple story pitch--you, the protagonist, are one of a set of twin siblings traveling through space. you come upon a seemingly unassuming world and your attempts to continue your journey are suddenly stopped by a mysterious, all-powerful figure. you are separated from your sibling and wake up alone on the shores of this planet you were attempting to leave together. throughout that opening cutscene and scattered through the world and your character's dialog there are implications that all is not as it seems, that your character is something unique to this world and that they possess powers and abilities that you've yet to unlock. You are told that you must travel the seven nations of this world in order to find your sibling, which is great--a simple, zelda-like objective which drives the player to explore the secondary narratives of the world. none of this is bad on the surface. in fact i'd argue it's pretty good. there's a ton that can be done with these story bones. even at launch the map and combat system were full of potential as well.

Note: for ease of reading, i'm going to label the different storylines of the game now. A-plot refers to the central objective of the entire game; the find-your-sibling plot and everything that encompasses, including the abyss order/dain, the heavenly principles, the fake sky, etc. B-plot refers to the secondary objective present in each new nation, usually meeting the archon and/or solving a problem for the archon. (A and B-plots will occasionally intersect.) C-plot refers to any story, location, or background information which remains in permanent gameplay but which isn't directly related to the A or B-plots, such as dragonspine, the chasm, enkanomiya, etc. D-plot refers to any story, location, or background information which is confined to limited-time events and does NOT remain in permanent gameplay, regardless of its connection or lack thereof to the A and B-plots, such as the golden apple archipelago, the infamous albedo/dragonspine event, the infamous kaeya/diluc event, etc. Lore as i will refer to it in this post refers to any information which is present in permanent gameplay but which is not directly told to the player within the A or B-plot story quests and objectives, including books, weapon, artifact, and item descriptions, world quest dialog and puzzles, etc.

So now we're in mid-2021, there are two nations' worth of B-plot story quests released in full, and we've run into our first problem, which is that the game isn't finished yet. I don't have any actual information about how the game was/is written, but based on what i've observed over the past few years, my best guess is that the A-plot has been fully written since the beginning, at least in some form. there were very early-game events and information pertaining to the A-plot that would take years to see any actual payoff in the main story quests (kaeya's origin story, the 1.3 scaramouche fake-sky drop, the flowers in lumine's hair, etc.) but those kinds of A-plot story easter eggs very quickly dropped off when the game absolutely EXPLODED during the pandemic.

this sudden burst in popularity was the true beginning of the end for genshin, i think, because suddenly they had a HUGE fanbase that desperately wanted more content faster than they could pump out new A-plot or even B-plot story quests. one of the most pervasive complaints about the game when I began playing in 2021 was that there was nothing to do between story quests. update 1.4 (which was the update I started playing at) was important in that it was the first time since genshin's release over a year before that players recieved any new A-plot, in the form of the archon quest We Will Be Reunited, also known as the quest with the most fucking misleading name of all time. you'll never guess what doesn't fucking happen during this quest. anyways. we were a year into gameplay, two nations out of seven released and a third on the not-so-distant horizon, and it seemed obvious that players were owed some sort of A-plot payoff. and that's very much what WWBR was advertised as, from the quest's name to the banners full of art of the twins staring wistfully at each other. The thing is, what i'm describing as A-plot payoff was actually. not really A-plot payoff at all. WWBR was the reveal that the protagonist's sibling was working with the abyss order, and that the abyss order was connected somehow to Khaenri'ah, which at this point casual players would only have known about from THAT QUEST and MAYBE kaeya's character descriptions if they were diligent enough to get him to friendship level 10 (which, btw there is no indication that you should do to get important context about the story of the game, because kaeya is a 4-star starter character and the only character in the entire game that actually has genuinely important story hidden in his character descriptions.) So what I'm calling A-plot payoff felt at the time a lot less like A-plot payoff than it did like an abyss sibling cameo in an attempt to satiate everyone who was begging for more story. We actually gained almost net 0 information. this is very quickly going to become a pattern.

As I've already alluded to, the motives behind this writing decision are transparently obvious. Genshin is a free gacha game which relies on a consistently active and engaged userbase to make its money. With fans getting restless about the lack of engaging story at the time and a new, very ambitious B-plot quest gearing up for release that would require major support from that fan base in order to remain profitable, the writers were backed into a corner. they HAD to throw the fans some sort of bone in order to keep them engaged with the A-plot, since it was originally pitched as the driving force for the story as a whole, but they were also clearly not at a stage of the writing process where it was prudent to give the player any REAL information about the A-plot. This is how we ended up with a 10-second abyss sibling cameo and an offhanded mention of Khaenri'ah, a nation whose plot-relevance was at that point still basically unknown.

The real problem is, WWBR worked. at least, it worked as intended at the time. It satiated story-focused fans in the interlude between B-plot nations, as hyv was gearing up to release inazuma, which required a lot of time in preparation. WWBR was followed almost immediately by the C-plot golden apple archipelago in 1.6, widely regarded as one of the better events of version 1. GAA was memorable especially because it was the first event that involved an entirely new, limited-time-only map, meaning the event had much more longevity than the standard events players were used to. This is, imo, most likely the update combination that led to the standard formula which hyv uses for its quests and events nowadays. the back-to-back release of WWBR and GAA satisfied both fans who wanted A-plot story AND silenced criticisms about the game lacking endgame playability, which at the time must have seemed like a goldmine to writers desperate for a solution to their content-to-fanbase ratio problem.

From here, genshin started following a standard method of release for their next three nations--inazuma, sumeru, and fontaine. the formula generally went as follows: one major version update (usually version x.0) containing a major map update which included all B-plot relevant locations in the new nation, and the first chapter of the B-plot story quest relevant to that nation. this would then be followed by 2-3 version updates which would each contain the next chapter in the nation's B-plot story quest, sequentially. After the nation's B-plot quest ended, during the downtime in which the next nation's story and map would be finalized, subsequent updates would be largely C-plot, and would contain minor expansions of the map to increase endgame playability via exploration and world quests. This is how we ended up with updates like the chasm, the several extra islands in inazuma, and the quite frankly ridiculously large sumeru map, as well as the offloaded maps like enkanomiya and the sea of bygone eras. with the possible exception of the chasm, none of these areas are A OR B-plot relevant. hyv has realized that artificially inflating the map makes their game technically more engaging during the downtime between nations. However, this comes at a price. While the scenery and set design of the game remains consistently beautiful, the actual, mechanical gameplay that populates that scenery very quickly became mind-numbingly boring if not borderline unplayable. While the 1.0 questlines were not perfect, there was at least an emphasis on the player actually DOING things. 1.0 B-plot quests would have you going to mini-dungeon temples and completing challenges which would acclimate you to the combat system while also serving narrative purpose. There were quests that required you to navigate open-world dungeons. Because your characters were lower-level, combat challenges that arose during these quests were CHALLENGES, rather than two-second buttonmashing segments. By the time we get to sumeru, though, both B-plot AND C-plot quests have become little more than moving your character from location to location and tapping through (usually unvoiced) dialog. there's no GAMEPLAY in the quests anymore, because gameplay isn't what makes money. What DOES make money is giving players 300 hidden chests to find in an open-world map segment, each of which gives them 1/80th of a gacha pull. And so the story suffers and the map gets bigger.

Along with the map expansions, downtime between nations usually also nets us one A-plot quest, usually involving the character dainslief, who was the driver of the initial WWBR quest. This is the second half of hyv's magical formula for keeping fans happy between major releases. the A-plot quests will, as a general rule, give players either very little new information or no new information at all, but will dress up the delivery in such a way that it ALMOST feels as though the protagonist has moved forward somehow. the most recent example of this writing style, the 4.7 quest bedtime story, amounts to about an hour and a half of gameplay and, while it DOES contain a segment in which the protagonist finally actually has a conversation with their sibling, that conversation literally begins with the line "I have so many questions, but for some reason I don't want to ask them right now," ensuring that the sibling will not actually be required to give away any plot-relevant information whatsoever, and the quest ends with the protagonist FORGETTING THAT THE CONVERSATION EVER HAPPENED IN THE FIRST PLACE.

As I think I mentioned before, the cardinal problem of genshin impact's writing is that fans want answers faster than the writers are prepared to give them. I don't doubt that there's a game bible or relevant equivalent somewhere within hyv which contains the explanations we are currently lacking in regards to the A-plot. the game is consistent enough in its storytelling for me to believe that this isn't all just being made up as we go along. But I'm also certain that a lot of the late-game A and B-plot that is planned (especially if the Khaenri'ah is truly planned to be the 8th nation of the game) hinges on the player knowing very little about the A-plot. this would be fine if genshin was a standard single-release video game that players could work through at their own pace, but it isn't. it's unfinished, and each nation in the game releases months to years after the last, leaving the writers to scramble to fill in the gameplay gaps and players struggling to remember plot-relevant information when it's brought up literal years after they last heard it mentioned. Not only does the time between updates leave players frustrated about the lack of A-plot, it makes the A-plot harder to understand when it is brought up, because the writers are required to throw in so much dense C and D-plot just to keep engagement high enough to make the game profitable in its downtime. we joke about the insane convolution of genshin's lore, but that is first and foremost a byproduct of its financial model. the game requires engaement to be profitable, and adding lore for players to look into drives up engagement. The fact that having so much story with so little plot relevance muddies the waters and makes the A and B-plot stories considerably harder to understand doesn't matter as long as money is being made.

I want to take a quick detour here to talk about the release of sumeru specifically, because this is when I really began to clock the fact that genshin was declining. on paper, racial sensitivity issues aside (Not that they're not important, but i'm doing this deep dive from a storytelling and game design point of view, nothing else. that's a whole can of worms i don't have time to get into here) sumeru was a really promising addition to the game. The new B-plot quest which was set to drop in 3.0 was highly anticipated for several reasons. Two fan-favorite characters (kaeya and scaramouche) were expected to play major roles, because of earlier C and B-plot quests, and much of the nation's scenery that was teased in trailers and promotional content appeared to tie into the A-plot. the most exciting draw about sumeru and version 3.0, though, was the major update to the combat system.

Arguably genshin impact's most interesting feature upon release was its combat system. The map was basically a botw clone at that point, and the story quests, while decently engaging, were rough around the edges to say the least. What genshin DID have going for it was a unique real-time combat system that rewarded strategy and quick thinking.

Genshin's combat system is elemental, and on release there were 6 elemental affiliations: anemo (wind), cryo (ice), pyro (fire), hydro (water), geo (rock), and electro (electricity.) in a sort of pokemon-like system, certain elements were weak to other ones, but more importantly, certain combinations of elements could drastically boost combat stats. Players got to construct four-slot teams of characters, each with an elemental affiliation and certain "skills" which would match their element, and you were encouraged to use the interactions of these elements to build teams. very quickly, a huge community formed dedicated to optimizing teams and tiering characters. People would even make a game out of building teams specifically to do high-level damage with "bad" characters or characters who weren't designed to be damage drivers (my 100k jean burst was an incredible moment fr.) this was, of course, also a picture-perfect driver for the gacha aspect of the game, which was how players obtained new characters.

Pre-3.0, combat was... well i won't say it was balanced, but there was no elemental reaction that had any MAJOR advantage over the others. when you actually ran the numbers, i believe vaporize was the best reaction in terms of damage output, with the best team being raiden national with kazuha for EM buffs. but a well-built freeze or melt team could do similar numbers, or even better numbers depending on your artifact rolls. (ayaka permafreeze you will always be my #1.) Despite a steady stream of new characters with each update, characters from the earliest version of the game like xingqiu and xiangling were still topping the charts in terms of usefulness and versatility in teambuilding. However, as early as 1.0, players had been teased that a major update to the combat system was planned. There was a seventh element, dendro (plants) which pre-3.0 only existed as an elemental affiliation for menial enemies. there were no playable dendro characters, and the only elemental reaction that existed relating to it was very low-level and not particularly useful in combat.

Originally, dendro was projected to be added to the combat system somewhere in version 2, but its release was delayed substantially, meaning it came out along with its affiliated nation, sumeru. And as soon as it came out, it basically broke the combat system. I assume that the scaling they ended up going with may have been out of fear that players would be hesitant to integrate a new element into their pre-established team builds, and thus they may have been worried about sales on their dendro character banners, and i assume that the fact that 3 elements are required to get the highest-level reaction was an attempt to make the meta more balanced in the face of that scaling, but, well... it didn't work. At this point, the genshin impact combat meta is basically "if you're not using hyperbloom what the fuck are you doing." there's basically no reaction in the game that comes close to it in terms of both damage and ease of use. you are not going to beat a hyperbloom team with anything other than a better-built hyperbloom team. combat is now very heavily skewed in the direction of dendro, meaning that if you DON'T want to use a dendro team, you're going to be doing significantly lower numbers. And since enemies are added with each update, post-3.0 combat becomes difficult and annoying if you don't have a hyperbloom team on-hand.

The major gripe i have with dendro isn't even the scaling, though. I mentioned offhand earlier that the 1.0 B-plot questline had a section which taught you the basics of the combat system via mini-dungeons. These mini-dungeons, of course, taught you the version of the system that existed pre-3.0, so there's no tutorial for dendro reactions. Rather than integrating the tutorial into the story and world like they did in their early quests, upon playing 3.0 for the first time players were given a popup that explained, very wordily, how dendro reactions worked. there was no opportunity to test these reactions in an environment without consequences--if you wanted to try them you'd have to remember the relevant information, build yourself a team, find an enemy to try them on, and just hope you got it right. This lack of integration is something i began to notice more and more with genshin as it progressed, especially in sumeru. where in mondstadt and liyue open-world puzzles would be explained to you by an npc or via environmental context clues, in sumeru you'd be stopped while exploring every two seconds by a popup explaining some puzzle or another which, of course, you wouldn't read, because you didn't want to do the puzzle right that minute anyway, and then by the time you DID want to do that puzzle you'd have no in-game way of figuring out how to do it. The puzzle popups may seem like a small thing, but it's one of the clearest examples in the game to me of the fact that the player experience is so clearly not being prioritized here. the game doesn't even TRY to be immersive anymore. they have no qualms about pulling you out of the story to read a paragraph about how the puzzle works. they don't care how your character, in-universe, is supposed to have acquired that information. they don't care why your character, in-universe, is doing the puzzle in the first place. because they know the reason YOU are doing the puzzle, which is to unlock a hidden chest that gives you 1/80th of a gacha pull.

That was not "a quick detour" was it lmfao. ok anyways. back to the story. Now i want to talk about D-plot, meaning limited event stories, and lore as i defined it earlier, meaning contextual details not present in quests or playable story. This is where i think genshin's story becomes completely inaccessible.

Already, we've covered the fact that in order to consume the very basic story, players have to be willing to wait years between A and B-plot quest releases, punctuated by irrelevant map expansions and interlude quests. I mentioned before that genshin's incompleteness is one of the major problems of its story. the fact that players have to wait years, remembering plot-relevant information that they have no way of knowing will even BE plot-relevant, for the payoff of these narratives is frustrating at best and actively malicious at worst. But in theory, there should be an obvious way to circumvent this. One could just wait until the game IS completely finished to play the whole thing. Sort of like buying a game in early access but waiting until it's actually finished to play it all the way through. that's theoretically possible. but, as i have been hammering home this whole time, genshin is a free game, and therefore genshin relies entirely on a consistently engaging fanbase in order to remain profitable. if genshin does not have a base of players who are willing to log in every day, or at the very least once every update, the game's financial model collapses on itself. therefore, genshin puts on limited-time events. this is a standard in gacha games, as a way to keep the fans consistently engaging. What is not standard, however, is the way that genshin uses these events as vessels for its story. about 19 out of 20 limited events in genshin impact will be useless menial bullshit with no effect on the story or really even the player aside from maybe making you fucking angry. 1 out of those 20, though, will be innocuously named, with nothing in the banner or event description to indicate that it's special in any way, but it will contain serious A or B-plot relevant information that exists nowhere else in the game. My personal favorite example is the infamous 1.3 scaramouche appearance, in which he showed up, told the protagonist that the sky was fake, and then immediately fucked off again. Scaramouche did not show up again until at least 2.0, and the fake sky wasn't so much as MENTIONED again until 3.2, almost TWO YEARS LATER. but there are others, such as the (almost equally infamous) albedo doppelganger event in which a major character's loyalties are called into question, or the event where major biographical information is revealed about kaeya, the only playable character with major known connections to the A-plot and Khaenri'ah. With all of these events, once the event period ends, the information contained within them vanishes from the game completely. there's no way to replay old events that you've missed, even sans rewards, so if you miss a plot-relevant event the ONLY way to catch up on that story is through word of mouth. again, this is a transparent way to keep genshin's userbase engaged during downtime between B-plot quests; if you don't log in and play every event, how will you know if you've missed something important? You might not be able to fully understand the future story if you miss out on the D-plot now!

The D-plot problem is something that I think could, in theory, be circumvented by dedicated record-keeping. if the wiki had anything resembling an easily accessible event database that marked story-relevant events and contained summaries or gameplay videos, at the very least you wouldn't have to fear being completely lost on the off chance that a random throwaway line in an event from fucking 1.3 becomes plot-relevant. but hyv obviously doesn't want that, because it undermines their financial model, and the sheer number of events and the amount of rerunning of irrelevant events they do makes the task of recording and categorizing them all daunting if not impossible.

Then, of course, there's lore. this is arguably what genshin is infamous for in certain circles of the internet. You know that unraveled video where bdg reads every book in skyrim? if you tried to do that with genshin the video would probably be about 10 hours long. and it's not just books; genshin hides (potentially) plot-relevant information in weapon and artifact descriptions, in random hidden world quests, in character bios... the list goes on. and 9 times out of 10, the information is essentially written in code. Plot-relevant characters will have multiple names, or the relevant information will refer to them as vaguely as possible, presumably to further the "mystery" and encourage theorizing among fans. but the sheer amount of information like this that exists within the game makes it all but impossible to determine what is plot-relevant and what isn't. For a topical example, the most recent A-plot quest bedtime story mentions the name Rhinedottir in connection with events in Khaenri'ah, suddenly making that name A-plot relevant. Rhinedottir is an alternate name for the character Gold, whose existence you would only have known of before this point if you'd unlocked and read the character Albedo's character bios. (Albedo is a limited-run character who hasn't been available since november 2022, btw.) the only other information about Rhinedottir permanently available in the game comes from the description of the weapon Festering Desire, which was only obtainable from a limited event back in 2020, anyway. So basically, if you wanted ANY context for that remark, you'd have to have been playing the game since AT LEAST 2022, AND you'd have to have taken the time to go over your weapon and character descriptions with a fine-toothed comb. keep in mind that as of right now (june 2024) there are 85 playable characters in this game, each with 10 unique unlockable character bio sections, and over 150 weapons, each with their own unique descriptions, not to mention over 50 artifact sets, each with 5 unique artifacts, which all have their own unique descriptions as well. there are also 51 different collections of books which contain written lore as well. the idea that any player could keep up with all this, or that anyone could even sift through it all to pick out the important things that they NEED to keep up with, is insane, especially when the game makes a point of withholding crucial plot information from its players within the A and B-plot quests. this amount of written lore only exists, again, to drive up engagement in the hopes of subsequently driving up profit. Even if the average player isn't reading and absorbing all this information, the fact that it's there coupled with the fact that the writers consistently refuse to reveal anything beyond surface-level A-plot information means that there's basically ENDLESS theory fodder. and THAT means that people will be posting their theories and talking with each other and getting into arguments. it means "genshin impact" trends on twitter. it means engagement, and engagement means money.

basically what it comes back to is that everything is so transparently money over player experience with this game. I think what we're witnessing with genshin is what i would call an end-stage gacha game--a gacha game that's gone on a little too long and gotten a little too popular, and so the veil has started to slip a little more than usual. Gachas work primarily because they operate by toeing the line between what is fun to play and what is a predatory mechanic. As long as the actual gameplay remains engaging and rewarding, players can ignore the unsavory business practices underneath. At this point, genshin has swerved too hard into the money-hungriness and is still hoping that they can use their old tried-and-true engagement farming methods to remain popular regardless. currently, it seems like those methods are still working, unfortunately. Like I said in the post that prompted this, i really can't wait for the hyv writer NDAs to expire 10 or so years down the line, because I can only imagine what an insane shitshow writing for this game must be. I want to see the tell-all articles. I want carnage.

That being said, I played genshin impact religiously from 2020 to 2023. I loved the game. Despite myself, I am still really, REALLY interested in the A-plot. I want to know what's going on with the protagonist and their sibling; where they came from, what happened to them, what the heavenly principles are, what role celestia plays in all of this. I want to know Kaeya's full backstory, what role Khaenri'ah plays in the overarching story, and what happened to it in the past. but I don't really have any faith that I ever will, because I know that as long as keeping their fans in the dark and stringing them along remains profitable, that's what hyv will continue to do.

Do I think genshin impact is unsalvagable? in its current state, yes. If I was given the ability to turn back time and convince a bunch of executives of the profitability of this venture, I would change almost nothing about the story of genshin and completely rework the mechanics of its release. I would make it a series of single-release self-contained games rather than a constantly-updating gacha. Each game would be one B-plot quest, or one nation, eight games in all, preferably released once every year. Removing the gacha mechanic, players would be given access to a certain pool of characters to build teams at the start of each game, and then periodically unlock new characters as the story progressed. for example, if you were playing the inazuma game, you'd start out with only your protag, and after progressing to a certain point in the story you'd get a pool of inazuma 4-stars to teambuild with freely. Then, as the story progressed and you met plot-relevant inazuman 5-stars you'd add them to your pool. I'd change basically nothing about the combat system except for a properly integrated introduction of dendro when it makes its appearance in sumeru. Once you completed the story in that nation, you could move onto the next game in the series if it was out, or if it wasn't, you could continue to explore the open world while waiting for the next release. Would this be as profitable as the gacha model? probably not, but what it WOULD do is allow for much more consistent pacing and writing, with the added bonus of not making your userbase feel like you'd shoot them in the head for their pocket change.