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maxwell-grant · 2 years ago

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Nice to find another VentureBros fan ! Who are your favorite characters ?

I'm actually gonna rank this as something of a Top 8. Honorable mentions include: Rusty Venture, Dean Venture post Season 4, Shore Leave, The Blue Morpho/Vendata, Hunter Gathers and Professor von Helping.

8: Wide Wale

I think just conceptually the idea of Whale/Shark Kingpin as a major player in a superhero setting is just a very appealing combination to me personally. I'm a sucker for sealife-themed characters, especially if they are shark themed but whales are great too, and Wide Wale's a sealife-themed pastiche of one of my favorite superhero villains with this really great, really distinct voice, and like so many of Venture Bros' best characters, it really doesn't take long before you wind up forgetting what he's meant to be a caricature of and just fully buy the character just as much, if not more, as the thing they're supposed to be making fun of or referencing. I think Wide Wale, even while being a lot more straightforward and simple than so many other characters, is a great example of that. I think even at a really basic level, he's genuinely a cool character and an example of how the show’s approach to it’s characters had matured since the early seasons, and apparently so thought the creators, which is why they didn't kill him off in Season 7.

The episode was born from a single Jaws joke: Wide Wale dying in his pool just like Spielberg's shark. "But when we got around to writing it, we're like, 'Well, we don't want to kill Wide Wale, he's awesome," Hammer said. "But I got it stuck in my head that we had to do a Jaws joke. But instead of doing a Jaws joke, we created a longform love letter to deep-cut Jaws jokes. - Jackson Publick

I like that right from the start he's established as the leading supervillain in NYU, and because this is Venture Bros and there's a lot more supervillains running around than superheroes, to the point it mainly falls to the supervillains to kinda police each other so things don’t get too out of hand, Wide Wale is less the main villain and more this big presence that stuff tends to orbit around, much like The Ventures and The Monarch themselves. I love that he pointedly refuses the seat he’s offered at the highest echelon of villainy, because he’s got business to take care of and because he doesn’t vibe with the idea. I love “This? This isn’t me.” as an explanation for it. I love what it says about him compared to the other villains.

I really like his interactions with other characters like Sheila and his bodyguard Rocco and his daughter, and that he does have a family that ends up humanizing him a lot and even revealing that, keeping with the show's tradition, he is kind of a pathetic fuck-up. All he wanted was to make his brother proud, and despite being really dedicated to his family, he's too blinded and self-centered to notice the ways he ends up smothering them.

Big shot mob boss as a doting yet corny dad to his daughter? Cliche, but cute. Big shot supervillain kingpin who happens to be the younger brother of a one-off gag character, who 100% adores and looks up to his scientist big brother even in their separate ways, to the point that said gag character can show up and pull his ear while he haphazardly tries to hide his gritty mob business from him? It’s pure Venture Bros.

7: Brock Samson

I think it’s kind of a given that, even if Brock isn’t among your favorite VB characters general, he’s definitely most people’s favorite when they start watching the show. Because while it takes for Doc and the boys to really come on their own as characters and The Monarch’s still being ironed out, Brock is a pretty complete character from the get-go. He’s the world’s biggest badass, stuck with the world’s lamest and most self-destructive explorers, a much more dynamic sort than the Ventures who also doesn’t have as much room to grow and change as they do at first. Despite seeming like it, he is not the protagonist, he’s the sidekick holding the whole thing together (a dynamic they would later repurpose for Henchman 21, who grows into a mini-Brock in his own right). By all means, he should be out there saving the world with supermodels hanging onto his biceps, but instead he’s busy slaughtering shmucks in butterfly costumes while babysitting a failed scientist and his idiot sons, and occasionally arguing about the merits of Led Zeppelin with their nanny robot, which goes a long way in helping ground Brock’s over-the-top badassery in just the right amount of indignity so he doesn’t feel out of place in the show and stays more than just a one-note caricature.

Brock carries the show a lot over the first two seasons, which makes his departure and eventual return that much more significant and ends up giving Brock and the show a lot of room to grow, solo and together. The cynical premise behind a lot of what makes Brock funny ends up becoming horrifying as we get more stories from the villain and henchmen point of view and also grows into a series of great dynamics, as Brock The Swedish Murder Machine gives more way to Brock The Murder Dad. A Brock who’s a part of the family, a Brock who Hank looks up to and imitates as an uncle and father and hero, a Brock who’s as great on the lead as he’s in a secondary role. A Brock who’s got friends and partners and enemies and whose interesting life outside of the Ventures actually does feel like a rich inner world for him, a Brock who doesn’t need to carry the show or the Ventures anymore, and ends up growing more as a comfortable presence to the audience, which is a funny word to use for a disemboweling enthusiast who’s single-handedly filled entire graveyards. I know some people miss twitchy-eyed Murder Machine Brock, but I wouldn’t trade Murder Dad Brock for anything, his dynamic with Hank is real special to me.

6: DOCTOR BYROON ORPHEUS *musical sting

The big problem I have with Dr Strange in general is that, despite really loving some of the comics I’ve read of him (particularly Into Shamballa and Triumph and Torment), despite him being conceptually a character I should deeply adore (Vincent Price as the world’s greatest wizard whose niche is combining weird and horrific pulp cosmology with psychedelic superhero visuals), most of the time, Strange as a character bores and annoys me way more often than I’d like him to, especially starting with his 2010s appearences that have modeled him after his teeth-grindingly boring MCU portrayal and made him magic Tony Stark / BBC’s Sherlock. I get that’s like, his deal now, I just find it depressingly basic.

I bring this up because a lot of what I love about Dr Orpheus is that, while he doesn’t have the benefit of starring in his own stories, Orpheus takes everything great and endearing about Dr Strange and cranks it to eleven. His dialogue is completely unmistakable from everyone else’s, even without Stephen Rattazzi’s brilliant voice and that iconic music sting. Dr O gets really, really funny lines despite being ostensibly one of the more serious characters of the show (Do not be too hasty entering that room...I HAD TACO BEEELLLL FOR LUNCH!). Even in episodes where Orpheus only shows up to fix a problem or do a small cameo, he dines on the scenery in a way no other character does, and it’s no small feat in a show full of over-the-top personalities.

I also really like that Orpheus is overall one of the nicest characters of the show. He’s still flawed, he can be pedantic and pathetic and irritable and petty and arrogant, his dedication to his work and know-it-all attitude soured his relationships with his ex-wife and daughter, and he gets dragged for his flaws quite a bit in-universe to the point everyone’s kinda annoyed at him much of the time, but he’s also one of the most unambiguously good characters in-universe, and in a show chock full of some of the worst parents imaginable, it’s definitely nice to have at least one dad who genuinely tries to be the best he can be, even if that involves wiping his daughter’s memories every now and then, and ultimately accepting that his efforts to protect her have only held her back and that she’s really better off doing exactly what he didn’t want for her. I enjoy every scene he’s in and I really enjoy just listening to Orpheus’s dialogue and voice, he’s a very fun character and if nothing else Orpheus is why I wish that Order of the Triad spin-off took off. Even if it sucked, I would gladly watch and listen to Orpheus forever.

5: Dr Girlfriend / Dr Mrs The Monarch / Sheila / Dr Mrs-Whatever-Now

There’s been a lot said about how poorly a lot of jokes made in adult cartoons tend to age, especially those starting in the early 2000s, and likewise a lot of Venture Bros fans who’ve stuck with the show can’t help but admit that the first three seasons have a lot of jokes and moments that have aged poorly (Doc Hammer himself derides the episode “Love Bheits” as homophobic). And on the other hand, Venture Bros has also been praised for it’s willingness to experiment with gender-divergent characters and openly tackle questions about identity and sexuality long before other cartoons picked up the slack, and Dr Girlfriend is one example of that. On any other show, “hot woman with a deep masculine voice” would have been the source of one-off gags and transphobic jokes, jokes that make said woman the target of ridicule. But that’s not what Venture Bros does with Dr Girlfriend:

Dr. Mrs. The Monarch started as a parody of Jackie Kennedy, including her iconic deep, raspy voice that was then elevated (or, in this case, physically lowered) by Doc Hammer for the character. I’ve watched a lot of comedies where trans women or crossdressing cis men are the butt of the joke. It’s kind of my brand to subject myself to such things. So, I can recognize the comedic beats that lead to a punchline or “surprise” reveal of trans characters. In the first three or so seasons of The Venture Bros, it feels like the show is constantly leading up to a similar formula, but that punchline never happens.

The joke of Dr. Mrs. The Monarch is as simple as her having a voice deeper than you’d expect, and you are an asshole for questioning it — just like the cast of jerks in this show’s universe.

Dr. Mrs. The Monarch is my favorite Venture Bros character, one of my favorite women in fiction, and she, no matter what theories people have, is not trans. While the reality of this fictional character is that Dr. Mrs. The Monarch isn’t trans, however, if people think you are trans (or “a man” if you want to subscribe to that small brain energy), then in the court of public opinion…you are. Regardless of the actual circumstances surrounding your identity, you are guilty and it will be used against you.

Dr. Mrs. The Monarch is an example of someone who has risen above and succeeded in spite of that judgement both in The Venture Bros universe and in the evolution of how this show and comedy is written in general. Trans or not, I love that. As this show evolved, the running joke of her gender was phased out entirely and this “masculine” characteristic was just treated as matter of fact. It was just a small part of the most stable, capable, and well rounded character in the entire show.

There is a lot that can be written about gender without sticking to the stringent criteria of trans experiences, because expectations exist in all forms. I came to terms with my insecurities a long time ago and that included my deep voice. Hearing that brassy croon be treated as such a normal thing means more to me than most forms of direct representation ever has - Dr Mrs The Monarch and Being Trans In The Court of Public Opinion, by Harmony M.Colangelo

Even at her earliest appearences, when The Monarch was more of a caricature than ever and the show had yet to really start growing beyond the parody aspect, the consistent joke regarding Dr Girlfriend was that she is this enormously competent genius henchwoman working with pathetic cartoon villains who waste her talents on pointless bickers and capers, and if not that, then frequently ignored and belittled on the basis of her gender. And as the show grew, we got to learn more and more about her relationship with The Monarch and Sheila’s own journey, what is it that drives them to stay together, their separations, their arguments, their roles apart from each other. Dr Girlfriend outgrows her role as The Monarch’s partner and by Season 6, she’s openly acknowledged to be the biggest reason why The Guild’s still running, with all other supervillains in the Guild deferring to her. With the exception of mysteriously supernatural players like Dr Killing and The Master, one could argue that, by the end of the show, Dr Girlfriend is the most powerful character, having finally risen to the position where her skills and talents are not wasted and not without cost, of course, as it’s effectively deprived her of ever getting to meaningfully work with her husband, which was the only real passion she had for this enterprise. Nobody in Venture Bros ever fully gets what they want, after all.

I think there’s an argument to be made that Dr Girlfriend is the most “real” character on the show, in the sense that she lacks the extravagant personalities and gimmicks of the other characters or the life-shattering tragedies that guide much of their conflict, and this in itself makes her an outsider who has to juggle a lot of responsabilities and options to keep things running, who has to play a lot of roles and carry a lot on her back, who sometimes gets bent out of shape and frustrated at the mind-numbing amounts of idiocy she comes across, and who even demonstrates ways in which she herself is not quite above said idiocy. After all, she’s the one ruling said idiocy now.

4: Henchman 21 / Gary

Fucking Gary, man, what an excellent protagonist. There’s plenty of characters that people point to when stating Venture Bros has impressive character development, but one that always stands out is Gary. From one-half of a sidelines comedy duo with Henchman 21, as a geek loser henchman to the geek loser villain, secure in his position as a funny but inconsequential element to this world, Gary gets that safety net brutally ripped away with 21′s explosive death, and instead terraforms himself into a muscular unhinged badass, the Brock Samson of the show’s villain side. And past that, he remains a big time protagonist (even hero) on his own right, concluding in once again becoming the one-half of a comedy duo, but this time one that involves his geek loser boss as the two become partners instead. Gary has been growing and changing with this show from day one, even serving as the show’s recap narrator, his cracked nerd voice never changing even as he becomes more and more impressive. He’s as close to an audience-insert character as it gets, of course he has to be a geek overdosed on pop culture references, but he is more than that.

I love Gary because he’s one of the ONLY characters I’ve ever seen who has a physical and mental transformation whose end result isn’t him acquiring a completely different body type. He didn’t slim up, he didn’t get cut abs, he beefed up and got a weighlifter’s big gut, and the show doesn’t play it as a joke. He’s still pudgy, he’s still got a chubby face, he’s still geek-voiced Gary, and he’s a physical badass almost on par with superhuman demigod Brock Samson. He became this through sheer effort on his end and the help of his friends. He does backflips and spinkicks and fistfights bodybuilders and spits blood dramatically while looking cool and impressive and doing things that society thinks fat people shouldn’t be allowed to do without it being played for irony. I just, you pretty much never see superheroes or superhero-adjacent characters with Gary’s body type without some kind of caveat attached (villain, joke character, fat-based superpower, etc), seeing Gary in action, played like he was, genuinely did mean a lot to me.

He's observant and he's unlucky and he gets made fun of, but he's not cynical, and the show doesn't treat him cynically either, and that's important.

3: Red Death

I don’t think there’s any Venture Bros fan that doesn’t have Red Death on their top favorite characters list, holy shit did that dude arrived to steal the show. Top-notch design, killer concept, perfect voicework by Clancy Brown, most of the best scenes across Seasons 6 and 7 involve this guy in some form. Probably the clearest example you can point to in order to demonstrate how much Venture Bros’s outgrown the parody element of it’s earliest seasons.

I like, everything about this guy. I love how they continuously make efforts to undercut his “retired old champ and nice family man here to help the new kids get their footing” thing by constantly reminding us that he is a bloodthirsty murderer who actively enjoys killing and looks forward to any chances for it, but he’s so damn likeable and charming and cool that we all still default to him first and foremost as the dad in the park who talks Monarch down by showing genuine appreciation for him. I love that this is also followed up on his remarks towards Vendata, how he’s the only character on-screen who ever extended any kind of respect towards him, and how dark this gets later when he brutally murders Blind Rage for being a disrespectful punk. He’s brutally efficient at everything, including compartmentalizing his life and personality to an extent that it doesn’t ring as hypocritical to us when he sits down to give helpful advice to Monarch, and said advice includes him mentioning how he was able to turn his life for the better after slaughtering his arch-nemesis’s entire family with his bare hands. He’s a horrible, horrible villain, and a wonderful dad and mentor and, honestly? Talk about a character who plays perfectly, perfectly into his voice actor’s strengths. Clancy Brown as Red Death is nothing short of magic.

He’s interesting as a Venture Bros character because, as far as we know, he’s completely bereft of the usual petty shortcomings or tragic flaws or pathetic obsessions that define most of them. He is, for all intents and purposes, a genuinely good husband and father devoted to his family, an utmost professional dedicated to the art of villainy and those he respects, and a brutal serial killer with virtually zero hesitations or doubts whatsoever about what he does and likes doing, with a hideous past we know only the barest glimpses of. He coins the term Gentleman Villain because he too, is as perfect an embodiment of those terms as it gets in this world, and he’s fascinating because of it. He works brilliantly at surface-level and whatever little we know about his connection to the historical underbelly of this world is all the more fascinating. He is a wonderful take on a modern version of a Gentleman Villain and everything noble and horrible that this implies. I resent not getting another season or several with this guy.

2: Hank Venture

Probably the character I’ve always found most relatable in the show even before I discovered that, oh yeah, I do have ADHD too, it was a given I was gonna relate to the hyperactive Venture kid known for jumping off the roof in a Batman costume (I mean, my window had bars, and I still swear that I wasn‘t actually gonna jump and my family totally misread what was really just me trying to get on the gargoyle brooding action). As much as I like Gary, Hank is the one that comes to mind when I think of impressive character development in Venture Bros. Hank is interesting because in many ways he just doesn’t change, nowhere near as much as Dean does, Dean’s the one who's matured and is trying to leave all this nonsense behind while Hank’s still actively pursuing the dream of being a boy adventurer. Hank still talks in weird stilted speech, he’s deeply ignorant of a lot of basic things, he still almost gets himself killed pursuing flights of fancy. To say that he has a hard time telling fantasy from reality implies that this is something Hank struggles with, when it’s more accurate to say he just doesn’t care that much about said distinction, and the consequences of his abysmal upbringing, reckless antics, and undiagnosed ADHD as of Season 7, do catch up to him.

But the thing is, all of this is also part of what makes Hank the only character in the show who occasionally gets to thrive. As the seasons passed, he came to display a lot of genuinely inspired moments of competence and skill, not to mention bravery. Hank perseveres so strongly in his stupidity and headstrongness that he’s the only one who’s able to meet the dumb, violent and deluded world of Venture Bros on it’s own terms and come out on top. He’s unique in that he doesn’t outsmart the madness, he out-dumbs the madness. His victories and adventures tend to be more enjoyable to watch than Dean’s or Doc’s or the others as a result (I suspect the creators agree, given Hank is the kind of character that lets them get away with whatever dumb ideas they feel like experimenting with). He’s got a real Lupin III charm to him mixed with a carefree hyperimagination that calls to mind much of what I enjoy about Calvin and Hobbes. He’s a perfect protagonist.

In a world so fraught with failures and miseries and bitterness, and coming off a background just as deeply unfortunate as everyone else’s, Hank perseveres, growing into a genuinely cool kid. He’s made for this life in a way that Doc and Dean never were, and in the absence of a father who cared for him, Hank found role models in Brock and Batman and others, and emulated those until he could be himself the kind of person he’d always wanted to be, an insane hero for an insane world to such an extent that they kind of end up canceling each other out.

I just, I just hope he’s okay, please, please give us the movie already goddamnit

1: THE MONARCH

The perfect Never-Was to Rusty Venture’s Has-Been, pretty much the main reason I stuck with the show for so long even before it got really good, I think The Monarch is just an idea I always, always wanted to see explored in fiction, which is that deeper exploration of a Dick Dastardly-esque type of villain, what does their life look like and so forth. You might be able to tell, given also that my most popular post in this site is about them (and the protagonist of my current project is meant to be that kind of character), that this is an archetype very close to my heart. In truth, Monarch had me won pretty instantly when I first got into Venture Bros as a kid (...in hindsight a pretty terrible era to get into Venture Bros), given all the similarities between him and Waluigi (at the time my favorite character in general). Here’s a character functionally identical to Waluigi, except allowed to actually play a big role in his franchise and have stories told about him and his funny antics and his petty, dastardly dreams and his ridiculous grudge against a nobody hero who couldn’t care less about him. It was like catnip to me at the time.

Monarch carried the show pretty hard in the early seasons along with Brock, as a perfect foil to the hapless and pathetic ventures: An even more hapless and pathetic villain, a dumb goober plucked straight out of a shoddily-made 60s superhero cartoon, all sneers and cackles and nasally-voiced threats of conquest. The kind of parody villain that’s dated even by their time, let alone the modern times the story takes place, the kind of guy that only really gets brought up to get his ass kicked and pushed aside by the real villains (the inclusion of Baron Underbheit in the S1 intro even helps cement the idea that Monarch’s not supposed to be the real villain). A failure in a show about failures, right?

But, see, the thing about Venture Bros is that it isn’t really a show about failure, or at least, just about failure. Even the creators pushed back against this notion back in 2013

Publick: I think you and I are both sick of every interview mentioning the “It’s a show about failure” from five years ago. I don’t think we made a conscious effort to fight that or anything, but every year, we push what we do as writers a little more. An area we hadn’t gone into very much was positivity. I mean, all our victories are still satiric, but there are definitely places where we said, “I want to see these guys do something. I don’t want to just have everything fall on its face all the time.

I don’t think Venture Bros is about failure, as much as it is about “what comes next”, following either failure or victory. It’s a show that’s big on exploring consequences and fallout, part of why every season took so long to air, a show that doesn’t just have the characters fail and that’s that, or has the characters exist in a fixed state as winners or losers, but instead as people who have to carry on living with the accumulating shit that gets thrown at them. What does it take, for these people to carry on, or even succeed. And this is where I think The Monarch’s continued role as protagonist comes into play, because everything about him is in service of that next step, from day one he’s been the character who’s pushed this show forward into the future, opposite the Ventures and Brock who are either trapped in the past or complacent in the present. He’s introduced to us in a mold we all understand from childhood: he’s a dastardly supervillain with a dumb gimmick and enough resources to pester the heroes on a weekly basis, but never enough competence to actually win over them. Okay, and then what? Well, that’s where the ensuing 7 seasons come in.

What happens when he gets what he wants? Does he even know what do with it? What is the source of his immortal hatred? Is there even one? If there isn’t, what else do we know that motivates him? What’s his relation with his henchmen? His partner in crime? His wife? His wife turned partner in crime? What do his enemies look like? What does the rest of the supervillain community think of him? Does he have beef with other heroes? Does he even want to fight other heroes? Just how competent is he outside of that saturday morning cartoon mold where he’s perpetually doomed to fail? If he is, what’s stopping him? How low is he willing to go morally? What disgusts him? What happens when he has to play the hero? And from The Monarch all these rich worldbuilding questions expanded that soon blossomed into many if not most of the best parts of Venture Bros’s worldbuilding.

The show’s not preocuppied with explaining “why” there is a Monarch in practical or psychological real-world terms, so much as it’s interested in the “how” does a character like Monarch function, what does it take for The Monarch to be, and it’s through taking this archetype seriously and exploring him and the world around him that the character grows into a complex and interesting protagonist while remaining, fundamentally, the same saturday-morning-cartoon villain with an inexplicable grudge that he always was. The Monarch was gonna be my favorite from the start anyway but it was his continued presence that really impressed me for the long haul. Not even the only character to experience this, but my favorite to do so.

#replies tag #venture bros #adult swim #hank venture #brock samson #the monarch #dr girlfriend #red death #henchman 21 #sitting here chewing my fingers off waiting for that movie #it's nothing but it's something at least

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kyndaris · 4 years ago

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A Vikingr Saga for the Ages

Ever since the first game in the franchise, I was enraptured by the idea of stalking my prey on the rooftops of Renaissance Italy and then leaping down - slaying them with a flourish. I didn’t know it yet but the marriage between history and stealthy parkour had me hooked from the very first trailer for Assassin’s Creed. When the series pivoted towards mythology and set further in history than ever before, I eagerly followed. From Ptolemaic Egypt to Ancient Greece. It should come as no surprise that I devoured, then, that I devoured as much of the world that I could in the latest entry: Assassin’s Creed: Valhalla. And after clocking in just under 150 hours, there is much for me to unpack in Ubisoft’s latest entry into the Assassin’s Creed franchise. That, and a fierce desire to finally start watching Vikings.

When I initially booted up Assassin’s Creed: Valhalla (AC:V), I will admit that I was a little disappointed with the control scheme. Once again, Ubisoft had made it a confusing mess with trigger buttons instead of face buttons used to attack. Since I had just come from Spider-Man: Miles Morales, it took a good long while for me to adjust. Several hours later, after fumbling through my first battle with a lost drengr (I actually dumbed down the difficulty a litte), I finally managed to find my footing and was on my way to England to scrape out a place for the Raven Clan.

As for stealth...well, the less said about it the better. I never found it effective. It was much easier to smash my way through, axe in hand (or greatsword) and lay waste to their paltry resistance with a mixture of heavy attacks and parrying. I also, hardly used the bow (one of my favourite weapons to being stealthy in Origins and Odyssey).

The story in AC: V is a little messy. Most of it is done through a separate arcs for each territory Eivor ventures through: from East Anglia to Snotinghamscire, with little to link it all together except the main character. Were it not for the very loose story threat surrounding Sigurd and the conquering of Mercia to establish a firm foothold in this new land of England, many of the storylines could be regarded as standalone adventures in Eivor’s epic saga of conquest.

That doesn’t, of course, mean it’s bad. Merely disjointed. Particularly when I went from Jorvik and its Yule Tide celebrations to Glowecestrescire that was right in the midst of Samhain right after each other. Did I go back in time? Or did almost an entire year fly past Eivor with none the wiser?

Still, even though they were mostly standalone storylines, I still very much liked all the characters I met along the way. My favourites were the earnest Hunwald, noble Ceolbert (his death was almost as bad as all the horse deaths I’ve encountered in video games) and fun-loving Twydwr (particularly when he and Eivor were drunk, and messing with the local chickens) On the Norse side, I very much enjoyed the banter between Eivor and her childhood friend Vili. But the one that I admisted most was Soma. She was the jarlskona of Grantebridgescire - the first place I explored after landing in England. And one, I hoped I could romance to some degree. Alas, my hopes were dashed on that end.

What I did find a little intriguing were how Sigurd and Eivor were sages for the Isus: Odin and Tyr. And in their little Raven Clan, revealed much later, was also Freyr. It seemed strange that so many of the reincarnated Isu were all incredibly close at hand.

In this title, Ubisoft was able to focus again a little more on their complex lore that was seeded throughout the first few games. And while some questions were answered, it still left plenty of mysteries of where the games go from here - particularly from a modern-day standpoint. Though I am reluctant to see the franchise go, it does feel like Ubisoft is finally coming to a close on the grand story that they are trying to tell. What the end result turns out to be is still to be determined, but more emphasis needs to be focused on the central conflict.

For a game that still has Assassin’s Creed in the title, Eivor’s connection with the order and their enemies seemed very tangential. While I killed many Order of the Ancient members, there was no sense of personal investiture, like, say with Ezio’s quest. The only ones that I felt motivated to put an end to were Fulke and Kjotve the Cruel. Unfortunately, all the build-up in the first scenes with Eivor were quickly resolves within the first two to three hours of the game, and Fulke’s arc was all but over in the half-way point.

I suppose the main reason for my discontent with the narrative of AC: V is the fact that there is no Big Bad for Eivor and her Raven Clan. Yes, Aelfred of Wessex is a ‘villain’ that hinders our protagonist, but he never felt like an oppressive threat.

Basim’s reveal, somewhat late in the game, was also a little underwhelming. Yes, he did look an awful lot like Loki, but how did he manage to get to Norway? He hadn’t accompanied Sigurd and Eivor. Did he travel with a third party? How did he know that Sigurd and Eivor would be in the ruins of an Isu temple? So many questions, so little time.

Then there was the whole ‘Heir of Memories’ and the fact that Layla seemed so worn. After finishing Assassin’s Creed: Odyssey, my last impression of her was receiving the Staff of Hermes Trismegistus from Kassandra and being hopeful for the future. Fast forward to AC: V and Layla is tired. The world is on the edge of destruction once again and she’s now paired up with married couple: Rebecca Crane and Shaun Hastings (the two last appearing undercover in Assassin’s Creed IV: Black Flag).

On a side note, why are their adventures all done in the comics or some other media? AND WHY DO I NOT HAVE ACCESS TO ANY OF THIS?

And because I didn’t play the expansions for Assassin’s Creed: Odyssey, I knew too little regarding the modern-day struggles with Layla. In fact, I basically resorted to the Assassin’s Creed wiki to bring me up to date. Honestly, DLC should never be story-related. Or, if it is, should be more tangential rather than major. It’s a terrible practice that quite a few publishers do, and which leaves players such as myself playing catch-up.

The only one that landed with any oomph (at least for me) were the Asgard and Jotunheim arcs. These were connected and told the story of Havi as he struggled to find a way to avert his fate. The final battle also proved challenging and climactic. A far cry from the ‘endings’ that the main story provided. In all honesty, I probably should have left that to last while completing everything else first. But the temptation was too great and I was vastly overlevelled.

I also enjoyed the play on the Norse myths. The only downside with the Builder was that there was no horse to help him. And so, there was no sexy mare Loki to tempt away the Builder’s horse - giving birth to Sleipnir. The other stuff, though, was clever. And I liked the references made to other myths, such as fighting against ‘old age’ and Thrym’s disastrous marriage to ‘Thor dressed as Freyr.’

What was also a little odd, at least for me, was that there was no definitive part where the credits rolled. Much like in Assassin’s Creed: Odyssey and Assassin’s Creedy: Origins. Personally, I hate it. Credits give closure and tell gamers that the narrative that they were pursuing has come to an end. It lets me reflect on everything that I experienced and is an indication that I can finally set the controller down.

Assassin’s Creed: Valhalla also came with its fair share of bugs and glitches. Many, after reading up on them, made me frightened to continue. One, in particular, took me a while to figure out an alternative to: entering Lunden. I didn’t help that the more I read, the more I worried about encountering a game-breaking bug. Thankfully, most were simply treasure hoards not loading, late texture pop-ins that were a little frightening, and the drunk Eivor every time I loaded up the game.

Despite its many faults, I still very much enjoyed my time roaming around England, Vinland and Norway as I worked to build up Eivor’s reputation and to ensure her name would be sung for ages to come. Like a true Vikingr, I played copious amounts of orlog, drank mead and tore up the battlefield to create a home for my people.

Even better, at Gunnar’s wedding, I managed to finally woo Randvi (who I abstained from bedding down with earlier on in the game)! That, perhaps, elevated the game for me and I can be happy knowing that all my hard work paid off.

(As an additional aside, I also love how many of the side quests or ‘mysteries’ in AC: Valhalla made references to popular culture. From Winnie the Pooh to Alice in Wonderland. AND ROBIN HOOD! THE NPC CALLED LITTLE JOHN HAD ME GUFFAWING!)

#Assassin's Creed: Valhalla #AC:V #Assassin's Creed #video games #Eivor x Randvi

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cesare-and-raistlin · 5 years ago

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The Untamed/MDZS Spoiler Review

Book rating: 3.5/5 Drama rating: 8.5/10

This is going to be a comparative review of the novel and the live-action drama. I started with the drama, and watched about 25 episodes (all that were available at the time) before I started reading the book. I finished the book at around the time episode 38 came out.

So both my viewing and reading experiences were directly impacted by me consuming both versions at the same time, which is why I don’t think I can write a review that isn’t about comparing the two.

Overall, I’d say I like the drama better. The main actors’ performances, Xiao Zhan’s in particular, played a large role in that. But neither work was perfect, and each had their respective strong points.

First off, I think I have to make it clear that Wei Wuxian is my favourite character (which is good, since he’s the main character). This is important for this review, as I will take into great consideration how each version treated him, his story and his arc.

I usually separate my drama rating into two: I give a maximum of 5 points for objective quality and 5 points for personal appreciation. But I had to cheat here. The most The Untamed could have gotten with that system is a generous 7.5/10, and that feels somewhat wrong for a drama that made me feel so much.

The Untamed is probably the first longer Chinese drama that I watched where I never felt like there were too many episodes. Even The Rise of Phoenixes and Guardian, which I both love, had filler that could easily have been cut. But this drama was almost never boring and mostly stayed focused on the main characters, and with 50 episodes, that’s really impressive.

Dark Wuxian

The best thing about the novel for me was probably how delectably gruesome it was. The drama was only PG-13—and I’m being generous—, but the book was R-rated in every aspect. And while the sex scenes weren’t especially my thing (more on that later, unfortunately), the violence was unrestrained in the best possible way.

I love villains. I really do. And while Wuxian wasn’t exactly a villain, every single one of his villainous scenes was just marvellous. I think he has a body count of about 6,000 in this book. Six. Thousand. His Sunshot Campaign moments were some of my favourite, especially the scene where Lan Wangji and Jiang Cheng finally find him after searching for him for three months. The way Wuxian dealt with Wen Chao was extremely gruesome (after all, he made him eat his own legs), but it was sooo satisfying.

(Please don’t come out of this review thinking that I’m a sadist. This kind of events in real life would absolutely horrify me. But this is fiction. And I enjoy my fiction best when it’s ruthless.)

Dark Wuxian, as I’ve been calling him, is definitely my favourite aspect of the book. We don’t get enough of him, but what we get is amazing. Wuxian is a morally gray character. On a D&D spectrum, over the course of this story, he goes from chaotic good to chaotic evil to chaotic neutral. He does good things, he does bad things, he does selfish things, he does selfless things. He’s a complex character.

But it seems that the drama decided that no, Wei Wuxian wouldn’t be a bad person. At all. The only really reprehensible thing we see him do (and even that is debatable) is killing a few dozen Wens and torturing Wen Chao (in a much less gory way than in the book, but I can live with that). From the moment after he comes back to Lan Wangji and Jiang Cheng, he is somewhat… muzzled. The book has him digging out corpses and using zombies to fight in the war, while the drama opted for the much less morally ambiguous “smoke ghosts” that aren’t ever really explained. There were no giggling zombie girls serving him tea either, which I also feel is a shame.

But, then again, I can live with that.

What annoyed me the most, and something for which I cannot forgive the drama, is the Nightless City battle. Forget how poorly executed the whole thing was—I’d given up on this drama’s technical quality long ago. I can accept bad CGI. I can accept incompetent editing. I can even accept odious music. What I will not accept, however, is Wuxian to be absolved of his every fault by making someone else the author of the massacre and the reason for Jiang Yanli’s death. The greatest thing about Wei Wuxian is that is he not blameless. But that’s what the drama made him, and I’m absolutely bitter about it. The drama’s Wuxian doesn’t lose control: control is taken away from him. He doesn’t pay the price for his overconfidence. Jin Zixuan dies at Qionqi Path, not because Wuxian’s instincts and PTSD get the better of him and make him lash out like a cornered dog, but because someone intervenes. His sister dies, but it’s not his fault. And this is really frustrating me.

The book asks this question: Can someone who does bad things be a good person?

But the drama doesn’t, because the drama doesn’t allow Wuxian to be bad.

Also, we’re supposed to accept that Su She was talented enough to overpower Wuxian at the technique that he himself invented? And without owning the Tiger Seal? You’re kidding me, right?

Storytelling and Authenticity

One of the major changes in adapting the novel to live action was the decision to spend 60% of the story in the past storyline, something the novel was very concise about. The events presented in both versions are generally the same, but the drama greatly expanded on the material that it had, and let me say, this was the best thing they could have done. Making most major characters meet at the Cloud Recesses? Genius move. The characters had time to build relationships, something they didn’t always have in the book. It was necessary, notably, to establish a connection between Wei Wuxian and Wen Ning and Wen Qing before the YunmengJiang massacre, so that the rescue wouldn’t come out of nowhere, something it kind of did in the novel. The relationship between the three Yunmeng siblings was explored in detail, making their later tragedy several times stronger and more painful. Though Wuxian stayed the main character the entire time, the drama also gave a POV to other characters, most notably to Lan Wangji, which was a great improvement to the book, where Wangji is a POV characters for maybe two scenes. While I’m never a fan of not having Wuxian’s prettiness on my screen, we do needed to see scenes like the attack on the Cloud Recesses or Wangji’s punishment with our own eyes. Getting these moments through exposition only would have made for weaker storytelling.

And weaker storytelling was what we unfortunately got with the novel. This is not the right story for a one protagonist only third person limited point of view. Especially when that one protagonist is dead for 13 years, 13 years during which many things happen. Wuxian gets reincarnated, and now needs to know what has been going on when he was dead. Being limited by the narrative style that she set herself, the author was forced to deliver the exposition in huge chunks through the Empathy spell, occupying several chapters each time and thoroughly boring me in the process. This could have been delivered organically with additional POV characters, but the book went the route of the exposition dump.

To be fair, similar exposition dumps are also there in the drama. But they do not feel as much out of place, as the drama made a point to show us scenes with and about the concerned characters beforehand, Jin Guangyao in particular. He was an already well-established character long before he became a major player in the story. Which certainly wasn’t the case in the book.

Something that is easier to do on screen than on paper is the everyday gestures of the characters. Things like Jiang Cheng rolling his eyes at everything that Wuxian does, Wuxian holding his flute Chenqing the same way one would do a sword, the Yunmeng bros playfully hitting each other at any given time, Wen Ning looking at everything with puppy eyes, the ducklings junior disciples using exaggerated fighting stances, Wuxian and Wangji’s eyes crossing every time one of them decides to do something.

You can, technically, put all of these, every instance, in a book. But by writing something, you draw attention to it. You not only make it important, you also make your main character notice it. Which is why writers don’t include every single move their characters make in their book, since most aren’t necessary to the story, would feel repetitive and would distract the reader, or would make the protagonist more observant than they should be. The beauty of film, however, is that you can include these details, as much as you want, without directly drawing the viewer’s attention to them. There are many ways to do this; wide or crowded shots are some examples. These seemingly unimportant details were extremely useful in accomplishing what seemed to be one of the drama’s main objectives: they made the whole thing feel sincere. Character quirks and background interactions work wonders at making you feel like the people on your screen are real and not just played by actors. The relationships between the characters felt so much more real and made me feel so many things that the book didn’t. While I wouldn’t go so far as saying that the book characters felt stale or artificial, the drama definitely added another layer of authenticity.

The drama was better at portraying Wuxian’s conflicted emotional state in the events from his return from the Burial Mounds to the Nightless City battle. Of course, it’s to be expected, as the drama spent way more time in the past storyline than the novel did. But by deciding to spend more time with the Jiang siblings, it was also able to depict the way Wuxian’s behaviour changed and how his new physical weakness affected him in a way that wasn’t present in the book. Wuxian doesn’t possess a golden core any longer, and he doesn’t want anyone to know about it. But there are things he cannot fake. Two scenes in particular come to mind. In the first, Wangji attacks Wuxian suddenly, and after barely blocking a few blows, a shocked Wuxian just closes his eyes and waits for the sword to kill him. He used to be one of the best swordsmen, but without any spiritual energy, he now knows that he cannot win a sword fight against Lan Wangji. So he closes his eyes and accepts his imminent death with a painful expression on his face. In the second scene, Wuxian tries to reconcile with Jiang Cheng after an argument, but his brother shoves him the second he touches him. Wuxian falls on the ground, and stays there. The look on his face is a combination of shock and hurt, as he comes to the realization that even playful fighting with his brother is now out of his grasp.

These scenes were a great addition by the drama. Not only did they succeed in adding tension to the characters’ relationships, they also successfully teased Wuxian’s lack of golden core. In the book, this reveal doesn’t entirely come out of nowhere, but you also really needed to pay attention to every detail to guess it. The drama plays a different game: while it is still perfectly possible for less attentive viewers to be surprised by the later reveal, the real emotional pull of the subplot has now become “When will the people who love Wuxian discover the sacrifices that he made?” The fact that the mystery is easier to guess for viewers simply manages to make them more invested in the eventual reveal and how it will affect the characters. And the reveal itself is… *kisses fingers* delicious.

Adaptations Are Hard

In adapting the book, the drama succeeded in many things, several of which I’ve already mentioned. But too many times to count, it also failed to stand on its own.

This isn’t a drama that was ever going to be 100% faithful to its source material. Because of China’s censorship laws, it had to change a lot of things to be able to air. Of course, the gay romance was turned into a bromance (although it didn’t dupe anybody). All the R-rated content was turned into PG-13 appropriate. Undead Wen Ning was made kind of alive in the drama (reminding me of how Chu Shuzhi was a zombie in the Guardian novel but a perfectly alive dude in the drama). Most walking corpses were replaced by black shadows, and were only used by villains. (China really doesn’t like undead characters, guys.) It has been brought to my attention that Wuxian’s toned down evilness may also be a result of adapting to censorship, and if that’s the case, it makes me both more annoyed and more understanding of what the drama did.

However.

When you change something from the source material, whatever the reason is, you have to think about what the implications of your changes are. Which the scriptwriters of The Untamed clearly didn’t.

“Wei Wuxian has been killing indiscriminately since the Sunshot Campaign!” No he hasn’t.

“I’ve fought 3,000 people before, I can take 3,000 of you now.” No you didn’t.

“Sect Leader Jiang, don’t forget that one of the main powers that surrounded the Burial Mounds was you.” That siege never even happened.

Over and over, the drama changes things from the book but doesn’t adapt its later scenes to fit those changes. This results in a succession of lines that feel out of place and incongruous.

In a similar way, they have Wuxian be reincarnated into his old body instead of into Mo Xuanyu’s body. And I get it. I understand why. Your lead actor may very well be the best thing about your show, and giving him up midway through would be a pain for several reasons. BUT. They kept the whole thing about people not being able to recognize Wuxian until the Koi Tower sequence when he unsheathes Suibian. Even though he has the same jaw, the same hair, the same clothes, the same voice, the same basically everything that he had before his death. I guess the drama realized that pushing this farce with Wangji wouldn’t work, so they dropped the whole series of scenes where Wuxian tries to make Wangji believe that he’s Mo Xuanyu. It still doesn’t redeem how senseless other scenes are. In the book, Jin Ling frees Wuxian after Jiang Cheng caught him because he genuinely thinks that Wuxian is Mo Xuanyu, whom he knows personally and probably doesn’t want to see get tortured. But in the drama, he frees Wuxian because…? Jiang Cheng has seen Wuxian’s face and has stated that it’s him, so Jin Ling shouldn’t have any reason to doubt his uncle.

It’s an adaptation. It’s alright to change things. But guys, the changes have to make sense!

Did anybody proofread the script? Nobody?

The Technical Stuff, or Me Shitting on This Drama for 700 Words Straight

If what you’re looking for is competent filmmaking, then I would suggest you look elsewhere.

But if you want an interesting story, sympathetic characters, poignant relationships, and themes of what is right and what is wrong and all the gray areas in between, then go ahead!

— Me, August 15

So.

This is not well-made television.

Like, at all.

Ok, so the costumes are pretty great. The different clans are easy to distinguish while never seeming cartoonish, the details of each garment are exquisite, and, let’s face it, Wuxian black robes simply stole the show. The weapons were really pretty. Some of the tracks from the soundtrack are actually quite nice. There are a few beautiful visuals. The main leads’ acting was good.

But I’m sorry, I have no more nice things to say.

The cinematographer obviously didn’t know how to frame a shot. Camera angles were often awkward or downright useless. The camera moved amateurishly, enough to bring the production values down by itself. Chinese drama reviewer Avenue X has dedicated a significant part of her Untamed review to the problems with this drama’s photography, and since she knows what she’s talking about way more than I do, I’ll leave a link to her video here: X

The editor didn’t know how to edit a scene. It was mostly apparent during fight scenes, with their weird cuts and incessant fading to black for no reason, although I don’t think that I could call any scene of this 50-episode drama “well edited.” Even my favourites. The best ones are just passable.

The editing and cinematography aren’t necessarily bad because of a lack of budget, which we know was a problem with this drama. You can make simple but great content with a small budget. No, they’re bad because the people responsible were not competent.

The two directors themselves don’t have the best track record. The Legends and The Plough Department of Song Dynasty are not well-made dramas in any way. Even Secrets of the Three Kingdoms, on which director Cheng Wai Man worked, was great because of its script and its characters but was brought down by its underwhelmingly average technical craftsmanship.

The sound mixer didn’t know how to juggle the diegetic music and the soundtrack. You know, when you have a main character who fights with a flute, maybe, just maybe, don’t use the tracks from the soundtracks that have flute in them in his scenes. There are many points during the drama where I could hear flute music but had no way of knowing whether that music was diegetic or not, if Wuxian was really playing or if it was part of the soundtrack. Wen Chao: “The flute! The flute! Is it the flute?” Wen Zhuliu: “It’s not. It’s the sound of the wind.” [Meanwhile in the background: flute music.] At this point of the story, Wen Chao is clearly deranged and Wen Zhuliu acts as the voice of reason. However, as the audience, we can hear the sound of a flute. Is it part of the soundtrack? Is Wen Zhuliu in denial or lying to Wen Chao? Is Wuxian playing for Wen Chao’s ears only? There was no need for this scene and others like it to be so confusing.

Most of the secondary actors didn’t know how to act. Xiao Zhan and Wang Yibo were mostly great, particularly once they got used to each other better, and I can name a few actors whom I think did a really good job (Xuan Lu who played Jiang Yanli and Liu Haikuan who played Lan Xichen) but most others were passable at best and horrible at worst.

The VFX artists were just lost all the time. Though I will say that the black shadows created by Wuxian usually looked pretty cool. But they had neither the time nor budget to make this CGI-heavy show seem realistic in any way. Is this a surprise? No. I’m used to Chinese web-drama CGI by now. And I actually appreciate that The Untamed made some efforts to have practical effects when possible. They still looked bad (that giant dog was absolutely terrible), but they could have been so much worse if they had been computer animated. At least they tried.

We Need to Talk About Wangxian, I Guess

The drama’s version of Wangxian is amazing. It’s soft and romantic and heartfelt and authentic. And the fact that it’s technically supposed to be a bromance doesn’t take anything away from it. Nobody in their right mind watches this show and thinks, “They’re just friends.” Where Guardian still tried to (unsuccessfully) pass Weilan as bros, the people who made The Untamed were all *wink wink* with the entire relationship: having Wuxian and Wangji call each other “soulmates” and gaze at each other like the two idiots in love that they are, holding hands, being overprotective, and even including a damn montage of them falling in love. (How this drama still hasn’t been cancelled in China is an absolute mystery to me.)

Book Wangxian is… something else.

In the drama, Wuxian and Wangji become friends rather fast. And while Wuxian still has some moments when he believes that Wangji is there to put him down (“Lan Zhan, I’ve always known that we’d end up in a fight to the death”), he mostly understands that they’re friends. Book Wuxian, on the contrary, still believes that Wangji is out to get him well into the present storyline. And let me be clear: both versions work. They carry very different emotions, but they work. Until we get to the romance.

Because in the book, Wangxian kinds of happens out of nowhere.

In the novel, Wuxian suddenly goes from “Lan Wangji hates me and I need to get away from him” to “Is homosexuality contagious” to “I really wanted to sleep with you!” (in front of his damn nephew, may I add), and that’s fine, in theory. But the transitions in between those changes of heart aren’t really there. 99% of the story is told from Wuxian’s point of view, and I still came out of the book not really knowing why he likes Wangji. That’s kind of a problem.

And then there’s the sex scenes. Oh, the sex scenes.

It would be an exaggeration to say that they sex scenes of the book ruined Wangxian for me, but they certainly did nothing good for the ship in my heart.

It’s not really on brand of me to talk about these things in detail, so I’ll be brief: there is a consent issue with pretty much every single sex scene. In the very first, Wangji is inebriated and cannot consent. The very worst one, which is part of the extras, is clearly a rape. A dream rape, sure, but a rape nonetheless. And the book treats it like something, I don’t know, exciting? So yeah, after finishing the book, Wangxian was making me uncomfortable. The show’s absolute sweetness made it better, but I still have a sour taste in my mouth.

Conclusion

After this review, you may be thinking, “Wow, she really doesn’t like either the book or the drama that much.” But this is just harsh love. I have an eternal soft spot in my heart for this story. To quote my own tweets:

“I have to hit pause every 30 seconds because I love Wuxian so much my heart hurts.”

“it's so good

i wanna cry”

#the untamed #mdzs #mo dao zu shi #wei wuxian #chen qing ling #lan wangji #that demonic fluffball

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theartofmedia · 6 years ago

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The Art of Review: YIIK: A Postmodern RPG

I have been sitting here for about two hours with this tab open, trying to find out how to properly introduce this. At the time of writing this (May 7, 2019, 10:02 PM), I have just finished watching YIIK several hours ago. However, I have been doing just about everything to avoid actually writing about it, because I have no idea how to ease the reader into this.

YIIK is so reprehensible that I created this segment--”The Art of Review”--because I needed to talk about this game. I needed to explain just why this game fails on every single account, and is so blatantly offensive. Initially, I was going to do a piece on something creator Andrew Allanson had said about games and his protagonist, Alex. It had to do with character development, and a common criticism was Alex’s sheer lack of it; naturally, I decided to watch a walkthrough online in order to see this for myself first-hand.

I was not prepared for what I saw. I have never had to take as many breaks from any media before due to sheer anger at what I was witnessing. I have never seen a game that fails in every single sense, that is regarded as such high art by its developers. Except maybe David Cage, but he’s a topic for another day.

YIIK: A Postmodern RPG is one of the worst pieces of media I have ever had the displeasure of viewing... probably in my entire life. I wish I was exaggerating.

Before I go any further, I would like give immense credit to GrandmaParty and the others at the Something Awful forums for doing an LP of the game with commentary and cutting out the fights. GrandmaParty graciously linked the thread to me--which is full of sources that I will also be linking to throughout this piece--and made the entire game tolerable enough for me to power through. It wouldn’t have happened without you guys, so thank you very much for extending a hand to a small creator trying to get her footing in the world. <3

I will also be linking to the various episodes of GrandmaParty’s LP with timestamped links to show particular scenes or dialogue. I’ve heard that one Andrew Allanson likes to say that people doctored screenshots of his game to make him look bad. Sorry, but I don’t like being accused of forgery, so I’m going to just preemptively strike that claim down.

Now then. This is going to be a big, long review. Allow me to tell you how we’ll be separating this.

We’re going to have two main sections: a non-spoiler review, and a spoiler review. This is mainly due to the fact that a lot of the game’s issues come from its mess of a story, one that can only be understood fully if you’ve seen it through to the end (and its multiple endings).

But let me be clear here.

DO NOT BUY THIS GAME.

Don’t buy it for a laugh. Don’t buy it to see how bad it is. It’s broken, it’s offensive, and the creators and proven themselves time and time again to be genuinely awful and prejudiced people. Do not give these people money.

The non-spoiler and spoiler sections will be divided into subsections, which may also have subsections of their own.

With that said... let’s begin my review of YIIK: A Postmodern RPG.

Non-Spoiler Review

Plot:

The plot of YIIK (it’s pronounced like Y2K, but I’m going to pronounce it as ‘yick’ personally) follows Alex, a freshly-graduated college student, and the strange events that begin to occur once he returns to his hometown of Frankton. He follows a cat to an old factory/hotel, where he meets Sammy, a young woman who appears to live there. When she is taken by some mysterious creatures in front of Alex, he begins a journey to try and find out what happened to her, and begins to make discoveries that could endanger the very fabric of the universe. In theory, at least. In reality, the story is an absolute clusterfuck of vague metaphysics, and the rules of the world were never clearly established, so everything just becomes an incoherent mess.

Characters:

The characters are bare-bones at best and absolutely insufferable at worst. Alex especially is infamous among critics and detractors of the game for his arrogance, ignorance, underlying racism/sexism we’ll get to that, and lack of properly-written development. I’m not going to go into full detail with Alex just yet--there will be an entirely separate post on him. Something also to keep in mind that general consensus appears to be that Alex is an author-insert for Andrew Allanson. Whether that is or isn’t true is frankly up to the viewer, but there’s no definitive proof of it.

(Oh!!! Quick thing!! This image here keeps circulating around--this person is not Andrew! That is someone named Cr33pyDude on both Twitter and Reddit! He just so happens to look like the main character. Don’t rag on this guy, everyone, he doesn’t have anything to do with this shitshow. <3)

Most of the other characters are bland and underdeveloped, but all have potential to be better (Rory especially, in my personal opinion) if they were in the hands of a better writer. The female characters, though... either they are fawning over Alex, being written as nagging and overbearing, or having so little significance that taking them out entirely would change nothing. Don’t worry, we’ll get to that. Other NPCs are forgettable, and enemies are out-of-place monsters that hold no consequence to the story.

Writing:

And the writing--dear god the writing. The writers don’t know the phrase “show, don’t tell.” So frequently would Alex monologue about nothing. Upon coming back from seeing a woman get taken by supernatural creatures, he goes home and reflects--only to go on a tangent about his mother. Immediately after that, he goes on a rant about p/o/r/n/ when sent an email and how girls that he used to go to school with wouldn’t be doing “particularly unladylike” things. And the entire game is like this. Alex will go on pseudo-philosophical rants to himself, and they reveal nothing about his character except that he thinks he’s better than everyone else. He’ll also frequently describe things as though talking to someone--while this does get explained later, it still is completely frustrating when the narrative says “I said this and she said that” instead of just having dialogue or actions between characters. A lot of the dialogue doesn’t exactly... sound like anything a human would say. It’s stilted and unnatural.

Graphics:

The graphics are... bad. Really bad. The style is supposed to be a throwback to old-school, very polygonal games, but environments lack any and all actual texture, making them incredibly flat and uninteresting at best and painful for the eyes at worst. Everything is extremely colorful, but in the sense of neon colors. Everything is so bright and vibrant, and there is barely a place where someone’s eyes can rest--it’s balance in art. Brightness like this needs to be contrasted with darker, more muted shades, or else it just hurts to look at. The viewer’s eyes need places to rest, and the muted shades allow them that reprieve. You don’t get that with YIIK. It’s just a constant bombardment of colors and lights, to the point where if you are sensitive to these kinds of things, you may not want to look even at game footage unless you’re prepared. The character portraits are fine, even if some expressions are odd, but the in-game chibi-esque models are... bad. Really bad. They’re so uncanny and unsettling, and their expressions almost never change. (Also Alex has detailed teeth and it’s just as horrifying as you might think.)

Music/Audio:

The music is. Awful? It’s awful. It’s genuinely really bad. Case in point: one of the boss battle themes. You can hear this poor guy trying so hard to put power behind his voice, but it just sounds unnatural and strained. (Also he clips the mic at some points, and the balancing in general is. Bad.) He’s out-of-tune and occasionally off-beat, and it just makes for a very unpleasant listening experience. And a lot of the music is like this, being just an assault on the ears. The one real exception to this is the track “Into the Mind” made by one Toby Fox, presumably before he made Undertale and was doing freelance work. (He has since deleted his tweet promoting it. Screenshot of the tweet here, courtesy of @GameTheoryRejects.) The audio in general is poor, with irritating sound effects, occasional distorted audio that’s supposed to be scary but is so poorly done that it just hurts to listen to, and voice acting that’s lackluster at best and utterly emotionless at worst.

Gameplay:

Full disclosure: I did not personally play the game. But just looking at it shows how irritating, slow, clunky, and repetitive it is. Each character has a minigame that you play in order to attack, defend, use special attacks, and even run away. These minigames, unlike in something like the Mario & Luigi series, are slow, drawn-out, and completely break up the flow of the fight. And none of the other characters matter then anyway, because turns out if you max out your LUK stat, you can use a particular move that hits all enemies and completely one-shot them from critical damage. (And this move can even glitch out the game in some cases!) The menus are crowded and visually uninteresting, making everything sort of meld together. (Another minor criticism: YIIK has a tendency to put the player in unwinnable fights. You are never aware of what fights are winnable and which fights are designed to kill you. More on this later.)

Speaking of gameplay, the leveling system is... bizarre and tedious. You get EXP, but you don’t gain the ability to level up (yes that is an ability you have to gain) until a couple hours into the game. Leveling up is done in the Mind Dungeon, which you access from save points, and you have to go through doors that increase the stats you assign it. There are four doors per floor, and when you go to the next floor, you and all of your teammates (even if you haven’t met them in-game) level up. Sounds simple, right? Well. It’s slow and repetitive, and NOTHING HAPPENS. You walk in a door. You walk out the door. Rinse and repeat for 70 floors. (280 doors, by the way.) Here’s GrandmaParty doing this for an hour to get an idea of the tedium that this induces. You get to play a minigame when you banish certain enemies, but that serves less as ‘spicing up the gameplay’ and more of ‘adding more steps to this already-boring section.’

So to recap: Flat characters, word-salad plot, painful prose flat-out ugly graphics, backwards gameplay and leveling system.

Tl;dr: Game bad. Don’t buy it.

... This ends the non-spoiler portion of the review. And also the section where we start to talk about some... sensitive topics.

As such, I am going to issue a legitimate trigger warning: the following pieces talk about suicide/depression in detail, as well as physical & domestic abuse situations.

And a small content warning for those who aren’t legitimately triggered by these subjects but still feel uncomfortable reading about the following: homophobia/transphobia; sexism; racism; and the actual use of a real-life woman’s death as a plot device. No I am not fucking kidding about that last one.

So. Let’s get into the real shit about YIIK.

Spoiler Review

Plot:

Let’s start with the plot. There isn’t really a driving force for this plot; initially, it’s finding Semi “Sammy” Pak (well, everyone except Rory says “Park,” even though all of the written lines say “Pak,” so that’s great) after she is taken by mysterious figures. However, as the game progresses, the search becomes less about finding Sammy until she’s just a footnote, and becomes more about... meandering around the world going from one goal to another while fighting things. (The game points this out, but self-awareness doesn’t excuse the fact that it happens. Especially considering the upcoming plot points...)

Then the metaphysics start--people have been trying to decipher this world’s rules for a while with little success, so bear with me, I’m going to try to make as much sense of what we’re given as possible.

There exists a “place between places“ known as the Soul Space. It exists between parallel realities. A person can actually will themself into the Soul Space via... depression? One character, Vella, says that another character, Rory, left his body when he “surrendered himself to his misery” following the death of his younger sister, and explained herself that she fell into a deep depression as well before entering the Soul Space... but it’s not dying? Or it can be? Here Rory asks The Essentia 2000 oh we’ll get to her don’t you worry if dying means you enter the Soul Space. She says that it’s complicated. Her explanation boils down to, “if you care only about material goods and not about your bonds, when you die, you will cease to exist. If you don’t care about materialistic goods when you die, then ehhhhh???”

Also, if your reality is destroyed but you go into the Soul Space, you can become a Soul Survivor (aka the not-Starmen, seen in the cutscene with Vella and Rory linked above) and get stuck in other’s realities as you try to find a physical body. Also, people share a Soul across parallel realities--meaning, parallel versions of yourself would share the same Soul. But they’re not the same people. They have different lives, races, genders, names, but they share the same “Soul.” Only one person with that “Soul” can exist in a reality at a time, hence the form that the Soul Survivors take if they enter a reality where another person with that “Soul” lives. If, however, that person with your “Soul” is no longer in that reality, you can retake physical form and essentially take their place--though not as them, but as you.

And if you go into the Soul Space you apparently understand the secrets of the universe and are beyond normal human follies.

Confused yet? Me too, and I wrote this damn thing. The worldbuilding is so vague, and the players aren’t given set rules that the world plays by. Even when the more surrealist elements of the game start to appear, there should still be rules. Perhaps nonsensical rules, but rules nonetheless. Instead we get talk about Souls and parallel realities, scenes of bright colors and strange imagery that never gets explained or really acknowledged (other than a mention of them being “breaks in reality” like, once), and some plot twists that imply... a lot.

Let’s talk about the characters before we get to the ending.

Characters

Besides Alex, there are five major characters in YIIK:

Michael, who is Alex’s childhood friend and who doesn’t really have much relevance between the beginning and the end of the game. No, really, for the middle portion of the game, he doesn’t really do anything. He hangs around, that’s about it. He gains relevance again during the end of the game where he goes into the Soul Space and becomes Proto-Michael, and that... happens, I guess. I think it contributes to the revelation later on about reality breaking.

Vella is... a strange character. A strange character forced to contradict herself because the plot demands it. She’s shown to be a character who takes no shit, but also bends at the first flimsy apology Alex gives her. She is compassionate to someone like Rory, but spends most of her time calling out Alex. (And yet, somehow, they fall in love???) These notes I took previously on Vella’s first appearance show how what kind of walking contradiction that Vella is as a character:

”Stop creeping on me while i’m at work”

”Okay I’ll go to the house of two strangers who i just accused of perving on me, in the middle of my work shift, to look at these pictures of me on this website i’ve never heard of that can’t go wrong”

”So let me tell you about this traumatizing experience i had with a supernatural creature, saying how emotional and painful it was without any emotion in my voice”

”also i’m not going to tell you how I got to where the supernatural creature was because it’s very personal and I don’t know you and revealing that would make me vulnerable”

”By the way I’m going to give you my number as well as this other number for a training dungeon basically because I like you two”

... yeah,

Rory is probably my favorite character out of this dreck, and he deserves so, so much better than being in this shit. He’s a quiet scene kid who initially gets roped into the plot with the disappearance of his 12-year-old sister--turns out, however, that she killed herself, and Rory struggles with the resulting grief, trauma, and depression that follows. He’s a sweet kid who’s a pacifist, is teaching himself how to make games, knows a lot of random bits of information about many things, and overall deserves so much better than this game. Sorry Allansons you’ve lost your Rory privileges he is My son now

Claudio and Chondra... are just kind of there? Claudio’s a stereotypical weeb. Chondra is the “sassy black girl”/little sister type (which is later revealed to be even stranger, because she’s apparently a graduate student). They don’t have much outside of that, and that’s a shame, since they had a lot of potential to be really good. However, they also seem a bit... tacked on and included for diversity’s sake, as both of them mention racism at some point, and... yeah. The game isn’t very graceful with that topic, as I’ll soon get into.

There is also the character of Panda, who appears out of nowhere in the factory/hotel and is never questioned. It becomes very clear that he’s a figment of Alex’s imagination, and is Alex personifying him as his sort of “conscious“ when he is, in reality, only a stuffed bear. He only talks when Alex is alone. A lot of people really don’t like him, but I will admit that I got mildly emotional when he drifted away in space near the end--but only because I myself make stuffed animals and dolls, so nearly any stuffed animal holds a place in my heart. However, I can very much see why people wouldn’t like him at all.

Anyway.

The Fucking Ending:

So everyone just kind of meanders around for the middle portion of the game until surprise! On New Years’ Eve the world is going to be destroyed. Not just the world--the entire reality. And it’s going to be Alex’s fault, somehow. Also Sammy--who Alex becomes obsessed with--Vella--who is an explicit love interest for Alex--and an android--the previously-mentioned The Essentia 2000, who Alex has a dream about and immediately becomes infatuated--with all turn out to be the same person! Why pick between love interests when they can all just turn out to be the same person?! Also, Sammy was taken by apparent demons because her Soul was in the process of going into the Soul Space, and the creatures the took her were actually the other 2/3rds of her Soul that had already gone into the Soul Space and they were just collecting the last piece. I think.

The game turns into a watered-down version of Persona 3, where you have about a month--from Thanksgiving until New Years’ Eve--to train and get strong enough to stop whatever is going to destroy reality. (The actual Y2K thing is mentioned about halfway through and serves little relevance other than to mark when the end of the world is, since Y2K isn’t actually the cause of the world ending). Then there are some weird plot twists about how reality has been breaking for a long while (this was briefly foreshadowed in Alex going to Michael’s house only to be told that Michael doesn’t live there, and then going to another house where Michael is) and it makes a lot of things really confusing?? And then New Years’ Eve comes where everything is really breaking. Turns out the end of this reality is caused by a meteor with Alex’s face on it a la the moon from Majora’s Mask, no I am not fucking kidding. And it moves around like an inflatable arm-flailing tube man, no I am not fucking kidding.

And then everyone dies. No, really, this is an unwinnable fight. You die. Your entire party dies. Their reality is destroyed.

Alex wanders around the Soul Space for a while until he finds other versions of himself, and various “dark versions” merge together to create the Proto-Comet (’proto’ being the suffix to describe the end product of parallel selves merging together to form one entity). Alex follows the comet around as it destroys reality after reality until...

He finds one that hasn’t been attacked.

And gueeeeeeess what?

You, the player, are a parallel version of Alex. So he enlists you and another party of parallels (using the names you were supposed to input in the beginning) to destroy Proto-Alex. Here, you meet a spectre who is very obviously Sammy Pak, and she says that she’s sorry that Essentia “used her to get to you,” and you hug her.

Eventually you do get to Proto-Alex, as well as a different form of Essentia. Turns out that Essentia lied to you about Sammy and Vella--turns out, Essentia IS you. Well, Essentia is part of Alex, and she tricked Alex into destroying Proto-Alex in order to free herself from the “Soul” that they share. So you can choose to fight Proto-Alex, and if you do, you lose. Again. The boss fight in unwinnable.

And then this... really weird section happens with the character of Roy from Two Brothers, Ackk Studios’ previous game that got pulled from Steam due to bugginess and crashing. Roy basically says that people were “trying to stop his quest” (aka critics) and that Alex shouldn’t give up. (Note that this is a complete non-sequitur to anyone who doesn’t know who Roy is, where he came from, or the story behind the game being pulled.)

After that, you control both the player avatar given and Alex in order to “unplug” Proto-Alex and Essentia, which will make them “whole”? It basically means that all the versions of Alex will merge together into you, the player.

Then the game ends.

At least. Kind of. There’s more than one ending.

But... we’ll get back to that in a bit.

There are many questions the game raises without answers. Why was Sammy bleeding and screaming for the Soul Survivors not to take her because “you promised you wouldn’t move me again!”? Who actually is Vella? Why did no one question Essentia and Vella being in the same space if it was already said that they couldn’t be? Who actually is Sammy? Why is she a ghost and not a Soul Survivor? Why were Proto-Alex and the other “dark Alex”-es trying to destroy realities? Why does Proto-Alex look different than the other Alex-es, who look relatively similar? Who actually was the voice on the phone--it was implied to be Proto-Michael, but he didn’t exist when those phone calls were made? Is Claudio and Chondra’s missing younger brother actually a version of Alex, as this clip implies (esp. w/ the anime shirt)?

Good luck getting answers, because we sure as hell don’t get any.

Also--glad to know that the entire month of training that you spent the latter half of the game doing was all for naught, since the last two major fights you’re in are unwinnable. There are four minibosses to fight, so it isn’t all for nothing, but still. You don’t even get the satisfaction of killing the final boss. You pull a lever and he and Essentia get weirdly electrocuted.

One more thing: the twist of “Essentia lied to you” made a metric fuckton of exposition in her Mind Dungeon utterly pointless, and also feels like a flimsy excuse to absolve Alex of blame for the shitty actions of his parallel selves--more on that later.

So let’s touch on some controversy now that we have gone over the rest of this incoherent mess of a plot.

Elisa Lam

One of the most famous controversies of YIIK is the use of Elisa Lam’s death to propel the story. This is true--the creator admits that he “was very moved” by Lam’s death.

For those not in the know, let me give you a brief summary of the case of Elisa Lam. (Yes this is going to be primarily from Wikipedia but it also has news sources cited for it.) Elisa Lam was a 21-year-old Chinese-Canadian student who was reported missing at the beginning of February 2013. On February 17th, the workers at the Cecil Hotel in Los Angeles (where Lam was visiting) discovered her nude body in one of the hotel’s water tanks after guests complained about the taste of the water. The police released footage of Lam, from the day of her disappearance, acting strangely in an elevator, appearing to be hiding from something, pressing elevator buttons, and gesturing and talking to no one. There was controversy surrounding her death, as people wondered how she could have locked herself in the water tank, and how the police could rule her death as accidental. People have suspected that it was due to paranormal activity that she was acting like that, or others said that she could have been having hallucinations (as Lam was diagnosed with bipolar and depression). Her death was quickly spread through internet circles as some paranormal myth.

YIIK incorporates this as a huge part of its starting plot.

Semi “Sammy” Pak is very clearly inspired by Elisa Lam. The two bear striking resemblance to one another, being young Asian women in their early twenties with straight black hair (even parted in the same place)--and this photo from the LA Times shows that Lam wore rounded glasses, like the ones Sammy wears. (Lam is Chinese-Canadian, while Sammy is stated to be Koren-American. Sammy is also 23 when Lam was 21.)

This photoset from JamJamJamJamuel shows the biggest criticism of YIIK: the recreation of the elevator video. It’s obvious by the angle and some of Sammy’s movements that this was, in fact, meant to emulate the elevator video of Lam. The game also shows that people are less concerned about Sammy as a person and more about the mystery of the elevator, like the internet stopped caring about Lam as a person and more of a supernatural myth.

However, there’s more than just this.

There’s a weird... almost fetishistic nature when the in-game protagonist talks about Sammy. Alex describes his meeting with her as “intimate” (they met for like. an hour), calls her “my Sammy” when comparing his story to the story of the news, says that he “misse[s] her. I didn’t know her really, but I felt like I did.” And the very next line is uh. “In the unreal twilight hours, in-between sleep and waking, she slipped into my dreams, got tangled in my thoughts, like the blankets tangled between my legs, her brain melting with mine.”

... Gross, to say the least.

And yes, by the way, Sammy basically becomes a love interest. That’s not completely disrespectful and disgusting to the actual human woman that the devs never met or anything at aaaaaaaall.

BUT WAIT, THERE’S MORE.

Rory basically goes on to describe a “creepy urban myth” about the water tower near his town. You can imagine what that leads to. It’s a beat-by-beat retelling of the finding of Elisa Lam’s body, except they make it a “nameless girl,” and the writers basically insert their opinions of how it was definitely a murder and the police called it an accident.

More tasteless than a fucking saltine.

OH BUT WAIT THERE’S EVEN MORE.

Near the end of the game, you find the ghost of Sammy Pak. Since she’s not a part of Essentia, it seems that Essentia used her form to get to Alex. She says that she’s sorry and that she’s going to go back ‘home’ now, and you hug her.

But that’s not even the worst of it.

Allow me to tell you about the second ending.

Second Ending:

YIIK has more than one ending--both are considered canon. Ending 1 is the one described above.

Ending 2, however...

Just before leaving the house for the last time, in order to get this second ending, you have to look at the computer in Alex’s house and read this post. It implies that you need to go find Sammy. (It also has some things to say about postmodernism but that’s for another day.)

You go outside... and she’s hiding behind a tree outside your house. No I’m not kidding. (Granted, this is the part of the game where reality is beginning to break apart, so.) She also says “I love you” which, given her “inspiration” by Elisa Lam... yeah. That’s not creepy and tasteless at all. And it also doesn’t make any FUCKING SENSE BECAUSE ALEX KNEW HER FOR AN HOUR AND NEVER SAW HER AGAIN.

Okay, okay, anyway, if you go back into the house and leave through the back entrance, you’ll be taken to the world map. Your destination is the KNN--the Korean News Network, where Sammy had been employed before she vanished. The faceless NPCs only refer to Alex as the name you put in at the beginning of the game, so presumably, everyone from this point forward is now talking to you, the player. (Also everything is pink. Really pink. For no real reason unless it’s “””symbolic””” of something?) You wander around for a bit, doing menial tasks, until you finally get to a pink version of the room you first met Sammy in. She calls you on a phone and tells you that she’s sorry for dragging you into this mess (because Alex/the player went looking for Sammy in the first place), and that she “has a solution” to prevent Essentia from using Alex any more.

You find yourself in front of an elevator, the same elevator that you rode with Sammy when she disappeared. She calls you on the phone again and says that if you go through the elevator doors, there’s no turning back. If you step through, you see the spectre of Sammy again, and she wants to show you where she’s been. You hug her, and she says that she’s so glad that she met you, “even if it was just a game. We’ll be together in your waking reality one day, I’m sure of it. For all I know, we may already be.”

... Roll credits!

No. Seriously. That’s the second ending. You, the player, (presumably) go into the Soul Space with Sammy for eternity, and Sammy basically gives you a love confession (after all she says “I love you” before anyway).

Need I remind you all that she is based off of a REAL-LIFE WOMAN WHO DIED THAT NEITHER OF THE ALLANSONS KNEW?!

Hi, yes, sorry, I’m fucking livid about this. Not just because of the disgusting use of a real-life woman’s death in your game, not just because they fetishized her and turned her into a love interest, not just one of the endings--which is a canon ending--had her telling you she loves you and having you go off with her...

... but because this game has been in development since 2013.

Elisa Lam wasn’t even dead for a fucking year.

Yes, other media has cropped up about Lam’s death, and I think it’s just as tacky and tasteless as this. But these guys had so much time to change it, to have someone say “hey maybe you shouldn’t do that,” and it happened anyway. The sheer lack of respect that the Allansons have for not just Lam but also her still-grieving family is astonishing, and it genuinely makes me sick. My thoughts and condolences to the family of Elisa Lam, having to deal with the press, internet conspirators, and people like this. I hope that they all can still find some sense of peace, even with all of this going on.

Racism:

So this game can be really, really fucking racist sometimes. Let’s start with the more explicit dialogue.

In the very beginning, Sammy calls Alex a ginger, and he says “that’s our word.” He’s equating “ginger” to a derogatory slur.

Here’s the next instance, with Alex referring to Vella--an Asian woman--as “vaguely ethnic” and “exotic.” (He doesn’t face consequences for this, either. Just a slap on the wrist of “don’t talk about race.”)

Later on, Chondra talks about race in an actually not that bad rant about how “I bet if [my brother] had been a beautiful white woman, everyone would have cared that he vanished.” This actually is somewhat insightful, as... well, it’s rather true. POC, when it comes to investigations, are often pushed aside, ignored, or given the least amount of effort. And then Chondra also calls out Alex’s lowkey racist fantasy of “being the white knight swooping in and saving the exotic Korean girl.” However... that’s it. Alex doesn’t get any insight from that, or rethink his reasons on why he wants to save Sammy.

And that’s where we get into Claudio and Chondra and the more implicit racism in the game. Neither of them have much in terms of personality--Claudio likes anime, Chondra is there for quips. Neither of them have any significant arcs, nor do they serve much story purpose beyond being extra party members and talking about race--which feels racist in and of itself, just to have characters of color there to talk about race. (Claudio even goes into an extensive rant about how it’d be racist to think that he knows how to pick locks, but he does know how to pick locks, just not the type that they need open. It comes out of nowhere, is utterly unwarranted, and is completely against the rather chill persona that Claudio has had up until then.) Their characters had a lot of potential to be good! However, much like every other character, they’re very underdeveloped.

(Also, if you have either Claudio or Chondra in your party when you get attacked by cop enemies, they will only shoot at either of them, you know, the only black characters in the main party, and my god I wish I was kidding.)

And then... the love interests.

Sammy is a Korean woman. Vella is an Asian woman of unknown descent. The Essentia 2000 has shown that many of her parallel lives are women of color. All of them are love interests for Alex, the white hero. Yeah. And the game calls it out, but no actual repercussions are given!

Speaking of these ladies...

Sexism

This game is really fucking sexist. Like, genuinely, it’s really sexist.

I think a lot of Vella’s contradictory character comes from this sexism and seeing her as a love interest rather than a character. Though she calls out Alex and is upset with him most of the time, she still accepts his weak apologies very easily--apologies that seem very manipulative and insincere when almost immediately after, Alex tries to convince her to let him into her Mind Dungeon, and if you take that as a metaphor than it gets even worse.

As well, Vella’s backstory includes her being used by a much-older man. What can you do after she tells this traumatic story about her being used by a man? Kiss her. And she doesn’t even get upset or angry with you; she just blushes and says to head back to the others. Because that’s not gross and manipulative or anything. That’s not taking advantage of a vulnerable woman at ALL.

The only female characters of importance that aren’t lusting after Alex are his mom and Chondra--I’ve already mentioned that Chondra has little story importance and personality, and Alex sees his mom as nagging for asking him to get groceries, gets angry at her when she says that she lost her job and asks him to get one to support the house (please note that she paid for his and his sister’s college educations in full, including semesters she didn’t plan for), and gets annoyed with her freaking out when he went missing for five days.

So yeah. The game doesn’t have the highest view of women.

But let’s talk specifically about Essentia. Essentia mentions that Alex has hurt her in parallel realities--but it’s okay, because they’re parallel versions, not actually him! And Essentia reveals that Alex’s parallel was the person who hurt Vella! But it’s okay, because she’ll love him unconditionally no matter how much he hurts her. It’s... really reminiscent of domestic abuse. And it frankly doesn’t matter that Essentia turns out to be a part of Alex and that any of the story of Vella or Sammy isn’t true; the game frames it as perfectly okay that it might have happened. It’s okay that parallel versions of Alex have hurt parallel versions of Essentia, because she loves him. It’s incredibly twisted, and it’s honestly a dangerous message to be sending.

(Also, in a very weird instance of sexism against men, out of all of the parallel selves that Essentia shows Alex, the only man is extremely hostile and violent towards Alex. It’s... kind of weird, honestly.)

Depression/Suicide:

Oh boy. Oh fucking boy.

A little background on myself.

I’m two years into my undergrad for a Psychology/Criminology double major. Classes I have taken include classes about pathologies of the mind and mental health (Psychopathology of Childhood, Developmental Psychology, Personality Psychology, Seminar on Positive Psychology, and of course Basic Psychology to be specific). I have also been clinically diagnosed with anxiety/depression, and both of these are genetically based, meaning that I have lived with them my whole life and will continue to live with them. (I am medicated, for anyone wondering. The meds are the only way I can function at a normal level.) I have felt suicidal before, I have had friends who have been suicidal before, and I have talked others down from self-harm or suicide. I’m not an expert, but I know a thing or two about mental health, depression, and suicide.

This game... this game doesn’t fucking get it at all.

(Just a quick thing: the game makes an OCD joke. Obsessive-Compulsive Disorder jokes aren’t funny, folks, since people who have it are affected by it all the time to the point of it often being debilitating. Just wanted to mention it a) to give you an idea on how the game handles mental health and b) because it really doesn’t fit anywhere else.)

Most of this surrounds the character of Rory, as he clearly suffers from depression and suicidal thoughts, as well as feeling grief surrounding his sister’s own suicide. When this is revealed, you know what Vella says to “comfort” him? “Pain is inevitable. Suffering is optional. I understand what you were feeling. 'This depression is unbearable.' 'I can't take it anymore.' The 'depression/pain' part is an unavoidable reality, but whether or not you can overcome it is up to you. You decide if you're going to keep going. Your sister is dead. Nothing can change that. [...] You can't help but feel the pain, but you can get through the suffering. That will go away. Look, I understand that it's easy for me to say. I'm not the one whose sister is dead. But you have to understand that I am telling you the true reality of the situation. You're playing with some otherworldly dangers here!“

Let me break this down to show you why this is not something to say to someone who is traumatized and in a deep depression due to the loss of a loved one.

“[W]hether or not you can overcome it is up to you.” This puts full responsibility of overcoming grief and depression onto the person suffering from it, which is not okay, and not true. Rory lost his 12-year-old sister to suicide! Very recently in the game’s timeline, as well!

Vella is basically telling him “it’s your job to get over your grief and depression.” Putting full responsibility on someone for feeling depression and grief is disgusting. If someone is grieving, what they should do is reach out. If they aren’t, reach out to them. Don’t let them suffer alone. Suffering like this is not a choice. People don’t choose to suffer.

By saying that suffering is “optional,” it subtly blames the person suffering for their own suffering, which makes their chances of getting better plummet. So frequently will people suffering from mental disorders put the blame on themselves for “not trying hard enough” or “being broken” or “not being good enough” because they think that this is all their own fault, and they won’t seek help, because “it’s all my fault.”

Now, when someone is in recovery? Yes, they should definitely try--even if it’s in small bits at a time--to to learn to cope with their disorders in healthy ways. However, when in recovery, the person is assisted by therapists, friends, family, and possibly medications. They aren’t alone. They aren’t alone, and are often guided by those who know how to help them and want to help them. The responsibility isn’t pushed solely onto them. One doesn’t “get over” being depressed. They learn to cope. They learn to accept it as a part of them, rather than all of them, and learn that they are more than their depression. The suffering never truly goes away; it can lessen, though, and a person can learn to live with it.

Some people may defend this by saying that the Allansons lost their mother very recently, and this is how they handle their grief. I lost my father in February of last year. I know this type of grief. And just because that’s how they handle their grief, that doesn’t mean it’s a healthy way of coping, nor the type of coping mechanism you should promote in your game. (I will admit that my own methods of coping weren’t great, and that I’m trying to improve on that now.) There’s a quote that I heard somewhere that goes something like, “grief never really goes away. We just learn to live with it.” That suffering doesn’t ‘go away.’ It ebbs and flows, some days being bearable, and other days not.

But that’s not the end, friends. Oh, far from it.

At one point, you can flat-out tell Rory to “stop being depressed. Being depressed is a choice.” It is noted to be the “wrong” choice, however, Rory barely reacts to it, making it not seem like the wrong decision. I don’t feel like I need to explain why “depression is a choice” is a take colder than the depths of space. Depression’s not a choice, folks. Hell, I would love it if it was, I would love to stop the fatigue, the emptiness, the lethargy, the lack of motivation, the irritability, the messed-up appetite, the fucked-up sleep patterns, the fits of crying. That would be fucking great. But I can’t. BECAUSE IT’S NOT A CHOICE, YOU WALNUT.

Okay, okay, sorry, back on topic. So let’s say you’re mean to Rory. You wanna know what happens?

He kills himself. And according to this user, the story doesn’t change and barely acknowledges Rory after his death. (Obviously there’s not footage out there of the characters mentioning that Rory committed suicide. However, the developers themselves commented on the previously-linked Steam forum post confirming its legitimacy. This is so unbelievably fucked up. Suicide is already a topic that should be handled with care, but having a main character commit suicide and have that death have no impact on the story? I don’t even have words for how deplorable that is. (Doesn’t help that the game basically pushes whether Rory lives or dies onto the player, which is also disgusting, because I don’t think the developers had the insight into suicidal ideation to know that it’s a multitude of factors that lead to suicide, and not just one person being )

(Sidenote: here are the links to the National Suicide Prevention Line and the Crisis Text Line in case anyone needs them. Please take care, friends. <3)

[Addendum: as I was working on this review and listened to the podcast linked a little further down, Andrew Allanson had this to say at 2:08:47: "When you make an unlikable character, people expect Sherlock Holmes or Dr. House. They want flawed heroes, but only to the extent that they’re beautiful and intelligent and slightly Asperger-y."

Thank you for basically saying that having Asperger’s Syndrome is an unlikable trait or makes people unlikable.]

Anti-LGBTQ+

So let’s talk about the prejudice against non-straight and non-cis people!

Andrew Allanson has been rather fucking clear about his prejudice against trans people and non-straight people. In the “The Dick Show” podcast, starting at 1:45:45, Andrew Allanson was interviewed by the commentators. I will be providing timestamps of quotes since I can’t directly link to them.

(Sidenote: I was listening to this podcast and waiting for Andrew’s pa rt to start, and one of the commentators was talking about Women’s History Month, and saying “If a woman doesn’t have a man, she’s going to expect the government to be her man. That’s just the way they’re wired.” [1:44:24 - 1:44:31]. Yeah. That tells you the type of people who run this podcast and the type of people that Andrew decides to associate himself with.)

[1:52:15 - 1:52:] “... we made the mistake of asking the player, ‘what name did your parents give you?’ And it turns out that that is a very offensive question. Because some people, um, are trans, and don’t use the name their parents gave them. So immediately the game is targeted as being transphobic. [...] So we wanted to basically create a character off of the player in the game, the first thing we ask you ‘are you a boy or a girl,’ ‘what’s your name’, and people were so bent out of shape over this. Look, I’m sympathetic to trans people, I understand why it upset them. But the problem was when we apologized, that wasn’t good enough. People then took it and said ‘what else can we find in this game to prove that it’s offensive?’”

So here’s the thing: that... is lowkey transphobic? Because it’s like you said, these people don’t use the names that their parents gave them. You’re asking them, intentionally or not, to deadname themselves. There’s a reason they call it a “deadname.”

Later on they ask, “which of these do you identify with?” and show a male figure and a female figure. Which frankly, is alright.

And then they changed it in an update to “what do you look like?” which feels like a very direct jab at trans people, especially the ones who were upset by the initial question relating to names.

Oh, and then there’s this part (I only know DIck and Andrew’s voices, I’m afraid I don’t know the third, sorry m8).

[1:54:35 - 1:55:10]

Andrew: So you play as this guy, Alex, you just come home from [college, audio cut out here], you’re an entitled asshole--

Dick: You get points for stomping queers, as I understand it, that’s the game, right? You go around and--

Andrew: The goal is to establish the white ethnostate.

[unintelligible as others laugh and talk over each other]

Dick: --you have a little ‘gaydar’ in the corner and it points you to the nearest homosexual, and then you go, y‘know, “Hammer [X]”

Andrew: It’s - it’s - yeah, it’s a hack-and-slash.

Dick: If you buy the game they send you a special overlay you can put on your controller that turns all the buttons into ‘K.’ So it’s not ‘A’--

Andrew: Yes!

Dick: --Just ‘K,’ ‘K,’ and ‘K.’

Andrew: Just ‘K,’ ‘K’--yeah, exactly, exactly.

So we not only have the mockery of gay folk, but also mention of murdering them (whether in a joking fashion or not, this still isn’t fucking funny and not something to joke about, especially if you are not LGBTQ+ yourself. And to my knowledge, none of these men are).

And that’s just from the creator himself, as well as the first few minutes of the game.

Let’s talk bout The Scene.

What is The Scene? Well, it’s the scene where Alex and Rory talk, where you can tell Rory that “depression is a choice.” Should you be kind and supportive to him, you know what you can do? “Try to kiss [him.]” And there’s art for it. There is literally no reason for this to be here other than “haha it’s a guy trying to kiss another guy, gay people are funny!” It seems to be an attempt at humor, but it fails... rather miserably.

The Legendary Third Ending

I call it “legendary” because no one knows if it actually exists or not, because people can’t find it, regardless of the hints given by the developers.

Andrew, while doing “The Dick Show” interview, mentions that he put DIck Masterson (the host of the show) into the game in the third update [1:45:56] , and that you have to give Dick a pair of aviator glasses, where he will give you a red pill [1:47:15 - 1:47:33]. Dick is also found in Chapter 4 of the game [1:47:40].

The devs also tease it on Twitter, saying that it’s “sad and challenging to complete”, and they give vague and unclear hints that don’t seem to help even the fans of the game--after all, no one has found it, apparently. Even the YIIK Discord (though this is just hearsay) has been losing steam in trying to find this ending.

I think it’s a testament to the quality of the game when one of your major three endings is nigh-impossible to find. (For the record, I feel the same way about how PT went about its ending, and how arbitrary it felt to do these very specific things that the game barely tells you about.)

Miscellaneous Other Things That Don’t Fit In The Above

There are a couple other things that irk me about this game, so time for a rapid-fire round!

You can kiss Rory, who’s implied to be a senior in high school (due to this talk of college). So he’s, at best, 18. Alex had 5 and a half years of college (the game says “five and a quarter” but unless I’m mistaken colleges work in semesters not quarters,), so he’s probably 23-24. Yeah. (There’s also the issue of consent--when you kiss Vella she just blushes and acts more docile, while with Rory, he rather vehemently rejects it. So women just accept an unwanted kiss? Hm.)

You fight a flasher as a miniboss. Because sexual harassment is hilarious. (And if neither Michael nor Rory are 18 yet, then there’s the possibility of minors being involved. YEAH.)

The title card is intentionally glitchy af and it hurts the eyes, honestly.

If you go through New Game+ and go to the 70th floor of the Mind Dungeon, Alex will basically talk to himself about some things:

It mentions that “crows are ugly.” You fool. You absolute buffoon. Crows? Excellent. Very intelligent birbs.

This is basically “hey we suck, but so does everyone around us, it’s fine”

This game unironically uses Wonderwall lyrics in an emotional scene, like I know it was popular and not a meme in the 90s but my guy, you gotta think about the connotations with the audience you’re releasing this for,

“I sighed as the elevator began to shake, vibrating with motion.” Thank you for using three words to describe the elevator shaking,

The One Thing That I Liked

Surprisingly, there is something I liked about this game. Not solely in concept, not in its potential, but in its actual execution.

It starts on the day of New Years’ Eve. It’s dark outside and inside. Alex suddenly starts getting many random calls, some from people he knows, others he doesn’t. Some voices are distorted, some aren’t. Some are talking to him, some aren’t. And they’re quick little calls before they hang up, and Alex barely says a word. He can’t leave the house, and keeps getting phone calls that get more and more distorted as time goes on.

That? I think that actually really works.

It’s a more subtle way of showing reality breaking: getting calls from people, both friends and strangers, that are slowly getting more and more broken, and you can’t do anything. You’re trapped in your house, you can’t see outside, you don’t know what’s going on. You can’t help your friends, even when Michael screams for your help. The slowly deteriorating stability of the calls are your only indication of what’s going on outside.

And for me, that works. It was the one section of the game that I felt legitimately invested in. So, kudos to the devs for that one.

Conclusion

YIIK isn’t just bad. It’s offensive. It’s ignorant, it handles serious topics incredibly clumsily, and the worst of it is that Andrew Allanson considers it to be ‘art.’ (If you’re wondering why I didn’t talk about the “video games aren’t art” quote, don’t worry. That’s going to be its own essay.)

YIIK fails on every level, from technical to storytelling. Please, I beg of you, don’t give this game money. Just go watch the LP.

You may have noticed that I didn’t talk much about the “postmodern” aspect of the game, nor much about Alex as a protagonist.

Both of those are going to be their own separate essays.

This wild ride still ain’t over, folks. Hang on.

#yiik a postmodern rpg #yiik: a postmodern rpg #yiik #andrew allanson #yeehaw #holy shit this one is SO LONG but im so proud of it

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nadziejastar · 5 years ago

Note

Did you finish reading that KH3: A Conclusion without a story article? If so, what did you think of it?

I loved reading it. It was a fantastic take on KH3. There was pretty much nothing that I disagreed with.

By the time you leave Olympus, Sora hasn’t learnt how to restore his powers; and the frustrating part is that he never explicitly does.

I completely agreed with this. Sora’s journey in KH3 should have been about learning the power of waking. But even in the scene where he finally does learn it, there’s no real reason why. He didn’t seem to learn anything on his journey.

Even the villains are given no progress – a subplot about Pete and Maleficent looking for a mysterious black box goes nowhere, and Organisation XIII (the primary antagonists) only put in a brief appearance, spouting their usual brand of vaguely ominous dialogue. To compound these issues, the protagonists are ultimately left not knowing where to go or what to do next. Only two hours into the game, and the plot has no sense of momentum or direction.

Yep. The black box thing annoyed me so much. The Organization was also a huge letdown. We don’t get to learn the real reason why Marluxia, Larxene, Demyx, and Luxord joined until KH4!? Something went very, VERY wrong in the Dark Seeker Saga for that to happen.

By comparison, Kingdom Hearts II’s opening was significantly slower paced – to the point that it was a detriment to some players. However, so much more was achieved in a similar space of time; II’s initial hours establish the game’s tone and major themes, as well as introduce a large cast of brand new characters (while simultaneously reintroducing old ones in new contexts).

Yep. I liked KH2′s opening, slow as it was. The prologue of KH2 felt like it had more plot than almost all of KH3.

And this is one of the core problems with Kingdom Hearts III; even if you look past a threadbare narrative for Sora and company while they adventure through the self-contained Disney worlds, there is nothing going on outside of that either. In Kingdom Hearts II, both Riku and Mickey were operating behind the scenes, aiding Sora from the shadows and setting key events in motion. In III, however, these same characters spend most of their time expositing plot points and passively waiting for the big battle at the end of the game – and that can be said for almost all of our heroes.

I also agree. This problem would have been mitigated if every character got their own time to shine using the power of waking. Riku and Mickey could have had a subplot together, showing how Riku got his new Keyblade. They should have saved each other from the darkness.

If there’s a job to do, it’s up to Sora to do it. With a couple of key exceptions, every character apart from Sora, Donald, and Goofy is presented as almost comically useless – yet our protagonist remains the butt of every joke.

Yep. Everyone other than Sora was useless. Aqua needed to save Ven, but all she did was get knocked out in the battle with Vanitas. Ven needed to save Terra, but he didn’t really do anything. Sora did all the work. Lea needed to save Isa, but he did nothing in his fight. He got shoved to the side while Roxas and Xion took over. Kairi saving Sora should have gotten more focus.

The villains reveal that the only way Sora can release Roxas is by giving into the darkness, and sacrificing his own heart. Self-sacrifice is nothing new for Sora (he did the same thing in Kingdom Hearts I to save his love interest Kairi), but this had the potential to be an interesting plot point, as it gives him a selfless reason to be tempted by, and potentially give into, the darkness. But it’s never brought up again.

Yep. Early scenes in KH3 make it seem like the game did originally have an actual plot at one point. Xigbar was luring Sora into a trap, so he’d fall to darkness. But it’s never brought up again, LOL. It’s crazy.

In fact, ‘saving Roxas’ is scarcely discussed until the end of the game (King Mickey telling Sora to “let the rest of us worry about Roxas and Naminé for now”, essentially dropping the subject after only the second Disney world). Ultimately, Roxas’ heart just leaves Sora’s body of its own volition in the final act, making the player’s time here, once again, feel largely pointless.

And yes, saving Roxas was handled very badly. This is because, IMO, saving Roxas and saving Ventus was supposed to be one and the same. There shouldn’t have been a separate “saving Roxas” subplot.

In interviews, Nomura discussed the struggle of dealing with so many characters – even citing the cast size as one of the main reasons that Final Fantasy cameos were omitted[2]. The real problem, though, is that nothing is done to mitigate this challenge.

Yes, exactly. And treating Roxas and Ventus as separate characters only exacerbated this problem.

Upon leaving Twilight Town, the player finally begins their true journey – travelling to various worlds based on Disney properties and beating back the forces of darkness. But there’s no real set up for this; no distinct reason *why* we’re visiting these worlds.

Mm-hm. I think the issue was that we were supposed to learn more about Ansem the Wise’s data in KH0.5. That was supposed to give Sora a quest in KH3: search for the “Key to Return Hearts”. Once that game got cancelled, Nomura had no idea how to write KH3′s story any longer.

So around 3-4 hours into Kingdom Hearts III, the story still lacks a clear sense of direction and purpose, and hasn’t yet established any clear themes or deeper meaning.

Yeah, it’s sad because there was an underlying theme in the Disney worlds: the power of love and its ability to restore what was lost.

Kingdom Hearts III cleverly tries to frame its story through the lens of a chess match between two Keyblade Masters, Eraqus and Xehanort, when they were young. The game even opens on this scene, highlighting its importance. But chess has rules; logic; a clear sense of direction. Kingdom Hearts III’s narrative is akin to two people who don’t know how to play chess. They understand that they have to defeat their opponent’s king, but the rules of how to move their pieces, how to actually reach that coveted checkmate, are completely unknown to them. The characters in this game feel like pieces on a chess board with no rules; aimlessly moving back and forth across a limited space, until both players finally decide enough is enough and agree to bring their match to an end.

LOL. Yep. The fact that Xehanort had “reserve members” showed he had no idea what he was doing.

Stick to your guns – don’t be afraid to explore a good idea, or to develop the plot outside of your main protagonist. When so many previously proactive characters are in play, the story shouldn’t feel so static, or entirely dependent on the protagonist’s actions. The way your protagonist reacts to events and changing circumstances is just as important as the ones they play an active role in creating.

That’s why I liked the spin-offs. KH3 suffered from forcing you into only Sora’s perspective. Even Nomura said that the Keyblade Graveyard should have had everyone fighting their own battles.

Simply put, the Disney worlds in Kingdom Hearts III have no tangible impact on the game’s core narrative.

Sad, but true.

“In the end, although I had a hand in it as well, the flow of the dialogue and the stories of each world were largely handled by the level design team.” While I very much appreciate this standpoint of ‘gameplay first’, as well as the act of involving multiple teams in the execution of the story, these statements do prove my point. Set-pieces and events are one thing, but if there was a specific story to tell – with outlined themes to be explored, character conflicts to evolve, and goals to be achieved; all developed evenly throughout the entire game (Disney worlds included) - you would imagine the scenario would be built around balancing those narrative elements with the individual tales of each level.

Very interesting. The story in the Disney worlds was largely decided by the level design team? Wow.

Despite major villains such as Young Xehanort, Vanitas, and Marluxia making multiple appearances in their respective worlds, they generally just spout off trite exposition and then either disappear or summon a boss fight. Some villains don’t even know why they’re there, while others introduce plot points (such as the Black Box or the new Princesses of Heart) that are never utilised or expanded upon. As the game features at least thirteen main antagonists, these early appearances should have been integral in establishing their personalities, motivations, and the threat they pose to the player (as well as our heroes). In execution, though, they seem like little more than after-thoughts that offer hints of personality, but never go beyond the superficial – and certainly contribute nothing to the main narrative. This, I believe, is because Kingdom Hearts III doesn’t have a story to tell, but was instead content with treading water until its grand conclusion.

Yep. I had no idea why Marluxia, Larxene, and Luxord were running around in the worlds. Why are they back? Other characters, like Saix, were given flimsy “motivation”. All in all, the organization members were supposed to be vessels by the time you fight them in the KG. Hollowed out containers for Xehanort’s heart. Victims of mind control who you are supposed to have pity for. But they never felt like it.

Kingdom Hearts III’s meandering and vapid progression during ‘the Disney loop’ supports my argument that the game lacks a complete narrative and was merely concerned with reaching its final act. I believe this is most evident by the way in which the player is made to jump from world to world without any direction or purpose. Consequently, the majority of Kingdom Hearts III feels content to aimlessly ‘go through the motions’, setting a repetitive, humdrum pace and ultimately lacking the sense of narrative depth and genuine value that is integral to a great RPG.

Yeah, I believe there was–at one point–an actual plot for KH3. But after BBSV2 was cancelled, a huge portion of KH3′s plot was pretty much scrapped along with it and rewritten.

Everyone’s heard of the three-act structure; a model that forms the foundation of popular culture’s favourite stories. Act 1 features the setup and exposition; an ‘inciting incident’ to get the narrative moving. Act 2 is the confrontation; a midpoint which challenges the protagonist, pushing them to their limits. And finally, Act 3 is the resolution; concluding the plot, along with any character arcs introduced in the previous acts. While this structure doesn’t necessarily need to be adhered to, I believe it possesses something that Kingdom Hearts III sorely lacked – a midpoint.

Yep. KH3 had no mid-point. Scala ad Caelum could have worked as the mid-point. And it could have been another hub world like Radiant Garden. KH3 probably originally had this, but it was scrapped.

This is especially a shame, as Aqua’s fall into darkness – resulting in a twisted form that externalises all of her loneliest thoughts – is one of the most dramatically compelling aspects of the game. And that’s despite lasting for all of 10 minutes (a decade of solitude and suffering are seemingly erased by a few whacks from Sora’s Keyblade).

This is true for all of the characters that needed to be saved. Nobody really used the power of waking on anyone. It’s was just whack, whack, okay you’re saved.

And this is ultimately the problem with the lack of a true Act 2 – the characters aren’t explored or challenged when they need to be. The narrative refuses to escalate until its final act, at which point it feels like going from zero to sixty in a matter of moments. But during the heat of battle – at such a late stage, and with so many heroes and villains in play (more than twenty) – it’s hard to develop your characters in a way that feels natural. Kingdom Hearts III’s solution is bizarre soliloquies that are completely disconnected from the events around them. Is Sora in the middle of a boss fight with three villains? Well, the other two will disappear while you spend several minutes casually chatting with the third. And while this is partly due to the challenge of giving such a large cast an appropriate send-off, it’s also a direct consequence of the lack of time given to exploring characters and their relationships in the previous 20-25 hours of playtime.

So true. So many characters who had so much development over the series. That’s why they needed another game before KH3. It was probably too much to ask for KH3 to be the epic conclusion as well as dive into everyone’s backstory.

On that note, having some sort of hub – a place, like Traverse Town or Hollow Bastion in the first two Kingdom Hearts games, that the player regularly returns to – can be an effective way to centre your story. It provides a home base, and a recurring cast of characters that can be revisited at any time. This kind of location helps players to feel a deeper and more personal attachment to your world.

Yeah, the game would have been so much better if you could visit RG and interact with the plot-important NPCs.

Put in Kingdom Hearts terms, we might say that the body and soul are here; it’s just missing its heart.

I’ve had the exact same thought.

This essay began with the assertion that Kingdom Hearts III is a conclusion in search of a story; a game without a tale of its own to tell. So far, we’ve examined the material impact; the effect this has on the game’s pacing, its sense of player progression, engagement, and character development. So in this topic, I want to consider the conceptual side of things; the motivations that drive our heroes and villains, the purpose of the events that take place, and finally the meaning intended to be conveyed by the story. Put simply, does the narrative of Kingdom Hearts III have something to say?

Sadly, no. I can tell it was supposed to, though. KH3′s story was supposed to be about the power of love. It was really that simple.

By the time of Kingdom Hearts III, Riku has overcome all of these challenges and been granted the title of Keyblade Master, so it was important to present him as a more mature, capable character, having regained his confidence and developed a clear identity. But ultimately, he just feels bland and stoic in this game. He has no new narrative arc, relatively few interactions with Sora, predominantly serves as a mouthpiece for exposition, and is more devoid of a distinct personality than ever. And for a game which serves as a conclusion to the story so far, it’s essential that our core group of characters, such as Riku and Kairi, reach a satisfying crescendo. The narrative should organically involve them in significant ways, and the challenges they face should provide natural opportunities for growth and exploration.

Sad, since Riku seemed like he did originally have a narrative arc. He got a new Keyblade! But the way he got it was laughably random and meaningless and contributed nothing to his overall growth or development.

As much as I’ve tried to understand it, I cannot summarise Master Xehanort’s motivation in that same, concise way. His initial speech in Kingdom Hearts III implies idle curiosity; he speculates that “If ruin brings about creation, what, then, would another Keyblade War bring?” followed by statements that he wants to re-enact the conflict and simply see what happens. He also wonders if they will “…be found worthy of the precious light the legend speaks of”, implying that his goal is to test humanity; or at least the current generation of Keyblade wielders. But that’s a pretty flimsy motivation, and it’s lacking any context or logic.

Yep. Xehanort was supposed to have another game to explore his motivations. When you get rid of that, his character just doesn’t work anymore.

And it’s not just the heroes that have this problem. During their death scenes, several of the Organisation’s members (Luxord, Marluxia, Larxene, Xigbar, Xion, Saix, and Ansem) either encourage Sora or imply that they didn’t care about the outcome; or didn’t even want to battle in the first place. Some have their reasons, but if even one of them had chosen not to fight, Xehanort’s re-enactment could have failed. Much like I described earlier, it doesn’t feel satisfying to overcome a foe who didn’t want to fight, and a war with the potential to destroy the universe should be motivated by much more powerful convictions.

I don’t disagree. But I honestly think this is because none of these characters actually wanted to fight in the Keyblade War. They were supposed to be possessed puppets. Mind-controlled vessels with no will of their own.

Let’s use Saix as an example. What makes a more engaging battle? In canon, Saix had flimsy motivations to be fighting, anyways. He wanted to atone so he was acting as a double agent in order to procure some Replicas. And he wanted look for Subject X. That’s why he joined Xehanort. That’s all the reason he had to fight.

Compare that to a potential backstory with him as a vessel, lacking free will. Isa was a human test subject who was possessed as a teen. His best friend Lea has to fight him unwillingly. Saix is berserk and nearly kills Lea without even being aware of it. But all Lea wants is to save his best friend. I know which one I find more engaging.

Ever since that first game, I’ve been trying to identify what it is that unified these two styles of storytelling – the Disney fairytale with the SquareSoft RPG. And in writing this essay, I finally realised; the secret ingredient, the unifying thread that both franchises had in common, was love. Romance is at the core of almost every classic Disney film, and every Final Fantasy from IV to X was in some way a love story. Seemingly the developers of the original Kingdom Hearts realised this too.

I’m pretty neutral about the Sora/Kairi romance. I mainly wanted Kairi to not feel like a damsel-in-distress yet again. And KH3 definitely screwed that up.

In a way, my problem was the same as that of Kingdom Hearts III’s story. We both spent so much time looking to the horizon, imagining what the future may hold, that we missed out on what was already right in front of us. I will always love and support this series, and its creativity and charm will no doubt continue to inspire my own stories for the rest of my life. But despite not being the conclusion I hoped for, Kingdom Hearts III has freed me from my own obsession with the series’ future. I no longer feel like I’m waiting for something that may never come. Of course, I hope the series gets its story back on track, and rises to new heights greater than ever before! But it turns out that I already got my ending in 2006; and now that I’ve finally realised that, I can finally, honestly say that, as a Kingdom Hearts fan, I am satisfied.

It’s sad that KH2’s ending felt more satisfying. Because KH3 should have been even better than KH2′s ending. KH2 had a happy ending. But in KH3, everyone was there on the beach. Terra, Aqua, and Ven were saved. In KH2, Axel was dead. He had a sad ending. But in KH3, he was human again and even had his childhood best friend back, too. Even Hayner, Pence, and Olette were there. Sora should have been there, too. By all accounts, I should have liked KH3′s ending the best out of any game. But they ruined it with the horrible character development and the cheap cliffhanger.

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tumblunni · 6 years ago

Text

What do you guys think about the names Dustin and Darcy for my protagonists in Let's Go?

Cos i really wanted to play the co op mode thing by myself, just so i can pretend this role in the plot is filled by two siblings and have a bit of fun roleplaying that. But i dunno yet how the co-op works and whether you'd be able to customize the avatar of the second player or if its just the default trainer? Or can you only play co-op if you have two separate games? Im planning to buy the other version anyway once i get more money, so it could be fun to play my first version with sibling one and then the second playthru is sibling two's turn to shine!

Oh and the whole reason i wanted to do this is cos i wanna try out the customization features to make some ocs now that there's no competitive online stuff unless you pay a subscription fee (LOL NO THANKS). Like..i always felt like i HAD to make my character me in xy/sumo/usum, otherwise its like lying online? But of course i cant actually make me because theres no nonbinary option or even remotely ambiguous outfits for either gender. And you cant have wild hair colours while i dye my hair 24/7 irl lol. Its silly cos like 95% of the gym leaders and other characters ingame have anime hair colours yet the player has to be normal? So yeah i cpuldnt really enjoy making this innacurate defanged version of myself yet i didnt feel like i was allowed to just make up a new character either. Closest i could do was give myself white hair like my old trainersona when i was 12, lol. I mean i guess thats my 'real hair colour' underneath the dye right now, if you think about it that way?

OH GOD PIKACHU CAN HAVE A LITTLE TUXEDO AND BOWLER HAT HOLY FUCK IM SORRY TO INTERRUPT THIS BUT I WAS WATCHING THE IGN REVIEW AND THEY SHOWED PIKA BOWLER HAT PLEASE GO GOOGLE THAT VIDEO JUST FOR THAT 1 SECOND OF NEW FOOTAGE OF MY BEAUTIFUL CLASSY BOYE

okay where was i

Yeah! I think sibling trainers could be a good and unique way to handle a rival! Like having them be your sibling already establishes that rivalry. But it can be a soft and nice rivalry! I wanna go with that fun version rather than the full on angry exaggerated sibling rivalries you often see in kids media. Like i know that some people legit dont get on with their siblings and some people can even have a very gary esque full on rivalry thats sorta 'love to hate' or like..tsundere pretending you hate them. But personally i never had experience with that, i can never relate to those 'tfw u hate ur sibling and theyre always an asshole but lolll u love them anyway' posts. I only got to live with my little sister for a little while due to the catastrophe of abusive parenthood that was my childhood, and i lost contact with her forever when she was very young so i doubt she'd even remember me. *sigh* But like i don't think i only love her so much because i miss her! People say newborns and toddlers are the most bratty so like you'd think if i was gonna ever find her 'annoying' i would have done it back then. I was always just mega proud of her and whenever she'd be 'bratty' i'd be cheering her on and trying to protect her from mom. And when she'd try and pull pranks on me or practise play-fighting or whatever i was just like 'lol thats legit funny' and taking play-falls so she felt better about herself. Like we didnt have much power in that household so i felt like encouraging her pretending to be a wrestler would help her feel like she had some sort of control in some part of her life i guess? And just i wished i was allowed to roughhouse and run around and be all 'unladylike' and just enjoy BEING A KID when i was a kid, yknow? I always had legit fun being with her and legit enjoyed it and was legit proud and legit never annoyed. I just dont understand 'yeah she's annoying but i love her anyway'. I was only ever her rival as a play-rival to help encourage her to like.. Enjoy the things she enjoyed. Feel like someone else cared. I only ever acted like 'ha ha baby stuff yeah sure i hate hanging out with my sister" cos i thought i was SUPPOSED TO. I always felt so guilty doing it and so dissappointed cos id rather hang out with her than be a boring stereotypical teen tbh. I dunno, maybe this isnt typical for siblings and its just a sign of how badly we were raised? I was just real fuckin lonely and absolutely loved having a family member who loved me for the first time since my grandma died. Same reason i always used to act all 'i am too cool i totally am not soft for my lil sister' around my lil sister's dad. I really wanted him to love me too! I used to say swear words at him cos i thougjt he would thibk i was Cool And Adult?? I have soooo many cringe moments from that phase of my childhood. Man it hurts to think that i never actually did get to become that positive influence that protected my sister from my mum and let her know she was loved. Cos i was sent to live with my dad when she was like 5ish? And never saw her again and now im too scared to try and reach out to her again because 1: she probably doesnt even remember me, 2: theres a chance she believes my mum saying i was some horrible asshole who abandoned the family, 3: even bigger chance that contacting her could mean my mum finding me again and big fuckin risk of further abuse. Plus the awkwardness of introducing my trans self when she'd remember me as her sister and all. Sigh! All i can do is hope that her cool dad eventually got custody of her, and that he didnt turn out to be a secret bastard like when i met my own dad. He seemed good, but then again i was just a lil kid and my dad seemed good at first. Sighhhhhh...

SO UMM YEAH WOW I MADE MYSELF SAD

Anyway the point is that whenever i write siblings i'd rather write 100% unapologetic super loving love cos its wish fullfillment for me. This is also why in/cest shipping is a massive beserk button for me, good wholesome family relationships are REAL FUCKIN IMPORTANT and how DARE you corrupt that shit! Some people would fuckin KILL to have that wholesome family!!

Anyway lol thats why i'd like a Wholesome Rivalry for these sibling ocs! Like they challenge each other to contests along the way just for fun, and they react all 'wow my sis is the BEST' when you beat them, so hard feelings at all. And you dont JUST do rival stuff but also sometimes just hang out and have fun cos you missed each other. And if anyone threatens your sibling then THAT is the only time you see the Serious Sibling Power! Rival moments: ha ha lol bet ya cant beat me ooo im a scary villain LOL I CANT KEEP A STRAIGHT FACE HAHA! Giovanni punches your brother: *stony cold death glare from hell as tricksy prank sis turns into an unstoppable vengeance engine* Oh, but also the only other time they'd be serious is in their final battle together! Like most of the 'rivalry' is just competing to make the adventure fun and to help each other get stronger. But if sis/bro ever actually legit said they really want to fight to find out who's the best, and its like..important to help their self confidence, then i think bro/sis would respect that and go all out. Taking a fall and letting them win would be the most disrespectful thing of all! Oh, but i do think there would be one kind of battle like that during the story? Like in one of the more low stakes faux-rival fights the sibling actually does try and let you win, and the challenge is to try and lose against all odds. High stakes super failure battle!!! Imagine the evil team in the background like 'wtf' as these two run the most aggressively slow race of all time! XD

Oh and i kinda thought about different personalities for the two of them based on who you pick? Like i did like that aspect about brendan/may in RSE compared to other 'unpicked option becomes rival' characters in later games that didnt even have one personality let alone two. It just sucks that the personalities they decided to give them were 'female rival is super self concious and thinks youre better than her because youre a boy' and 'male rival is super ego and thinks he's better than you because he's a boy'. Boooo!

So instead of that the personalities i was thinking for these two would be less sexist lol. Male sibling Dustin is basically Wally so far? I need to develop him a bit more to make him a bit distinct, i mean its not like every single shy dude is identical. I'm thinking maybe mix him with all the wasted potential in Brendan? Like in the game they slightly hint at him having the ONE non stereotypical trait of liking cute teddy bears, and that made me think about how much better his whole plot would have been if it actually criticized his sexism and said that he only behaves that way cos he's overcompensating for being bullied for being 'feminine', yknow? And then in the manga they actually DO write him as super feminine, and even as a contest star who loves fashion and dressing up his pokemon! But then GAHHH they present it as some sort of fuckin 'character flaw', like he's shown to be selfish and superficial because of it. And the backstory is that him and the female protagonist used to be 'normal' until a traumatic event. Brendan was a Natural Fighting Prodigy until he saved his female friend from a wild pokemon and was so traumatized that he never wanted to fight again, while she wanted to learn to fight so she'd never need to be protected again. But this is not only presented as Wrong Ways To Be Gender but also like.. Fighting their natural instinct which still comes through?? Like male protag hasnt fought in YEARS yet whenever he's forced to fight he's just magically better at it than female protag who's been practising all these years to become his equal. Ha ha silly girl you can never achieve that! All you get is this patronizing 'well if you just tryyyyy girly things im sure you'll like it' plot and then you get rescued by him in the end because OF COURSE you do. Sigh! I cant believe they made me hate that pairing even more than the games did! So yeah i dont really wanna write Dustin as a jerkass who's secretly got synpathetic motives of internalized homophobia/sexism, cos i feel thats a plot very specific to my perceptuons of Brendan and id basically just have to make Dustin a clone of him and he wouldnt be able to shine on his own merits. Instead i'm just thinking of writing him as a 100% sensitive soul, and he still faces predjudice for not being that bigoted idea of an 'ideal man' but really the fact he doesnt bow down to their demands proves that he's the bravest person here.

And then I'm thinking maybe the female sibling Darcy is the older one and is a bit "gary ish"? Like eitjer way you still have a friendly and loving siblingness, but she's a bit more of a sass who is tsundere about admitting she loves her bro. But i dont think she's the cold or grumpy sort of tsundere, more like a trickstery tomboy? Bombastic loki jock sis! She can only be a bit abrasive with her bro cos she wants to teach him to be tough even when she's not there to protect him. But sometimes she can mess it up and make him feel like he has to change his personality in order to be tough, rather than letting him know she supports him in being "unmasculine" and just wants to help him find the confidence to stand up to people who bully him for it. Like she feels like she is 'weaker' than him in the sense that she worries too much about what people will think if she expresses her real emotions, yknow? Like theyre both suffering from toxic masculinity! He's suffering from the standard form where men who are too 'soft' are beaten down into that mould. Ans she's suffering from the problem where 'masculine' girls feel like they have to be '100% masculine' in order to be allowed to be themselves at all. Like back when i was a kid and before i came out as trans i always used to try and pretend to like sports ans like..cliche macho shit where you Cant Admit You Care About Your Friends and also i wasnt allowed to like ANY feminine things at all. I had to either follow the stereotype of femininity entirely or follow the opposite stereotype, i wasnt allowed to just reject stereotypes and like what i actually like. So yeah me realizing i wasnt really a girl has led to me embracing more 'girly' things than back when i thought i was one! So i think Darcy would have a similar arc but like..the cis equivelant? Just finds people who arent such judgmental pricks and stops having to conform to either of those stereotypes in order to keep fake friends who dont really give a shit about her. She can have a plot about both forced feminine and masculine stereotypes being equally limiting, rather than that shitty 'being masculine is a prison uwu every woman will be happier embracing her love of makeup' shit. That dominant narrative just made me feel like i was somehow wrong about myself whenever i didnt like 100% Of Sports All The Time, i must be somehow girly if i liked even ONE girly thing yet i needed hundreds of proofs if i wanted to be masculine. And like i wasnt just allowed to be neither! I wasnt allowed to like parts of both! I wasnt allowed to BE GODDAMN TRANS!!! So yeah i dunno if i'd go whole hog and make this character a trans man or a nonbinary person tho? I think she's just actually a cis girl who happens to be sporty and brash and likes a lot of 'masculine' fashion and hobbies. And she's just been made to feel self concious about it, as if she cant possibly REALLY be that unless she likes Every Single Boy Thing and wins at Every Single Challenge. Does anyone else remember that shit too? The girls have to win Every sports game against the boys in order to be 'one of the boys' but if you lose even one of them it somehow proves that you're inferior. Even though the boys lost 50 billion games to you and that doesnt prove theyre inferior! Like man she has sooooo many 'gary rivals' in her school life, thats why she loves going on this adventure with a kind brother rival who actually respects her! So her resolution would just be her staying the same but being more confident about it and saying fuk u to those fake friends. Same as her brother's plot, just they both face different specifics to the way this sexism affects them, yknow?

Oh but yeah when i did finally learn about LGBT stuff and realize i was trans it was Big Amazing cos even in the rare stories about Its Okay To Be Yourself it still left me feeling weirdly empty when the girl decides that yes she does wanna be a girl in the end. So i get that these plots might come off as queerbaiting if i write them badly? I need to make sure to make it clear that these characters 100% want to be seen as this gender and its just other people being fuckfaces and trying to define what their gender has to mean. I think maybe i'll try and mitigate this potential misunderstanding by adding different sorts of lgbt content. And, well, also cos i just want lgbt content in all of my stories because i am lgbt, of course! I'm 100% sure that Darcy is gay, and i think also maybe possibly Dustin is trans? Like, his plot is about being mocked for being a 'feminine' boy, but its also even more personal for him because he's a trans boy and he feels like he needs to change his personality in order to pass/he isnt really real because his personality doesnt fit the stereotypical image of a man. Like if you'd looked at the two of them back when they were identical twins, you probably would have expected Darcy to end up being trans if you were the sort of person who believes those basic ass stereotypes about 'boys who play with barbies and girls who play with trucks'. Or i mean maybe its the other way around and Darcy is a trans girl who still has a 'masculine' personality according to stereotypes? Or even both of them are trans and both face being told that they arent real because they dont fit the perfect stereotype of a trans person according to cis perceptions? Or maybe i'm overcomplicating things with all of this and it'd just muddy the message i guess. I might just keep it to them both being cis but also both of them like girls. And i can always apply my trans and other LGBT headcanons to other characters along their adventure.

Anyway LOL im rambling too much!

#lets go bunni #bunni plays lets go

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operationrainfall · 5 years ago

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Title Legend of Everything Developer Kidalang Publisher Culture Select Release Date

Nov 8, 2019

Genre Visual Novel Platform PC Age Rating N/A (veiled nudity, suggestive dialogue) Official Website

Legend of Everything is an isekai visual novel by developer Kidalang which attempts to break away from the common tropes seen in both this genre and VNs. For those unfamiliar with the term, isekai refers to a genre of storytelling in which the main character is born or transported to another world, one that is more often considered fantasy in comparison to the character’s origin world. These stories will typically follow the main character as they meet natives of the new world and begin their new life, adjusting to differences and resolving conflicts that come with the new fantastic locales and its peoples. Legend of Everything, however, takes this concept and tries something drastic.

Legend of Everything changes the formula of isekai by starting us off in the supposed fantasy world. We follow the story of Brane, a volunteer soldier who joins a campaign to rescue his kingdom’s princess from a demon lord. As the campaign fails and the survivors are told to retreat and regroup, he gets separated from his group and stumbles upon a young woman named Electra Bernhard. Electra has no memory of how she arrived in this world, but soon realizes that she is now in a world reminiscent of an RPG from hers. It seems she has been transported to what she considers the game’s world. And so she lets Brane join her party and sets out to save the princess because that’s what the protagonist, of whom she believes she is now, does in these kinds of games. Meanwhile, Brane follows, having similar goals, yet not understanding a word of what Electra is talking about.

So from the start, we actually follow Brane, who feels like a side-character in this supposed game world as he joins Electra in her initially jovial quest to save the princess. Along the way, Electra speaks of completing side quests and grinding to level up and becoming strong enough to defeat the demon lord. What makes Legend of Everything intriguing, however, is that this is definitely not just a story that follows Electra’s seemingly obvious quest to save someone and complete the main quest akin to completing any RPG. Discussions on classical mechanics, theoretical physics, digital logic, relativity and other physics and computing topics soon take over the main focus, as describing the game world using real-world applications becomes the drive of the story. Electra, being a physics student, explains events in this fantasy world by drawing these comparisons. There is also a philosophical element, though not nearly as pronounced as the physics discussions, in which Brane is ever questioning what Electra says, especially when it comes to his reality and existence. Electra claims Brane’s world is fictitious, yet this world is all Brane knows and understands. This brings into question which world or existence is the real one, assuming any of their existences can be called real at all.

Despite the sheer ambition, the story’s execution is a mixed bag. The overarching story is mostly captivating until the end and there are plenty of thought-provoking questions posed to hold interest, as well as to make the plot twists and mystery reveals worthwhile and impactful. The overall tone is lighthearted and there is plenty of humor too, which helps against the prevalent dryness. At times, this is a fun, fascinating story to experience with enough to keep one entertained.

But, then there are the missteps to the story’s presentation. As I said, much of the narrative is driven by discussions in theoretical physics, as the characters draw conclusions of the relationships between the real world and the fantasy one. Though it can be intriguing at times, much of the narrative in regards to this is presented via lengthy and dry exposition. Regardless of whether the information is disguised as character thought processes and the making of new discoveries through scenes and interactive dialogue, the outcomes are still dry and weighty, like reading a textbook, in their delivery. It’s also far too much explanation during dialogue to the point that it affects pacing. One moment you’ll be reading about the journey and the fantasy elements of it, but then you’ll come to a screeching halt as the discussion shifts to quantum mechanics for the next several paragraphs. Many times, it just feels like the physics topics are being dumped onto the reader. Not only does this break game flow, it also destroys immersion. Perhaps their worst offenses are when these discussions pervade and interrupt the most exciting moments of the game, in which climax and emotional buildup come crashing down with yet another textbook-like series of explanations. While the topics themselves can be interesting, the way they’re presented and the length at which many of these dialogues drag on makes the entire experience exhausting. Large walls of text, even when necessary for explaining advanced theoretical concepts, will never end well. It’s a shame the presentation is so dry and taxing rather than having been broken down into more manageable pieces, as some of the game’s story logic is pretty incredible and, again, thought provoking. Unfortunately, the narrative strengths reveal themselves too few and far between to make up for the sheer drain on the reader.

If you get confused, there’s a list of topics that goes into even greater detail…

Legend of Everything’s characters are also a mixed bag, as many aren’t built up to a memorable level and that hurts all the more for a visual novel. The perspective of playing as Brane rather than Electra as he struggles to come to terms with his existence is clever and the tie in questions of existence itself are equally riveting. However, Brane is truly a side-character at best, posing for us the obvious questions one would most likely ask in the given situations. He is bland, lacking any distinct characteristics that could distinguish him. He fails to stand out or establish himself as a memorable character, despite playing from his perspective. He is so unspectacular that, at times, you may wonder whether the devs’ decision to follow Brane’s perspective was really the right call.

Electra fares far better in her design, for she at least has personality. As the self-proclaimed protagonist of this story, she’s energetic, brash, and a bit of a geek. Her dialogue also suggests she is gay or bi in the beginning, as she humorously speaks of wanting a heroine to join her and not simply to journey alongside with. However, outside of these initial character traits, we don’t see much else. There is no development or evolution to her character, rather she mostly stays the same throughout. The element of her sexual orientation is soon abandoned, as she states she is straight, and only continually used as a means for humor. Even as mysteries are revealed and truths are tackled, her behavior abides by her initial formula. Even worse, she and the rest of the cast that participate in these physics based discussions are completely overshadowed by the dry exposition. Instead of characters engaged in discussion, it feels like a lecture. There are major missed opportunities to see additional sides to Electra that could have served to better define her character or develop her across the length of the story. Yet having said all of that, what she has helps add humor and mood to the narrative and her striking personality is strong enough to permeate the exposition and stand out in the end.

Could have fooled me…

As for the other characters, they, too, suffer from a lack of depth and development. Their personalities are familiar and form-fitting, simply serving as devices to move the story along when additional characters are needed to do so. I will say Quarrey’s overly static personality does lend itself to a number of humorous moments, as well as Posy’s tangential side-stories, as she tries to fight for catgirl rights. I also appreciate the swiftness all of the characters have in labeling Brane a pervert and harem seeker. It definitely helps to break the monotony of the physics discussions. Overall, I realize that this is a visual novel and not a proper piece of literature, but I did expect to see more depth and evolution from the characters overall than what we actually receive.

Moving to gameplay, the only interactions the players have are in making inconsequential decisions, such as choosing locations or choosing which extra wall of text you wish to read from a menu. This could have easily been a kinetic novel, as there is only a single, linear storyline. Though, I did like the options to visit alternative locations before continuing the main plot. Visiting locations most often lent themselves to character backstories and interactions. I would have liked more of these, as I would have also liked to have seen these visitations used to perhaps hide plot hints or further develop the characters. At the least, they could have helped adjust pacing and break up those walls of text into more approachable forms.

As for its build quality, the overall product is solid. The use of Ren’py works well and I found zero problems with functionality. Having rollback enabled from the get-go helps whenever I needed to re-read or when I clicked too fast. I experienced zero slowdowns, hangs, crashes, or bugs. Build quality is sound and lightweight, so those using older systems should also experience zero problems.

Pretty simple: Locations in white have a bit of new text, locations with ? have much more, such as backstory, character interactions, etc, and ! moves the main story along

With visual novels, a strong aesthetic presentation can support the story and its characters, raising the overall quality to new levels. In this instance, however, the visuals neither add nor detract. The devs for Legend of Everything decided to use a 3-D modeling/ posing program to create their visuals. It feels like the visuals were not a priority, as the overall presentation has a dated and uninspired feel. The visuals aren’t awful, but they fail to enhance the story and characters, instead simply serving as something to look at while we read. I will say that I appreciated the efforts that went into varying the characters’ facial expressions. It’s a small touch, but one that stands out against the minimalism the posing software begets. As for the audio, Legend of Everything has a satisfactory soundtrack, one that fits the fantasy world, as well as the humorous, lighthearted mood of the game. The tracks fit their locations and events on-screen and also bolster the narrative. Not the strongest sound score I’ve listened to, but it helps, especially with the inability of the visuals to support in a significant way.

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Legend of Everything is an intriguing attempt to change the traditional isekai formula, offering an entertaining story sprinkled with metaphysical bemusement. Glimmers of emotional depth and a fantasy story that brings reality into question make for an amusing journey. The mysteries and questions posed are engaging and the humor keeps the journey lighthearted throughout. Yet, the lack of deep, diverse characters, their utter lack of development or growth, the agonizing over-dependence on exposition, the awful pacing that results, and finally the uninspiring aesthetics all detract from Legend of Everything’s ability to fully immerse its players. If you have the patience, endurance, or you’re incredibly passionate for modern and theoretical physics, this VN may be worth a look. I will say that there is zero lack of content and assuming you do read everything there is to read, this VN will easily take you beyond the 15+ hour range to complete. Despite faltering with its dry, uninspired execution, Legend of Everything is a fantastic idea full of ambition.

[easyreview cat1title=”Overall” cat1detail=”” cat1rating=”3″]

Review copy provided by publisher

REVIEW: Legend of Everything Title Legend of Everything Developer Kidalang Publisher Culture Select Release Date Nov 8, 2019

#Isekai #kidalang #Legend of Everything #visual novel #VN

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