#really low stakes ones. like getting the Player to do their essays for them

[slasheru]

What if the MC and the dateable are dating, but then one day the MC had an accident and got amnesia? The MC couldn't remember anyone, including the dateable. When the dateable heard the news, they were worried and hurried to visit the MC in the hospital. But when they met the MC for the first time after the accident, the MC was like, "Hi cute stranger, wanna date? I can't remember my own name, but I want to remember your phone number. (wink)" And in the next two hours, the MC tries to rizz up the dateable, not knowing they are already dating.

I feel like each dateable's reaction totally depends on who it is, lmao. Sawyer would be 100% Ethics Mode and be like "I can't accept your flirtations until you're totally cognizant again!!", whereas Hex would be like "ok let's jog your memory. Remember this?? :) :) :)" and start showing the Player assorted random items from DIK, like, an old potato or Horsemike's bong

[botwstoriesandsuch]

The reason aoc had no stakes is cuz even if we lost link would just take a nap and then wake up and murder ganon with a stick

Ok I recognize that this is a joke and I love you good job have a lil kiss *mwah* nice joke nice joke but also I am in MAJOR WRITING MODE which means that I am prompted to write essays on the storytelling process at the flip of a switch and buddy, pal, chum, mate, this is a major switch that has been flipped

Because it gets on my nerves, it’s one of my BIGGEST PET PEEVES of ALL TIME, I abso-fucking-lutely DESPISE, when people think that stakes is equivalent to life and death. I just hate it, it makes me seethe to no end. I could grip the clouds from the heavens, and my rage would make it rain upwards.

People who think stakes is just about winning or losing or living or dying, I will stake you, I will do violent crimes. You wanna know why those big superhero movies like Justice League and what not don’t work? It’s because it thinks that big giant death armies are meaningful stakes. You know stuff like Civil War, or hell even shows like Attack on Titan or Gravity Falls work? It’s because it’s stakes exist both externally and internally, and the consequences of actions exist beyond just living or dying or winning or losing.

Listen to me very closely. The reason Age of Calamity has no stakes, is because you don’t care about the characters. It’s not because of the timelines, or resurrections, or whatever whatever, no. It’s because you don’t care about the characters.

Now Ashshshshsh, yes you love your bird and fish husbands and wives very much ok yes I get that, I do too. BUT, BUT, when you look at this from the storytelling perspective, like thinking from the perspective of someone experiencing the story fresh for the very first time, with or without botw context. You did not care about the characters, you cared about the ending. That is why there are no stakes. 

Why the fuck do you care if Teba dies? Like, sure, if Teba dies, you are sad, the character that you love is dead, you might even cry! But why do you care, what are the consequences of his death, what happens if he dies, what does he, on a character level lose?

What you’re typically supposed to do to get your audience to care, is establish a character, develop them, then give them a goal and a need to attain that goal, a good goal or motivation that affects a character both externally and internally, and then when the conflict or battle comes up, you’re left with that feeling of “oh no, I really hope this character wins, because otherwise, [insert something] happens, and I don’t want that.” That’s what stakes is, in very broad concept. 

That’s why living and dying is a form of stakes, but it’s not the only one. “Oh no, this character is hurt, I really hope this character wins, because I like them, and I want them to live.” That’s you stakes. Same idea with winning and losing. “Oh no, this character is losing this volleyball match. I really hope this character wins, because they’ve worked hard to reach their goal, and I don’t want to see that go to waste.” Okay, great. 

Now the PROBLEM is, those concepts are overdone to the point of extinction, like it’s arguable that the stakes of living and dying just doesn’t exist as a strong good form of stakes in media anymore. Whether by symptom of plot armour, of predictable writing, or the establishment of modern tropes and clichés, blah blah blah, you can’t solely rely on those ideas for stakes. ESPECIALLY in the realm, of video games. I don’t need to spell out the whole living and dying aspect of it right? And the winning and losing stakes goes out the window because that concept has an entirely different meaning and tone when the player is the one in control. Essentially what I’m saying here is, on a character level, you can’t rely on those ideas as a sense of stakes because it just doesn’t have meaning. But the thing is, Age of Calamity does rely on it. And it SOME aspects, it worked. 

You have experience good stakes in this game before. You’ve probably done it on some crazy tough side mission or some interesting self-made quest to find yourself that last raw bird wing to finish up that upgrade. You yourself struggled, and understood the journey that you went through, the time that you invested to make yourself better (as big or small as it may be) at the game, and you eventually beat that level, or found that item. And you were genuinely relieved and happy. Whether you realized it or not, you were on the edge of your seat, intently focused on the task and “battle” at hand, you were invested in yourself, and the effects of the outcome of your struggle. That’s what good stakes does. That’s why so many videogames have impactful story telling.

But listen here, the reason you only experience those good stakes through the gameplay, is because you don’t need to put in the effort to care about yourself. You’re you! You know yourself, you played out your motivations and struggles. That all happens without the games help. So now the issue becomes, you need to emulate that same feeling for the story world and it’s characters. And Age of Calamity just puts in none of the meaningful work to get you care about the CHARACTERS on a CHARACTER LEVEL. It relies SOLEY on the work done by Breath of the Wild, with the exceptions of maybe Kohga and King Rhoam. And also Sidon is an exception in the sense that his relationship to his sister is a pretty decent stake (but tbh the bar is VERY LOW)

We’ve established how the stakes of winning or losing or living through a battle don’t have as much strength as motivations or stakes in this game. So, knowing that....Name Daruk’s motivation. Name a true and honest reason why Zelda shouldn’t die. And don’t tell me that “because it would make the other characters sad” because that is just a reaction to events (based on the characterization and writing work done by AN ENTIRELY DIFFERENT GAME cause again Hwaoc doesn’t character develop for shit) being sad isn’t motivation, or stakes. Being sad is a normal human reaction to anything ever, it isn’t anything new, and by god it doesn’t inherently impact the world or story around you.

You know what would have been good stakes? If Age of Calamity developed the New Gen Champs a bit more and maybe one of them could say something like, “I feel it’s my duty to help stop the Calamity, because the fact that I time traveled here means that I have a big responsibility, and if we lose then I’m a failure in both this time and my own. So I need to step up to the plate that has been set for me” or something something. Or, and this is a big one, give ASTOR something to do (because stakes is inherently about CONFLICT and you can’t have good internal and external stakes when there is nothing to CONFLICT with the other characters) let Astor be like “This world doesn’t deserve to go on, humanity has made too many mistakes, I was abandonded as a child, the King murdered my mom, I need power to get revenge, or to revive some dead family member” blah blah blah pick one of the clichés but at least it would be SOMETHING. When motivations conflict, that’s what gets you to care about characters, because then it’s not just about living or dying, it about the effects of that death, or that loss. If this character dies, they died believing a lie, or believing they were a failure and I don’t want that. If this character is defeated, they won’t get another chance to save the people they care about, and I don’t want them living with regret. These two characters have sympathetic goals, and I can see the points that both sides have with their motivation, but I also like them so I don’t want them to die, oh no, what’s gonna happen. 

If you don’t CARE about the characters, and their goals, if the only thing that’s keeping you awake at night about them living or dying is “I like them” then there is something wrong. 

You didn’t finish Age of Calamity because of the characters, you didn’t finish it out of an honest desire to see these characters reach their goals. MAYBE there’s a connection you had for Zelda, but honestly compared to Breath of the Wild, it’s nothing. You finished Age of Calamity simply out of curiosity to see what happened at the end, to see what your efforts of gameplay lead up to. You had no actual character arcs to latch onto or care about, which means you had no expectations or desire to see how they would play out, no STAKES no INVESTMENT. Which means live, die, resurrect, or perma-death as you see, you’re not invested in the characters, your invested in the time you put into that media. 

[lakemojave]

Supergiant Games: Same Bones, Different Skeletons

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

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

Game Design

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

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

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

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

Style

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

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

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

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

To other studios: learn from Supergiant

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

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

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

[vr2]

*turn around in shorts that say its time for my fuckin opinion on the ass* hey sweaty read to choke on my bns hot takes for uh lets see here uh ... t-two thousand words....

first of all... im pretty easily entertained so if u fail to do that its so like something has gone horribly wrong. i can enjoy pretty much anything halfway decent and i hate nitpicking on shit. but nitpicking implies small problems and sometimes the problem is the whole fucking thing. but man the direction bns has been going in is like. it really be like that, it really be just the most blatantly boring and uninspired it could go and here’s my fucking video essay that i will not do you the honour of being read aloud since the force of my opinion would crush your skull like a grape if spoken in the real world. 

first of all. i generally didnt have a problem with act1 bns story, i honestly thought it had some cool characters, some COOL as fuck cutscenes and as a person that loves lore juice a lot of the characters held a lot of promise and the diary was a fun read despite being the absolutely worst most stupid way to deliver any sort of lore content.

the circular narrative, the tight ending and the callback to all the characters was pretty well-rounded, a little but hammy but adopting the hongmoon kids nad becoming the master of your school was pretty novel. i really felt like there were so many new places to go with this dynamic, like bns could do something new by giving the mc more stakes in other characters rather than being a complete wildcard drifter.

but they keep doing this fucking thing were they repeat story themes in a way thats become incredibly unwelcome. i can understand why npcs would become recurring characters, why certain objects etc are still relevant but the fact that beat for beat the endgame again is divine mandate, mushins there, namsoyoo in danger and someone gets killed off for the sake of idk tragedy i guess. 

i think the worse thing is that the game tries to be tongue in cheek about its tropiness and normally id be like ok cool but the tropes are executed just so fucking blandly and soullessly its kind of insulting like. they really absolutely did not fucking try in the slightest for this one. not at fucking all. 

ryu saying ‘oh it would be so bad if you passed out form poison at an inconvenient time’ and the obvious death flags from bunah and bunyang are incredibly grating when you have absolutely no fucking stake in the story, know exactly whats coming cause the writing repeats itself over and over and know the exact same beats. 

at the very least most people can stand tropey anime, hell you can even ENJOY it if you are absorbed into the world and characters and the tropes are executed well. but this story is wholesale just same fucking shit slightly different npcs. it feels like they tries to manufacture drama in the most blatantly cheap way and it really lets itself down. i could honestly see them killing ONE of the kids for cheap and dirty tearjerking but man all of them leaving you alone again with jsy is soooooooooooooooooooooooooooooooooooooooooooooo unebelievably lazy. we have entered asian tv drama levels but at least those are fucking interesting. even the dance number in this act was shit.

i think the most annoying thing is that bns is one of the first mmos i played way back when and i still genuinely like the game up to a point and i like the world and characters. im literally always moaning bout how they did fuck all with the eight masters but gave them the barest most tantalizing hints of interesting characterisation in the diaries. but i think that’s all you need. it doesnt need to be 24/7 ballz to the walls worldending tragedy shock tactics to be entertaining. it somehow feels like they played it so incredibly safe that they looped around and made the worst decision possible and i just really wish theyd hire just your random ass average fucking ln writer cause theyd at least make shit entertaining. like the long form story telling of a truple a game thats reaching nearly 10 acts now should definitely be better than this like. what a fucking way to drop the ball.  

now. my second bone to grind. tell me why they actively REMOVED? ALL SIDE QUESTS? what kind of game, especially an mmo would fucking remove its OWN lore? why would that make any fucking sense? especially for how lore-light this game is but how vast its world is like sidequests felt like the absolute BARE minimum way to furnish this admittedly underdeveloped world. they at least gave us that slight illusion of depth and some of them were even fun! interesting! i still remember the sidequest where you go on a ‘hostage rescue mission’ to save an npc’s son who was kidnapped by lycandi and the npc who fucking gave you the mission murders his own son in front of you cause he was bumpin with the lycandi like. it’s not fucking riveting writing but it gave some more context to the places you visit, it’s SOMETHING about the supposed people that inhabit the world and it clearly makes some places more memorable than just ‘cool sky desert’, ‘cool sky city’, ‘cool sky village’.

im vaguely aware that this was done cause it ‘confused players’ who thought they had to do blue quests to level up to endgame and firstable idk why bns pushes endgame as the only ‘good’ part when its like in my humble opinion really fucking boring. you know people play mmos for different reasons? not just to reach lvl 100 super tier omega hongmoon thornbuster breakre 5000 and be no.1 in pvp. just looking flashy and good combat isn’t really enough to compete these days. im guessing its a push to the esports scene but also like you really want to serve one side better by doing relateively arbitrary thing that fucks over pve ppl? like? 

also there ARE genuinely people interested in the world and content and story as exemplified by all the oc and various comics and even even some official webcomics like i honestly dont think nc at all in any way nurtures that side of their mmo nearly enough especially when you see how healthy and thriving ff14 and other communities are in their oc scene. the sheer fact that people still stuck around despite the experiene of playing bns being patently awfully optimised and an uphill battle in every single way is testament to the fact that maybe some people just genuinely like the game? gutting it is absolutely antithesis to that.

i actually cant wrap my head around purposefully deleting lore cause it makes ‘grinding to endgame’ too confusing like does the story take that low a priority? the fucking ACTUAL game and the story is less important than people mindlessly burning themselves out to endgame, grinding dungeons and buying lootboxes like you cant do in literally every other game anyways? why would you get rid of some of the only shit that makes your game even slightly different? like im not out here saying it was the most revolutionary great shit but at least the side quests TRIED to give a modicum of flavour to bns. like they at least attempted to add to all the zones and make them places rather than set pieces were story happens to you then you leave and never come back. it doesnt even have to be revolutionary amazing writing to do that it just needs to be serviceable to give even the slightest sense of depth.

but for some reason rather than idk. just tell people theyre just flavour text and theyre not compulsory or just toggle on/off the fucking blue quest markers you decide to fucking? nuke the already translated (which someone no doubt paid for), completely unintrusive, absolutely functional, if somewhat tedious sidequests? making the whole fucking game even MORE barren and lifeless? FOR FREE? what a fucking deal.

 i literally cannot understand this clownery this absolute idiot idea could only have been concocted by the specific brand of stupidity found only in corporate sales dept. but like i think its also emblematic of how this game has no creative direction other than make Money which is fucked cause theres genuinely many parts of this game that i enjoy from like characters, music, visuals theres A LOT of promise in bns even if it takes a lot of legwork to get to it. as much as people give htk shit he absolutely made this game what it is visually and thematically, the soundtrack fucking rocks, theres some solid characters and story elements, a lot of the game still holds up visually and som of it dare i say looks fucking good. give bns a try its free to play.

maybe ive just been spoiled by fgo and gbf and literally every other popular game ACTUALLY trying to write good shit. trying to give their readers lore, trying to make things genuinely ENJOYABLE as a game should be rather than a part time job. but man i always forget after act1 bns really reveals why its never broken out from being a midweight grindy mmo