#player protag

[furufuro]

This gorgeous Uranesian was made by @victoriasimsblog 🥹!! 💎💎💎 I gave her some very tiny tweaks (tattoos and makeup mostly), but she's Victoria's creation through and through. She will be one of the customizable native Uranesian sims that we'll offer as a downloadable option for the player.

[tevintersnakes]

back in the fallout pit, fortunately my art has improved since 2016 so I can draw doctors hanging out together somewhat effectively now

[galedekarios]

PLAYER: "Gale alone? How so?"

[frankensteined]

this game does a really good job of giving backstory for jaheira and minsc that's accessible to new players to the series, while also being absolutely devastating to return players, and i appreciate that so much

[thesimquarter]

Mostly a continuation of this post, Sims 2 DS Edition. An approximate height line-up based off of each model's Z-dimension.

+ Closer pictures because the lineup is a HUGE image and Tumblr destroyed the quality of it.

[sometimes-online]

You can draw ozzy x player??? (Kindergarten:P)

Heres my attempt! Its been a while since I've drawn Ozzy! Kidd/protag drew him a flower <3

[delightful-69]

some rejuv doodles...again~

[northern-passage]

i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.

...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?

[...]

Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.

Most games either:

allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.

immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.

But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:

Why don’t the police investigate the murder at a later date and track down the player then?

Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?

Why doesn’t the victim’s son grow up to become Batman?

We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”

Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?

This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)

These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)

Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.

[...]

Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.

You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?

Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.

When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”

[...]

In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.

But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)

[...]

It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]

Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.

[izartn]

On Blue Lock, Episode Nagi movie:

It was like one of those outsider pov fics from a secondary character pov but official. Given that's one of my fave genres of fic amd I knew that about the movie coming in I enjoyed the perspective it offered, and also the melodrama of NagiReo xD

Also why was the ost so much better than in the anime itself? Did I blitz too quickly through the episodes? It made the kinda recap this was, entertaining as it got, much better. Why XD I hope that ost is in season 2.

Liked how NagiReo were the last ones to cross that door and that Ego had to bait Ngi into it. Would have messed up his 300 teens plan for Blue Lock is these two refused lol though I think he was absolutely prepared for that. Funny how Nagi is the one who gets the Blue Lock mentality despite being the reluctant of the pair.

I loled at how little the other guys in V mattered though, and at the replay of the match against Z, Nagi getting more and more fixated in Isagi and football for himself, to Reo alarm and happiness respectively.

I am not the only one who thinks Nagi is/was depressed due to a lack of challenge and isolation in his life, right? That whole, leave me I don't want to even try, just want to stay in my comfort zone idling the days away....

Going to other matters....

Also. Why did that Isagi and Bachira separation at Stage 2 look 100% more gay than it was in the anime? I swear it was the typical Shonen friendship on the season. Ah I know. Because Nagi, BL character that he is, was there remembering himself and Reo in rosy flashbacks. Hilarious taking what happened just before between them. But then Nagi is confident on their friendship in a way that Reo just isn't.

The contrast between their mental states re:change are so fucking funny in a sad way too. Reo is so insecure, compared to Nagi, I guess it comes from his family reputation and money being all he was before he meet Nagi and so he's insecure about his own merits but really. He's coping about as well as my bestie in HS did to her situationship with another girl collapsing when she was 14, that's the level of gay ass failing were talking about. That Nagi just didn't voice aloud the emotional reassuring parts to Reo during the breakup was so teenage boy of him, he just thinks he's being clear enough and then, everybody else can see Reo is just. Not manging it well. Love that they just fucking went pass Nagi being brutal to Reo on the 3vs3, like. Yes this is Nagi PoV the movie no you don't get to see what the fuck was he thinking. I personally imagine he was trying to like, do a reverse psychology on Reo, but it didn't work(?) (except it kinda did) bc Nagi has a 0 in interpersonal communication. Who knows though. Maybe the manga?

Anyways I'm really happy about that post-credits and additional time! So season 2 is gonna start from the jump after the 50 days timeskip, huh? Not surprised at all by who I saw there as the starting 11 for the U-20 match, of course our protags and company are there.

That after all the movie they end up bringing it back to NagiReo kinda having maked up, and Reo having friends/rivals telling him to quit the sad face, they're gonna be the best is soooo funny. Yes Reo you have friends, you're there on the 25 of 300 even if you're on the sidelines right now, relax XD Happy for him he seems to get friends other than Nagi, he needs more than a (boy)cough(bestie) friend.

And that was it!!! Thanks to @ashen-sky for telling me to wait for the post credits! Very appreciated given almost my whole sala walked out.

[milkbreadtoast]

guys I'm so fking sad..... one of my favorite (maybe even my favorite) Korean VAs passed away... Lee Woori-nim(이우리)... I just heard the news so I don't know why he died but I'm sure he was way too young... This is so devastating. You may know him as the korean voice of Cyno from genshin, or Lord Oyster from CRK...I need to find his other roles too... He had one of the most beautiful voices I've ever heard and his acting was good too, I was really really looking forward to hearing him in many more roles esp main chara roles ㅠㅠㅠ I even included him in my TWSB fancast (for yeseo/jesse)... I've only discovered him recently (bc of crk) but I just instantly fell in love w his voice T_T so angelic and gentle and handsome... I'm so sad man. Rest in peace...

[irabelas]

i like vows & vengeance well enough but i do wish that rather than a full story featuring an independent protagonist, they had done small side stories for each of the companions pre-game (without needing to connect them to that protagonist). if the selling point of the podcast is the companions then I want to hear about them, not have them be minor features in another character's story.

[drainbangle]

started a new ot2 file and playing around osvald’s shaky scrutinize chances earlygame feels like this

[galedekarios]

it's been a year and i still don't understand why ppl are deriding the astral sea version of gale's act 2 romance scene so much, trying to paint it as the "lesser" choice.

there's nothing even remotely practised or choreographed imo about baring your soul literally and figuratively to someone you're in love with.

[mothbeasts]

i miss posting and making and engaging with ieytd content but I will be honest sometimes it feels alienating. as a lesbian.

[almightyhamslice]

Various other Banban scribblings.

Wall art style depictions of Josh's 4 siblings: Jason, Judy, Jimmy, and Jenny. Each would've had their own personality and their own corresponding mask. Josh was the oldest sibling and Jimmy was the youngest.

My interpretation of the player, a single parent in their mid 30's named Marc. They're looking for their daughter Claire. They parted with Claire when Banban's resort opened, leaving her in the care of her best friend's family for what they thought would be a week. When Marc came back for their daughter, they found the resort's lot empty, but its front door unlocked.

Wall art style depiction of the rainbow Jumbo Josh you see in the banban mobile games. He is not real and never was. He's just a drawing on a wall. They did not make a real rainbow jumbo josh. He has no catchlights cuz he has no soul.

[ozcarma]

combining some endings with a slash as I believe they serve equal narrative purpose. Feel free to elaborate which should go first or be omitted in the tags/comments if you would like :) I omitted the coffin ending as it’s not really an “ending” so much as it is a fail state for the true end