#the gameplay is integral to the experience. its the main experience even. come on

[gammaraydeath]

"you can be a fan of a game without playing it" "it's valid to hate the gameplay and just watch the cutscenes" wrong. i'm doing this to you

[cerastes]

OKAY, Reclamation Algorithm 2.

The first RA was a more arcade experience with meta progression: You had runs lasting only a few days, and you'd have to defend against a final boss horde in a much smaller overall map. Likewise, your resource acquisition was also much more explosive, such as getting a couple of Clash of Clans and other such resource-rich maps almost every run. You could only carry a few items other than what you had built on your base between runs, meaning that blowing up everything and saving a couple of things between runs was the way to go.

I think RA2 is easier overall than RA1 simply because it's a continuous, full-on mode that doesn't have an arcade, short-run based format. It goes on for as long as you play. Resource acquisition is slower because of its longer form nature, but it also does not at all pressure you with Linebreaker day 14 for example. Plus, the Energy System this time is much easier to manage, since you need Two Pops or Three Pops of Energy Drink to field an entire squad of 6 and under or 7 and above, respectively, whereas RA1 needed you to feed individual units from a Fountain of Energy Drink. That's not to say everything is easier; the Priestess and the Troubadour are much more challenging than anything RA1 threw at you -- Linebreaker, Ruinbringer, and Al-Rafiq --, and while the new horde bosses are fun, they are on about the same difficulty as those three, who are more or less tests of RA mechanics and if you are using them or not more than anything.

Make no mistake, this is ENDGAME endgame, especially in regards to Priestess and Troubadour, since you have to beat them in one Day -- two attempts at the map in which your progress is saved between attempts, BUT in which you can only use each unit once, so if you want to use 12 units per attempt, that'd be 24 units you think are up to par -- and they bring mean gimmicks that can be curbed somewhat by the season in which you fight them, but not entirely, and are still quite formidable even with the counter season. They were some of my favorite parts of the mode, personally, because not only is it a big, harsh challenge, it also reinforces the World Of Adventure nature of Terra: Even though they are unaligned with any of the big factions, you still have REALLY strong individuals roaming the land.

I think the main difficulty for a lot of people will come from choice overload: Arknights is already a game with a lot of player expression and a focus on gameplay, both aspects not at all the norm with gacha games and thus not what a lot of gacha gamers are used to, and while main content is kept very accessible to all skill levels, they do provide truly endgame challenges that can be quite demanding in terms of skill, for players that do dabble in the depth of player expression and team building that Arknights offers, such as High Multiplier (Waves/Natures) Integrated Strategies and 26+ Risk Contingency Contract.

This preamble is to say, Reclamation Algorithm has even more player expression and thus potential options for you to use. You have so, so many more tools other than just your Operators that a lot of people just don’t know what to do with them, hence why I think so many people find it so much harder than it truly is. Food for a myriad of different stat boosts and perks, structures to mold maps and enemy routing at your will, the ability to create your own ranged tiles or throw 5-block fridges at your enemies, purposefully overpowered tools like stun mines and supply stations at your beck and call, you can do so much in RA, and for some people, maybe it’s too much. Like an open world game does for some people, the sheer vastness of your options in RA2 might just blind and overwhelm some, especially since the average gacha player is very casual (and that’s not in the slightest an insult), and the average AK player watches clear guides without really understanding why the strat in the guide worked. Thus, in a mode in which player expression is king, the player that barely interacts with the baseline mechanics of the game, let alone those exclusive to RA, is not even part of the kingdom. For me personally, RA1 clicked the moment I realized just how nightmarishly strong the player is if they use food and structures, and after that, it was a non-stop streak of wins (unbroken in RA2 since RA1, too).

My advice to anyone trying to seriously get into RA2 is to just experiment as much as you can with anything that even remotely calls to you: Is there a unit you like a lot, like say, Bibeak? Well what if you give her insane attack, bulk and infinite SP to spam her skills? Food that buffs ATK, 2 shield generators and 2 supply stations on Bibeak makes this a reality. You wish Yato Kirin had no DP cost whatsoever? There’s food that makes her DP cost 0 no matter how many times you deploy her. You wonder what it’d be like for Eunectes to have 3 Block? Food does that. You think a particular map would be much more manageable if you could just have a Corrupting Heart-buffed 5-Block Mudrock in a particular chokepoint with no ranged tiles? You make your own ranged tile and then give Food to Mudrock to get her to 5 Block, or maybe 3 Block is enough, and you’d rather she has 75% extra Def and 35 more Res instead to make her truly unkillable, well, food does that too.

You just need to dabble into the possibilities a bit before it becomes crystal clear just how insane you can get.

[snapscube]

So do you have a spoiler free review of the Spider-Man 2 game, for people like me who haven’t bought/seen the game yet? (I lack money so I have to wait for Christmas lol)

I can give you my top-down thoughts yeah!

Gameplay-wise, it's a night and day improvement over the first game in basically every regard. I've heard some mixed opinions on the new gadget/abilities system, and I had my own hang-ups here and there, but once I got a feel for it and started actively looking for ways to cleverly use them and upgrade them it really clicked. The flow of combat is amazing. The swinging mechanics are a MONUMENTAL improvement over Spider-Man Remastered and Miles Morales. Those games had fantastic swinging, don't get me wrong, but they always had the issue of having a pretty intense speed cap and a disappointingly small amount of maneuvers to play with and master. This game introduces not only the web wings, which add a whole extra dimension of traversal to play with, but also still manages to improve the swinging itself more than I ever expected. Tight cornering, loop-de-loops, slingshots, and more are ALL introduced and work amazingly. And on top of it all, the speed cap for traversal is a 3X INCREASE when fully upgraded. And you feel it IMMEDIATELY, because even the baseline speed is so much faster from the jump. The game just plays beautifully in every regard, easily worth the price of entry for that alone.

Story-wise, I've mentioned I have some hangups about the pacing that I'm still working out. I just started a second story playthrough so I'm giving it time before I form any "final" thoughts, but my gut experience was that the first Act comes out the gate firing on all cylinders. The characters feel so alive, the world is breathtaking, and there's a ton of intrigue. But then once you hit Act 2 and 3 things speed up in a way that can feel a bit unnatural. One thing that helps this though is making sure to pace out your playthrough with side missions. It doesn't fix the pacing entirely, but there are so many side missions in this game that honestly feel just as integral and worth doing as the main story. I would say definitely try to do as much as you can to pace out Act 2 a little more with side content, cause much like Miles Morales this feels like the kind of game that lives and dies by its side stories. The secondary cast is incredible, and there's a ton of easter eggs and emotional beats that are integral to the overall picture of this game but just aren't in the main stuff. But the beats that hit in the main story hit REALLY HARD. The game definitely has the common sequel problem of shooting for a lot more and as a result kinda ends up a lot messier. The first game is still more of a quintessentially good Spider-Man tale than this one. But that is NOT to disparage this one at all. It is WORTH experiencing, for sure, I just think maybe it could have used some more polish. But there are a ton of moving parts, so I can totally see how they ended up with what they did.

I have a lot of other thoughts but those are sorta the big two pillars I can easily discuss without encroaching on spoiler territory and without writing basically a whole article.

[kozykricket]

oops long post about minecraft

i hope that within the next 5 years i can see minecraft move on from the stage of Adding Content, and start making more changes... but at the same time, they've always mentioned how they want people to be able to always come back to the game and ... have it feel familiar. mojang wants people to be able to come back from a loooong break, and still ultimately play the game the same, even if it looks or sounds different. even if theres more options. i think logically thats why they never replace or reshuffle content. because... well, they'd rather add something to the side of the core game than change something thats part of the core... because they dont want to disrupt peoples traditional way of playing but like, with how much minecraft has evolved every aspect of itself EXCEPT the main, core gameplay? it feels like... at this point, i think they SHOULD change the core gameplay, even if its in ways that i dont even like. just, to fit in more with the rest... but do i fault them? no. they play it safe yet they also try daring new things, at the same time. its impressive the amount of effort they put into carefully thinking about new content... and i understand so many people would be up in arms, or would be saddened, if the way they played the game drastically changed. and thats why theyre just , giving us the ability to modify the game more easily than ever

i just kinda felt like i needed to get this out here, because. yknow, whenever people mention minecraft having Tons of Content I Can't Keep Track Of What When Did They Add That What Is That it slike yeah you're not really ... supposed to notice it? but you are supposed to?

you're not supposed to feel the need to engage with anything they add, but also Marketing(TM) denotes that they have to advertise the new stuff as something for you to engage with, and really, really encourage you to engage with it via stuff like advancements or the title screen even so i guess the game is at odds with itself in that way, because as said, things are designed to ... well, not BE noticed when they're added, at least not in a disruptive yet, yet they also try to make things noticable enough that you know they exist... and . well, its a careful balance... i dont think its entirely futile, but i think the fact that they kinda have to market content to Everyone even when they know they designed that content as Not Something For Everyone, is fairly ... awkward. cus then... yknow, they end up leading people towards stuff that they otherwise would've had not much of an opinion on, but now that they're being "forcibly shown" the content that they don't personally care about, they may see it as an attack towards their playstyle, in the way that changing the core gameplay loop would be. does this make sense? okay uhh example mojang adds... deep dark biomes, but theyre definitely optional to engage with, and you might not even know they were added, because of their optional-ness and arguably low relevance. its just a fun little sidequest in a way, a self contained Thing because they don't want to scare people away. but yet at the same time, the marketing goes all "HEY WE GOT A COOL NEW SPOOKY BIOME" and then even if you're disinterested in it, you now know its in the game, and you are led to believe that mojang WANTS every player to be using the deep dark, which... makes it seem poorly designed. simply because it WASNT designed for every player to want to engage with. it wasnt designed to be an integral part of the core experience. it was designed to be optional and is being marketed as a big part of the experience.

cus the thing is they DONT always design things for every type of player to want to use. you get me? they design the... allay, to be nice for certain types of players. but then the marketing gives off the idea that they think every type of player ought to enjoy it, even though it wasn't designed to be enjoyed by everyone and... yeah i guess thats also why i appreciate loosely themed updates like 1.8 or 1.20, because they have less of a deliberate focus on the One Big Thing and so people are less likely to end up noticing something that wasnt really meant to be noticed unless they liked it. people who dont like trial chambers will be noticing them since theyre on the title screen in 1.21... even though, if they are someone who doesnt like them, then they were meant to be sorta, yknow, optional for those people? though perhaps a structure that spawns anywhere in the overworld is a poor example. maybe stuff like the sniffer being shown so much is Worse in that sense this really became a bigger post than i imagined. i just kinda intended to make a post that was like "its kind of a bummer that mojang is basically restricted away from changing the core of minecraft despite the fact that theyve changed everything else so much that by proxy they've changed the core in every way that isnt straight up full on touching the core gameplay"

[onlyhereforghosttrick]

A bit of a simple question, but is there any piece of media (movie, game, writing, music, etc) you think is underated/more people should know about (or that you just realy recommend). Feel free to answer with more than one if you want to.

I don't know how to determine if something is underrated so uh- prepare for an onslaught of hyperfixations from the past couple years (mostly video games (and even more so DS games as it turns out)).

Ghost Trick

I don't know how to accurately depict how much this one has influenced me. It gave me my love for foreshadowing in twists. And clever gameplay integrated with the story. And flashbacks. And non-linear stories in general. Just one problem: I can't say anything about This game without spoiling just SO much of it. By calling two characters by their accurate name, you can spoil the final twists of the game, so I have to walk a delicate balance I mostly just didn't bother with when recommending the game. Well, this is your push to play it. (It got a remaster last year, which would be the most accessible way to play it, but if you don't mind a bit if illegality or overpricedness, the original release is always an option.)

Professor Layton

One of the less significant interests of mine, it's like a puzzle game mixed with a point and click adventure where you have to solve a bunch of miniature logic, sliding, counting, or other puzzles to progress, ton of fun, would recommend. It's getting its seventh entry soon [despite the alleged 'no further plans for games here in the west' or whatever], and it looks really cool! Might end up checking it out when it releases... sadly, most of the series is relegated to the mobile ports so that's the only place you're really able to find them, aside from their original ds or 3ds games. [keep in mind, I might just be unaware of some obscure ports.]

Ace Attorney

Ace attorney is probably the one the most people will actually know about, this being a visual novel puzzle series where you work out logical contradictions in a courtroom setting to save clients from false convictions. Currently serves as one of the main inspiration for my current biggest project [which I admittedly don't have enough written to link here]. Arguably the easiest to play the full series of thanks to the recent collections coming out, spinoffs included.

The world ends with you

Twewy is one of the most recent inspirations on this list, following an amnesiac teenager through a week-long game of life and death. I haven't played the sequel in a while [and I can't anymore, thanks PS plus], so I don't exactly have enough info left to judge it, but the original is hectic multitasking at its peak. ...on the DS. I don't have final remix, so I can't testify as to its quality, although with how it kind of looks to me like they butchered the original's quirkiness thanks to the lack of dual screens, my recommendation would be to play the original on DS, then watch the cutscenes of A New Day [a story epilogue exclusive to Final Remix that preludes NEO] in a youtube video. Maybe I'm wrong about the butchering though- keep in mind, this opinion comes from a guy who think the ghost trick title screen in the remake was worsened by the addition of music. [mainly because it's not even original music, just the main theme- but that rant can wait for another day.]

Pokemon Mystery Dungeon

This one. Ho boy this one. The biggest influence in a while when it comes to executing non-linear storytelling and compelling characters. It took a while for me to find it and a bit longer to see the appeal, and boy was it worth it. Chances are if you find this blog, much less this post, you already know about pmd, but if you somehow don't, then allow me to recommend you play one of them, because trust me when I say they're ALL worth a try. [I haven't played super yet and I don't plan to play rescue team so I can't quite testify to those, but explorers and gates from my experience have all been pretty good with gameplay and excellent with story.]

Pokemon Adventures

Yes, another pokemon recommendation. No, I swear this is different. There's a chance you've at least heard of this without knowing the name. This being the manga where all the weirdly dark stuff happens, right? You know, like 6 of the unovan gym leaders being CRUCIFIED? [No, really.] While this manga is practically infamous for its content, as you might now, but I swear it's worth a read for the actual character it has, which is usually better than the games themselves at storytelling. And honestly, I'm glad ScarVi learned what made a good story, that being having actual characters involved rather than cardboard cutouts. ...Just a shame the game is tripping over its own feet half the time.

Ultrakill

This is a fun one, and I'm surprised not too many people know about it- basically, Ultrakill is a Devil May Cry-inspired First Person Shooter, where you play as a blood-fueled robot blasting his way through hell, where the whole game is designed to be as fast-paced as possible. If that sounds remotely interesting to you, I'd highly recommend you give it a try.

Kingdom Hearts

Kingdom hearts, yes, the infamous crossover between disney and final fantasy. Some might argue this doesn't count as underrated, but 1. Did you hear me or not? I said I didn't know how to qualify if something is underrated, so... and 2. I feel like people really only know that Kingdom hearts has a weirdly told story and that very few people actually KNOW that story. So yeah, I'd recommend giving the story a chance if you can- just make sure to pay attention to DDD specifically, because A LOT of people get tripped up there. Oh, and for the mobile games [which yes they are important why do you think this series got the reputation it did], the official source isn't great- watch a fandub instead.

Jhariah

A pretty indie artist I listen to sometimes, great for if your prefered type of music is 'the bpm is a higher number than there are atoms in the known universe'. Some personal favorites of mine are Fire4Fun, Risk! Risk! Risk!, and Re:Concerns.

Rhythm Heaven

Rhythm heaven is one of the more obscure games on this list, but it's a good one- basically just a collection of rhythm minigames without any throughline whatsoever, and it's a ton of fun- but also REALLY HARD. Its last entry was Megamix on the 3DS, but it had entries on the DS, GBA, and Wii. Megamix was more a 'best of' compilation for the series to that point, so if you can only get one of them, get Megamix- even if it is by FAR the hardest to get [legitemately] due to the lack of physical releases in most regions.

Sorry this took so long to get done! Hope the answer is satisfactory.

[vermutandherring]

No spoilers

It's funny that despite all my love for the game, I didn't have any inspiration to write a review. Because how can you put into words the feelings it causes? Yes, the gameplay is like an endless dance that flows and twists the player into its vortex. Yes, every second in this game is melodious like a song, cutscenes are apt like rhymes in poetry, and the outcome suffered in the battle with the last boss gives a feeling of exaltation. And although each work is a matter of taste and everyone sees something different in the game, it seems that the audience has finally matured to understand the genius of Metal Gear Rising: Revengeance.

It's a bit unfortunate that the game is mostly recognized by memes, which makes its perception superficial and not serious. On the other hand, a meme can only be understood with full context, which requires playing through the game. The context, in turn, gives a deeper understanding of the work. And therefore, even such popularity can attract new fans of the series. I also think that the example of this game shows how much the game industry has in common with high culture, not mass culture. Most games acquire their meaning over time, rather than gaining popularity as a phenomenon of consumer culture, quickly fading into obscurity. So in this review I will try to explain why MGRR will remain a classic for generations of gamers to come.

I'm happy that Metal Gear Rising was my first MG game. It does not require extensive knowledge of the history of the franchise. Therefore, discovering the character of Raiden and the meaningful content of the game, you want to get to know this universe more closely to understand its essence.

There is a perception that MGRR is not Hideo Kojima's canonical Metal Gear, so you won't be able to touch his genius in this game. In fact, it is not quite so. Although at some point the project was given to PlatinumGames, its initial idea and main character remained in the spirit of the good old Metal Gears, which is felt if not in the combat system, then certainly in the ideas, narratives and used means of artistic expression inherent to Kojima. In the game we have some elements of stealth, expressive cutscenes with unexpected angles, the philosophical basis of the plot and, of course, the codec - Kojima's greatest invention in video games, in his own opinion. It is interesting to observe how his principles continue their life in subsequent projects, changing and adapting to the needs of the time and the content of the games. Yoji Shinkawa, an integral part of the tandem, also contributed to the creation of the game. So if you look at it from a certain angle, MGRR is pretty much canonical Metal Gear.

Yep. I spent 20 mins of my life to find Kojima and Shinkawa in credits. They both are present.

One of the key features of MGRR, inherent in the MG series in general, is its ability to combine very different and, at first glance, absurd things. The game constantly balances between philosophy and satire, cringe and seriousness, kitsch and incredible aesthetics. This feeling is very similar to the first experience of getting to know anime. To a person out of context, individual episodes of anime can seem strange and wild, and a single series can make the entire industry seem like low-level geek culture. In short, this cultural phenomenon is shrouded in a lot of prejudices and stereotypes, which is caused by a different cultural context than yours (unless you are Japanese).

MGRR feels very Japanese, even though the setting of the game (like all the games in the series) has nothing to do with Japan. The very first mission resembles a traditional Japanese engraving, on an endless sheet of which heroes from ancient myths confront each other. I love finding parallels between games and art forms. Vampyr similar to a theater play, L.A. Noire is to the detective film, and Mafia is to the noir novel. And although I have repeatedly emphasized that Kojima brought video games closer to cinema through MG, I want to go deeper in the search for aesthetic parallels in Rising. This game resembles a mythological epic with its inherent trope about the hero's journey, the endless fight against evil and, of course, the worldview of a particular people, its philosophy.

In many mythologies, events take place in 'eternal' space and stretch endlessly in time. A dark force always appears to destroy the world, a light force always accepts its challenge. After all, the world is maintained thanks to their balance, the delicate balance of yin and yang, which should not be disturbed in any way. That is why evil exists. And that's why good always wins it. In general, most games with a plot, having a certain literary basis, use this pattern. But in MGRR, this principle seems to be embodied literally, only the actors are changed: robots and cyborgs take the place of deities and spirits. Powerful forces converge in a predestined battle, but we know its outcome in advance. Therefore, the most interesting part of this whole action remains the confrontation process itself. What is heard on earth when the titans are fighting in the sky? What does the Dragon say when he meets the Tiger?

Doan (Yamada Yorikiyo), Japanese. Tiger and Dragon, ink on paper, around 1560. The Minneapolis Institute of Art. Source: https://www.roningallery.com/artists/Kuniyoshi

'RULES OF NATURE'

The rules of nature are one of the key elements of the game. The problem of the main character's struggle with the natural state of things and their phenomena is embodied in many details and in the mythological background in particular. In primitive beliefs, people of all cultures addressed the forces of nature that they could not directly change, but that they could influence and interact with. Perhaps this is one of the reasons why Raiden fights not with abstract thieves, but with destructive, unpredictable and dangerous natural phenomena. In the game, we have a group of Winds of Destruction - cold-blooded mercenaries who do dirty work. In the system of Japanese beliefs, in particular Shinto, spirits-deities called kami have a clearly defined good/bad characteristic. At the same time, they also have an opposite side to it. Therefore, people can interact with kami in different ways depending on their needs. Before his battles with the Winds, Raiden has moments of revelation with each of them, through which he discovers new truths. These conversations also show that if you judge the state of affairs from the point of view of the criminals themselves, their views also have a grain of rationality. They have come to choose their craft in a certain way, have their own beliefs and principles, and therefore it is difficult to call them unequivocally bad. Raiden himself is more like the Winds than he would like.

One of the most magical and, at the same time, one of the most dangerous and destructive forces of nature is embodied in the image of Raiden. In Japanese mythology, Raijin is the god of lightning. A variant of Raiden-sama's name can literally be translated as Mr. Lightening Bolt. But the most interesting thing is not that. According to the tradition of Japanese Buddhism, Raijin and his brother, the wind god Fujin, were originally evil demons who fought bitterly with the Buddha. As a result of the battle between the Buddha's heavenly army and the demons, Fujin and Raijin were captured, repented and now serve good as Buddha's guardian deities. To say how brilliantly accurate this tribute is - is to say nothing. Like Raijin, in the MG series, Jack went from a punishing dark force to a protective light force. At the same time, he does not depart from his original nature of destroyer and killer, but only directs energy in the right direction.

Folding screen depicting Raijin (left) and Fūjin (right). Tawaraya Sōtatsu, 17 century. Raiden-sama usually depicted as white demon, which also resonates with one of Jack's names - White Devil.

One could say that such a similarity between the fates of Raijin and Jack was only a coincidence. After all, this is where Joseph Campbell's theory of the monomyth, laid out in his 1949 book The Hero with a Thousand Faces, takes place. Campbell, researching the myths, fairy tales and legends of the peoples of the world, came to the conclusion that most of these stories rely on a common plot structure, which he called the monomyth. Since the modern literary tradition is drawn from the oldest literary forms, it still retains the most common and established models, albeit in modified forms. And therefore, the similarity of the paths of heroes in myths or literary works is only a consequence of an established tradition.

But Metal Gear wouldn't be Metal Gear if it weren't for its attention to details. As we know, in myths, things are rarely clear-cut. Raijin often fights with his brother Fujin. He is also depicted in the company of Raiju, a thunder beast or thunder demon that also acts as his animal totem, usually appearing in the form of a dog or wolf. Does this remind you of anyone? Another minor but interesting detail is that Raijin has a son, Raitaro, who is another deity of thunder.

Although Raiju is a companion of Raijin, it can act independently. During thunderstorms, Raiju descend from the sky, accompanying lightning to strike at trees and houses, causing disasters. Thus, Raiju attacks were also believed to be a form of divine punishment: those whose homes were struck by lightning were “suffering the wrath of the Raiju”.

The dystopian environment of MGRR tries to imitate the natural state of things and imitate nature itself not only at the expense of the mythological core. There are more direct allusions embedded directly in the design of robots and cyborgs. The most obvious is the already mentioned Blade Wolf, in which the prototype of the dog is easily guessed. Amphibians and insects, dinosaurs and birds, ungulates and predators inhabit the unexplored hostile spaces of MGRR. It is noteworthy that some of the mechs in the game are present in the MG series not for the first time. Even in previous games, you could find numerous modifications of Metal Gear RAY, Gekko or canine-like robots. The entire MG series in one way or another introduces allusions to the animal world into the design of the characters. On the one hand, this is a fairly obvious design approach. On the other hand, it adds more depth to the game's lore. The concept of human imitation of nature is a red thread through all Metal Gear, opening a kind of philosophical questions, and also conveys the idea of "naturalness" of those changes taking place in the alternate reality of the game.

Animal traits are evident in robots' behavior and appearance, such as design elements, mannerisms, sounds, etc. It would seem that this is enough to give the player information about what they are dealing with. But the designers give a deeper explanation of how these mechanisms work. They are endowed not only with the features of living beings. They have a similar 'body structure' and even blood likeness. From a practical point of view, most of these details do not make any sense.

From the perspective of game design, this is one of those elements that works on a subconscious level with the player's imagination. Blazing his way through enemy valleys, Raiden destroys more than just robots. They bleed, suffer and make shrill sounds like living animals. They seem to embody the next, albeit artificially created by man, stage of evolution. They are only a part of the usual state of things, where "wind blows, rain falls, and the strong prey upon the weak". Obviously Raiden is a predator in this story. Kill or be killed. At the same time, he is a victim. A victim of his own beliefs and memes, obeying them, he tries to change the natural order, to destroy long-established truths for the sake of the highest good. But, as we found out, good and evil will always exist side by side. Because as one little-known philosopher once said,

About memes, honor and war in the next part of the review~

Credits:

Japanese Tiger and Dragon. Minneapolis Institute of Art

2. RAIJU: The Thunder Beast Yokai

3. Gekko. Metal Gear Wiki

4. Raijin. Wikipedia

[taoofshigeru]

I think discussions like this one on OT2 Main Character-ness are interesting, and serve as a jumping-off point for something I wanted to talk about wrt Octopath 2 on the whole.

[spoilers follow]

When I see the specific critique that it's 8 small stories and not one big arc spanning all the characters, and that's a negative, I feel chafed by it for a couple of reasons. I'm going to try to outline them here.

1: In a broad sense, Octopath as a whole is designed such that the world is a major character. Every single NPC, even ones wholly irrelevant to plot or side quests, has a backstory that is at least somewhat carefully considered and some of them were written with Baby Shoes Never Worn ambitions of word count/reader reaction ratios. And it's a big world. It's hard not to get attached to some of it, and the fact that it's pretty doesn't hurt.

2: The way I read it, it's a key facet of OT2's story that there are two competing central themes, not one. The fundamental struggle with the Moonshade Order and HTAPOTCO is about apathy vs. hope. But there's also a broader sense in the world as you explore it that there's a lot of inequity and class/caste segregation. It figures most prominently in Partitio's story, but is also present in Osvald's tour of the sterling state of the prison system and constabulary, as well as the brutal way in which Papa Mishuyo is murdered. The basic question answered through gameplay is:

A) Can our heroes prevent the end of the world? (Yes, answered via gameplay)

In that sense, Ori's failed sacrifice is totally extraneous to the plot. Unless you specifically read it that her not dying led to a weaker Vide coming back (possible, but not confirmed in canon), it doesn't really matter from a gameplay perspective. Either way, you have to rekindle 4 flames and fight a cool boss to set things right. But the specific details of her character arc absolutely matters with regards to the second theme, and the question it asks:

B1) Is the world in its current state worth protecting? And, as an important corollary, B2) How do you convince someone who's experienced the worst the world's had to offer that is worth preserving and trying to improve?

Seeing the horrors of the world inflicted by humans on humans were a big part of how Ori, Oboro, and Trousseau (to an extent) were turned to the Moonshade Order's cause. Castti's very direct answer to question B2 is "Sometimes you can't." Partitio manages to answer the How without even realizing it. Hikari also makes a very serious effort to find this answer for three separate people in his life, and succeeds once (Thanks, Rai Mei). The message that I see the writers trying to land with all this is that you might not be able to convince everyone that the world is worth it, but there is worth in trying.

The message itself is not unique, but I feel it's been uniquely well delivered here.

3: And, conversely, I feel like this narrative goal falls apart if you play through a game with any one of the eight as the primary protagonist from beginning to end. The deeper cuts I don't think can be as easily achieved through a central narrative that ends with one overarching villain serving as a foil for a single protagonist. You need several sympathetic but differing points of view, and several foils to see the world through another's shoes. I think it's a level of nuance and complexity that needed a big world with a lot of people, and individual characters who experience that world differently, in order to really be delivered upon.

Unless the writing is sublime and gets a lot of underlying and dev resource-intensive support from gameplay integration, what you're getting is a game where Hikari is the protagonist and the other seven are co-protagonists. I think Hikari's an interesting character. I think all 8 characters are, but I have issues with making his or any other story the most central one. One of the things I like about a game like say, Final Fantasy 6 is that you do start with Tera and then get forced to use different party members in a way that allows you to see the world from many different points of view. But, this creates a game design issue where you're specifically forced to abandon large swaths of your party composition for story reasons at various points on the plot, which could create consternation for a number of players whose leader just went from level 68 to level 7. I think it can sometimes feel lame how modern rpgs can be allergic to any plot point that requires permanently altering party composition or playstyle, but I do feel it's an understandable constraint of the need to appeal to a broad player base. Within that constraint, there aren't a lot of way to avoid the drawbacks of Main Protagonist Syndrome.

Like, not to pick on Xenoblade Chroncles 3, but it's a recent game that also deals heavily in themes of choosing to exist even if it means struggling through a crappy world, and while it does a lot of things really well, it does suffer for the final villain being essentially The Face of Nihilism with no human traits. There are lots of subvillains in that game with more interesting dynamics, but their contributions to the overall theme didn't hit as strongly with me personally because they were presented in gameplay as optional obstacles on the way to the fight with big generic rather than the final counterpoint at the end of an individual character's journey.

I recognize this is a pretty subjective point. Vide is also The Face of Nihilism with no human traits. But because the individual route antagonists represent and give voice to more human reasons for hating the world, that conversation carried actual emotional weight with me personally.

Likewise, I understand that some people prefer stories with a strongly centralized arc that involves the characters bouncing off each other more. But I feel that OT2, more than just being something unique in the way it's represented, stays dynamic and interesting by bouncing characters both off their antagonists and the world at large, and delivers a pretty special end result.

For all I know, OT3 might never come out, or it might take the franchise in a pretty different direction. But I'm pretty confident the writers and designers of 2 navigated their game design/narrative trade-offs with finesse and knocked it out of the park thematically.

[styrmwb]

Favorite Final Fantasy Music (FFXI - Add-ons and Bonus)

FFXI week finally comes to a close, and this is the part where I pick songs that just didn't really quite fit in any single expansion, or cases like the extra add-on content which were really their own thing and even are listed separately on the title screen. Absolutely could not have done this game justice doing just one list, and this was a great time for me to relive some nice memories from me playing this game I definitely did not want to reup the sub nope.

There's also technically probably another section I could make on this, but I actually haven't played the new Voracious Resurgence content, so I don't wanna do that part dirty and just pick shit without literally any context. Anyways, let's finish this up so that I can actually increase the number after FF.

5. Dolphin Any XI fan will tell you: the hardest part of the game isn't losing levels. It isn't the gameplay, it isn't the bosses that take hours and hours and actual cheating to beat, it's fucking installing the game. This is because FFXI has its own special launcher that Square Enix was gonna use but then proceeded to only do with XI called PlayOnline. It is absolutely a product of its time. But you know what it does? It gives you BANGER TUNES TO LISTEN TO. FOR NO REASON! You're sitting there installing the game? Here's a bop. You're just trying to log in and you're frustrated that your password doesn't allow capitals? Here you go. This song will make you feel better. Dolphin is the song that always plays whenever I open my PlayOnline launcher to play FFXI. And you might say: "Styrm, this isn't a game song, why is this in the list?" and to that I say: It's in the official soundtrack. And PlayOnline is such an integral part of the FFXI experience that I would argue that it IS part of the game. That's why it's here. Love this shit. Please do yourself a favor and listen to all of the PlayOnline songs, cause I'm not gonna fill this list up with 'em.

4. Iroha First funny thing; I cannot find an official upload of this song, so I'm using the version they put in the FFXIV soundtrack cause it's also there identically. This is the theme of Iroha, the main heroine of Rhapsodies of Vana'diel, the essential finale/wrap-up storyline of the entire game. The reason I like this song, is I think less for the song and more what it reminds me of. I do love the soft piano and the empty backing, the very tense and sad sounding BIM bum that keeps playing; but most of all, this makes me think of that character, and how much the storyline really just was a letter to fans from the devs saying thank you. It's somber, yet beautiful. There might be songs that fit this feeling better, like the ending theme, but this is the song that does it for me.

3. Distant Worlds Something that stinks, is that I can't find a good honest upload of this song. Everything official is either the Distant Worlds orchestra version, or the Black Mages version, which, to be fair! are both good. So let's hope this unofficial version doesn't get taken down lmao. Another technicality with this, is that this is technically the ending theme of Chains of Promathia; but, it was introduced later, and it really feels separate? It's kinda its own entity, also only being in bonus soundtracks. It's really beautiful though. Taking that main Memoro de la Ŝtono motif, but turning it into an ending theme that almost befits the entire game. Not only do I love the main melody, I am a big fan of the warbly sort of sound that plays a lot, cause that really gives this song that XI feel rather than just being a nice vocal track. You ever wanna assassinate me just start playing this and I'll be paralyzed

2. Provenance Watcher Another very strange case of "I didn't know where to put this song". This is the final boss theme of the Voidwatch story, which was more like in modern senses a patch story to Wings of the Goddess? But it again very much feels like its own entity. Add on the fact that the song itself is in the Seekers of Adoulin soundtrack and I was just like "Ok you're going with the rest of the weird off cases". Either way, love this song. The beginning strings rhythm is such a cool sound, and then add on the really low horn for that sense of foreboding, befitting the Giant Fucking Dragon Creature you are fighting. The build up for this song is amazing, and uses all of the classic FFXI instruments you know and love by this point. My absolute favorite part of the song is midway through after a lot of the instruments have kinda stepped away for a slight flute bit, and then it blows up with this amazing sounding bit with the entire orchestra. I can't quite do it justice with my words, but hopefully you'll know when you hear it. Also can I just say shoutouts to the Naoshi Mizuta tambourine????? It has no right to go as hard as it does in this entire soundtrack.

1. Shinryu And here we are. The final XI song in my lists. This is the final boss theme of the Abyssea storyline, which is split up into 3 separate parts. Shinryu in this game is essentially the bad timeline version of Promathia (Abyssea as a whole is a sort of bad timeline in a way). The song starts with this incredibly menacing brass orchestra, one part giving you this heavy almost percussion like vibe, and the other part giving you the main sort of melody in the start, absolutely perfect for this literal end of the world dragon. Then it gets fun. The actual percussion comes in with a really fun beat, the orchestra starts the meat of the song, feeling like a really fun and triumphant final battle. And my favorite part? The out of nowhere hopeful sounding bells and strings that sound almost heavenly, they sound heroic, like you're going to save this doomed world. The song goes back into more menacing, like Shinryu is beating back, giving me more of that Dragon Quest IX sound I love. After a really cool loud hit rhythm, the drums do this amazing offbeat section that gives the song a really fun vibe, then going with a sort of royal sounding section featuring a flute/horn duet, and finally, into the grand finale where everything comes together to play off the song, having the heroic vibe from earlier; you are winning. You are going to save the day.

Honorable mentions this time are: Filter branch (this is also PlayOnline music lmao), Wail of the Void, Rhapsodies of Vana'diel, Luck of the Mog, Feast of the Ladies, and even though I've pretty much already mentioned it in this series, gotta give it up for my boy Main Theme - FINAL FANTASY XI Version.

[autolenaphilia]

Shadow of the Tomb Raider

Shadow of the Tomb Raider from 2018 pleasantly surprised me.

If you follow my blog, you might remember I wasn’t much convinced by its two immediate predecessors by Crystal Dynamics, see my reviews for the 2013 and 2015 games. Now this game wasn’t developed by Crystal, but in circumstances that don’t inspire confidence. The studio’s corporate owners Square Enix bizarrely decided Crystal’s time and effort were of better use on a Marvel’s Avengers licensed game, and instead gave it to another studio they owned, Eidos Montreal, with Crystal only having a supporting role. Lead writer Rhianna Pratchett had already left Crystal by this point, so her stories had to be concluded by other writers. By the way, the Marvel’s Avenger game Crystal developed was delisted from Steam only three years after release.

Now all this corporate nonsense doesn’t bode well. Even the name Eidos has a dark history with the series, even if probably no one working at Eidos Montreal today or on this game had anything to do with it.

But Eidos Montreal surprised me. Shadow of the Tomb Raider is actually the best game in the series since Underworld released ten years earlier. The game is very similar to its predecessors, using the same engine, and basic gameplay. But there has been important changes, a rebalancing of the gameplay and environment of the 2010s trilogy, all to the game’s benefit. Tomb Raider ever since the first game has been a mix between action, platforming, exploration and puzzles. And the main problem with TR 2013 and Rise was an overemphasis on action. The main storyline was just action setpiece after setpiece, which got wearying, while tombs with puzzles were relegated to side content. Even Core Design made that mistake sometimes, the mix of gameplay styles can be delicate, but Crystal’s 2010s games took that focus on action to extremes.

And Eidos Montreal seems to have realized this. Shadow dials back the action, if anything it’s the least action-orientated Tomb Raider game ever. There is action, but it’s more occasional than anything, which honestly makes it more fun. Instead the focus is on exploration, platforming and puzzles. This comes with a welcome re-orientation in environments: the tombs are back, baby. In force too. Eidos Montreal remembered the title of the franchise is litearlly tomb raider and so we get a game where Lara is in the jungle, raiding tombs. Most of the main storyline takes Lara into various tombs (well, also old ruins, temples, you know) to solve puzzles and evade traps. And a lot of the extra content is even more tombs. That was the case in previous games, but that comes off better here where tombs are integrated into the main storyline. Instead of a slightly condescending tribute to old fans, while the main storyline is all action, they recognize that good extra content is for those who like the main game and want more of it.

The puzzles are fairly simple compared to the classic Core games, but not entirely trivial, and they are far more welcome as main quest content than whambang action setpiece after setpiece. These puzzles more than anything convey a mood and it’s the mood appropriate for this game series.

The exploration is also made much better, and that’s thanks to the difficulty settings. Shadow has a similar system to System Shock, where you can set the difficulty of various gameplay elements separately. So you can set the difficulty of combat, exploration and puzzles independently of each other, allowing the player to tailor the experience to their interests and skills Setting puzzles to hard removes the hints Lara gives in dialogue, for example, while on easy she outright explains what you need to do. And setting the exploration difficulty to hard removes the “white paint” on climbable ledges. “White paint” is in scare quotes, because they are clearly birdshit to my eyes.* This birdpoo has been a feature of the series ever since Crystal released their first game in 2006. They make it easy finding out where to climb, but in my opinion they make it too easy and remove the immersion of the environments and a lot of the fun of exploration. And now the player can keep the birdpoo or get rid of it as they desire. It’s great.

(* Ex-Core Design dev Andy Sandham agrees with me about the ledge whiteness being birdpoo in a TRIV stream, and was proud Core Design never used them, and he’s right)

It helps that Eidos Montreal has expanded upon the platforming and climbing mechanics of the two previous games in good ways. Lara can climb on horizontal rock surfaces now, and rappel off rocks, and swing or wall-run on her rappel rope. This makes Lara’s moveset really varied. The climbing and platforming sections in this game are so three-dimensional, varied and extensive that they feel exciting, like you are doing something really daring and dangerous.

It helps that this is a pretty game. The jungle Lara explores looks so warm, vibrant and inviting, and the tombs are moody and atmospheric. It’s a nice game to look at. This is partly a product of technology, of course, which is why this game has GPU-melting specifications. Yet it is also a product of great art design.

And is is fundamentally because of the intelligent choice of setting. This game is primarily set in the jungles of Peru. Peru is also the setting of the first part of the original Tomb Raider, and the opening of Raiders of the Lost Ark, so it’s a setting of importance both for the genre and the franchise in specific. And as I gushed about before, the tombs are the focus once again.

Not that everything is good. This game suffers from a bunch of the bloat typical with open world games, with some very boring busywork sidequests that I only accepted in the hope they would lead me to extra tombs, which admittedly they sometimes did. Also some of the extra tombs are DLC, which is a format I don’t like. Though buying the “ultimate edition” or whatever it’s called in a Steam sale five years after release helped with that, I got the whole package in one go.

And the obligatory RPG-like skill tree system feels kinda redundant in this game. The skills are carried over from the two previous games and thus mostly combat-related, but this is not a combat-focused game, so they feel kinda useless.

The writing is once again garbage. I won’t say it’s worse than the two previous games, which were pretty badly written, but it definitely isn’t any better either. There is a basic tension here, which has existed in the series for a long time, between wanting to tell a classic adventure story and simultaneously not wanting to affirm the genre’s inherent colonialism in the modern day. So we get in many ways a classic adventure story, complete with a lost world and the white heroine saving the day. And there is simultaneously a clear attempt to ameliorate the colonialist implications of this, but it never gets there. This game ends up trying to eat its cake and have it too. And it doesn’t quite work that way.

So as one of the most common enemies, we get a textbook example of evil natives, dressed in tribal gear and masks. motivated by their fanatical worship of a pagan god, who the white heroine must gun down with her superior firepower. But then the story is about saving a tribe of noble indians, living in the lost world and threatened both by the pagan cult and western civilization outside. Again the game wants to enjoy its evil natives, but doesn’t want to come across as racist and as painting all south american indians with one brush. But such an attempt forgets how utterly stereotypical its native villains are. And colonialist adventure fiction has at least since James Fenimore Cooper used the same setup of noble but doomed by western civilization natives who fight on the white heroes side and evil savage natives who oppose the white heroes.

It doesn’t help that the villain actually is motivated by anti-colonialism, he wants to save the lost world city he comes from western colonialist destruction but of course “he takes it too far.” So the game ends up making an anti-colonialist native the villain.

And Lara’s arc is just a way worse version of the story of the fourth game in the series, Tomb Raider: The Last Revelation. Same plot setup, Lara takes an artifact she shouldn’t have, and sets off an apocalypse she spends the rest of the game preventing it. In TRIV, it’s implied Lara was just being greedy. But Shadow makes the mistake of having Lara not take the artifact out of greed, but with noble and heroic intentions. She takes it because she wants to keep it out of the hands of an evil organization who wants to use it to remake the world to their liking. Her setting off the apocalypse instead feels like an honest mistake albeit with colossal negative consequences, instead of indicative of some massive flaw within Lara’s character. Her action is a failure, but a noble one. The lesson can’t be that Lara shouldn’t be so arrogant as to believe she can save the world, because in the game’s climax she quite literally does.

Also the evil organization Trinity returns from Rise, and they are even more incoherently written in this game. We learn nothing substantial about their ideology and motivations. Rise implied Trinity are Christian fanatics, but here they are mixed up and possibly identical with a cult that worships the mayan god Kukulkan (what mayans are doing in Peru is at least explained by the lore). The interpretation I landed on in the end is that they are essentially cartoon villains who do evil for evil’s sake.

Lara’s maori friend Jonah returns, the only recurring supporting character in this trilogy of games. But again, I don’t like him. In part that’s because he replaces Sam as Lara’s best friend and all the interesting sapphic implications of Lara/Sam. But it’s also because he is just a boring character, he has basically no personality traits beyond being Lara’s buddy. This makes him feel like a modern-day variation on Robinson Crusoe’s Friday, the ever-loyal native sidekick to the white heroine.

These are serious flaws to be sure, Shadow of the Tomb Raider is not a perfect game by any means.

Yet there is much that it does right, and it feels true to the franchise’s roots. Play it to explore the lush jungle, to explore the tombs and solve their puzzles, to do daring climbs and jumps. This game felt like a necessary course correction after the last two games.

[phantom-witch]

Phantom's Finished: Super Mario Odyssey (Replay)

On one random evening, I was chilling in call with @dayofpi as we gushed about Mario. Eventually it lead to me grabbing my Artbook of the game this post is about and adoring all the ideas and missed potential of the game, to the point for a few months I genuinely wondered if I might rank the game lower than I used to.

This thought lingered within me until I decided to finally start an important replaythrough of the game, and here's what I think...

Upon booting it up, I already felt an endearing familiarity to what a 14 year old Phantom felt in 2017. I wanted to enjoy this game mostly for what it is and not what it wasn't. Super Mario Odyssey is still one of the best 3D platformers of all time that is like a playbox of fun left right and centre.

Sonic: Frontiers is often compared to Breath of the Wild when I couldn't agree less. With the mini platforming and challenges, I would absolutely compare it more to Odyssey in that regard. Before I state what I say, let it be known that I really enjoy Frontiers okay? Okay!

Sonic Frontiers wishes it was Odyssey when it comes to it bitesize challenges, as they almost always serve for strong level design in enclosed or open areas that consistently interconnects. Sonic Frontiers has a lot of mindless points to its bitesize elements of "press/hold button". That's what Odyssey gets right, the constant thrill of platforming within the sandbox level design and the freedom of how different of an order everyone's experience can be. You can play the main story moons, or during that grab side moons, challenges and items.

Gameplay:

If there is one thing that always pulls me back into this game, it's gameplay. Odyssey is the perfect example for everything working around its base gameplay as a perfect core, that being the hat throw. the hat throw is integral to why moving as Mario in this game is so responsive and fun to master. Dive into the hat for horizontal air movement, use it to collect coins as you continue on your path, capture a vast selections of enemies and objects for a quick yet responsive gameplay change.

Speaking of, I love how the captures have a snappy switch up of gameplay whilst always limiting controls to two buttons for easy pickup for how many different things Mario can utilise. Everything is super responsive and it feels beautiful to experience the loop of this game. Every playthrough feels different due to how you can go for different moons each time, experiment with where I go and even get places I didn't know I could ahead of time! Its my favourite controls platformer in 3D (celeste being my fav 2D platformer controls)

However, I do feel the game sometimes lacks a bit in level design. A lot of the time it's really good! Sub-Sections are very good whereas I feel the Sandbox areas of the Kingdoms are inconsistent. My biggest issue is they often lack a level of cohesion with the rest of the world (New Donk especially is guilty of this) and I wish they covered a wider area a lot of the time as with Mario's moveset it is so quick to get through. I feel the best Kingdoms are ones like the Wooded Kingdom where there's multiple paths, elevation and it stretches a wide variety. New Donk for example does have that elevation but it's so simple to get up there it just kinda exists? I wish there was more interesting areas within New Donk to play around as it isn't as fun on replay.

Then there's the few Kingdoms that SCREAM missed potential with the Cloud Kingdom and the Ruined Kingdom. These two are literally just for a single boss and nothing else in the overworld, which is super disappointing with two really cool aesthetics, especially with Ruined Kingdom's unique artstyle.

Artstyle:

This is one of the trickiest part of the game to talk about. Because I both love it and have qualms with it for a lot of reasons...

Firstly though, this game has an insane variety of styles, setpieces and colours! From Bonnetons Nightmare Before Christmas inspiration to Bowsers Kingdom of Japanese traditional samurai aesthetic, the game constantly throws different visuals upon entering any new world. Odyssey thrives on this idea of different cultures and parts of the world for contrasting artstyles and it really works!

However... I feel this also is where my biggest criticism for the game lies. It's that these artstyles don't push themselves far enough when they could contrast even more! Bonneton for example, it has a fun Halloween vibe but why couldn't they have pushed that with the shapes of the environment being crooked and twisted and maybe have the shadows be sharper and stylised? That's what I mean, the styles still all fit into a mold they don't break out of that I wish the game did a lot more

And here comes the big one: New Donk City!This is where the game really conflicts me with its artstyle, as it tries to contrast in such a way that feels unnatural and uncanny. The realistic humans are extremely unnecessary and the artbook shows many better solutions they had in mind. The colours of this world are also lacking quite strongly which again the art book showed a bright bold bustling city with a lot of nods to the series. It feels they wanted this to be the contextualised version of Mario's origin home which makes sense when you consider all the donkey kong references and the fact Pauline is there!! This is considered the iconic local in the game when for me it feels like the one that could've been filled with beautiful fanservice and nostalgic feel. I don't like using the artbook as criticism but for New Donk City I feel it's kinda necessary due to how they clearly had a vision that wasn't able to happen and its one of this games biggest letdowns.

Other:

There's a lot I wish to get into that aren't as extensive due to how much I have to say, so it all goes into this last section!

Starting off with music, which is weird to me. There's a lot of really good music in this game! From Cascade Kingdom to the transition into the tech part of the Wooded Kingdom. However there's a lot of music that is just, average? A lot of music that isn't bad but nothing memorable, which isn't something I can say about most Mario Games' OST. There's also a lot of 8-Bit versions of music in this game which I really enjoy! But I do understand opinions that they should've used a better NES sound chip for it as it doesn't feel as perfect as it could be.

Next up is story and animation! Easily my favourite animation in a mario game with so much squash and stretch the recently released Mario Wonder seems to emphasise even more! I love Bowser and Mario's animation, and enemy animations are amazing too. However I feel characters like Peach could've had more stylised animation. The story itself is good! It's practically the perfect conclusion to the Peach being Kidnapped Saga, a full on wedding where Bowser takes it way too far. Obviously I don't like damsel Peach as she's a lot better when she's a participating role. However, in the context of her being a damsel this is her best one as she is actively seen throughout the game whilst standing her ground at the very end. I love how she doesn't reciprocate Bowser or Mario's feelings whilst Mario and Bowser have an amazing dynamic this game.

My favourite element of this games story is how it feels like an amazing conclusion to the traditional Mario story, whilst now we're getting new stories with Wonder, Origami King and even Peach getting her own tale. Mario stories don't need to be huge but it's important it still fits the themes and adds fun characterisation to them, alongside giving all of them amazing designs... speaking of

COSTUMES! Mario gets loads of cosmetics in this game through coins, giving them a purpose whilst having a very fun way to have different looks and fanservice. You can have a top hat fancy look fitting Cap Kingdom or a Samurai costume to befit the Bowser Kingdom. Then there's cool costumes that are just their own idea like skeleton, zombie or even underwear Mario! They range from cool, cute to gender and funny with so much to work with. I love this element of odyssey a lot, its one of my favourite things to do especially after I've beaten the game to run about it fun combinations (I love the Sunshine outfit)

Lastly is the postgame! A really fun fanservice Kingdom with the Mushroom Kingdom, and whilst I still criticise the level design cohesion like before, I still think this is an amazing world with a lot of fun to be had, alongside a really fun final level that brought me to tears with Cappys final like

"Thank you, Mario. For letting me walk a mile on your head."

.

This game is beautiful, I have my qualms but its still my favourite 3D Platformer of all time 💙

[miragegames2023]

Unmasking Corruption and Seeking Justice in Assassin's Creed Mirage

Set in ninth-century Baghdad, the player assumes the role of Basim, a youthful street thief who pilfers to eke out a living. Charismatic and resourceful, Basim's objective is to obtain something of significance that could aid the downtrodden in their daily struggles. However, when his plan goes awry, the oppressive ruling class vents its anger on the impoverished populace. Overwhelmed by a potent mix of anger and guilt, Basim seizes a chance to flee, finding refuge with the Hidden Ones, a clandestine organization operating in the shadows. During his absence, he immerses himself in the ways of the assassins, emerging as a skilled practitioner. Now, Basim returns to confront and rectify the rampant corruption plaguing society, seeking justice for the oppressed and perhaps even looking for a few new allies to join him in his quest to buy PS5 games for their shared gaming enjoyment.

The city within the game comes to life with a rich and immersive environment that encourages interaction. Notable among the highlights is the new pickpocket system, allowing players to employ their light-fingered skills to steal valuable rewards. Another intriguing addition is the introduction of favor tokens, special coins earned through various objectives, thefts, and the like. These tokens can be utilized to procure special services or bribe significant characters within the game world. The implementation of the notoriety system, reminiscent of the style seen in GTA games, adds a new layer of complexity. Now, posters bearing your likeness are scattered throughout the city, and vigilant NPCs can report your activities to the guards. The notoriety system comprises three escalating levels, with the third level unleashing elite guards in relentless pursuit of your character. The establishment of the Brotherhood in Egyptian territories served as a counterforce against the Order of the Ancients, the precursors of the Templars. The Brotherhood operates covertly, working in the shadows to safeguard the freedom of the population. This theme was initially emphasized in Bayek's missions in Origins and continues in Mirage, with the game following a more linear narrative direction in its development, making it easier for players to immerse themselves in the story and make informed choices when deciding which PS5 games to buy for their next gaming adventure.

The Evolution of the Protagonist's Journey

In the Assassin's Creed Mirage video game, the character initially appears somewhat lost in the prologue. However, as the story unfolds, they discover a purpose and eventually become an "intern" at the Hidden Ones. Subsequently, they progress to being a "young apprentice" and face a series of challenges leading towards ultimately "signing the card." Their remarkable performance in these tasks foreshadows their ascent to the position of "boss." This progression is divided into three main arcs, which players can tackle in any order, accompanied by various sidequests and contracts, all conveniently managed through an investigation table in the menu. This gameplay element draws parallels with the style of Far Cry, though it raises a minor concern. The solution implemented in the game is intriguing, as it maintains a strong focus on the core narrative while streamlining the gameplay experience. However, it also raises a cautionary flag about potentially becoming formulaic, which could result in the easy replication of this structure for future titles in the series. Nonetheless, this doesn't diminish the brilliance of the narrative and how seamlessly it integrates with the gameplay. During a recent interview with Game Informer, Stephane Boudon, the creative mind behind Mirage, discussed the challenge of featuring Basim as the protagonist. A notable point emphasized in the interview was Basim's status as the Master Assassin, which must be reflected in the gameplay. As a result, players should not anticipate frenetic combat scenarios or expect to confront adversaries head-on with unwavering resilience. Mirage doesn't align with that style of gameplay. While it's technically possible to take that approach, it's neither advisable nor particularly clever. Mirage places a premium on stealth mechanics, and even fans of the Hitman series will recognize some intriguing references that cater to this aspect of gameplay, making it a thrilling experience for those who appreciate intricate stealth mechanics in their games and are looking for new PS5 games to buy to quench their gaming thirst.

Embracing the Art of Stealth and Assassination

In the Assassin's Creed Mirage video game, the environment is used to one's advantage, disguises are taken, and murders are committed sneakily and silently. That is what Mirage is all about, and it provides the player with the tools to do so. Whether using the blade concealed traditionally or employing smoke bombs, traps, and tranquilizing dice, the player can utilize these methods. Enkidu, the character's eagle companion, and Basim's sixth sense are used to plot, plan, and execute everything perfectly. Despite not being an RPG, it still features a skill tree, various equipment options, and collectibles scattered throughout the world.

Assassin's Creed Mirage offers a delightful experience for enthusiasts of the series' inception, now celebrating its 15th anniversary and holding a significant place not just within the gaming sector but also in the broader entertainment market. Departing from the recent RPG elements, it embraces a more direct, enjoyable, and gameplay-challenging approach, rightfully presenting a title where the central character assumes the role of a Master Assassin.

[govindhtech]

CORSAIR K70 PRO TKL On MGX Hyperdrive Magnetic Switches

With the new K70 PRO TKL keyboard, CORSAIR is thrilled to integrate its MGX magnetic switch technology into a competitive tenkeyless form-factor. The K70 PRO TKL is prepared to take over the competitive gaming scene with to its popular features, like FlashTap and Rapid Trigger.

New CORSAIR MGX Hyperdrive magnetic switches, which use Hall-effect sensors to activate magnetically extremely quickly, are introduced in the K70 PRO TKL. The Rapid Trigger function of the K70 PRO TKL outperforms even the greatest mechanical switches in terms of action speed by rapidly registering and resetting keys. The K70 PRO TKL accommodates all playstyles with to its adjustable actuation distance, which ranges from an ultra-sensitive 0.1mm to a deep 4.0mm.

FlashTap is also an option for the K70 PRO TKL. With options that give priority to the first or last key tapped, FlashTap, a brand-new SOCD system, transforms in-game movement and allows players to execute esport-level character movement. FlashTap, when combined with Rapid Trigger, speeds up move-mirroring and rapid-strafing the games significantly.

With Game Mode, users may go from casual to expert mode in an instant. With a single button, the RGB illumination becomes static, settings are optimized, frequently touched keys are locked, and Rapid Trigger is activated for immediate input registration.

CORSAIR AXON hyper-processing technology prevents the K70 PRO TKL from losing time due to input lag or delay when milliseconds count, giving gamers back control of those crucial moments for game-winning maneuvers. With its 8,000Hz hyper-polling, the wired-only K70 PRO TKL can register keystrokes in less than one eighth of a millisecond.

By offering the K70 PRO TKL its best-in-class multi-sensory experience, CORSAIR is demonstrating its ongoing innovation. Pre-lubricated MGX Hyperdrive switches are sufficiently subtle for distraction-free gaming, and their robust double-rail construction ensures that every keystroke is steady and wobble-free. Softened acoustics that are particularly rich and gratifying are achieved by reducing unwanted noise with two layers of high-quality sound-dampening foam.

Top gamers nowadays want a keyboard that suits their setup and improves their gameplay in addition to the quickest gaming equipment available, according to Thi La, President and COO of CORSAIR. “The K70 PRO TKL is the foundation of all products, combining robust iCUE software with exclusive hardware. Only CORSAIR can now provide competitive gamers the flexibility and control they need to personalize and manage their gaming experience.

Hall effect switches, Rapid Trigger, 8,000Hz hyper-polling, FlashTap, and so on are some names for speed. However, refer to it as the K70 PRO TKL.

K70 PRO TKL

MGX Hyperdrive is the first step toward speed

For the quickest input activation science has to offer, MGX Hyperdrive magnetic switches use Hall Effect sensors. Every keypress is guaranteed to be wobble-free with to a double-rail structure, and long-term integrity is ensured by an increased lifespan of 150M presses. MGX Hyperdrive switches are a powerful blend of performance and satisfaction, and they come pre-lubricated for thocky acoustics.

FlashTap Technology

FlashTap can prioritize the first, last, or neither input when two competing movement keys are hit. With enhanced SOCD behavior, you can effortlessly master elusive competitive plays like jiggle peeking and counter-strafing.

Disabled by default

Enable via shortcuts: FN+ Right Shift

Default settings when it’s on: A + D keys and last priority

USE AXON TO ACT FAST

Getting every action and reaction into the game as quickly as possible is the main goal. When using AXON, the keyboard latency is responsible for less than 1% of command delays.

AXON can register inputs up to eight times faster than the majority of other gaming keyboards with to its 8,000Hz hyper-polling.

PRIORITIES FOR SPEED

Use a single button to optimize your settings for competitive play. Rapid Trigger uses fluid actuation points to dynamically react to keystrokes in game mode. Turn on the Win lock key. The RGB lights become stagnant. Additionally, your keyboard has a unique hyper-polling rate. Battle-ready is the game mode.

DIAL MULTI-FUNCTION ROTARY

You have complete control over media and audio with K70 PRO TKL. During big moments, turn up the volume, silence your game, or pause your music.

DIFFERENTLY BUILT

Beyond what is immediately apparent, there is more to K70 PRO TKL. Pre-lubricated stabilizers and two superior silicone sound-dampening layers reduce undesired pings and clacks for more comfortable, softer typing.

MLX Plasma and MGX Hyperdrive switches with pre-lubricated stabilizers

Top Plate Made of Aluminum

Layer 1 of Sound Dampening

PCB

Layer #2 of Sound Dampening

The bottom tray

Read more on Govindhtech.com

[foshanwords24x7]

Game On: An Overview of Competitive Play on Ok Win

In the dynamic world of online gaming, competition adds an exhilarating dimension that captivates players and elevates their gaming experiences. Ok Win recognizes the appeal of competitive play and has developed a robust environment where gamers can test their skills, engage in thrilling tournaments, and strive for victory. In this article, we’ll take a closer look at the competitive landscape on Ok Win and explore how players can get involved in the action.

1. A Diverse Range of Competitive Games

Ok Win offers a wide variety of games that cater to competitive players. Whether you prefer strategy-based challenges or fast-paced action, there’s something for everyone. Some of the most popular competitive game genres on the platform include:

Card Games: Classic card games like poker and blackjack are staples in the competitive gaming scene. Players can engage in skill-based matchups that require both strategy and a bit of luck, making for intense and thrilling gameplay.

Table Games: Games such as roulette and baccarat also offer competitive elements, especially when players engage in head-to-head matches or tournaments.

Slots with a Competitive Twist: While slots are traditionally seen as solo experiences, Ok Win introduces competitive elements through slot tournaments where players can compete for the highest scores and win exciting prizes.

2. Tournaments and Leaderboards

One of the main attractions of competitive play on Ok Win is the opportunity to participate in tournaments. These events bring players together for high-stakes competitions, often featuring enticing prizes for the winners. Here’s what you can expect:

Regular Tournaments: Ok Win hosts various tournaments that allow players to compete in their favorite games. These events are designed for different skill levels, ensuring that everyone has a chance to participate and win.

Leaderboards: Competitive players can track their performance through leaderboards that showcase the top players in various games and tournaments. Climbing the ranks adds an extra layer of motivation and excitement, as players strive to improve their skills and earn recognition.

3. Team Competitions and Collaborative Play

In addition to individual tournaments, Ok Win promotes teamwork through team competitions. Players can form teams to compete in challenges, fostering a sense of camaraderie and collaboration. This format allows players to strategize together, share tips, and support one another in their quest for victory. Team competitions add a unique social dimension to competitive play, encouraging friendships and alliances.

4. Rewards and Incentives

Competitive play on Ok Win is not just about bragging rights; it also comes with exciting rewards. Players can earn bonuses, free spins, and exclusive prizes for their achievements in tournaments and competitions. These incentives add an extra layer of motivation, making the competitive experience even more thrilling.

5. Skill Development and Strategy

Engaging in competitive play provides players with invaluable opportunities for skill development. As players face off against others, they can learn new strategies, refine their techniques, and enhance their gameplay. This focus on improvement creates a dynamic environment where players can continually grow and adapt, making each competition a learning experience.

6. Community Engagement

The competitive aspect of Ok Win fosters a vibrant community of gamers. Players can connect with others who share their passion for competition, exchanging tips and forming friendships along the way. Engaging in discussions on forums or social media can further enhance the sense of belonging within the Ok Win community, allowing players to celebrate each other’s successes and learn from shared experiences.

7. Fair Play and Integrity

Ok Win prioritizes fair play and integrity in its competitive gaming environment. The platform employs measures to ensure a level playing field, allowing players to compete based on skill and strategy rather than luck or unfair advantages. This commitment to fairness enhances the overall gaming experience and builds trust among players.

Conclusion

Competitive play on Ok Win offers an exciting avenue for players to challenge themselves, connect with others, and strive for victory in a variety of games. With diverse competitive options, thrilling tournaments, rewarding experiences, and a strong sense of community, Ok Win provides an engaging platform for gamers seeking a competitive edge. So, gear up, sharpen your skills, and dive into the world of competitive play on Ok Win—where the excitement never ends and every game is an opportunity to shine! Game on!

[mariipproject3]

IP Idea 3

Eric Barone, Stardew Valley, 2016

Stardew valley is another very relaxing game that many people have picked up for its comforting feeling. Stardew is very interesting in the way that you play the game because a main aspect is the relationships that you form with characters around you.

I've never personally played the game, but Stardew is almost similar to that of a dating simulator game. There are a set of suitors that you get to choose from to pursue, all with their own personality traits and quirks. You grow your farm alongside your chosen partner or friend and create a quiet life for yourself.

Many people play this game of feeling the comfort of having connections with others and having a relationship, even if it is fictional.

Although stardew makes sure to psuh forward in creating an experience that places relationships to the forefront. It has the same issue the Animal Crossing New Horizons has when it comes to the addition of money. I interviewed my friend who is an avid player. They say that the money aspect can be very annoying, because it stops freedom. It takes so long to make the money needed to afford things that it forces them to spend hours doing mundane and boring tasks like fishing. It can really bring down the gameplay, and my friend says that a new money system or a smaller integration of it would help make the game more relaxing. Maybe having the materials needed to make or build the end goal would be a better currency than money itself.

How can I continue to think about creating a truly passive and relaxing game. My goal is to create something that truly lets you escape from the realities of pain and money.

[mari-ip-project]

IP Idea 3

Eric Barone, Stardew Valley, 2016

Stardew valley is another very relaxing game that many people have picked up for its comforting feeling. Stardew is very interesting in the way that you play the game because a main aspect is the relationships that you form with characters around you.

I've never personally played the game, but Stardew is almost similar to that of a dating simulator game. There are a set of suitors that you get to choose from to pursue, all with their own personality traits and quirks. You grow your farm alongside your chosen partner or friend and create a quiet life for yourself.

Many people play this game of feeling the comfort of having connections with others and having a relationship, even if it is fictional.

Although stardew makes sure to psuh forward in creating an experience that places relationships to the forefront. It has the same issue the Animal Crossing New Horizons has when it comes to the addition of money. I interviewed my friend who is an avid player. They say that the money aspect can be very annoying, because it stops freedom. It takes so long to make the money needed to afford things that it forces them to spend hours doing mundane and boring tasks like fishing. It can really bring down the gameplay, and my friend says that a new money system or a smaller integration of it would help make the game more relaxing. Maybe having the materials needed to make or build the end goal would be a better currency than money itself.

How can I continue to think about creating a truly passive and relaxing game. My goal is to create something that truly lets you escape from the realities of pain and money.

[doesavastvpnshareip]

does blizzard allow vpn

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does blizzard allow vpn

Blizzard VPN policy

Title: Understanding Blizzard's VPN Policy: What Gamers Need to Know

Blizzard Entertainment, the renowned developer and publisher of popular games like World of Warcraft, Overwatch, and Diablo, has a strict policy regarding the use of VPNs (Virtual Private Networks) by gamers. This policy has implications for players who may seek to use VPNs for various reasons, including improving connection stability, bypassing region restrictions, or enhancing privacy.

Blizzard's stance on VPNs is primarily aimed at maintaining the integrity of its gaming environment and ensuring fair play among all users. The use of VPNs can potentially disrupt this balance by masking a player's true geographical location or IP address, which could lead to unfair advantages or undermine the effectiveness of region-based matchmaking systems.

One of the main concerns surrounding VPN usage in online gaming is the potential for cheating or exploiting vulnerabilities in the game's security protocols. By masking their true IP addresses, players may attempt to evade detection for actions such as hacking, botting, or engaging in other forms of misconduct that violate Blizzard's terms of service.

Additionally, Blizzard's VPN policy serves to protect the overall stability and performance of its servers. VPNs can introduce additional latency and network congestion, which may degrade the gaming experience for both the VPN user and other players in the same game or server instance.

While Blizzard's VPN policy may seem restrictive to some players, it ultimately serves to uphold the fairness, security, and stability of its gaming ecosystem. Players are encouraged to familiarize themselves with Blizzard's terms of service and abide by them to ensure an enjoyable and equitable gaming experience for all.

In conclusion, while VPNs offer various benefits, including enhanced privacy and access to region-locked content, their usage in Blizzard games is subject to strict guidelines to maintain the integrity of the gaming environment. Understanding and adhering to Blizzard's VPN policy is essential for all players to contribute to a positive and fair gaming community.

VPN usage restrictions on Blizzard

Title: Navigating VPN Usage Restrictions on Blizzard: What Gamers Need to Know

Virtual Private Networks (VPNs) have become an integral tool for internet users worldwide, offering enhanced security, privacy, and access to region-restricted content. However, when it comes to gaming, VPN usage can sometimes clash with the terms of service of gaming platforms like Blizzard Entertainment.

Blizzard, renowned for games like World of Warcraft, Overwatch, and Diablo, imposes certain restrictions on VPN usage within its ecosystem. The primary reason behind these restrictions is to maintain the integrity of their games and prevent unauthorized access or cheating.

One of the main concerns for Blizzard is preventing players from circumventing regional restrictions. They often have separate servers for different regions to ensure fair gameplay and server stability. When players use VPNs to mask their actual location and connect to servers in different regions, it can disrupt this balance and potentially lead to an unfair advantage.

Moreover, Blizzard's terms of service explicitly state that the use of VPNs can result in penalties, including temporary or permanent bans. This is particularly relevant in competitive gaming environments where even minor advantages can impact the outcome of matches significantly.

However, there are legitimate reasons why gamers might want to use VPNs, such as protecting their privacy or accessing content not available in their region. In such cases, it's essential to tread carefully and ensure compliance with Blizzard's policies. Some VPN providers offer dedicated servers optimized for gaming, which may reduce the risk of detection by Blizzard's systems.

In conclusion, while VPNs offer numerous benefits for internet users, gamers should be aware of the usage restrictions imposed by platforms like Blizzard. Understanding and adhering to these restrictions is crucial to avoid potential penalties and ensure a fair and enjoyable gaming experience for all players.

VPN bypass for Blizzard services

VPN bypass for Blizzard services allows users to access their favorite Blizzard games and services even in regions where they are restricted or blocked. By using a VPN, players can disguise their IP address and connect to servers in countries where Blizzard services are available, thus bypassing any geo-restrictions.

Blizzard is known for popular games such as World of Warcraft, Hearthstone, Overwatch, and more. However, some countries may block access to these games due to regulatory reasons or licensing agreements. This is where a VPN comes in handy.

To bypass restrictions, users can subscribe to a reliable VPN service that offers servers in countries where Blizzard services are accessible. By connecting to one of these servers, players can mask their actual location and appear as though they are accessing the services from an allowed region.

It's important to choose a VPN provider with strong encryption, a no-logs policy, and high-speed servers to ensure smooth gaming experiences while bypassing restrictions. Additionally, users should verify that the VPN service they choose is compatible with the device on which they intend to play Blizzard games.

Overall, a VPN bypass for Blizzard services is a practical solution for gamers who want to enjoy their favorite titles without restrictions. By implementing a VPN, players can unlock access to a world of gaming possibilities and connect with friends from around the globe.

Impact of VPN on Blizzard accounts

Using a VPN (Virtual Private Network) can have a significant impact on Blizzard accounts and online gaming in general. VPNs allow users to mask their IP addresses and encrypt their internet connection, providing added security and privacy when accessing the internet.

When it comes to Blizzard accounts, using a VPN can offer several benefits. One of the main advantages is the ability to bypass geo-restrictions and access game servers from anywhere in the world. This can be particularly useful for players who travel frequently or live in regions where certain Blizzard games are not available.

Moreover, VPNs can enhance online security by protecting users from DDoS attacks and potential hacking attempts. By encrypting internet traffic, VPNs make it more difficult for cybercriminals to intercept sensitive information such as login credentials or personal data associated with Blizzard accounts.

However, it is essential to note that using a VPN with Blizzard accounts may also pose some challenges. Due to the increased security measures, Blizzard may flag the account if they detect irregular login patterns or multiple IP addresses associated with it. This could lead to temporary suspensions or restrictions on the account until the user verifies their identity.

In conclusion, utilizing a VPN with Blizzard accounts can have both positive and negative impacts. While VPNs offer added security and the ability to bypass geo-restrictions, users must be aware of the potential risks associated with using them to prevent any disruptions to their gaming experience.

Blizzard VPN detection methods

Blizzard, the renowned video game developer, has strict measures in place to detect and prevent the use of VPNs (Virtual Private Networks) by players. A VPN is a privacy tool that masks a user's IP address and can be used to circumvent geographic restrictions or access restricted content. While the use of VPNs is legal in many cases, it can be against Blizzard's terms of service when used to gain an unfair advantage in online games.

Blizzard employs various methods to detect players using VPNs. One common method is through IP blacklisting, where known VPN server IP addresses are blocked from accessing Blizzard's game servers. This makes it difficult for players using VPNs to connect to the game and play. Additionally, Blizzard may monitor unusual login patterns or account activity that suggest the use of a VPN. For example, if a player suddenly logs in from a country different from their usual location, it could raise red flags and lead to further investigation.

Moreover, Blizzard may use advanced traffic analysis techniques to identify VPN traffic based on patterns and characteristics unique to VPN connections. This allows them to detect and block VPN usage even if the IP address is not on their blacklist. By continuously updating their detection methods and staying ahead of VPN technology, Blizzard aims to maintain a fair and competitive gaming environment for all players.

Players using VPNs to access Blizzard games should be aware of the risks involved, including potential detection and subsequent penalties such as bans or restrictions on their accounts. It is important to comply with Blizzard's terms of service and play fairly to ensure a positive gaming experience for oneself and others.