#The main problem I have is 1:quest version is very limited. 2:I just end up browsing some random avatar world due to sate my curiosity and-

[goblin-enjoyer]

I really gotta get back into vrchat. From the amount of it I see popping up recently, it must of gotten better right? Besides I have a quest and never use it.

[sonicasura]

Top 5 Game Series That Need The N.Sane Treatment

Crash Bandicoot was a series that hadn't been seen for years until the Crash Bandicoot N.Sane Trilogy was revealed to the world. Thanks to this trilogy, not only was the franchise revitalized but we also got a sequel for Crash Warped in the form of Crash 4: It's About Time.

This is a recipe that could potentially bring games lost in obscurity back into the limelight but even a chance for new games to come. Here are some of my picks!

1. Jak and Daxter

One of the games that seriously needs the N.Sane Trilogy treatment. Jak and Daxter was a game series made by Naughty Dog that would inspire many platforms after. It stars the Demolition Duo, Jak and his partner ottsel, Daxter, on incredible adventures that change in tone over each game. You begin with a goofy island adventure to a dark futuristic playground as new mechanics get introduced.

Out of the main trio which consists of Jak, Sly, and Ratchet, Jak was actually the first game I played amongst them. A series that needs a comeback especially with the Easter Eggs often seen in Ratchet and Clank games throughout the years.

Touch up the graphics into a different style depending on the game, the Precursor Legacy be a bit more cartoony in appearance like Crash 4, and then switch to a style similar to the N.Sane Trilogy for the darker games like Jak 2 and 3.

Adjust the controls to run smoother, change difficulty of certain games like lower the difficulty of Jak 2 a smidge and place an optional mode to play with the original difficulty.

This would lay down the groundwork for an actual proper sequel, Jak X feels more like a side game while Lost Frontier is a snore fest.

If Naughty Dog doesn't take this route and continues pushing out flavorless games, I suggest any decent company that can do should buy the rights to Jak and Daxter. This is a gold mine covered in dust that needs to come back!

2. Sly Cooper

Yep! We're going to the other member of this once legendary trio, Sly Cooper. Sly Cooper was the second game series from Sucker Punch that I played, the first being Infamous series.

This game revolves around a group of thieves who steal from criminals and tend to get wrapped up in saving the world a few times or battling enemies out to end the bloodline of the main character, Sly Cooper, who comes from a legendary family of thieves.

Before the series disappeared into discontinuity, we had a total of 3 main games alongside one made by Sanzaru. Sanzaru's Thieves of Time was decent but midway World 3, the quality seriously declined and left fans with a very unsatisfied ending. Perfect for crossovers but terrible for the franchise.

Giving this game the N.Sane Trilogy treatment would not only give a more successful chance than attempts to make a movie, but it could to more proper sequel than Sanzaru's version. Use a design similar to Sanzaru's or go for a more rounded one like N.Sane Trilogy.

Ratchet and Clank Rift Apart even had an Easter Egg with Sly in it too! Insomniac acknowledges that these game series still exist by dropping these little nuggets of nostalgia, take the hint and bring back the Legendary Playstation Trio!

3. Spectrobes

Nintendo's alternate version of Pokemon. Spectrobes is a trilogy game series that debuted on the DS and last game was made for the Wii.

This series revolves around Rallen and Jeena, two members of the Nanairo Patrol, as they search for the fossils of creatures of light known as Spectrobes to find the planet devouring darkness known as Krawl.

You travel through various planets to uncover different kinds of fossils and some very interesting or whacky but loveable characters. It has elements similar to Fossil Fighters where you have to dig up fossils before awakening them. Care for your Spectrobes to battle the Krawl.

The evolving battle system, new mechanics, various locales and the unique design of each Spectrobe were something I loved but pretty sure many would like too. It even had a book and a mini series on YouTube! The game's graphics could take a route similar to Rayman Legends or Dragonball FighterZ.

Don't go for Jump Force please. We need actual expression than stiff faces and aggravating screams.

This is game series worth bringing back even if it just gets a remake.

4. Golden Sun

Another Nintendo franchise that needs return from obscurity. Golden Sun was a JRPG that came along systems like the Gameboy Advance during a severe lack of games for it. It revolves around different groups of people who use Psynergy, their version of alchemy, to battle evil as they travel the realm of Weyward.

A great game series enriched by its many characters, lore, growing battle system such as Djnn and Summons to turn the tide in battles, unique story and all sorts of areas to explore.

The biggest dent to the franchise was Dark Dawn because of its questionable ending that left many players confused or dissatisfied despite the incredible graphics, plot and character interactions. After that no one has heard a single word about any sequel.

The N.Sane Treatment would not only bring the franchise back for fans both new and old but can actually fix the questionable ending for Dark Dawn. Graphic style, um, I guess something similar to Dragon Quest or maybe Persona. Persona would be the better option considering how you choose how the main character responds to certain situations.

This series has been done dirty and deserves a second chance like this.

5. Kid Icarus

A Nintendo franchise that shows bringing back old games can revitalize a lost series.

This game series is at the bottom for a decent reason actually. Masahiro Sakurai has been hearing requests about porting one of the games, Uprising, to the Switch. Something that he sounds like he wants to do but there is a problem as he admits it would be difficult.

How Uprising is made for the 3DS such as the dual screens, and specific use of the touch screen for combat. Something that can't easily be translated to something like the Switch without decent changes.

The game revolves around the angel Pit, who fights the evil forces of the Underworld with assistance from his Goddess Palutena. Each game changes the rules of battle with the greatest being Uprising as you combat various creatures and even bosses revolve mostly around Greek mythology.

I think the N. Sane Trilogy can work with this. The first Kid Icarus and the second Of Myth and Monsters might be what could provide the missing pieces for the Uprising Switch Port Situation.

Both games could be completely restyled in a format that could be similar to Zelda since in these games, your options of weapons are limited and you have to think smart for particular puzzles.

They can be used to lay down a format that can built on for an Uprising Remake since Land Battles are one half of the essential gameplay. The graphics can be Uprising since it's already a perfect that just needs to be brushed up a bit.

When it comes to Super Smash Brothers, Sakurai worked hard to make characters like Minecraft Steve or Fighting Game fighters such as Ryu and Kazuya fit into the gameplay even if it meant changing about every hitbox and aspect of the stages. A little help can go a long way.

That's what I've got for now. If I find anymore games that need the N. Sane Trilogy then I'll put em in a new list. Until next time folks!

[self-loving-vampire]

Pathfinder: Kingmaker (2018)

Pathfinder: Kingmaker is a game that I liked a lot when I played it, but also a game that has a lot of obvious problems that drag aspects of it down. Fortunately, one of its big strengths is that it is extremely customizable, meaning that annoying or broken parts can be toned down for the most part.

Summary

This game has been called a spiritual successor to Baldur’s Gate, which I can see only on a sort of superficial level. What I can say it is that an ambitious and (in some ways) expanded adaptation of the Pathfinder tabletop adventure path of the same name, which I have run a little bit of.

For those who don’t know, an adventure path is essentially a whole campaign, starting at first level and spanning several interlinked chapters with their own minor antagonists and themes, sometimes but not always all the way to 20th level.

This particular AP is one that I’d consider extremely hard to make into a computer game without losing a lot of what makes it appealing in the process. It starts with a simple hook: A wild part of the world is under the rule of a bandit lord, if you defeat him then you will be allowed to found a barony on his land and develop it as you wish.

While the concept is straightforward, this is a great idea with tons of potential in the infinite freedom of tabletop play. While it is impossible for any existing computer to realize this potential as well as a skilled human DM could, the game does have a lot of strengths (and weaknesses) that make it interesting to analyze.

If I had to compare it to an older game, I’d actually use Troika Games’ 2003 cult classic Temple of Elemental Evil rather than Baldur’s Gate, for reasons that will become apparent to any who are familiar with it.

Freedom

I would say that this area is mostly fine. Once you finish the prologue (which doubles as a tutorial) you are largely free to explore the Stolen Lands... except that areas open up gradually depending on your main story progression.

While I understand that this helps keep things focused and manageable, there are times where these limitations end up feeling a bit contrived. Still, this is not a huge deal since each area is reasonably big and full of optional content.

One nice thing about exploration is that there are many areas with encounters that are far deadlier than anything you may be used to at that point, but which usually guard extremely valuable loot. This means that if you can figure out a way to overcome the encounter before you’re “supposed to” level-wise you will get a very satisfying reward out of it.

Defeating these encounters is not even strictly needed at times either. For example, there is a hidden crag linnorm (a CR 14 monster) in a cave within an area full of far weaker monsters (around CR 6 or so if I recall). While defeating the linnorm would not be easy for characters at this level, I managed to use the party’s rogue to sneak past it and loot its hoard without combat.

In terms of things like dialogue choices and the like, the game is also mixed. While you very often have multiple options, some of these options can be Stupid Evil (attacking people for no reason) or even flatly blocked by your alignment in ways that feel arbitrary.

For example, you need a Neutral alignment component to make peace between the mites and the kobolds in chapter 1.

There is one particular quest (courtesy of a kickstarter backer) that is a horrible railroad as well.

But overall I’d say you have more options here than in many other similar games, I mostly just wish the alignment stuff made sense and did not lock you out of options.

The game has multiple endings and Fallout-style ending slides describing what became of the people and places you influenced based on your decisions. However, achieving the secret ending or the secret romance is so extremely obscure that I’m actually surprised I managed to do it on my first playthrough.

Character Creation/Customization

This is easily one of the game’s most significant positives, while also being one of the things that may be extremely intimidating about it for people who haven’t played the tabletop.

With the DLC, there are 9 races to choose from and like 16 classes (not counting prestige classes). Adding to this, each of those classes has 3 optional archetypes that function as subclasses that add, remove, or modify class features.

Many of the races also have different heritages that switch around things like racial bonuses/penalties, resistances, and spell-like abilities.

However, I do have some complaints about it as well. Sometimes the explanations of what an archetype adds don’t seem as complete as they should be, and from what I remember a lot of your character creation decisions did not have enough of an impact outside of combat.

While the game does feature skill checks both in dialogue and in other parts of gameplay, they use the highest modifier within your party so your own stats are not vital to passing them, and (unlike its sequel) the game rarely features things like special dialogue options based on things like your race, class, or chosen deity as far as I can tell.

Also, while many tabletop options were understandably cut since the game was already over-ambitious as it is, this includes all kinds of item crafting (without mods that is). Things like potion-brewing are a pretty central aspect of the alchemist class, while wizards really benefit from scribing scrolls to handle many different situations.

Worse, this inability to craft and enchant your own gear can end up hurting the itemization in the game. There are tons of different types of weapons you can choose to specialize in, but for many of them you will struggle to find good weapons of that type to use within the game.

Also missing is the ability to meaningfully apply several types of spells out of combat, which really hurts some character ideas that would have been very interesting in the tabletop version (such as diviners or enchanters).

The whole system can also be a bit confusing to those unfamiliar with the tabletop. The game is not as clear and good at teaching as it should be.

Story/Setting

The game is set in Golarion’s Stolen Lands, an anarchic area with heavy fey presence. Compared to many of the more colorful locations in the setting, this is one of the more “standard” and generic regions, but there are still some noteworthy things that help define it, such as the ancient cyclops ruins beneath the land or the links to the alien First World of the fey.

Like the adventure path it is based on, the Kingmaker computer game has a story separated into several linked but defined chapters that each present a new threat. Kind of like anime arcs that introduce increasingly dangerous villains at the center of each.

The story is generally fine and the secret ending is as satisfying as it is obscure. However, I would say that story is not what makes this game good in my opinion. This is no Planescape: Torment.

The game features many companions. I did not really care much about roughly half of them to be honest, but I do like the approach used to present them. They are all very visibly flawed, which can make for bad first impressions, but as you spend time with them and do their quests you discover new depths to them that make them far more interesting, and you see them change over time as well.

One notable example is Jubilost, a rude know-it-all gnome with an unpleasant and caustic personality that covers some measure of real kindness underneath (as well as the fact that he does indeed know a lot, he just needs to be less of a dick about it).

And of course, the central idea of the story is something that you don’t actually see that much of in RPGs, or even in a lot of modern tabletop campaigns: The player gaining a kingdom to rule. I think that while there is no way to properly provide the same range of options for how to handle this as the tabletop version can, the game still manages to accomplish something interesting (even if not wholly good) in how it integrates the gameplay into this.

In many ways, ruling the kingdom can actually be kind of stressful outside of easier difficulties due to the interminable problems and literal curses plaguing it. You will have to contend with everything from monster raids to plagues and invasions throughout the game.

While the mechanics of managing the kingdom are not really all that well-balanced and are more of a pain than anything to a lot of people, the throne room events where you get to make decisions on policy and such are often fun and not something you see in many other games.

One thing that can be off-putting about the game’s approach to narrative decisions is that there are a few times where the outcome of a quest can feel a little arbitrary due to depending on seemingly minor dialogue options. This is especially bad about the above-mentioned secret ending and the secret romance option. They go far beyond “secret” and into “you will be lucky to achieve this without a walkthrough”.

Finally, a few of the alignment tags applied during conversation options make no sense. This is particularly bad during chapter 2, but the issue comes up outside of it as well.

Immersion

This is one area where the game is not that strong, for multiple reasons. For instance, the fact that there is no crime system at all. You can loot your entire town (where even magical items are sometimes inexplicably placed in random homes).

The day/night cycle also seems to be for aesthetic purposes only as there are no schedules to go with it (which at least makes sense from a gameplay standpoint I guess).

The one thing the game actually brings to the table here above most others is also one of its most controversial features: The passage of time.

There is a real urgency to your quests, as there’s actual consequences to neglecting threats and situations that are meant to be urgent. 

In most games this kind of urgency is completely fake and the story advances at whatever pace the player decides. Not so here. If you ignore, say, the troll hordes early in the game then their attacks will eventually overwhelm and ruin your kingdom.

Everything from travel to resting and even hunting in place of using rations takes time. Rest too much and you could be sacrificing your long-term ability to manage the endless threats around your kingdom in exchange for an edge in the encounters immediately ahead of you.

This not only makes the mechanics somewhat more interesting by forcing you to manage time instead of playing it safe by resting liberally and doing a 15-minute adventure day, it also ties in with the narrative of just how deeply cursed, troubled, and flat-out burdensome caring for your kingdom can be.

It also just feels more real that events move on their own regardless of whether or not you are present to deal with them. This feature is not entirely positive, though. It can obviously be painful if you are struggling or lost.

Gameplay

This is one of the game’s strong points, at least if you enjoy the mechanics of the tabletop. Just as Temple of Elemental Evil was a simplified and buggy but reasonably faithful adaptation of D&D 3.5 rules, Kingmaker is a simplified and buggy but (somewhat less) faithful adaptation of Pathfinder 1E rules.

Obviously there are many, many things missing from the tabletop. Classes, races, feats, I think also grappling in general, firearms, and etc.

I think a lot of these cuts are fair. This is a huge game already and it would have been downright miraculous to include every single option possible in the tabletop. The consolidation and removal of skills that were unlikely to have much use in the adventure also makes sense for balance purposes.

The combat as a whole is deep and complex enough to remain interesting for a long time, at least in turn-based mode (which I recommend). The amount of options available to magic users in particular is extreme even if many spells are missing, and many martial classes also have some features of their own beyond just basic attacks.

Also helping things is the very wide variety of enemies, some of which require a specialized approach to take down easily. You can’t just use the same tactics for every encounter in the game.

For example, trolls regenerate unless attacked with fire or acid. Undead have a whole host of immunities but are vulnerable to positive energy. Golems are immune to spells and extremely tough.

My main complaint about this aspect of the game is really just that combat is a bit excessive. There are far too many random encounters and even outside of that there is much more combat in general than in the tabletop version. Too many of these encounters end up feeling like padding.

This game probably could have been under 100 hours easily if a lot of the superfluous fights had been cut and overall XP gain had been increased. Even with enjoyable combat, 100+ hours of this is way too much.

Besides combat, there are “storybook sections”, where you are presented with situations and must make decisions about how to resolve them, often making use of skill checks to determine results. These are nice, not much else to say about them.

Which brings us to  the last major aspect of gameplay: The kingdom management. This aspect is controversial, and you can turn it off entirely if it sounds like it may not be for you.

There are three major aspects to kingdom management: Decisions, projects/events, and city-building.

Decisions are the most interesting by far. You will be presented by an issue or a request to decide on your policy in one area. You will be given a handful of choices with varying consequences, which may be referenced in later decisions.

Projects and events are more flawed while still having a good idea at their core. These are basically issues that you will need to assign one of your advisors to fix. For example, sending your general to deal with a hostile.

Where it falls apart is the fact that a dice roll is involved in determining success or failure (though there is a type of currency you can spend to improve your chances, which can reach 100%). There are also so many things going on that some of your advisors can be busy for months on a project while various events that require their attention pile up.

The worst part is that there are certain projects that require you to spend a fortnight at your capital doing nothing.

But even worse than this is the city building, which is a missed opportunity. Most buildings provide little beyond a relatively small amount of kingdom stats. This is still beneficial, but not very inspired or interesting.

So there are a lot of problems with kingdom building, one of the core features of the adventure path. While I didn’t hate it myself, I understand why some people might want to focus on the adventuring and combat.

This is also the point where I should mention that the game was incredibly broken at release even by eurojank standards. It is definitely a lot better in this area than it used to be, but is still not the most reliable of games.

Aesthetics

This is one area where the game does very well. Some of the environments look great, the monster designs are generally good, the music is great (though repetitive by the end due to the game’s length), and the combination of sound effects and brutal animations can make combat extra satisfying.

Areas can even change depending on the weather or the time of the year.

The only negative that comes to mind is that most of what you see in the game is relatively generic fantasy environments that don’t really stand out. I was never much of a fan of lush, bright forests and the like.

At least there is still a bit of variety, with dark swamps and mountainous areas, as well as the rare trip into the bizarre First World that fey creatures inhabit.

Accessibility

This is one of the three big complaints about the game (the other two being the bugs and the difficulty). If you are not already familiar with the PF rules then you may struggle to play this game effectively, at least for some time. From what I recall, many things are not that well explained.

In fact, you may have already heard horror stories about how one of the very first side quests you find sends you to a spider cave where you have to fight swarms, which is a type of enemy that is immune to normal weapon attacks outside of the easier difficulties.

This lack of clarity can also extend to your story decisions, as previously explained.

Conclusion

Like many other big and ambitious RPGs, Kingmaker has a lot of jank and technical problems, and its complexity and difficulty mean that it is not really the kind of game that will have widespread appeal. 

However, this does not mean it has no appeal at all. It is a huge game with entertaining combat, a story that puts you and your decisions at its center, and the rather rare opportunity to become a ruler in an RPG. It tries to do a lot  and I for one prefer games with big ambitions and passions like this over games that play it safe, even if they are more competent and polished.

I’d say that this game is mostly recommended for tabletop RPG nerds, people with “old school CRPG” sensibilities, and people with a high tolerance for jank. Others can definitely still enjoy it, but may want to use the easier difficulty modes.

[the-bloody-masquerade]

Bloodlines 2 - They/Them Pronouns and Trans and Asexual Representation

There has been some discussion recently regarding information that was presented in a recent podcast interview given by Bloodlines 2 writers Brian Mitsoda and Cara Ellison. I think it is important to know what was and what was not said and understand it in context so I would like to provide a transcript to the passages in question for us to reference as we continue to have discourse around the issue.

I also want to try to give a little more insight as to why they/them pronouns were not able to be added to the game as there are some substantial programming concerns when it comes to adding conditional content that cannot be accessed in versions of the game where the language used only has two pronouns instead of three.

This comes from episode 22 of The RE:BIND Podcast. Published on June 22nd, 2020. The interviewer is Emily Rose, the interviewees are Cara Ellison and Brian Mitsoda, lead co-writers of Bloodlines 2 (Mitsoda having been the original Writer on Bloodlines 1)

Character Creation and Pronouns (passage starts at 1:14:45)

Note: [...] denotes a false start or when they start their sentence over a couple times.  

Emily: In Bloodlines 2, how is character creation being handled in terms of gender?  

Cara: Oh, character creation. So, one of the major problems we have is, and actually this is not unique to us, but the entire industry, is that localization severely limits the way you can write characters and we’re actually coming up against this problem now even though we have made a bunch of decisions on like how you refer to the player character and the characters in our game. But like, a major problem that we always have in video games is that English has a way to refer to people who don’t want to have a gender. And a lot of languages around the world, don’t have that.   

Brian: Currently, there’s like, movements in some languages to get that.  

Cara: Right like, so if your Quebecois, there’s a term that’s like generally recognized as being ‘they’ that you can use, but a lot of languages might have people who for example are agender, but the terms that they use to refer to themselves are not thoroughly recognized throughout their language and country. And that provides us with a humungous problem because we are making a game about Seattle, and there are a large number of people who live in Seattle who don’t want to have a gender or don’t want to be referred to as a particular gender or they frankly don’t identify as a particular thing, so we represent those characters like we normally would, but we run into a bunch of problems when we try to localize. So like, in the character creation section what we decided was the best option for us is to essentially let you create the way your character looks in like, entirely separate of gender, so you can make your character look any way you like as masculine or as feminine or whatever you like. […] You basically can then say ‘I want to be referred to as ‘he’ or I want to be referred to as ‘she,’ and that’s the option that we give you. The reason we don’t give you the they/them option is because […] I think there are four or five languages that can do this, but a lot of European languages can’t refer to the player character as ‘they’ or ‘them’ because they have to choose one or the other, so, we ended up not being able to do the they/them option for the character creation. So we basically tried to give you a way of expressing yourself and how you look, whatever, but we do end up actually asking you to specify ‘he’ or ‘she’ because it actually is just the way we had to do it for localization. […] For example, when I worked at MiniMolecule they had the exact same problem and it’s a problem of scale as well, because if the scale was just like we only release in English, we could have done the third option, we just couldn’t do it. And also because, we actually systemically throughout the game, its structured to be able to like have lots of interactions based on your identity so we had to sort of choose that early on, so it kind of got structured that way as well. But we do have main characters in the game who do not have a defined gender, and at least if you play the game in English they will be referred to as ‘they.’ We did have the option for NPCs at least in English, to have that referent, but unfortunately, we were very limited by localization on that point. And we’re not the only game that’s limited by that, but as this is kind of more, this kind of specific thing in language rolls out across lots more languages I think actually it will become easier to do this over a time, I think, as well. I’m hoping, at least.  

TLDR; You will create your characters appearance separate from physical sex or gender and then you will pick he/him or she/her pronouns. The reason why they/them is not being included is because most of the languages that the game is being localized in do not have a 3rd/gender neutral set of pronouns and [presumably] would require all version of the game that only include 2 pronouns (because of language) to have their dialogue systems reworked/separately programmed. 

This is a bit different than “they should just put they/them in the English localization then.” If pronouns will be a character creation option that probably means they will be set up as a content trigger, which is what determines which voice and text lines you get (to correspond to your gender). For languages that only have two pronouns, what would you do with that third content trigger representing the they/them pronouns? They also talked content “structured to to be able to have interactions based on your identity.” If there were interactions that were only triggered by the they/them choice in character select, this content would effectively be lost in localizations that only had two pronouns in character select, (barring a comprehensive structural overhaul for regions with only two pronouns) 

The quicker way to do this would just be to have most NPCs use as little gendered language as possible to make most lines an content universal/not have to trigger alternate text/content based on the pronoun choice, but then this may defeat the purpose of being able to customize your PC’s gender and pronouns to begin with.  I do not mean to be an apologist. Gender neutral pronouns in RPGs are frankly overdue as an industry standard it is disheartening to hear that they/them will not be a choice in Vampire the Masquerade Bloodlines 2. I just wanted to try and elaborate on why the inclusion/exclusion of gender neutral pronouns in a game slated for world release is from a programming standpoint more involved that one may at first think.

Trans Representation in Bloodlines 2 (1:19:37)

Emily: So obviously we have some kind of gender-nonconforming representation. What is there in terms of maybe more specific representation, like say, are there any transmen are there any transwomen? Anything like that. Is that brought up at any point during the game?

Cara: […] I think what we want to do in the future is, actually have some main characters be transmen or transwomen, but I don’t—unless the junior writers have actually—actually no the junior writers have written some characters new that we have specified to be trans. But I would have to check, unfortunately, I don’t think we have actually put anyone who’s trans into the game currently unless I’m forgetting about someone. But yeah, I think our plans are to do that, but we didn’t want to do it like we’re just oh, we’re gonna just put it in…

Brian: Yeah there’s definitely […] when you’re doing the [game] design stuff, you’re looking for a character that might fit for the scene or the quest or the story beat that you’re doing and so one thing I never want to do just try to shoehorn in everything that we want to do.

Cara: By the time I had joined the main cast had been very clearly defined, so we didn’t have the option to add a trans main character which is what we have wanted to do.

Brian: Yeah, I would also like it, if we do add a trans character, we can find a voice actor who’s also…

Cara: …trans as well.

Quests with Trans Themes and DLC  (1:21:24)

(immediately follows last section)

Emily: That was gonna to be my next question, so that’s really good to hear actually. So I totally understand how it goes just in terms of like, the preplanning and establishing the world and things like that, and the main reason I bring it up in the first place is just because so much of Vampire does tend to gravitate around people’s identities their expressiveness with both their sexuality and who they are and so it’s just something that’s like kind of been kind of been some sort of undertone in the series for a long time so I was just curious how it was being handled in Bloodlines 2. Those are pretty sufficient answers.

[…a brief interlude where they talked about a random quest from Bloodlines 1]

(1:23:00)

Cara: We actually have a quest based on the idea of dysmorphia, like feeling like you’re trapped in your body and it doesn’t match the way you perceive yourself. A lot of our writing is based on what it actually feels like to be in this state of stasis when you weren’t expecting to feel that because it has happened suddenly to you. And so there are loads of issues that would be really valuable to explore in that way, and you know we have staff who are super interested in giving their input on that, so I think we should definitely approach it, we just haven’t actually put it in the game in terms of main characters. We wanna make a trans main character, I think that’s important to us. We’ve got some DLC coming up that we’re gonna like make a greater effort on that front, like its Seattle, it would be so weird if we didn’t have trans characters. [Note: Cara lives in Seattle currently. 

Brian: Mmhmm

Cara: So, yeah. [to Brian] Ask Margaret as well, our voiceover director, if there are any trans actors that she would recommend we could cast for the role and maybe write it for them. So yeah.

Emily: So that’s the thing and even I struggle really to think of many games that have a trans character in a main role, let alone--I can’t actually think off the top of my head unless they’re very like micro indie stuff any games that feature like a trans woman protagonist. I think the last time I saw a transwoman in a game was I think I wanna say like Dishonoured 2, one of the semi-core side characters you encountered for one of the quests is a documented as trans.

Cara: And I think the Dishonoured 2 team really really really made a huge effort on that front to be able to represent a huge variety of different backgrounds of people. They were very interested in [doing that] from the start, so yeah I think there are like some games where it does matter too, and it really feels like the world is bigger when you actually provide those characters.

In-game Asexual Characters and Their Ideal Approach to Portraying LGBT+ characters.  (1:25:29)

Cara: But yeah, like we have tried to represent asexuality as well in the game.

Emily: Good good.

Cara: We have characters who are asexual. Who are canon asexual. And yeah, […] We try as well, not to write it sort of clumsily, we don’t write characters that like, out themselves, because that’s not—

Brian: No, because generally someone does come up and say that immediately.

Cara: when you’re from a background that has been marginalized, you’re very aware of your own safety. Especially if a stranger who looks shady approaches you, like our characters, you’re not gonna like immediately say it. But we make it explicit that this is who they are, but not in a way like ‘Hi, I’m Cara! I’m transgender!’ You know?

Brian: Yeah, yeah.

Cara: I think some of the ways in which people have done it in the past have been a little clumsy so I’m very aware of that as well.

Brian: Yeah, I would never want to handle it in a way that’s like ‘The main thing about that character is that they are trans’ like that’s not right at all

Cara: I want the main thing about that person to be something that they’re interested in, like, actually like exploring with the player character and I think like, most people are coming from somewhere when they approach you and its not going to be about I want to talk about my…[they both trail off laughing,]

Brian: They probably want to talk about a way in which they’re going to fuck you over. Or get something from you, or get you to do something for them.

Cara: Yeah and I would love to write a trans character who is like really really interesting and really really involved in something and I don’t want it [their transness] to be their defining [feature].

~~

Thank you for reading.

[zdbztumble]

“Kingdom Hearts II” revisited, Part VI

On the one hand, I can understand how something like this could slip under the radar, as it’s a small point; on the other hand, that small point can make a big difference, depending on who you are. It matters less to me, as I’ve played the game before, but it still bothers me: why would the Secret Ansem Report you get after the retreat from Hollow Bastion give away the name “Radiant Garden?”

In any event - the second pass at the Disney worlds is considerably shorter than the first. I had forgotten how zippy this stage of the game could get. In a way, I suppose that’s a bit of a missed opportunity to let the Organization show their stuff a little, but this game is plenty long as it is, so I can’t say that I fault them for that. As it is, I think the second pass is slighter than the first on content...but it’s also better in how it spaces that content.

Before we get into each of the worlds, though, I want to touch on the concept of “filler.” Whether it’s worlds in the Kingdom Hearts series, non-manga-inspired episodes of Dragon Ball Z, non-League related episodes of Pokemon, or even individual scenes in a movie, there’s a fairly common attitude that treats any and all filler as automatically bad - that anything not immediately germane to the central plot is a flaw. I’ve never understood this line of thought. The “filler” episodes of Gohan surviving alone during the Saiyan Saga are a highlight of the DBZ anime. All my favorite Pokemon episodes are “filler.” Filler is only a bad thing when it takes up too much time, distracting or undermining the larger story. But when it’s well-placed and well-paced, it can be as good as any plot-centric episode, and can even enhance the greater story through unexpected means.

I said in Part IV that I can understand how this game got the reputation for the Disney worlds being filler based on the back half of the first pass, but thinking more about, that isn’t technically true. I can still certainly see how those worlds would give that impression, because the story falls into a repetitive stall, but technically, things related to the main story do happen - Pete and Maleficent try to rebuild their forces, and get thwarted. That this was done in the way it was, with so little variety, cost the story a sense of progression even as nominally important events, like Disney villains being turned into Heartless, took place. By contrast, the second pass on the Disney worlds has more true filler. But because it’s shorter, and because there’s more variety in how things play out in the respective worlds, the overall effect is much more pleasing to my narrative instincts, even if it falters a little at the end.

As it did in the first pass, the Land of Dragons follows naturally from the set-up immediately preceding it (assuming that you play through the worlds by villain level.) In this case, Sora has finally learned the plan of Organization XIII - let the Heartless run amok, then harvest the hearts released when the Keyblade slays the Heartless. Since lives will be in danger if he does nothing, Sora has no choice but to keep fighting. And, when the player arrives in the Land of Dragons, this is exactly what we see illustrated. I know that some people object to how brief Xigbar’s appearance is, but I don’t see how that’s a problem. The Organization’s plot is established by this point; one can easily assume that Xigbar is in the Land of Dragons to further that plot. By the end of the level, that’s confirmed; he was turning dragons into Heartless. And just as Xaldin was teased in the first pass at the Beast’s Castle without getting into a direct scrap with Sora, Xigbar here is given some build-up ahead of his role later in the game - and, by succeeding in making a Heartless, and leaving his Nobodies behind to fight, he avoids coming off as ineffectual, the way he did during the Organization’s first appearance to Sora in Hollow Bastion.

What’s more, the Land of Dragons is arguably more concerned with bringing Riku back into the plot. At this point in the game, we have just seen him leave the ice cream and photo for Sora, but to actually show him taking a personal hand in trying to keep the worlds safe is a significant step. A case could be made that this should have happened earlier in the game, but Riku’s absence from the first pass is a concept that’s grown on me as I’ve gone on playing. There’s a real impact to his finally turning up in a Disney world at this late stage, and I like that Sora was 1. not made arbitrarily stupid for the sake of “mystery,” and actually recognized Riku right away and 2. did have a moment of doubt and confusion about Riku’s alliances. Plus, there’s a great comedy bit derived from all this too: “He was rather rude.” “Then it WAS Riku!”

From there, we have the Beast’s Castle and Port Royal - two worlds, back-to-back, that feature members of the Organization taking a very direct hand in the events playing out, more than any other Disney worlds. It’s Xaldin and Luxord doing the honors, and they are a perfect example of what I’ve meant when I’ve said in the past that Organization XIII works better as a concept and a collective than as individual members. I’ve never meant that in a pejorative sense; what I mean is that it’s the group, the monolithic unit of the Organization as a whole, that is the antagonist of KH II. Xemnas may be their leader, and Xehanort its instigator, but they are a hive mind when it comes to the goal: collect stolen hearts to get hearts for themselves. The individual members shown in KH II don’t really have their own agencies beyond serving that goal, except for Axel, and they aren’t very fleshed out as individuals. Xaldin is just as one-note and empty of personality as Zexion and Lexaeus were in CoM (though gifted with a much better English VA), and Luxord’s gaming sensibility (and Demyx’s incompetence) are only a slight step above that. But they don’t need to be any more defined than they are, because they’re 1. Nobodies devoid of hearts (at this point in the series anyway) and 2. cogs in the wheel that is Organization XIII. Unlike the Organization members we meet in CoM and R/R, they aren’t commanding huge chunks of screen time to blather repetitively among themselves - they appear when the story needs them to, and no more. They provide gradually greater challenges for Sora in combat, creating a boss battle ladder to climb until Xemnas is reached, and also help build up the scale of threat that Organization XIII really poses to Sora after being absent for so long in the first half of the story. It’s video game logic applied to story, and very effectively so IMO.

For some people, the limited screen time of characters like Xigbar, Luxord, etc., and the lack of backstory for them, is a flaw in this game. It should be obvious by now that I don’t share that complaint. For one thing - we are given backstory for Organization XIII, just not an excessive amount of it. And why should there be any more to than what the vanilla version of the game provides in gameplay and Ansem Reports? How much backstory did we get on Jafar in Aladdin, Ursula in The Little Mermaid, or Maleficent in Sleeping Beauty? The story functions well without excessive backstory for the villains for many reasons - chief among them that it isn’t a story about them. This isn’t the tale of dark protagonist Xehanort, falling into darkness and continuing on as the Nobody Xemnas to try and regain a heart. KH II is a point in the series where the staff still clearly remember who the protagonists are, and KH II is a story of resolution for their stories begun in KH I. It’s the resolution of Riku’s struggle toward redemption, begun at the end of KH I and continued through R/R before reaching its climax here; it’s resolution for Donald and Goofy’s quest to find King Mickey, and Mickey’s quest to set the worlds to right; it’s a resolution for Kairi, left alone with fading memories at the end of KH I but determined to set out and find her friends again; and it’s resolution for Sora, recovering his powers and his whole self after the events of CoM while slowly confronting what became of his Nobody in that year, and finally finding his way home after his long journey. At the risk of sounding pretentious, it’s the Odyssey to KH I’s Iliad, and Organization XIII are the cyclopses, sirens, and witches. I don’t need - or want - detailed backstories on them when the story I’m engaged in concerns the people they’re getting in the way of.

(I also think it’s notable that Xaldin hasn’t really been pushed aggressively as a major character since KH II. His brief appearances in later games don’t even attempt to expand his personality; by contrast, Zexion/Ienzo, Vexen/Even, Marluxia, and Larxene’s revivals are treated as much bigger deals, but in all the time we’ve spent with them past their supposed deaths, and for all the background and lore given to them, there’s been no appreciable expansion on their personalities. They’re all still playing the same one or two notes they had in the first place, with the only difference being that their presence is disproportionate to their role in the story and their ability to justify their screen time with personality.)

With that rant finished: the same problems with the wording of the dialogue as the first pass plague Beast’s Castle still, and Belle and the Beast remain too far down the road to romance given the nature of their ticking clock. There’s also a huge lapse in logic - the idea that Belle wouldn’t have been told, by the servants if not by the Beast, about the rose. But I do like how direct a continuation this world is from the first pass. Xaldin’s efforts to make the Beast a Heartless were fleshed out more than Maleficent’s and Pete’s were at any point, and the growth in the Beast’s character during the second pass is nice. Belle’s passivity compared to her movie counterpart is made up for (somewhat) by her quick jab and rescue of the rose. And I managed to beat Xaldin on my first try, without being reduced to Last Hope even once! (One minor nitpick about this world’s second pass, though: if Jack can keep his Santa suit in gameplay, why can’t the Beast keep his ball outfit?)

Port Royal is a massive improvement from the first pass. It’s amazing what loosening the shackles of the source material can do for this series. As brief as it is, it’s a creative way to use an element from the movie, and the first pass of the game, in the Organization’s plans, and it has a lot of great little character beats. I like Jack referring to Luxord and the others as “Organizers;” I like Sora’s prank on Jack with the Keyblade (levity with Sora done right - take note, future series entries); I like Peter Pan turning up as Summon in this of all worlds (I’d completely forgotten he was a Summon, so that was a nice surprise; it did occur to me after I found him that Summons don’t have a story justification here the way they did in KH I - a minor, and possibly inevitable, retcon); and I like seeing Sora show signs of weariness from his journeys. You could argue that his getting teary-eyed at seeing Mulan and Shang together was an earlier sign of this, but here, it’s made explicit. Though I don’t know why he had to cover his feelings with silliness; in KH I, Sora has no problem expressing doubts, exhaustion, and longing.

Another nice touch in Port Royal’s second pass is the way that it gets started - with Elizabeth declaring that she doesn’t want to sit around waiting anymore, and wants to go out and find Will. Because that couple had prompted thoughts of Kairi in Sora earlier in the game, it’s very natural to make the thematic connection between Elizabeth’s actions and Kairi’s here without anyone explicitly commenting on it. This is the way to tie related but distant story elements together. It isn’t necessary - or desirable - that every connection is called out for what it is, but doing it once or twice strengthens the overall effect when later moments pass unremarked upon. It’s a lesson KH III failed to remember, as the only time a connection between Sora and Kairi and the ill-fated Disney couples is made happens after everything Disney has already passed.

Just having the order of the worlds mixed up slightly gives the second pass some variety, but even more comes in Olympus. This is a world largely concerned with its own internal story, tying up the loose ends from the first pass. But the moment when Sora encounters Nobodies in Hades’ layer, only to be saved by Heartless, is a very nice - and subtle - way to keep the greater story in mind. We never learn what those Nobodies are up to specifically, which Organizer sent them, or what set the Heartless to attack them - but their presence means that Sora (and the player) can’t forget that Organization XIII’s plot is never far, even when it isn’t front-and-center. Olympus also demonstrates how to incorporate Final Fantasy material properly, thanks to Auron’s brief flashes of memory - they’re short, and they’re tied into what’s going on in the story instead of distracting from it.

Agrabah is almost as subtle in the way it handles the Organization - an unseen member orchestrates Jafar’s release, on the hope of making him a Heartless. It’s a slight role for them, but a different sort of slight role than they had in Olympus. This is where the variety counts for something compared to the first pass; if not a whole lot is progressing in the plot, at least things play out in a different way in each world. My problems with Agrabah’s second pass are all to do with the world on its own terms; I find the controls for the carpet riding a little wonky, and the world has the opposite problem to many later ones in that it gives the Disney hero nothing to do with defeating the villain while Sora does all the work. The resolution with Iago is nice, though, and I’m sorry this series never closed things out on Agrabah with a King of Thieves adaptation.

It’s only when we arrive at Halloween Town that I think a Disney world (on the main World Map, with combat) can truly be said to be all filler. No one from Organization XIII is present, no schemes take place behind the scenes; the only story here concerns the local Disney characters. And with the beat of him being excited to see Santa played out, Sora ends up without anything to do - he’s along for the ride with Jack. However, even with that, I would say that the second pass on Halloween Town is how to do filler right in a video game like this, because this side excursion has plenty of thematic significance. Dr. Finklestein’s puppet doing bad things out of a desire for a heart is the whole of Organization XIII writ small, and gives a preview of the pathos to come with them. And of course, Sora is once again reminded of Kairi in an adorable closer for the world.

Sadly, the last in the line-up is Pride Lands, and I was once again disappointed by this world. Taken as a whole, it’s probably the weakest of them, not counting Atlantica. That’s a huge shame, because it’s such a wonderful idea for a KH level, for many reasons. Besides being derived from one of the best and most popular Disney films, and offering great form changes, taking Summons from the first game and expanding on them in the sequel - treating them as true characters, who remember Sora and their adventures with him - was a beautiful concept. And it works so well in the Land of Dragons, even as Mushu gives way to Mulan as Sora’s chief point of contact. But Pride Lands just couldn’t pull it off. Here on the second pass, the Scar ghost makes for an intriguing idea made laughably underwhelming in execution, and the final Heartless boss is disconnected from any story content within that world or the larger plot. This is filler done wrong, and the best I can say for it is that it gave Sora more of a role than the first pass did - seeing him employ reverse psychology was fun.

(I might as well touch on the two optional worlds - true filler if there ever was any - while I’m here. I still think the 100 Acre Wood was needlessly shoved into the flow of the story during the first half, and the concept is still repetitive from the first game, but I have softened a bit from my earlier stance that it shouldn’t have been brought back at all - the minigames are a lot of fun, even if the world doesn’t quite pack the emotional punch it did in KH I. Atlantica, on the other hand, remains a colossal disappointment. I had forgotten just how much it forgets and/or ignores from KH I once Ursula shows up - logic is out the window at that point, the way Ariel and the others react to her. Her song is the worst of the bunch, and Ariel isn’t even involved in fighting her this time.)

I’ll go ahead and close on Hollow Bastion, and the second pass at Space Paranoids. Once again, we have some variety here. This time, it comes in the form of cross-cutting - cutscenes of Leon racing around preparing things juxtaposed with Sora’s gameplay inside the system. The only other time in the series I remember cross-cutting being this effective was in juxtaposing Aerith’s briefing of Donald and Goofy in Traverse Town with Leon and Yuffie doing the same for Sora in KH I. And there is an absolutely wonderful moment where Cid and Merlin finally come to a head (“OLD loon, you say!?”) It was another of those delightful bits that I’d forgotten about, and it only underscores how mistaken an idea it was to abandon this little unit in favor of “original” characters. When has Ienzo ever shown this kind of chemistry and interplay, with anybody?

But I do have to close on a negative this time. There are some nitpicks to be had with the second pass at Space Paranoids, such as Sora being more awkward about hugs than a computer program. There are legitimate story issues, such as the lack of good reason for the system going screwy. And there are missed opportunities - one of them related to that last point. Xemnas, or another of the ex-apprentices, could have been responsible for setting that off, which would have gotten Organization XIII involved in the last world right before the home stretch.

Less detrimental to this story, but more detrimental in the long run to the series overall, is the fact that the reveal about Hollow Bastion once being Radiant Garden doesn’t yield any revelations about the tritagonist of the series who came from said gardens. Kairi’s past is the one loose end from KH I that this game won’t end up resolving, and the series has never properly addressed it. Ansem SoD, possessing Riku, seemed to know her, and declared her “Princess” in no uncertain terms; one could infer from that that he knew her. The Final Mix of KH I would reveal that he deliberately selected her for an experiment to find the Keyblade. That this is all we’ve ever gotten - and that backstory concepts that might have suited her were given to other characters - is ridiculous. This game, if not the exact moment when Tron reveals the name Radiant Garden, was possibly their best chance to rectify this, and they blew it.

[sylleboi]

𝖁𝖎𝖘𝖚𝖆𝖑 𝖘𝖙𝖚𝖉𝖎𝖊𝖘 | 02/12/19

Artists and terms; at this point we should have begun this and should be able to define the terms from this brief.

Structural box sketches (Looking at human anatomy at its simplest form looking at joints and pivot point refer back to ROTOSCOPING on this.); how do we further develop them? - By trying out different stylistic features and outfits. Make a turnaround. Redraw! Moving the character.

What do we mean with fantasy quest, refer to the “detailed description”. 

What is a narrative?:

It’s how a story is told. Who? It is told to an audience. The beginning, the scenario is set up. Why is a narrative different from a story? The story is a subjective opinion about what's happening, whereas the narrative is more of an objectified version of that. Jack walks up the hill; story, Jack has mental problems, narrative.

Within animation & illustration let us consider that; a narrative is how a story is constructed & organised. This means how the information is then relayed to an audience, and in what order.

𝕿𝖆𝖘𝖐:

Look at images, construct a narrative.

𝕱𝖗𝖆𝖓𝖟𝖊𝖙𝖙𝖆

After an intense bloodthirsty battle, the last warrior stands. His power immense, his life eternal.

𝕲𝖚𝖞 𝕸𝖈𝕶𝖎𝖓𝖑𝖊𝖞

The skulls of the battlefield are collected by witches of the woods, used for spiritual rituals as the fallen souls are attached indefinitely to their severed heads.

So what is narrative theory?

Exposition -> Rising action -> Climax -> Falling action -> Denouement

Exposition: This is where the characters of the story gets introduces alongside the story and plot itself. This is often the most difficult part to set up successfully, simply because you need to capture the readers/viewers/target audiences’ attention and have then clued in on what’s going on in the story, but this has to be done without completely spoiling the rest of the story. It is important to not mistake exposition and an info dump.   

The characters: Who are the characters? How do you differentiate them from each other? What makes them interesting?                  

The setting/context: Where does the story take place? When does it take place at? What time period?                   

The mood: What tone is conveyed during the exposition of the story? 

Rising action: This is the moment where the plot and narrative starts picking up. Rising action is usually encouraged by a key trigger, which is what tells the reader that “now things will start to take form.” This key trigger is what rolls the dice, that then causes a series of events to escalate to then set the story into motion.

Climax: A climax builds upon everything that has been introduced during the exposition and rising action. This is the moment of truth for the protagonist and the peak moment of the story. You know the plot is successful at delivering a good climax when the outer journeys and the inner goals of which the protagonist wish to complete click.

Falling action: So, what now? You’ve technically finished the story. Finishing a story after a climax or during one is what is known as a cliff-hanger. Cliff hangers work well in film series, but they don’t feel as satisfying. A way to see falling action could be as the old saying; “What goes up must come down.” Putting together any hanging threads not yet solved in the plot is done during this stage.

Denouement: Denouement (resolution) is a fancy way of saying that the story is about to come to an end. At this point, all questions are resolved and answered; letting the reader.

𝕿𝖆𝖘𝖐:

BBC animation defining the narrative, look for new terms and note them down.

All media texts tell a story. The narrative is about how a narrative unfolds 

Story arc (transition from beginning to end)

stage 1

Stasis, setting up the story and meeting the protagonist, everything is normal at this point. This can be related to exposition.

Stage 2

“Trigger” that sends things in motion. creating the root for a fantasy quest to overcome and solve. This can relate to “rising action”.

Stage 3

Surprise! This moment can also be described as an obstacle of sorts.

Critical choice - high drama and stress. This reveals to the audience what kind of character they are. This is also considered part of the rising action.

Stage 4

The climax - The resolution of the conflict. The buildup of the whole story comes to this moment.

Stage 5

Reversal; character realises they're not useless. They change the character; develop them. Related to the denouement.

𝕭𝖊𝖆𝖘𝖙𝖘

Visual studies

Looking -> Doing (draw)

Repetition is incredibly important to ensure accuracy is portrayed within a study.

In the beginning, we are looking at tonal values. We are doing this with the help of skulls;

But why specifically skulls? Well, they are symbolic/iconic in the history of art. It symbolises death or a new beginning after an end within storytelling, thought in storytelling it can also symbolise a worthy trophy or token. This ties in well with the theme of narrative, world building and character creating using the theme of fantasy.

𝕿𝖆𝖘𝖐 𝖔𝖓𝖊

For this, a selection of different skulls were places on tables around the classroom. We were to select any of these to begin drawing by using the “drawing - looking” technique, ensuring that we are observing rather than drawing from our imagination. It was important for use to find a good angle; not too close to the object. If we were to sit too close to the subject, it would be more difficult to see the subject as a whole. This exercise is not focused on capturing detail, but rather it focuses on being able to capture the essence of the object/main subject. On another note, the perspective of light and angle is important in visual studies. This is what changes how your outcome is going to come out. So with all of this in mind, we began by choosing to work with either chalk or graphite, staying be loose and light while sketching.

In order, there were the three different visual studies that I did of the human skull:

1

In this one, I simply just focused on letting go, not focusing too much on capturing the little detail of the skull, but just making sure that I have gotten the basic shape accurate to what I was seeing before me.

2

For the second attempt, I changed the angle to see how the light was changing.

3

𝕿𝖆𝖘𝖐 𝖙𝖜𝖔

So during the first task, we took a more traditional/analogue route. During the second task, we were introduced with the ideas of expanding upon this exercise; further experimenting with mediums and techniques to see how far you can push the limit of what is possible.

I decided to try out using some felt tip markers; It’s probably the medium I am most insecure about using, so I thought it would be suitable to challenge myself.

I taped together two markers; a pink and a light green. On top of that, I tried drawing the skull in front of me (from different angles every time) but with a twist each time; sometimes I’d draw while only looking at the skull, but not down at the paper. Other times I tried drawing the skull without looking at all. It gave some interesting results;

Here are the some pictures showing the two sheets of paper at the end of the lesson and exercise:

But before the lesson ended, we went over some evaluation by looking at what everyone had created;

Pour Quoi?

Shows how you are developing drawing skills from observation (looking & doing)

Shows that you are a diverse practitioner and can embrace all media, especially through traditional approaches

Generating ideas from primary sources enables you to show higher-level approaches to research

What now?

Using these observational sketches, I can develop ideas for a character or character accessory.

I can ask myself question based upon this exercise ie. “What role could the skull play in communicating a narrative idea or theme?”

After this exercise, I decided to further have a play around with the concept of looking and drawing. I found a video of a 3D horse skull made by “handpuppe” on YouTube. Here’s a gif of the video:

Using this for reference similarly to what we did in lesson, I began drawing some of the frames at random, using the method of looking and drawing repeatedly. Below are the tree visual studies that I did, all three drawn from different angles.

I didn’t want to just leave it here. Since this counts as being primary research to some extend, I wanted to build upon that. I decided to do this by using the anatomy of the skull to draw the horse on top of it on separate layer, allowing me to get the proportions anatomically correct.

Here is the finished result of this little side experiment:

I found that this really opened my mind to understanding how useful it can be to sit down and just do some visual studying and researching. It helps to further improve one on a skill level, but also just to understand how anatomy or the form of a subject is built up. It’s not exactly a thing you actively think about on the regular, so it is very refreshing to do this kind of drawing now and then. I will be sure to try and do this more frequently for these reasons, potentially using it as a way to warm up before starting some more “serious” work.

[paladin-andric]

WIP Prep Tag Game

Tagged by @corishadowfang! Thank you, this is pretty big, but I liked it a lot!

Rules: Answer the questions, then tag as many people as there are questions (or as many as you can).

As usual, I’ll be doing Blackheart.

FIRST LOOK

1. Describe your novel in 1-2 sentences (elevator pitch)

Demons invade the world, decimating a city and casting the land around it in a dark fog. A knight pierces through the blanket of darkness, in an effort to find the demons’ source and destroy it.

2. How long do you plan for your novel to be? (Is it a novella, single book, book series, etc.)

Single book. The ending’s VERY conclusive. Though the world itself? I think we’ll be seeing more of it...

3. What is your novel’s aesthetic?

Oppressive fog, monsters, lone figures walking down the road, ruined cities

4. What other stories inspire your novel?

The game Demon’s Souls inspired a lot of the setting (a ruined city full of demons wrapped in a fog), while D&D inspiring much of the world, with the various fantasy races throughout.

5. Share 3+ images that give a feel for your novel

Once again, inspirations make themselves apparent.

MAIN CHARACTER

6. Who is your protagonist?

Sir Alexander, of House Angelus. The youngest child of a large family, estranged from his noble family, who has forsaken any possible rulership for a life of knighthood. While he has prepared well for his mission, he still struggles. He’s not superhuman, nor does he know any magic, which puts him at a disadvanage against inhumanly powerful demons, well versed in unholy arts of magic. He IS determined, however. He can take a lot of punishment, and he never gives up.

7. Who is their closest ally?

Since he doesn’t really favor one of his group majorly over the others, I’ll just put the rest of the heroes.

Senci, an excitable young kobold raised by humans. He dreams of becoming a famous hero one day, and traveling the land to help people in need.

Leianna, a cleric who tends to stir up trouble. She always speaks her mind and throws jabs, even when not wholly appropriate. Despite this she cares deeply for others, it’s why she volunteered to journey to the shrouded city, and risked her life saving Tourthun.

Lexius, a quiet and unassuming priest. Unable to stand by and watch people vanish into the fog, never to be seen again, he used the last bit of money he had on basic equipment and set out, leaving only a note explaining himself to the rest of the monastery. His powers may seem lacking at the moment, but he’ll be pushed to his limits down the line...

Tourthun, a young, red dragon who was nearly captured by the demons. Borderline pacifistic and bitter over his past, the fall of Palethorn, the city covered by fog was an extremely trying time for him. Finally forced to fight, he finds himself lacking in this respect, his own disdain towards killing making it even more challenging. While he carries a deep love for humanity and the rest of the small races, his inexperience makes his support less decisive than it might normally be. Still he fights on, driven by a desire to save the others...

Razorwing, a birdman archer. Very much a classical hero, he is famous and beloved for his various exploits throughout his life of adventure. His ability to fly and pinpoint accuracy makes him a deadly adversary.

Paul, a bounty hunter. Cold, calculating and decisive, he is well versed in the art of killing, though demonslaying is something he’ll need to adjust to, his usual target being man. He hides both his face and his emotions behind a mask.

Charles, a young half-dragon magician. Most unusual for his kind, he’s shy, timid and often easily flustered. He shows extraordinary potential for magic, and already is quite strong. He has a ways to go before he’s a master sorcerer, however.

Andric, an aging paladin. Having raised Senci, he’s become something of a tutor in his older age, though he’s still incredibly powerful from decades of battle and honing his holy powers. Extraordinarily powerful, and a huge boon to the heroes’ efforts.

8. Who is their enemy?

Demonkind at large. Several demons, varying in power, have entered through the portal to the underworld. They have left corrupted in their wake, those who have fallen to demonic corruption and lost their minds, becoming thoughtless beasts bent on slaughter. They have to destroy the portal, no matter the cost.

9. What do they want more than anything?

To be left in peace, able to relax at his manor inbetween military campaigns.

10. Why can’t they have it?

Alexander has been honored as “Geralthin’s Finest Knight” for his heroics in war. As such, whenever a problem arises, or a crisis is revealed, the kingdom always sends for him right away. He’s constantly pulled from his quaint homestead out in the countryside, and thrown at the head of an army. He just wants a bit more time to himself, and slightly less overwhelming responsibilities.

11. What do they wrongly believe about themselves?

Alexander thinks of himself as bland, plain, boring and uninspiring. He doesn’t understand why he’s so often wanted to lead armies, seeing as zealous speeches and raw charisma aren’t his forte. The truth is that his unshakable courage and willingness to always be in the thick of the fight with his men is why the soldiers flock to him. He fights and risks dying alongside them, as opposed to most generals who lead from the back lines...and while he may order a retreat, he’ll always be the last to pull back, to ensure no one else is left behind.

12. Draw your protagonist! (Or share a description)

This is technically cheating, as my friend drew this, but I can’t draw for the life of me. He’s gonna refine this and color it at some point, but he’s a very busy man.

Ah, and here’s a version done by the wonderful @paper-shield-and-wooden-sword!

PLOT POINTS

13. What is the internal conflict?

While the story’s mainly focused on the actual conflict, there’s some growth and character development throughout.

Alexander learns that non-humans aren’t as wild, barbaric and evil as he’s been led to believe, and understands that he has to trust his new, inhuman teammates.

Senci, for the first time, gets into real, actual fights. While he’s always wanted to be a hero, he is quickly forced to learn just what that entails.

Leianna is fairly static, though she does learn that there’s a time and place for jesting. While she may use humor to hide anger or fear, she eventually understand that it’s time to get serious, and that it’s okay to show those feelings sometimes.

Lexius is just a priest. He’s a weak and outmatched in almost every respect. Over time, he will find his courage and resolve when he needs it most.

Tourthun has to forgive the most grievous of crimes, and is forced to come to terms with the horrors of his past. In addition, a final enemy within himself will be the final challenge...

Razorwing overcomes the one part of his past that fills him with anger, hatred and fear.

Paul learns how to express his feelings, and that not everyone is out to get him.

Charles, timid and self-doubting, sees that he’s more valuable than he thought.

Andric is forced to trust Senci on his own, and see just how well he’s prepared his protege...

14. What is the external conflict?

The heroes journey through the ruined city of Palethorn, and seek out the source of the demons, the Blackheart, a great portal that allows demons to travel to the world. Along the way, many corrupted stand in their way, and demons plot against them. Finding the source of the Blackheart itself proves a challenge...

15. What is the worst thing that could happen to your protagonist?  

Failing his quest, unable to destroy the Blackheart, until demons overwhelm Geralthin and plunge the entire world into darkness. Just like the city, the entire would would be destroyed, the last specs of humanity surviving by hiding deep underground, praying that the demons above don’t find them.

16. What secret will be revealed that changes the course of the story?

A twist I’d rather not reveal. I think it’s going to hit you VERY hard, though.

17. Do you know how it ends?

Yes, and once again I’d rather not spoil it.

BITS AND BOBS

18. What is the theme?  

Trust and understanding. In the human realm, many non-humans are looked upon with suspicion, disdain, fear, hatred, or sometimes several at once. Notable examples are the wolfmen, feared and loathed for their violent tendencies, kobolds, looked down on with disgust for their pathetic and barbaric actions, and half-dragons, feared and hated for their frightening appearance and their great strength. In this ruined city full of corrupted beasts however, Alexander is forced into an alliance with the survivors, nearly all of them non-human, as this city is where the kingdom had exiled them to. Over time though living among these creatures, the knight learns that these preconceptions are very often wrong, and that just like humans, they’re not some predictable hivemind.

Forgiveness and redemption. Through several revelations, Tourthun has to make peace with his past, and though he’s been so horribly wronged, and he would be completely justified in never forgiving those that wronged him, he comes to understand hatred is a repeating, unending cycle of misery, sending suffering unto another, and making them hate and cause suffering to other innocents in return. He thus decides to break the cycle. In addition, corruption, no matter how powerful, is not all-encompassing. Not all who fall to the demons are lost forever...

Determination and hope. Though things are so horrible, the heroes seem so outmatched, and the end of the world looks to be drawing near, everyone works hard against the demons’ plot, never falling to apathy or stoic acceptance of the end. Every person that falls to the demons only furthers the convictions of the heroes. It can’t happen to the rest of the world. No more must die. This far, and no farther!

19. What is a recurring symbol?  

Ruin. The city, unmaintained due to the crisis, is starting to fall apart. It serves to emphasize how horrid the demons are, and just what’s in store for the rest of the world if the heroes fail.

20. Where is the story set? (Share a description!)

The Kingdom of Geralthin, ancestral homeland of humanity, once the heart of an empire that sprawled across all of the continent of Deaco. Through destruction at the hands of dragonkind, the empire was destroyed, and collapsed into city-states while the other races reclaimed their independence. Centuries of struggle, advancement and the discovery of magic allowed humanity to cast the dragons out of their cities, though many still roam the countryside. Afterwards Geralthin unified and become a powerful kingdom. Once a melting pot and the heart of trade in all the known world, Geralthin has become homogeneous as the most recent king decided to outlaw non-humans from the kingdom, rounding them up and forcing them into the city of Palethorn. This was a wildly unpopular move and led to uprisings, riots, and traitorous sentiment in many corners of the kingdom.

In the city, all was finally starting to calm down when the demons arrived. Now cut off from the outside world through the dark fog, no one knows what goes on inside, for all who enter the fog never come back. This dark, corrupted city is crumbling and abandoned, filled only with the husks of creatures that were once citizens, stumbling through the streets, seeking out any survivors to kill for their masters. Deep in the sewer systems that were never finished before the attack, the last remnants of the city hide out in an underground encampment, a few scavengers often traveling to the surface in a desperate bit to gather what the group needs to stay alive. It is here the heroes plot out their mission, and bring their wounded to rest and recover.

21. Do you have any images or scenes in your mind already? 

Yes. I’m pretty interested to see what I can do with them.

22. What excited you about this story?  

Mixing dark fantasy with high fantasy, knights and dragons with evil and darkness. I’ve always been massively interested in fantasy, particularly magic and monsters, and how they effect what would otherwise be a mundane medieval world. How does castle design and city defenses have to adapt when you need to account for dragons? How much do numbers count for in armies when the opposition can call down lightning, or teleport? How do monsters like griffins and drakes affect hunters, and villages out in the deep wilds? How would society see people who exchange their humanity for power?

Seeing this new, strange world, and forces like dragons and demons clashing is incredibly interesting to me, which is why I enjoy writing about it so much.

23. Tell us about your usual writing method! 

Eh. I put on some music and just...go, I guess. I have a basic framework for the plot, and I know the ending, but aside from that I just...write. I guess I’ll look more into the flow of everything after I’m done, editing and altering from there. Also upon rereading the chapter after I post I notice like 20 typos, whoops.

WOW. This was really long and tiring, but I really enjoyed blabbering about my book. Thanks again!

I’ll be tagging @oceanwriter, @lady-redshield-writes, @homesteadhorner and @sheralynnramsey. Honestly this is pretty insane, I’m not gonna tag that many people, and if you don’t want to do this I totally understand.

[bedlamgames]

Q&A #94

Today we have various forms of removal, the new biomancy assignment, and corruption among others.

nh-maikochan said: Regarding the bimbo slave not being sold: Yes she did have bimboborn. Also, I think I may have sent a message like this before and have totally forgotten. If this is just a repeat, feel free to ignore it. 

Thanks that really did help solve the issue. Should be sorted now as of the current update. 

doof-ex-machina said: Hello! Could I ask some question about one particular problem I'm facing playing No Haven? The thing is, when I try to save a game and then load it, all the names of slavers and slaves in the boxes disappear, and that's just 'Slaver 1', 'Slaver 2' and so on that are visible in Inventory, Visible Characters and Room Objects boxes. I tried all the versions of RAGS available but none of them helped to solve the problem.

That’s a RAGS issue. Make sure you’re saving only when it is safe as detailed at the beginning of the game. Other than that if you finish day the names should update back to normal. 

Anonymous said: I cannot for the life of me figure out how to remove someone from a current role in the camp on No Haven.... would you be willing to tell me? I am probably missing it because it's stupid simple.

No problems. Same way as setting them to the role so Right click > Talk to > Assign to an Encampment Position > -None-.

There’s a couple of positions like second-in-command where slavers will resist giving up power and for them you’ll have to use more nefarious methods. 

Anonymous said: [NH 0.821] Bug / suggestion: My slaver has Dolled Up, and a ton of other corruptions, which is great, but the description is weird. Due to DU, it describers my slaver as having "dark crimson rubber skin[...]" and then "have eyes[...]covered up entirely", but the very next line describes my ponytail. Hair on red rubber is a weird mental image. Might I suggest that DU simply makes the skin rubbery rather than changing the color? That, and not replace the eyes? I miss my heterochromia. Thank you!

It is corrupted rubber of perversion and evil so is capable of having holes for hair :)

Also one of the risks with corruption is you can very much lose as well as win such is the risks of flirting with depravity for power be it traits, arms, or even your nice eyes. 

Anonymous said: [no haven 0.843] so I tried to do basic bimbo training with a slave that had advanced obedience, selected 2 slavers and noticed it needed 3 so I clicked on slavers and then it began the assignment blocking the slave slot but not starting the assignment AND removing the slave permanently, seems like it is also overflowing because I'm getting "not enough to defend the encampment" while I have 6 out of 8 slavers in the camp.

Thanks for letting me know and will sort it for the next update.

Anonymous said: Love the new update, though I have several questions. A: How does one start the quest to gain better Biomancy? B: Say I had a Second-in-command who was set as my characters former owner. This seems to give the character massive bonuses to respect checks. My character has Dominator and Thrallforge, but I still cant succeed Dominating to get him to go nude, etc. Is it currently possible to succeed at such a check? C: Is there currently no way to force a 2nd out of their role via the respect check system? Surely we should be able to dominate or trigger them into giving up the post? D: On a related note, why is there no option to dominate when trying to force a merc to join the camp? E: Is there some kind of block preventing me from shrinking an Amazon Futanari's cock with Biomancy? I tried dozens of times, and never had any results. Anyway, thats all I can think of for now. Look forward to your answers. If I remember more Ill ask. Again, love the game and update! 

The new assignment that will start the biomancy chain begins in the City of Aversol. It's a rare assignment, can be done by anyone with or without biomancy, and like bred to be broken you need a certain amount of gold in the stash to find it.

Theoretically I think? It’s going to be a long shot though unless you can mess with them like making them a bimbo through corruption or send them off on quick as you like.

Not currently. Will think about it. 

Dominating is a short term will overwhelm so once it’s done the merc would just be unhappy and leave.

Futanari for plot related reasons which I swear I’ll get to eventually can’t have their cocks shrunk by biomancy.

Anonymous said: Since we already have Recruiter customization options for brother/sister, any chance we'll see father/mother or son/daughter added as options? I'd love to see that feature expanded on in general, especially if it adds more options for incest.

I’ll think about it. Not super into incest as it is, and the parental versions even less so. Saying that next update will have some implication in regard to one of the assignments so it’s possible as long as it’s not that much of a focus.

madron-fc said: Had the following happen to me in 0.843 of NoHaven, not sure if it is intended behaviour: I went on the Mountains asignment to catch the male drow after which I did get the request to fullfill. After doing some training on the new slave, I realised that the opportunity was no longer listed amon the asignments. I thought it might have just timed out without me noticing, but way later into that same game I got a notice for that very opportunity to soon time out. my guess is that when I completetd the advanced Sissy Training and the Slave changed name, the asignment disappears, but I do not have a save of that time so I cannot test this.

Huh, okay. That opportunity is timed in regard to expiry, but that does sound off. Will check, thank you. 

And now some more from outside of the tumblr:

From Hypnopics: Is the demi Angel commission added to the game?

If you mean the four-winged Truly Divine one then that commission is being used for an assignment next update.

From Hypnopics: This game really needs a way to quickly and easily dismiss slavers and slaves you don't want. You should be able to immediately sell slaves taken as loot, even if only for 15-20 gold and able to R. click - dismiss slaves and slavers. I keep hitting a wall with content blocked because i have too many mediocre slaves/ slavers.

Update following the next one is going to be about having a more reliable way of freeing slaves than sending them to the whore makers. Slavers I always wanted to be one of your challenges to manage with more events coming involving them working to undermine your authority which is why you're limited to assignments like Sudden Betrayal. Saying that there likely will be more options to manipulate their morale/reputation to get them to bugger off coming in future. I'm also planning to introduce slave mines/farms/temples where you'll be able to parcel off a whole number of slaves and slavers at once for an ongoing bonus and the occasional choice/assignments to keep them going.

From TFGames: Loving the new update so far. I was playing with the slave mantras and really liking them, but had something happen. Had gotten two mantras on one slave, Obedience, which had fully embedded, and Sissy, which was at the advanced stage. I was planning on adding some more later, but wanted to finish his proper training first. I ended up getting a crit on Advanced Obedience training and giving him the Obedient trait (there's too many uses of the word Obedient in this paragraph). After that, I couldn't select him for hypnosis. I suspect because of the Obedient trait, it thinks that he has the Denial mantra embedded (which also gives the trait and blocks other mantras). Also, I haven't tried yet, but does the Bimbo mantra block Bimbo training? I had a couple odd situations in the previous version where traits gained outside of training blocked those associated trainings. Two main examples: Had a slave escape, recaptured with a crit, then escaped and recaptured with a crit again, giving them Obedient. However I couldn't do Advanced Obedience Training with them any more. Second was had a slave at Basic Sissy training stage and they got the Pretty Maid corruption result, switching them to the Sissy gender, but also blocking the Advanced Sissy training option. No I know these might be redundant, but the trainings alone add value to the slave, but then getting traits with shortcuts or luck could be a balancing factor, so it might be intentional. Anyway, this was in the last version so it might not be in the current one.

Those are both connected issues and kind of working as intended. If you get what the training/hypnosis is basically trying to achieve then that training/hypnosis becomes no longer available. Think about it as having different paths to the same result. Does mean that you don't get the same value bonuses, but I think I'm okay with that as it reflects how long you spent perfecting the slave and keeps them from being quite so similar in the long run. I do agree though that this can feel off and I'm open to other takes on this as it's feedback I've heard a few times now.

From TFGames: I voted Lamia because I feel like keeping track of all your slavers and all their traits is exhausting and starting with one fewer gives you a bit of time to get familiar with them before adding more.

There's also elitist and proactive under the full custom options if you want to start with less slavers. If you want to go full minimalist there's also the golem scenario where you start with only three slavers.

(This is in regard to the current poll running on the TFGames discussion thread)

From TFGames: Hello, I just spent about 20 hours playing this awesome game for the past 3 days!! It made me insane. I especially loved exploring the limits of corruption and biomancy. There is a lot of content with cum consumption, which is pretty cool =). There's one thing I didn't get: how to raise the encampment leader's tolerance for highly rated armors and clothes? I could wear a 55 rated item at most, but that's it. Oh and also, can the encampment leader get corrupted to the point of getting Babydoll? Or is that just for other players? I managed to inflict Babydoll on two slaves, but never on myself. Anyway, this game is awesome =D. Thank you for doing this.

Thank you, I'm glad you've been enjoying it! The clothing limit is in place to prevent you completely fucking your ability to lead by putting yourself in bondage. Then now the takeover options are included I may just remove it so you can see how long you can last while being in an armbinder and the like   Babydoll for now is limited to others. Will possibly change this again given the takeover options as such a naive and gullible leader is also not going to last long at all. Though for that I'd want to include more personalization for the player to properly reflect that corruption. 

[paulruskeaton]

13 tips for future Fallout 76 players.

Fallout 76′s B.E.T.A. has given me a taste of what to expect from the full game. It has also given me a heads up on some of the mechanics and changes the franchise has introduced, for better or for worse. This post is written for those who already decided to buy 76, but chose to pick it up later, and to opt out of the B.E.T.A. Here’s some tips to make your first few hours with the game less frustrating. 

More after the break.

(These notes are based on version 1.0.0.6.; the last update released during the B.E.T.A..At time of writing, the game has not had its official release and the issues named here may have since been addressed by the development team. This post may be edited down the road for corrections and updates, if need be.)

1. Trading with party members is not the same as trading in general.... or trading as you have come to know.

In the current version, you have the option to trade with anyone on a server by walking up to them and holding down the key/button that prompts the trading screen. However, they’ve changed the up how the trading system actually functions. 

Instead of selecting what you want to buy and sell first and then confirming it all at once, you are forced to sell/buy each item individually. Pretty much, it’s less about item value and more about how many caps you have on hand. Caps are given more function in this game, as you need to them to fast travel long distances  and move your CAMP around. Okay, sure, but once you get to the real-life players involved with this system, things get... complicated.

Say you see a cool baseball bat in someone’s inventory and decide you want to have it. Here’s how you go about getting it. First, you select it, which marks the item as something you are interested in. Then the seller needs to select the item as well and then set a price. Once the price has been set, the buyer can then select the item again to purchase it. 

Sounds simple on paper, but no one in the parties I was in understood this system: me included. In fact, if you are in a party and want to swap gear, you are much better off dropping each other’s items---which appears in a bottomless paper bag at the moment---and pick it out of there. But if you’re looking to be a merchant, it’s still an awkward system. Again, you can’t purchase en mass or just swap items without getting caps involved. Okay, that’s not completely true: you can set the cap value to zero, but you still have to do this for each item you wish to sell/buy. 

Oh, and additionally, be sure to use the “offers” filter often, or at least if you get stuck with a person who isn’t talking. Which brings me to the next tip....

2. Your mic is either always on, or always off. 

There is no mic button; nobody likes this.

In most online games I know, if you want to talk, you hold down the button/key bound to that, which opens your mic. 76 does not have this. There are four options, toggled in only in settings: “Off, “Auto,” “Team,” and “Area.” The people I hung around with usually had it on “Team”, since that filters out everyone else on the server: who are the ones who have it on “Auto”. “Area”, which only broadcasts your voice to... eh... the nearby area, ended up being kind of useless, since not everyone wants to hear you all time: which will happen because Bethesda, again, made sure of that. 

You mic turns on whenever it detects a noise higher than a pin drop. So if you’re chatting with someone on Discord, have a dog, tend to breathe heavily, or if you’re pretty much in close proximity to anything that makes a noise, you will be heard unless you turn off your mic completely, or are muted. Additionally, while there is an icon that displays next to the name of the player who is talking, is is super tiny, so unless you are standing right in front of them or have a very distinct voice, you may not actually know who is talking. Speaking of things that are hard to shut up...

3. Audio Logs

In the first few missions, you are tasked with finding audio logs of the old Overseer and some groups that used to operate in Appalachia. Last time I checked, once you pick them up, they play automatically. So first off, they moved the holotapes menu away from “data” to its own menu under “inventory”; you go here to play/stop a tape. Second, if you’re playing with a team or just some unmuted folk, you’ll need to turn on the subtitles, so you can actually hear what you’re supposed to do. This comes in handy because...

4. Objectives are super vague, super cluttered, and super fickle.

You know that old problem with Bethesda quests where the compass will keep leading you inside, then outside, in then back out again for one marker? Well, that’s back: with a vengeance. At once point, a teammate and I decided to fix up a nearby power plant. The objective was simple: fix up the generator, reactor, and cooling towers. How, may you ask? Well, i’ll tell you right now, because the game sure doesn’t. You find leaks and broken yellow control panels. That’s it. 

Simple enough, right? Yes, but then the aforementioned marker problem comes into play. These leaks and panels are never in the same building and seem to use the same marker icon as everything else, so if you’re in a labyrinth of a building, and power plants tend to be here, expect to run around in circles. A lot. Additionally, unless you shut them off, you will see your teammate’s open objectives on your screen as well: cluttering up the HUD pretty quickly.

Oh, and some of these quests are on a timer. Yep. 

Some quests are called “events”. They pop up on the overworld map whenever a player starts them and anyone on the server can join in to assist. (Though they may not always get the XP... I haven’t figured out why yet.)The event ends either once it’s completed, abandoned (leaving the area) or after an allotted time. Why for the latter? Other than to annoy me, I have no idea. I do know that my friend and I failed that power plant objective, right near the end, because the game got impatient with our running around. Hardly our fault though: we kept dying. Why?

5. Because dragons.

Surprise! It’s Skyrim after all! 

Okay, technically no, but it’s an action RPG where you fight dragons so I’m making the joke now while it’s still a living horse. They’re actually “scorched beasts”, and they shoot nothing but radioactive murder plague death from their mouths. Don’t fight them until you are ready, and you won’t be for awhile. Don’t be like my idiot teammate and try to bring one down “for the XP”. You’ll just die. Over and over. Speaking of death...

6. You “lose” items when you die.

But don’t worry, you can retrieve them. But balance that choice wisely. You can respawn near your last death point, but do take a moment to ask yourself a few questions. “Why did I die?” Was it because of something manageable, like a ghoul or mutant that got the jump on you? Or was it a marauding player--who probably already picked it up--who now has a bounty on their head? Or was it because of the aforementioned murder death dragons? Take these into consideration. Also consider what you left behind. When you die, you only drop whatever junk/scrap you had picked up and haven’t stashed away yet. (More on that later.) Ask yourself, was it something kinda common like steel or cloth? Or was it something absolutely essential, like....

7. Wood and Aluminum

You need these. Always. Never walk pass them. Ever.

In Fallout 4, adhesive was the precious commodity. Now you can find that near everywhere. Meanwhile, in a video game literally set in an enormous forest, wood is hard to come by. Why? No idea. You can’t “scrap” your environment like in 4, and for some reason, axes cannot cut down trees. (Yes, they never could in these games, but I feel like there’s some serious cognitive dissonance going on here) You need wood to build shelters, crafting tables and make “boiled water”; all key for early survival. 

But you can scrape up enough wood for this if you know where to look: scrapping common weapons is the main one and some areas have lumber in small piles. The bigger headache is aluminium. Aluminum is much rarer and you need aluminum. Why?

8. Because weapons/armor can now break again.

Unpopular opinion: I actually liked the repair system of past Fallout games. Having to do equipment upkeep felt, I dunno, appropriate for a series about survival? It was also aided by the fact that you can do repairs on the fly with similar items, or the Jerryrigging perk. This time, not so much. When your equipment breaks, you need to find a workbench to fix it, and you need materials to do so. Once again, this is why you need as much aluminum as you can carry because most repairs need them. But what about...

9. Being over-encumbered.

So having to carry so much junk... well, you know what tends to happen. But the over-encumbered penalty has been tweaked a bit: while you will still slow to a crawl, it’s only after your AP meter has been exhausted. 

Luckily, they made junking more convenient: you can break down any junk, armor, and weapon at any workbench and some early perks allow you to carry more by cutting the weight of various items. Stock up on ‘em early if you can; it’ll make the trek back to your stash box easier. That said...

10. Your stash box is not bottomless.

Hoarders beware: use it or lose it.

Your stash is always with you as long as you have a CAMP around, but as I learned, it does have a limit to what can be held. Pretty much, you’re forced to craft and trade often; to not just pick up anything you find lying around because you’ll probably have use for it later. (After all, your priority is wood and aluminum anyway.) Unfortunately, I have no way to trump this system. The closest thing I found is to craft ammo: a much more precious commodity than caps. Come on, Bethesda, just because Metro uses a bullet currency doesn’t mean you’re prohibited from implementing it! That said, you may conclude that you could take the old Skyrim approach and just trade a high volume of useless crap for the good stuff. Well, guess what.

11. You cannot “print money.”

They actually nipped this one in the bud early on. Yes, you can craft things if you have the ingredients and recipes to do so. But that’s not for everything. I saw that craftable hatchets and knives can no longer be traded at the handful of NPC merchants in the game. Same goes for bullets: you’re better off just shooting your surplus ammo into the air, like a “true Appalachian”, than setting on them, waiting for value. Unfortunately, you cannot scrap bullets either, which is a shame and I hope the add the option down the line, around the time they further restrict our trading options.

12. Oh, yeah, I also said “recipes.”

There are more things in this game that require “plans” and “recipes” before they can actually be crafted. I was into this for the sake of immersion: how your character in 4 readily had the knowledge to build a small house with complete furnishings was something I found silly. But as I stated earlier, 76 has a very questionable view of reality, so it may void that a little. Regardless, you earn plans and recipes through various means. The common way, for armor/weapon modding anyway, is to scrap items, which gives you a chance to learn a new modding recipe for that item. You also earn some by completing quests and events, and can sometimes buy them from merchants. (Can’t sell them though.) On top of that, some still need the right perks to use. Oh, I should actually close on that one...

13. Perk Cards and Leveling

They brought back perks for 76, in the form of cards you unlock at every new level. You combine duplicate cards to raise thier levels as well. When you level, you are asked to put a new point into any of your S.P.E.C.I.A.L. attributes. The total number of points in your S.P.E.C.I.A.L. dictates what perk cards you can swap in. For example, if your Strength is 4 and you have a perk card that's upgraded to level 3, you won’t be able to slide it in if you have three level 1 Strength cards in the deck. Oh, and your choice of new perk card is NOT limited to what perk you decided to level up.

---

And.... pretty much those are the key things I want you future players to know. But here’s a couple other tidbits to know.

You need to be a special level to use Power Armor and some high-tier weapons. You can still use the chassis at anytime though, providing you have the cores.

Food rots. Don’t overpack with perishable meals that you won’t use, unless you plan to make fertilizer later.

You can make diluted Stimpacks, RadAway, and Rad-X, which means it’ll double your medicine supply, but will be less effective.

You can save structures to blueprints to be built later, but you will still need the materials!

ALUMINUM. WOOD. ALUMINUM AND WOOD.

And one last thing before you take off on your new wasteland journey:

Bethesda made a lot of questionable decisions here, not just in gameplay but in world building. Once again, you will find that a lot of lore has been glossed over and/or ignored by committee. You may be tempted to get very emotional over what can be perceived as a gross disregard of canon and that Todd Howard is satisfied with slapping the Fallout brand on anything he wants. 

I have come to accept this as fact and have chosen to still have fun with the game regardless.

It’s a big functional mess of a timesink that is, once again, more about making a profit than paying respect to a classic franchise: the norm of the industry. For all we know, this may become the installment that “kills” the franchise. But so far, I’ve been having fun and accepting it for what it is and prepared for whatever direction it chooses to goes in next.

As for you, I hope to meet you on these country roads very soon!

[fgodestinyawakenings]

EOR Agartha Singularity Chapter 14~END

With the power of insanity, regret, suffering and MORE SUFFERING... This entire singularity is just going to speed run, trying to complete without needing CS. Because of paranoia that the coming Christmas event requires LB3, especially the amount of new Servant and SOME in particular screams out LB3 requirement

DW seriously wants everyone to catch up to the latest story, which hence implying... Not all event are going to be Salomon-locked anymore

Before I start... The following chapters at this point, DO NOT GRIND FOR BOND POINTS. All the major bosses have finally showed up and that's where you need your sanity and strong team composition to beat them

Chapter 14

Both arrows in this chapter, you're fighting both Megalos and Christopher Columbus. Megalos has 2 HP layer while Christopher has only 1

In the first arrow, you're only required to either survive for 4 turns or break ONLY Megalos's first HP bar.

Second however, you're required to defeat both of them. 

For Megalos 

on his HP break, buffs himself with Critical Damage Up for 3 turns but debuffs himself with Quick Resistance Down for 3 turns (demerit).

Second HP Break, buffs himself Critical Rate Up for 3 turns but debuffs himself with Arts Resistance Down for 3 turns (demerit).

Columbus

on his HP break, buffs the enemy team with Pierce Invincibility for 3 turns.

Personally, kill Megalos first because as usual for Berserker class reason and you really don't want him to receive the invincibility pierce if you break Columbus's HP bar by accident

Chapter 15

A visual story mode, so nothing much to see here except googling up for the summary ^^;

Chapter 16

The final and longest fight for this Singularity, which I repeat, DO NOT GRIND FOR BOND POINTS UNLESS YOU'RE PREPARED!

First arrow... It's actually where Confucious doing confusion fu on you and your team. Not really confusing since you've got Scheherazade and 8 mob bosses of different classes with her

Her only gimmick at each HP break is giving taunt on those mobs for 10 turns, and, she reduced damage from Servants with King trait (*stares at AUO* Yeah people like AUO or Arthur, especially Ozzy). So, you're more or less required to bring either borrowed AOE Alter Ego/Berserker preferably without the King trait to kill them.

Finally the final boss, Demon God Pillar Phenex!

Because you're going to fight that fucking tentacle pillar 3 TIMES in different arrow in two separate classes.

In Arrow 2, you're first fighting it in their Caster class. It take reduced damage from Servants with King trait and, will Charm & inflict HP reduction every turn to a random party member.

Arrow 4, your first round to survive against it after it uses its permanent guts buff 2 times!

Demon God Phenex itself:

Single target Instant-Death combined with a Death Rate Down debuff.

Single Target Charm combined with a 1 turn delayed HP reduction debuff (the affected servant will have its HP reduced once the player's turn ends).

Self cleanse, one-turn incoming debuff negation, NP gauge single tick charge.

Demon God Phenex's NP:

It will first attempt to remove any buffs [CE buffs such as Volumen Hydrargyrum's one won't be affected].

Party wide AOE multiple hit damage.

All the party members will be inflicted with a 1,000 damage per turn Burn debuff.

Arrow 5, this in particular you’re to survive 10 turns when young Fergus from plot reason reduced its MAX HP to 1 and its guts buff completely gone to kill it.

Its skills and NP is the same as before... But it has now an insta-death skill to kill your Servant, so do beware of that.

Now that this first shit is done for main quest... I’ll start immediately for SIN Lostbelt tomorrow/later tonight right after I’m back from my trip to AFA :D

Because writing this with less than 6 hrs of sleep for 2 days is just me wanting to finish this ASAP

Observation:

Apparently this Singularity has a decent habit in throwing different classes together so that you can’t use a single class to deal with them. Yeah, not even Berserker unless you got a good setup to keep them alive

Dahut mini boss:

Or aka Drake Alter, where if she had Wild Golden Hunt with her for her NP... This entire boss fight with her is practically screaming chaos if she decided to buff it with pierce invincibility

Ideally Carmilla and Jack are best against her for Assasin class

But if you’re starting this way later like now, Okada Izou is subsitute to bring in for his anti-humanoid skill

Alternatively any assassin will do to kill her

But when dealing against her with Hydra, do bring a Lancer for main DPS with a good composition of a team to deal with them both

She isn’t that difficult so I considered her more of a mini Boss to deal with before the biggest fish

Wu Zetian:

If you have Scheherazade before starting this Singularity, she’s the ideal Caster against her. Wu Zetian possess the king trait with her so Scheherazade can deal more damage to her

She herself isn’t that much of a problem from her skillset wise other than her own healing and removable defense down debuff

Only problem you’ll need to be aware is her 3 tick NP gauge AND her increase of crit damage after using her NP

Her NP also has a removable poison debuff so Medea Lily can be brought along if needed

Otherwise general Caster should work, and preferably ST NP Caster to deal with her more efficiently

Penthesilea:

Basically where DW decided to kill anyone who brings Heracles-chan as a last resort due to her third skill targets to Greek Mythology Male Servant

Or actually specifically in lore wise, it’s more towards Achilles if you have him on your team

As her Berserker class, she definitely hits like a fucking truck with damage and crit

Her second skill is something to take note as not only with debuff immunity but also giving a charge in NP by 1 tick for sudden killing of your Servant

For her female trait, bring Carmilla or Jack ideally to with her

If you’re starting like now for this Singularity, Foreigner Servants and Izou are very recommended in dealing with her

The SSR Main Servant Scherherazade too as well for her NP and skill against King-trait Servants

Karna, Arjuna, Scathach, Enkidu, Oda Nobunaga & Ruler Martha, and AUO respectively for their NP/skills against Divine and Weak to Enuma Elish trait

Telsa & Raikou for her Earth & Sky trait

Siegfried-George combo is also recommended if you want Siegfried’s NP to deal higher damage against her

If you don’t have any of the above, bring more taunters and healers in both CE and Servant to keep the damage away from your main DPS Servant

Support like Jeanne and the Great 4 Casters are welcomed in supporting your main DPS

Overall until Chapter 13, majority of the fight requires you to survive until you break her first HP layer

Megalos & Christopher Columbus

In general of Megalos, his own taunt debuff to your Servant is stackable. Taunters like Leonidas and George are perfect to take in that debuff from your main dps

On my first post on Megalos, I’m completely wrong, he doesn’t have his Nine Lives NP for this NPC boss fight. His NP is a very high damage AOE NP that can be blocked by evasion or invincibility

But, he’s still same as Heracles with the same weakness as before

Euryale for usual being most recommended against him as a budget 3* due to her NP

Others such as:

Greek Mythology Males: Penthesila Her first gacha appearance practically screamed to raise her ASAP just to deal with him with further damage. Her own skill debuff immunity prevents her from being debuff with taunt. But, her weakness is also her own class as a Berserker that will kill her ASAP

Humanoid: Nightingale & Izou (Only available after 2018/2020(estimated if no changes in schedule))  Nightingale’s own skill does harder damage against him with humanoid trait. Also, her NP provides good healing when needed. But once again her downside as a Berserker class will kill her faster

Male: Orion, Tamamo Lancer, Stheno and Medb

For Stheno, you can pair her with Euryale for a charm-locked combo

Orion, Tamamo Lancer and Medb with their own ST NP will definitely kicks his butt big time!

CEs to pair with them generally is still Kiyohime CE for damage boost

Divine: Karna, Arjuna, Napoleon (only available after release of LB2), Oda Nobunaga, Ruler Martha, Scathach and Enkidu

Scathach and Enkidu for stalling if needed since their NP will stun him against his Divine Trait

Karna and Napoleon for higher damage against him

Oda Nobunaga both version are great in dealing with him for another alternative. But Oda Nobunaga Archer more recommended if you’re not able to get her Berserker version, as her Archer is a free welfare Servant

CE to bring:  Fondant au Chocolat or Versus for higher damage against Divine Servants 

Large: Arthur Pendragon

Once again after his limited appearance in Chaldea’s Boy Collection, his own third skill will give him great boost in damage against him for his large trait

AUO for Enuma Elish, Telsa and Raikou for Earth & Sky trait

Other CEs: Holy Shroud of Magdalene More for your taunters to keep them alive longer if needed when dealing with him

Christopher with Megalos

His own skillset and NP, except for a guts buff that charges his NP unexpectedly, isn’t really a problem

But because of his dangerous pierce invincibility that buffs his whole team when HP break is a big threat

Heck, his NP can actually be blocked with evasion!

Against him, I personally go for a stalling/total defense with Mash, borrowed Jeanne and MHXX + Kiritsugu for DPS

Or actually go for a setup that generates NP fast if you want Jeanne to be able to use invincibility against both of their NP at the same time

RNG plays a part which I’m thankful that by the time after Megalos is gone and Christopher’s HP break was at a good timing that he can’t do it with his NP

Otherwise, if he’s alone, he’s generally not a threat until you got a Berserker with him

Scheherazade & her mobs

Ozzy somehow becomes a not-really recommended Rider to bring because of his king-trait against her

Or actually any Servant with a King Trait isn’t recommended to bring against her

Male Servant will have a problem when dealing against her 2nd charm skill as it’s an AOE skill against all Male Servants

Has an AOE NP that deals extra damage to king/queen trait Servants

As this is after Fate/CC collab, borrow Alter Ego Kiara for AOE NP to deal with her and her mobs. Some of her mobs are under the weakness of Alter Ego

But you’ll need taunters here without a doubt because the neutral damage from the mobs will still hurt like a bitch

If you don’t have Kiara in your friend list or Servant Roster, find/borrow an AOE Berserker to kill them quickly

Phenex

General

Own skillset:

Voice of Allurement / Coming out from My Mouth: Inflict "Charm" Status and "HP Drain after 1 turn" on a target. (1 turn)

Droopy Eye: Inflict "Insta-Kill Resist Down" status to one target. (3 turns)

The Time For Rebirth is Here: Remove all debuffs from self and grants self debuff immunity. (1 turn) Charges own NP Gauge by 1 tick.

Own NP:

It will first attempt to remove any buffs [CE buffs such as Volumen Hydrargyrum's one won't be affected].

Incineration Ceremony : Phenex (NP) Deals damage to all targets and inflict "Burn" status to all targets. (5 turns)

For my fight with it in BOTH Caster and Ruler class, it’ll always use the skill on third bullet point before it uses his NP the following turn. That habit is one where if you do face, you’ll have a lot of problem to stall him if you don’t have buff remover in your team

I’ve been lucky for insta-kill for both fights since none of them got it from Phenex

The first bullet point of its skill can be RNG dependable. If it hits your Servant that about to use their NP, it’ll stun them for 1 turn before draining

Caster version

Your budget Riders who got King-trait like Boudica and Alexander are preferably not recommended to bring for this fight. It has a permanent buff to take lesser damage from those with king trait

Rider except the 2 and welfare like Santa Artoria are viable to bring, especially those with ST NP

Origin Bullet if you have to deal more damage against it

Vessel of the Saint if needed to have your main DPS not be debuff by charm

Ruler version

For its first round in arrow 4, you’re required to survive until you cleared 2 of its guts buff

All Guts buff revived it at 100% HP

Second round in arrow 5, you’re to survive at least for 10 turns until Young Fergus debuff activated + his own guts buff removed to kill it

Like first round, its Guts buff revived it at 100% HP per activation.

But Young Fergus’s own debuff against it will lowered its Max HP every time it triggers

Borrow/Use an ST NP Avenger like Jeanne Alter and Lobo to kill it as your main DPS

Or if you’re starting way later especially now, you can use budget Salieri to work with borrowed avenger to kill it more quickly

Taunters and healers are welcomed especially taunters to steer the charm debuff away from them

Healer like Hans or Merlin to keep them alive to deal and survive for those specific requirements

For Hans that I brought him, I had him with Demonic Bodhisattva CE so that his NP heals more for both Salieri and Jeanne

Apparently, Mash’s invincibility skill on your Servant isn’t removed when it’s about to use its NP

But his burn debuff can sting like heck if it does outdo your healing per turn on your Servant

Otherwise for both Ruler version, do setup a team to help surviving against the demon god

[escapist-experience]

Claudia Toman - Hexendreimaldrei

I read Hexendreimaldrei, the first part of the Olivia Kenning trilogy from Austrian author Claudia Toman as part of my German reading challenge. The book was published by the Diana Verlag in 2009 and is only available in German. I have very mixed feelings about the book. It was a weird ride where moments of fun and intriguing details alternated with shock over the sexist generalisations, annoyance over poorly solved plot difficulties and eye rolling over the clumsily used plot device characters. The story doesn’t work for me because I could not emotionally connect with the Olivia, or understand her motivation for half of the things she does in this book. The narration gives you coincidence upon coincidence to solve the plot problems. The lack of foreshadowing removes the fun part from the detective/investigation quest: the guessing and dissecting the text if an offhand remark contains a clue. Spoilers after the text break. --------------------------------------------------------------------------- The things that I didn’t like (or annoyed me a lot): 1.The “this-all-was-just-a-dream” trope 2.The pop culture references that do not add value to the story. It already has a strong fairy tale and classic literary influence, heaping the pop culture references on top is an overkill and creates a cheapo gimmick-y effect. 3.The classic literary references work better, but I had the feeling they were just included randomly to fill the plot holes. It bothered me particularly in the last conflict scene with the main antagonist where Olivia defeats Lady Grey by citing from a Shakespeare play. 4.Explaining how a seemingly insurmountable problem can be easily solved by jumping back in time and explaining that a secondary character who is Olivia’s friend happens to be an expert in the field that is necessary to solve it. The readily available sodoku and literary expert friend? Randomly talking to the hotel receptionist who happens to be a Shakespeare specialist-slash-amateur-actor? Walking into the first esoteric shop and just telling a complete stranger something that a. sounds insane b. could get you in trouble with the organisation you are trying to infiltrate? Build these up first, often a few lines or comments in advance are enough. 5.The frequent jumps between the different timelines make the story difficult to follow. This is made even worse by the above-mentioned issue with jumping back in time to provide explanation that is needed in the present timeline. 6.The plot is based on the idea that a woman, on the wedding of the man she is love with makes a wish that surprisingly becomes true: the man is transformed into a frog. The fact that anyone in a such situation would wish exactly that is not plausible for me (Wish that he marries you instead? Wish that you are not in love with them?). I realise this is the “This is magic, silly!” moment where I should suspend my disbelief. I’m trying, I promise but it’s hard. 6. The protagonist is completely sure that the Pianist (or the Prince as the text often refers to him) is Mr Right for her based on the following three factors: • He has emerald green eyes • He composes and plays music that the heroine finds deeply touching • He is a foreigner and “frenchy” I find it alarming that Olivia becomes so quickly so obsessed with the Pianist because they barely speak a few words at all before she decides to marry him at the earliest possibility. I know this book is heavily influenced by different elements of the Princess and the Frog fairy tale but even so. At least give us a few scenes where we see them bonding. I can’t care about the relationship that is just built on a few sketch-like scenes from the Sex and the City and sweeping generalisations. It made me sad that Olivia went through so much pain to please the Pianist and it’s clear the aside from being physically attracted to him, she doesn’t have a good time in his company. She is constantly worried about her appearance. She even prepares topics and interesting things to tell him. This is not a romance book; Olivia and the Pianist prince don’t end up together. Yet, seducing and getting back (rescuing) him is the one and only motivation for Olivia in the entire story. 7.The ”Get a life already woman” syndrome. There is an entire chapter where Olivia doesn’t do anything else than waits for The Pianist to call. When does she work? Is there really nothing else in her life? There is a point where the narrator refers to being single as an “unfortunately fashionable thing lately”. Olivia is characterised as a stereotypical single woman who has a cat, a few female friends to order take out and sip prosecco with and who is desperate to find a partner. This is so sexist and limiting that I cannot even… Which brings me to the next two points. 8. The clumsy, whiny, self-deprecating to the point of self-abuse female lead is desperately (and irrevocably) in love with the mysterious and perfect male lead she spoke with twice when they exchanged like 10 words (Bella Swann syndrome). The clumsiness is used as device to advance the plot and get the male lead’s attention: Olivia falls over, knocks down, drops or loses things, gets drunk and is incapable to use simple tools and devices. The same incapable and helpless character doesn’t even break a sweat why infiltrating aa secret organisation of dangerous magicians. 9. Most characters are the caricatures of themselves: the coffeeshop owner, the hotel receptionist, Olivia’s both friends even the Pianist. They just embody a few generalisations (some of which are sexist and heteronormative) and any other characteristic that the plot needs. 10. Revealing one of the characters is a ghost by the ghost sending a letter to Olivia thus providing all the hints she needs to solve the last hurdle before the climax of the book. 11. Johnny Depp references. The book was published in 2009 so the author could not have known but it is still unpleasant. An additional reason why I’d leave out the contemporary references. They don’t tend to age well anyway. 12.Shakespeare statue / ghost. Each time it appeared it had different abilities: 1. triggered in the Leicester Park with the ring and by Olivia directly addressing him 2. telepathic communication between Olivia and the ghost (or ghost animated statue) 3. the statue just comes by on the Picadilly Circus to give a magic object to Olivia It irked me that it was just there to give you a Shakespeare quote and whatever else served the plot. 13.Every single time I thought the book cannot get any weirder it just did. To be honest this wasn’t always unpleasant. Like I said, I have very mixed feelings. There were a few golden (pun intended) moments and details that I liked (and a few I loved): 1.The idea of the Everycat and everything about the Everycat. 2.The boss-witch Hekate looks like Olivia’s older version. This is intriguing enough that I want to read the second part of the book just because of this (and the Everycat). 3.Hathor’s characterisation and unflappableness (totally a word, I looked it up). It would have been even more intriguing if she is not the Greatest Magician but some proxy of hers who will lead to her in, say, the next book? 4.I’d have liked to see Noel’s character in action. I mean magic action. I understand the authorial intent was to remove a mentor figure so Olivia could go her own way, but still. Now that he is outed as ghost I’m afraid we will never see him do anything exiting. And what did Shakespeare do to piss of the witches? 5.The Frog-prince-pianist was so whiny and mansplained and always assumed the worse. I’m not sure if that was the intent, but I found it hilarious. The frog-ness getting worse with time was also a good touch. 6.Witch rules: every witch must have a cat and witches cannot love. Both are interesting choices and have consequences in the worldbuilding that I’d like to know more about. How did Hathor get out of it? She used to be a witch but she is not a one anymore. How do you un-witch yourself? What if you are allergic to cats? 7.You can only find one golden ball in your life. It makes me wonder what will happen with the golden ball in the next books. It sounds like destiny or fate calling. How will Olivia end up being Hekate (is it her from the future?). 8.The reveal that Olivia is a witch (guessed it when she first looks into the mirror in Hathor’s shop) but it was still cool. I would have liked if her reaction to the news is explored more in detail, if the narrative shows if she thinks about it later. 9.The first scene is Olivia sitting on a toilet in a church. Quite an unusual choice and it was a good way of immediately setting the reader into the “head” of the character. All in all: I would recommend the book if you enjoyed the Bridget Jones books/ movies and the Da Vinci code. The narrative contains sexist elements and negative stereotypes of single women so if this is something that disturbs you, give it a pass. I will very likely read the remaining two books of the trilogy out of curiosity, but I would not re-read this book. Ideal present for: *That* aunt that always asks when you are going to get married.

[qrhymes]

Tales of Berseria Analysis - Velvet’s character arc - Blindness and Toxicity.

And there you are, one day, traveling through the eleven seas and then you spot this awesome looking ship…

That’s nice but I’m not talking about that kind of ship.

Cute, but still no.

You are almost there…

Hahahaha….there it is, the magnificent Van Eltia and what you saw aboard of it…it can be?…yes the main party of Tales of Berseria….The troupe of mischievous misfits…Magilou’s Menagerie…

ACT.LIKE.A.DOVE.

…Leaving pointless introduction aside let’s begin…its character analysis time…

MAGIKAZAMAZAM!!!!!!

The cast is great guys, the main party is awesome, the main villains are awesome and support cast is great (And Zaveid is awesome. Period) so let’s go…one by one.

So, Velvet is the first female SOLO Tales protagonist…and I actually don’t care, not because I don’t give a fuck a about gender issues and all that talk but because it’s not the gender of a character that is important to me (Unless his character arc revolves around its gender, in that case you can go as deep as you want) but if the character is enjoyable/relatable and/or interesting and in that matter Velvet is both and, in my personal opinion, one the solidest protagonist of the series (Been honest with you guys, the only one who stands a chance against her is Luke…who of the two is the better is a difficult choice. Both are extremely different characters, both have a distinct approach to their respective arcs and, most important of all, I have been sucking The Abyss dick for 6 years now, so it’ll take me a while just to make a fair comparison between the two and even more just to decide who I like the most…) so…why is she so great?

Velvet is a Therion type Daemon, who wants revenge against the men that kill her brother and transform her in a Daemon, Artorius Colbrande; the problem is that he is the head of a militant church, the only ones capable to use Malak Arts and the only ones that can face the world menace of the Daemonblight, that transform humans into monsters (And Malakhim into Dragons), and for all of his deeds he is regarded for the crown and the people of Midgand as “The Shepard”.

Yes, Velvet wants to bring down Berseria’s version of the Pope…And from here it just gets more interesting because Velvet is the pure embodiment of everything that is wrong with a life led by pure raw emotion. She is not only harsh and aggressive, we are talking about an irrational, obsessive, toxic and auto-destructive person, so blinded for her pure hate and pain that she would step and crush in everything and everyone to reach her goal, she hurts innocent bystanders, she doesn’t have problems in using people, she deliberately makes choices that affect and destroys entire villages. She is the corporal manifestation of all this talk of Artorius, and the rest of the exorcist, about “The sin of the emotions” and, ironically, she is also the reason of why the Abbey wants to seal the emotions and the freewill of its people…Because people can be this bad, she is, our lowest point and the representation of how our own emotions can blind us and transform us in monsters (Literally) that consume everything and everyone that surround us.

And is a fantastic setting for an arc because it takes us out of our comfort zone almost immediately and stays there for almost all the game (just stepping out in the last hours of the game) developing and playing with these ideas.

The game never hides Velvet’s evilsh, Berseria is a story of perspectives and exploring these perspectives, in change it put us (as the player), and her, in this situation of “until what point Velvet’s actions are justifiable”. We now Artorius’s actions during the Scarlet Night and through Seres we confirm that he, and the Abbey. are to no good. And even if the Abbey has, indeed, does some good, the overall situations is too fishy, there is a lot of thing that aren’t right, they must have an agenda…so we (And Velvet) push, and keep pushing…until we break the limit...first with Teresa and Oscar and later with Innominat.

Oscar and Teresa’s deaths are relevant here because they end up representing the one thing that Velvet never would want to do, murder a younger brother in front of her impotent big sister.

Laphi’s murder in front of her was what through her over the edge, she knows that pain better that everybody else, is a crime, a crime without forgiveness or justifications…now committed by herself. It’s a way to acknowledge Velvet own villainess acts until now but is also a great comment in the very extremes of “the End justify the Means” and to tell that even someone like Velvet has a line she that doesn’t want to cross. (And, of course, she is devastated when she acknowledge this)

Then Innominat enter the scene and brings these ideas to next level. It’s not anymore about crossing a line that she didn’t want to cross but the true that there was no reason to cross that line in the first place.

It is a great development that is also in service to Artorius character, when we see his perspective of the all situation during the “in universe flashbacks” in the Earthpulse.

All the things that she has done until now were meaningless, all the victims, all the misery, all the pain, all just for nothing…Well Phi (and Colress) disagree…

Velvet is indeed a bad person, but no without some redeemable qualities. She may be the toxicity and blindness of emotions but she is also embodies it highest qualities. Determination, diligence, passion, etc…Velvet is the bird that flies because she wants to fly, there is no reason nor logic just the unwavering wish to surfing the skies…the biggest parallel here is with Prince Percival and Griffin during the search for the Therions (And the main reason of why that arc of the game is not pointless, redundant or filler, because it attach its themes to the main story) and in the same way that Percival admires Griffin, the party (And some of the side cast) admires Velvet.

Rokuro and Eizen have a scene in which both confess that they admire Velvet’s resolution (It also doubles as a great character scene for both of them), Magilou is a little more ambiguous (and I would dissect her character later…) but we can argue that she also admires Velvet and Phi and Eleanor…maybe they don’t feel an admiration for Velvet but both are inspire for her, and in that regard it would be Phi’s work, in one of the best scenes of game, make Velvet remember that she is, not only, not alone but that she is also not that bad, been Phi the living proof of that (Again I want to talk about each character particularly…so wait a little)

This is the turning point for Velvet, the moment that completely breaks her (Again) but also the moment that allow her to finally express, in a sincere manner, all of her pain, all her hate and all her emotions and the moment of which she can, finally, start to heal and move away for the trauma of the scarlet night. She doesn’t become good and she is still pretty harsh and mean but she loose this toxicity and auto-destructive aura that surrounded her during all the game, she is a little more nicer, she looks more happy and this is specially notorious in all the characters interactions and skits post-Innominat, I’m especially fond of the Velvet-Magilou Skit in the final dungeon, when this two fairly emotionally distant people finally come to acknowledge and even show an open affection for each other, both in her own way of course, is a subtle but heartwarming moment and a perfect close to this strange friendship who start with that awkward first encounter in Titania. (And also I ship them so hard…Magivel to the death)

Velvet transition here would be the one of a Villain to an anti-hero and…it’s amazing.

But Velvet’s arc still has a pair of steps to climb up…

Despite her grown, Velvet is still seeking revenge against Artorius although the context of the situation has change significantly, starting with the fact that Artorius and Innominat embodies the same toxicity as Velvet just in the logic side, being that both want to wipe the freewill and emotions of humans and Malakhim and that, starting here, the game stops to give focus to Velvet’s morality quest (Because it gets resolved) and the clash between the extremes of both ideologies (Innominat’s domain is bad…same as early game Velvet)…the final encounter with Artorius would bring back the topic again but in that case it’s more about Artorius’s hypocrisy (More of that later)…leaving aside just one last step in the Lord of Calamity arc…Her redemption.

Velvet sacrifice to seal Innominat is…well just sad. We (and her) had acknowledged that she has done a lot of wrong and a redemption act is indeed fitting, but that do not less the sadness of the moment…I really wanted see Velvet overcome…well the whole situation. For she to have an emotional close and a second chance, even if we needed a redemption arc, we could have her wandering the earth, you know, alongside Magilou (Sorry for that but I really ship them so much)…seeking atone for her actions but, also been happy…but what we have was the two representations of emotions and reasons, all that can be good and bad with them, feeding of each other, in an endless cycle, meanwhile they dream about this ideal world that they could have had…and it’s not a bad ending, quite the opposite actually, it’s powerful, meaningful and a fitting close for the game story…but, in the same way that Julius did it, her ending got the best of my and,  again, every story or character that can do that deserves acknowledge…Velvet is amazing and I ended loving her character more that I could expected…just the time would tell if she would become greater than Luke in me eyes, but for what’s matter now she is, again, an incredible character.

Part 1: Tales Series Retrospective

Part 2: The Elements of a Wonderfull Game

Part 4: Rokuro’s and Eleanor’s character arc - Obsession and Conflict.

Part 5: Laphicet (Phi)’s and Eizen’s character arcs - Coexistence and Romanticism.

Part 6: Magilou’s character arc - Contradictions.

[balfuset]

Mass Effect Andromeda - A Review. Kind of..

So, after a five day weekend of no-lifing Mass Effect Andromeda - and seeing a few friends expressing concerns about it - I feel I am properly equipped to give my verdict without the initial squee factor of fanboyism, so, here goes.

Andromeda is shaping up to be my favourite of the Mass Effect games. Now, that might sound like fanboyism, but hear me out those of you who are going to tell me that ME2 was the best of the series and cannot be topped!

Now, as some may or may not know, MEA was put together by the guys and gals over at Bioware Montreal, previously a 'backup' studio of sorts to the main Bioware studio in Edmonton. Bioware Montreal was also responsible for the Omega DLC for Mass Effect 3 - which aside from Citadel was actually my favourite addition to that game.

Mass Effect Andromeda is Montreal's first 'full' game, though that doesn't mean that they passed the thing off to the B team, it certainly doesn't feel like it!

Andromeda's opening is almost as strong of that of Mass Effect 2, and that's no mean feat considering we had a whole game to get to know Shepard and co, and seeing Shepard die and the Normandy get destroyed at the beginning of ME2 really hit home for a lot of people, myself included.

Despite Andromeda having a whole new cast of characters they manage to get you invested in them from the beginning, and so the events of the first couple of hours of the game hit, and they hit hard.

The writing, in my opinion, is fantastic. It's less riddled with a lot of the cringeworthy, cheesetastic lines we're used to from previous Bioware titles, I remember several groaners throughout the Mass Effect series and haven't really encountered many in my 20+ hours in MEA so far.

Bioware have taken a lot of the things from the trilogy and Dragon Age Inquisition and improved upon them. I think the galaxy exploration part of the game is the smoothest and least soul-crushing version yet. No stupid planet scanning mini-game, no fuel or probe limitations, and no dreary planetary maps.

I have yet to meet a duff character, especially amidst my crew or squadmates. Mass Effect had Ashley and Kaiden, 2 had Miranda, Jacob and the Cerberus peeps in general, 3 had Vega and Javik. I actually like all of my squadmates, even Liam and Cora, who I can see as the two that most people might find the most bland and uninteresting. Sure they have some 'defining' character traits - which I won't spoil - but they at least have character, which is more than I can say for some.

So far, the main plot is tight, and the missions are... intense. Without spoiling too much, I had Collector ship flashbacks during the 'end of Act 1' mission and the decision to be made was TOUGH, at least for me.

Generally speaking the plot is a lot better paced than the previous games of the series too, and, in fact, of Bioware games and even RPGs in general. The original Mass Effet trilogy, Dragon Age 1 and Inquisition and Skyrim all suffer from one blinding problem - there's meant to be this huge sense of urgency of 'holy shit everything's fucked if I don't do this RIGHT NOW!' until you realise that everything is on hold while you pick flowers, scan planets and do whatever other shit you want, which takes you out of the moment.

Andromeda doesn't have that problem, and in many ways I think that's for two reasons - one, the main story arc feels like a slow burn (this is a good thing, by the way) and it feels like you can take time to prepare yourself and ensure the Initiative and your outposts are settled before you move on. Two - the stuff you're otherwise doing is interesting, contextual, and rewarding. Side quests on the various planets are just as narratively important in their own way - being the Pathfinder, helping the Initiative make the best of a bad situation and try and turn Heleus into a home. Are there MMO-style fetch quests? Sure, but they fit into the context of the situations on the planets in which they take place, and they tend to happen AFTER you've done the interesting quests that let you set up your outpost or presence on a world in the first place - where it becomes your colonists needing your help with the stuff they don't have the resources or training to do themselves - whether it be because of outside threats or otherwise.

They make sense, and exploring the worlds between the quest markers is interesting.

Plus, the way quests can go 'On Hold' while you wait for more information or for a squad mate to do some investigation themselves breaks things up in a nice way. Loyalty missions especially benefit from this as it gives you a sense of the passage of time that other games have lacked. Loyalty missions in Mass Effect 2 were a very 'wham, bam, thank you ma'am' sort of experience that hit you out of left field and then were done. This is not the case here and it works well, giving you a constant variety of things to do, and things to anticipate coming back to later.

Now, I can't avoid addressing the elephant in the room. The animation quality. This is what has been talked about A LOT in the run up to release, and... yeah, it's not 100% perfect. But at the same time I've seen worse. Some lip syncing issues, those dead, soulless eyes... after playing Horizon Zero Dawn it stands out. A lot.

Does it detract from the experience? No moreso than some of the weird animation glitches in something like Skyrim, Witcher 3 or Assassin's Creed do! Also, it's only really the human characters that have the major issues - maybe Asari too - the aliens are generally pretty well done, in my opinion.

Gameplay is perhaps one of the game's strongest points. Combat is amazing fun with the mobility provided by the jump jets and the variety of weapons and powers. The profile system is genius - as well as having an in-game explanation - and lets you switch things up basically on the fly. I tend to go between a Tech-heavy and Biotic-heavy style depending on the enemies I'm fighting and the general combat situation - and I can adapt if needs be. The Nomad is a great means of exploration and unlike Inquisition's horse, you still get party banter while driving it, so there's no reason not to. Gameplay and story tie together in a way that works really well. Power in Inquisition was a neat idea to show the influence of the group but I think it felt kind of arbitrary. Viability and AVP (Andromeda Viability Points, not Alien vs Predator ;) ) somehow feel connected because they're integrated into the story. It's introduced to you as a useful abstraction of lives, resources and the like in-game by the characters you meet.

This is a very long post, but I think it needs to be. Andromeda is a big game, as is expected with Bioware and Mass Effect as a whole, and I have a lot of good things to say about it.

I would just like to sign off by mentioning one thing, and that is Liam Kosta's loyalty quest. This is the only one I've done so far but holy shit was it amazing. It is not hyperbole for me to say that it gave me all the great feelings of the 'let's have everyone together' part of the Citadel DLC for ME3, where you're chasing after clone!Shepard with your ENTIRE squad in tow.

That's no small feat.

I don't want to ruin it for anyone else but it had be giggling and grinning like a madman throughout. It was fantastic.

Long story short? Andromeda has problems, but they are not deal breakers for me, and the good things it has MORE than outweigh the bad. I do not regret my purchase, and actually look forward to this trumping ME2 as my favourite in the series if it can manage it. It's already above ME3, and I loved that game - which I consider to be 99% of an amazing game with a sucky last 20 minutes.

[crystalized-dreams]

So after 180+ hours, my husband and I finally bothered to beat Ganon and finish the main story of Breath of the Wild. I have been wanting to talk about my various likes and dislikes for a while, but I wanted to at least wait until this point. We still have plans to keep playing (need to get all those Koroks and also working on a World Boss-related thing), but at the very least, most of our goals are done.

This WILL contain spoilers so if you do not want spoilers, you may not want to read this just yet. This also will not be a proper review–if you’re looking for that, reviews will be up on my husband’s website.

That said, this is going to be a bit different than most of my other ramblings as I’m going to be talking from a standpoint of watching more than playing and thus, will focus more on the characters and story and music and things versus controls and gameplay. Zelda is a game I grew up always watching and so each one is like its own movie for me and thus, it’s something that I’ve always gotten more out of watching than playing (though, I still play sometimes). I will say, just to give an idea on what to expect, Ocarina of Time is my favorite Zelda followed by Skyward Sword. I also don’t think it’s possible to really rank Breath of the Wild due to just how different it is, but let’s get to it.

Starting from the top, I’m really glad they voiced the game for the most part. I actually do enjoy most of the English voices and some, I even prefer to the Japanese such as Impa’s, but others, like Mipha, go back and forth for me. Sometimes I think they sound fine in English and fit well compared to the Japanese while other times it just feels sort of off. The only voice I really found myself disliking is Zelda’s because it’s just… so different from the Japanese version and in general, I find I prefer when they at least try to get a voice that is a similar speech/tone in every language because otherwise it can give such a different feel to the character and it really does. Despite her saying the same things, it doesn’t feel the same and it’s just really odd and I don’t understand why they gave her such a dramatically different voice.

It may also just stand out to me because I relate to the Zelda in this game a lot. I don’t want to turn this into talking about myself and own experiences, but I empathize with her so incredibly much and she is definitely one of my favorite characters in the game and definitely one of my favorite Zelda’s. Besides Zelda’s voice, the main thing that bothered me is the fact that Link never speaks. We kind of get a reason for why this is in Zelda’s own diary in the castle, but the problem here is the fact that: 1. He doesn’t have his memories so this should no longer be an issue to begin with right now. 2. By the time he does have his memories, many moments are just… incredibly awkward because he doesn’t say anything. He doesn’t even have to talk much, but the silence just doesn’t always work here and it genuinely removes part of the immersion of the moment, which, ironically the reason they probably wanted him not to speak is to not ruin it for the player. We’re rarely even in the first person though to ever actually feel like we’re Link. There are the moments where he looks down at the Sheikah Slate and one time towards the end and that’s really it. In general, considering we see all the memories in third person omniscient (which is weird in itself considering it is supposed to be Link remembering these things and not only are we seeing everything in third person, but we’re seeing and hearing things Link wouldn’t have been able to), it just makes everything all the weirder.

If they do continue with the voice acting in Zelda games, I really hope they will reconsider and actually give Link a voice, even if he doesn’t say too much.

Going into things more story-related, I really want to know what was with all the blue in this game. Hyrule Castle’s banners aren’t blue, yet the Champion’s clothes, Zelda’s Princess Gown and Scholar Outfit, and Link’s outfit in the game were all various shades of blue and I just… don’t understand why? I wish there was some explanation for why Link didn’t wear green in this (heck, you even get a “traditional” tunic for the game if you finish all the shrines…) or why Zelda’s dress was blue in this game instead of pink/purple. I feel like we were given changes for most things (such as Ganon’s appearance), but not really any information on this and I feel it’s something that will bug me for a long while. Despite my issues with Hyrule-related colors, I adore the Zora designs in this game. All the jewelry that Mipha wears is so pretty and I think she has an amazing character design–I really wish she was given more than just being another unrequited Zora love interest to Link.

I will say though, this story is… really depressing. Like no matter how I think about it, I think the story makes me feel more sad than happy. In general, I don’t think any Zelda game really has a 100% happy ending, but at least I feel like things are mostly positive as they continue to improve. Here, things will start to improve, but with all the loss weighing heavily on it. 100 years of destruction, Castle Town is gone, Link finally has his memories back, but his family is probably long gone. The fact that the only Champion that even got to see some of their family/a descendant is Daruk. I wish Mipha got a chance to see her brother and father. I wish Urbosa got to see her daughter. Revali is kind of a jerk, but I still wish he got a chance to see his home too. The fact that Zelda’s last meeting with her father was that fight on the bridge is absolutely heartbreaking. He finally wanted to properly comfort her and he died. She didn’t even get to see him before his soul finally rested.

It’s just… really heartbreaking in a lot of ways. Heck, the fact that as you go onto each Divine Beast talking to their spirits and then having to fight the enemy that murdered them 100 years ago. There’s such an overall heaviness that even upon saving Hyrule, it still feels a little empty–like it wasn’t enough. And Zelda blames herself where, even if maybe she could get her summoning power working (which is another thing–I’d love to know more on why it didn’t work sooner (besides her losing her teacher and mother), why it had to wait for that moment and what that specifically unlocked it), she never would have reached them. There’s just so much loss that even after saving Hyrule, I still don’t really feel satisfied.

One of the things I really hope the DLC adds, especially after the post-game scene if you have all the memories, is a post game with both Zelda and Link going around and trying to help build back up Hyrule and talk to everyone who suffered these 100 years and/or lost someone. Maybe someone can even play as one of the two and it’ll be a fun co-op journey. I don’t know how possible that actually is, but it’s what I really hope they do. Even if not a co-op thing, I just want a proper post-game. While I get why the whole “oh, you can go back and re-fight Ganon because we put you right before it!!” thing exists, I feel it’s really out of place with this kind of game. I feel like maybe they could’ve had an option if you go in the castle to ask if you’d like it set to before you fought Ganon, but it just looks kind of silly to be exploring this enormous map with the same evil castle and people worrying about it.

The world itself is quite amazing. There’s so much to explore and I’m not really sure if we’ve even seen all of it despite how much we’ve played and getting more than half the Koroks… speaking of Koroks, while I love them, I wish there weren’t so many. 900 is just way too much and while I can guess why they did (with such a big map, gives more people more chances to find them randomly upon their explorations), I still think it would have been better to just have a smaller amount. I mean, there’s 120 Shrines which is only ~13% of the amount of Koroks. They could’ve done a similar amount and been fine. Especially if it means we wouldn’t need to zoom in as far as possible to even see the ones we’ve found.

I also really love that every character has a name and personality. Everything is so dynamic and you learn so much about all the people in each place. It kind of reminds me of part of why I enjoyed a lot of the Side Quests in Majora’s Mask. Here are just some of my favorite side characters: #gallery-0-4 { margin: auto; } #gallery-0-4 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-4 img { border: 2px solid #cfcfcf; } #gallery-0-4 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Notts

Saki

Molli

Laruta

Laflat

Aster

Kohm

Ashai

Patricia

Included in favorites but not shown above as that would make this post even longer: Every single wild animal + dog + horse + donkey :P

I would say my biggest issue with the game is the item durability and limited weapon/shield/bow space. I just dislike those kind of systems and while I enjoy most of the changes in the game from traditional Zelda games, this isn’t one of them. I think I’d have at least been less annoyed if item limits weren’t an issue and you could repair everything, but it just was disheartening to use a lot of things I really liked only to end up losing them. At least my favorite weapon could always be replaced. Unfortunately, my favorite bow was forced to disappear and only be used in the final battle :P I wish you got to keep some version of it as it’s really pretty.

Going back to the world of the game, I will say I have… mostly good feelings on the music, but it’s a bit odd as well. I liked everything I heard, but because it’s all very atmospheric, there isn’t really much that is very iconic. Like Breath of the Wild’s main theme is definitely one of the most recognizable new pieces for the game. There are Battle-related ones as well, but I don’t care for those too much myself. The thing is, and what I feel a lot of people demanding for these forget, even if they had a few selections for bigger songs as you explore, the constant repetition when exploring such a vast world would get incredibly annoying. The game wants you to explore and a constant song playing over and over would just get tiring. This also means when certain songs like Kass’ Accordion or the big boss battle themes start playing as you explore, they’re THAT much more recognizable and it really helps them stand out.

I remember when my husband and I first ran into Kass. The Accordion started playing and his first thought was that the music changed for the area while mine went straight to there being an actual Accordion Player and urging him to find them. I was clearly right, but it made it such a standout event for our playthrough which I don’t think would’ve been as exciting if the music wasn’t the way it is. Or like wandering around and hearing the music change and seeing a giant Dragon fly by. That was so exciting to run into on our first exploration of Faron.

Even Hyrule Castle, despite being like this… dark, gritty, remix of various past songs, the fact that we don’t actually get to hear most of them outside that just makes it all the more of an experience. And I’ll be honest, I did get a little tired of it just from exploring the entire castle–I think if you’re just heading straight to Ganon, the music is perfect for the atmosphere, but if you’re exploring every single nook and cranny, it does kind of get to you after a while.

My favorite songs are probably Prince Sidon’s theme, the music for Zora’s Domain (which is one of my favorite places in the game along with Satori), the music after beating a Divine Beast Boss, Princess/Zora Champion Mipha’s theme, Gerudo Champion Urbosa’s theme, Rito Village, Rito Champion Revali’s theme, the Epilogue Theme, and Captured Memories. Captured Memories especially, while just being a remix of the original Zelda theme, is just so beautiful and I wish it was longer. And while not necessarily my favorites, I also really enjoy the Molduga Battle Phase 2 song, Kass’ theme, the Dragon theme, Attack on Vah Medoh, and The Divine Beasts Strike. Also Hestu’s theme is always amazing as is his dance:

Going into some minor things that I wish were changed up: 1. More spaces for more Horses (and it’d be fun if you could Board other things too). 5 isn’t enough when there are so many amazing horses in the game. As it is, because we didn’t realize one side quest required a horse we had boarded, we had to give up a horse we had already become attached to. Sure, it let us make room for the Giant Horse, but it’s not really an issue I liked running into. Similarly, I wish you got to pick which Horse you used at the end. If we knew the first horse you boarded was picked for the end battle, we would have boarded Epona first rather than me having a panic attack seeing Shortcake show up who, besides being my lovely pink horse, also had some of the lowest stats which made the battle a bit trickier than it should’ve been. 2. I wish we could get more houses. I love the house quest and how decorated it gets once you buy everything, but it just made me really want houses in some other places too. I feel like with how you help build up Tarrytown too, it was like setting up for a house there as well that never came. 3. The awful Blood Moon cutscene. Good for the first time to introduce it. Bad every other time. Like the moon is red and fire-y ash is practically floating down everywhere–we can kind of tell. I get that you can skip it, but it still felt frustrating to even see it come up? Even just the option to turn it off permanently. We once had the cutscene pop up 6 times in a row. I wish I was kidding. 4. Not being able to complete the 3rd stamina wheel or the 2nd Heart row :/ Even if you do everything, you’ll be 3 short. I hope maybe you can get more in the DLC. 5. I wish there was some gear to make rain not effect your climbing because wow, does that ruin things a lot. 6. Please stop making every Zora Princess/member of Zora royalty be in love with Link. It’s always unrequited and they deserve better characterization at this point. 7. I really disliked how the Fairies were done in this game. Ignoring the creepiness of some of the cutscenes, I just don’t like the whole “give us tons of rupees to let us help you” thing from it and I would’ve preferred some kind of puzzle or other aspects over paying them tons of money. The Horse God is really the only one I can understand the “money to open” thing, though, they also terrify me in a whole different way so… 8. More Rupees. I get that there is a reason for them to be so scarce in this game, but it still felt like too much. 9. The lack of Saria’s song in the Lost Woods or even by the lake named after her. Saria is one of my favorite side characters in the series and that is one of my all-time favorite songs (In fact, I used it as my town theme several times in Animal Crossing–the original, Wild World, and City Folk). 10. I REALLY WISH THE TRUE ENDING LET THEM HUG. They just walk off together and they both just need a hug, okay? 11. It’s silly that the Champion Powers/Gifts will only recharge once you fully use them. If I use up one of Daruk’s charges essentially, I shouldn’t have to wait until I use up all of them before it’ll start recharging any. It can be a longer charge when there’s at least one left, but it’s incredibly silly to be wandering around for hours on this last charge only to get somewhere I may need to use multiple, have just the one left, and then get stuck waiting. 12. Not an actual dislike, but I genuinely do want to know why the Gorons were let into Gerudo Town. The fact that you never get some kind of answer to this bugs me. 13. The Yiga Clan are just super annoying. The stealth mission was also kind of annoying–I wouldn’t have minded so much if it wasn’t for the fact that being caught made it an endless stream of them attacking you versus just the group of three that initially attack. 14. While I do love most of the tools in this game, I genuinely miss the Hook Shot/Grappling Hook.

Which, speaking of tools in the game, I know some people are mixed about getting everything at once and while I’m a bit mixed myself (mostly because I wouldn’t have minded if we got a few things later on similar to how we got the camera feature), I actually really liked that we did. I think it gave people a lot more freedom to experience the World in so many different ways versus having to do it in the same order every time and/or get certain things before being able to go back to properly solve a puzzle. There’s many things where I’m sure we didn’t solve it as intended, but I think that also makes it a lot more fun too.

So yes, overall I really enjoyed the game. I have a lot of feelings about it, clearly. I’m really anticipating the DLC and I hope they bring out more information soon. Despite being nearly done with the game, I think we’ll still be finding new things overtime, even once we 100% it. Also I really hope someone makes Sand Seal Plushies:

Ramblings about Breath of the Wild (Unsurprisingly, I had a lot to say :P) So after 180+ hours, my husband and I finally bothered to beat Ganon and finish the main story of Breath of the Wild.

[stillwinterair]

I’m very cautiously optimistic for Andromeda because it just... reminds me so much of the first Mass Effect? Which is really my ideal game. I want to play an adventure sci-fi RPG with a character I have the freedom to flesh out and build up for myself, with a galactic community to explore and mysteries to uncover and brand new sights to see.

I want a game that can range from me walking through a heavily-populated community full to bursting with a variety of alien races intermingling and coexisting, with strange people I can talk to and befriend and take jobs from... all the way to landing on uncharted worlds and calmly, quietly exploring in awed silence.

Mass Effect 1 filled that need exceptionally well, and even though the worlds themselves were often kind of boringly lifeless, they still give me a magical sense of awe, even after almost ten years and more than a dozen playthroughs. I felt so up close and personal with the galaxy as a whole, and even if I didn’t really like Shepard themselves all that much (no version of their background was anything I’d have ever deliberately chosen, and their personality was extremely dull no matter how you played them), their adventure was breathtaking and immersive and mysterious, and it gave me something I’ve always craved. Nothing before and nothing since has ever really matched the feeling of landing on uncharted worlds like Eletania or Agebinium, or main plot worlds like Noveria or Ilos.

Obviously there were some problems with the exploration, but instead of fixing those problems, BioWare just... completely removed the feature? And replaced it instead with planet scanning and mini-quests? It made Mass Effect 2 feel less like an expansive sci-fi adventure RPG and more like... just another third-person military cover shooter, but with some grinding elements.

And anyway, Andromeda’s story might end up sucking and its quests might be shit (I’m particularly worried because it comes out in two months and they’ve shown next to N O T H I N G about it), but I’m excited for it purely because I’ll get to recapture that feeling again. They seem to be taking cues from Inquisition in having a bunch of segmented, decently-sized playspaces you can travel to and explore, and... honestly, Inquisition-style exploration is exactly what Mass Effect needs. And, unlike Inquisition, they won’t be limited by previous-gen hardware restrictions, which means those worlds can probably be bigger and more varied.

The whole gist of this post is that I just really miss what Mass Effect originally was, and what it seemed to want to be back in 2007, and I’m glad Andromeda seems to be getting back around to that. I’m excited to explore uncharted worlds and newly-forming societies. The sense of exploration and this contrast between the feelings of new and ancient that ME1 had really seemed to get muddled, buried, and lost from ME2 onward, and I’m so to see that come back.

Even if it’s a mediocre game, prerelease content at the very least seems to imply that Andromeda is going back to what made me fall in love with Mass Effect in the first place, and addresses the issues of why I grew apart from it originally.

[zachwritesstuff]

Awesome Trevor: The Long and Winding Road

I’m very used to writing things about other people, products and properties. So this one is going to be a slightly weird one for me. It’s a story of hopeful imagination, and disappointment; Of long hours working to make things perfect, and never finding it; And going through version, formats, people, places and ideas just to keep an idea afloat. But, most importantly, it’s the story of Awesome Trevor, an idea that is eight years in the making, yet so far has not given any worthwhile fruit, no matter how hard we tried. In writing this out, I’m hoping to both show the trials and tribulation of taking an idea from concept to fruition, and how impossible it might seem sometimes. Idealism and inspiration can be a hell of a stimulant, while stalling and depression can be a hell of a… depressant. So maybe someone can get something interesting out of it, or at least find the whole saga entertaining, I don’t know. I should probably quit stalling and actually get to the point… It all started...

Part 1: The Movie

The year is 2010. Just barely out of high school, I was now in Community College, and not working, which was a dumb idea for many reasons. I had worked on independent, or more accurately, amateur, film projects a dozen times, both for class and simply because I wanted to. None of them were good. Despite the fact that I was an adult, I still was not a competent film maker (And some might say that I still am not). But I was young, and still had the delusions of being a big shot director someday. All I needed, I reasoned, was a big project to really pick things up and get a bit of a spotlight. I could continue making simple YouTube videos, but if I actually wanted to get anywhere, I needed to make something bigger.

So I had to make a feature film.

I talked to my regular cohort, Evan Greenhoe. I had known him for a few years at this point, having met when I was still in high school, and we had the same thirst for creating. While he was more of the on camera type, acting and performing music (he still is, but he was then too), I always felt more comfortable behind the scenes, writing and directing. We had talked over projects before, as we always loved making ideas and fleshing them out, and when I told him my desire to make a feature film, he almost instantly handed me the idea of Awesome Trevor.

He had come up with the idea with his girlfriend, Sarah, and had held onto the idea for a little while, never fully formed, but when we started talking about making bigger things, he figured it would be a fit. He had never really formed the idea too terribly deeply, beyond making it a video game inspired piece of a regular joe becoming a hero and saving the princess. We talked out the idea over several days, and eventually we had a strong base to work off of.

Now before I go any further, there is one important note I must add. Around this time, Scott Pilgrim vs The World had just come out. This is important because, in the beginning, Awesome Trevor was a rip off of that. In later years, we would change the story around to make it it’s own thing, but to start with, it was a story of a kind of loser dude going on a quest to save his ex girlfriend from a bunch of people from her past, one of which is even a weird ninja girl. It was a copy.

Now that we had our base, the next step was to write out this masterpiece of original fiction. This was no problem, as I had already written out a few feature length scripts before (all of them going unused, of course). While writing, though, I decided to change up the flow a bit: Instead of one movie, I would make it a six part series, and after all parts were released, I would edit them together as a movie! My genius knew no bounds…

So I got to writing this newly formatted script. I filled it with video game references, witty dialogue, and set it in local areas, so that it would be simpler to film. I introduced the amnesiac main character, Trevor; His tired roommate, Mark; The mysteriously vanished girlfriend, Mary; and the 4 mysterious bosses, Kevin Kurochi, Peyote Jones, Stephanie Connor and Samuel Tanner. The story was of Trevor, who woke up after a heavy night of drinking, to find his memories of a former girlfriend gone, and going on an adventure to get them back with the help of his quip filled roommate.

My wit, it burns....

    The scripts, well… They weren’t great. They weren’t bad for an untrained 20 year old, but I would like to think I’ve come a long way from when I wrote them. But the most important thing was, we had our scripts. Now started the pre-production.

We pretty much had our cast right off, as they were mostly friends of ours. I was going to play Samuel, who was a bouncer at a club with super strength; Evan was to play Mark, the plucky costar; Kevin (a samurai), Peyote (a drugged out metal guitarist) and Stephanie (a cloaked ninja) were going to be played by our friends Ken, Adolf and Amber respectively; And Mary, who appeared as herself in only one scene, was planned to be played by a woman named Amanda Alch. who I was going to school with at the time and was already an established actress (Bad Kids Go To Hell and Claws). It’s likely she doesn’t even remember agreeing to appear in it, which is probably for the best.

Our starring role went to a good friend of mine from high school named Kyle Mason. Then, he was a kid in his late teens with an interest in cosplay and video production. Nowadays, he is a professional cosplayer and video producer, so he’s not doing too shabby. It didn’t take much convincing to have him play the lead role, and we were off to the races!

A Readthrough of the script, which of course didn’t go through any editing

I had even asked a dude I had met in college named James to be our Director of Photography, as he had had more experience working on original projects and camera work. Our hearts were working faster than our minds, and we skipped over dozens of important steps (setting proper schedules, storyboarding, finding proper funding, etc) in our pursuit, instead focusing on marketing, finding places to film, and practicing our parts. We even had popular content producers Video Games Awesome plug our project on their show, despite the fact that there was not any actual substance behind anything we were doing.

Timestamp is at 9:24. A preview of what never comes...

The best way to sum this up is that is was an embarrassment to filmmaking. Had we actually started production as planned, everyone involved would probably hate each other, and the entire thing would be scrapped after about two episodes. I was saved by James cancelling his involvement, probably rightly sensing that this all was half assed, causing the production to fall behind and ultimately being cancelled due to people no longer being available.

And so the first part of this story ends with but a wisp of smoke that was our hope for a movie. Though we possibly dodged a bullet, I was still frustrated and disappointed by all of it, so I put the idea on hiatus and started working on other things. It would lay there for 3 years before it appeared again…

Part 2: The First Cartoon

2013. I was out of community college, and at the University of Texas. I didn’t fit in very well, and being farther away from home and friends made me a bit of a sad, lonely hermit. I knew several people at school, and though I would consider many of them friends now, back then, they were just classmates.

To occupy my time, I was doing side work for Frederator Studios, makers of such fine cartoons as Adventure Time, Fairly Odd Parents, and Chalkzone. I had become friendly with Fred Seibert, the founder of Frederator, after interviewing him a couple years prior, and he had let me make some videos for their YouTube Channel. While I was doing work there, they started up their Cartoon Hangover project, where people could pitch their own cartoons with relative ease, and if Frederator liked it, they would produce a full cartoon short.

This seemed like an amazing opportunity for both myself and Evan, who had experience with animation. I talked to him about it, and he was on board before I even finished explaining the whole thing to him. Like we always do, we started discussing ideas, and after long deliberations, we narrowed it down to three: Captain Amazo, the idiotic superhero; Metal Mania, which was about a metal bad traveling through space to be the biggest band in the galaxy; And, of course, Awesome Trevor, back from the dead.

Well, back from the dead is a slight misnomer. We had discussed the idea once more in between, thinking of bringing it back as a comic. We got far in our discussions, but never made any physical items to go with it, and soon it went back into its slumber.

Editing note: After reviewing the article, Evan has told me that he actually made a comic cover that he never showed me. The cover, unfortunately, has been lost to time.

Both of us were still feeling the sting from the failed mini-series/movie, and as we were now a little bit older, we decided to be a bit wiser as well. Not wise enough to not choose Awesome Trevor, mind you, but also hedging our bets by pitching two shows, the other being Captain Amazo. (Note: we did plan to pitch Metal Mania as well, but we never got around to finishing it).

So this process was pretty much a rinse and repeat. I went home and made a script, and from there, we began working on a pitch. This new script, while not a ton better than the originals, was still an improvement, and since we weren’t having to go through pre-production and big planning meetings, we were able to take stuff in stride. We kept the same general story, but decided to make stuff bigger and flashier, as we weren’t limited by the shackles of real life. We also changed around some of the character designs, as we wanted to have new actors play the characters.

I’m sure I thought of the shirt designs. I’m a comedy genius.

We kept the base designs of Mark and Trevor, but Samuel the Bouncer was changed to match the person we really wanted to play him, Seanbaby. Once Satisfied, we storyboarded everything out  and sent them in to Frederator, eagerly awaiting the approval so we can start again on our dream project.

I wrote in the dialogue myself, despite my awful handwriting.

As these are the first you are ever seeing of the characters or story, it’s needless to say that we were denied. The problem with it was that, whoops, we had sent a full storyboard, when in fact they wanted a beat board (like a storyboard, but using thumbnails instead of large images). He also noted that the end of this pitch was left as a “To Be Continued”, and that they were looking for standalone ideas instead of pitches for full series.

Part 3: The Second Cartoon

While again disappointed, this wasn’t a denial based on content, instead just the way it was presented. So we went back to the literal drawing board and reworked the idea into a standalone. It was at this point, in the first time since the idea was formed, that we decided to change the story up. While we kept the saving the girl idea (as to us, it felt like a very video-game thing), we made him more of a player-character like character, almost like an avatar battling in a game.

Looking back through the beat boards we made, they were lame. While I had grown as a writer, I focused way too much on trying to make something someone else would like, and wrote in a very cliched way. Instead of trying to introduce or establish characters, I made Mark and Trevor generic, and didn’t even give defined forms to the people they were fighting. The jokes were bad, the characters were one note, and for some reason I felt the need to physically write out the dialogue on the sheet, despite the fact that I have terrible handwriting.

Seriously, why did I feel the need to write in the dialogue?!

Evan tried his best to work with what he was given, but I feel that I dropped the ball on this one. And of course it showed when I sent it in and got a response from Eric Homan, who runs all the creative development at Frederator.

“Thanks, Zach, for the work and continued interest.

Unfortunately, "Awesome Trevor" is very far away from what we're looking for in our Cartoon Hangover shorts, in everything from character to story to tone.

I may have recommended this before, but I really suggest you take a look at our shorts as we begin to release them in a few weeks. I think they'll give a better indication of the types of cartoons for which we're looking.

Thanks, again.

-- Eric”

In everything from character to story to tone. That said what needed to be said. Even though I was sour at the time, with five years of hindsight, I realized that Eric was, as he often is, completely right about it, in more way than I could have thought. It was a slapdash job on an idea that was already starting to become kind of stale. We tried to change it up, but in trying to rush this idea to get it made (I checked, there was literally one month between the denial of the first pitch and sending in the second pitch), I did a poor job and let both of us down.

I of course blamed people like Eric, who was just telling me the truth, and situations like my school life, which was causing me anxiety and depression, but deep down I knew that I had done poorly. I had taken this idea, that wasn’t even mine originally, and basically ruined it to the point where we felt like we couldn’t do anything more with it. So at this point, I want to make two apologies. One to Eric, who was simply trying to help and harboured resentment towards for years, and one to Evan, who I kind put a lot of pressure on while we were working on these, and probably wasn’t the best person to work with. Um… My bad.

Part 4: The Past and Future

That last one was probably the last major wave we had in trying to produce Awesome Trevor. It pops up in conversations of ideas a lot, but nothing ever comes to fruition. The closest that ever came after the second cartoon debacle was another video game video series related idea I had. The idea was of an NPC in an open world game who breaks programming and tries to fight back against the player character, who repeatedly kills people for no reason. After discussing that idea for a while, we thought of attaching the Awesome Trevor name to it, as they were both vaguely video game related, and even started jotting down some story ideas. But, like many plans, this one faded away, and was soon in the vault, like the thousand other things we come up with…

And, well, that’s kind of the end. There might have been an expectation of some kind of twist or surprise announcement, but that’s not always how things go. At this point, Awesome Trevor is just an old idea, one that had stewed in our minds for years now. It comes up in conversations every few months, maybe trying out a cartoon pitch again, or doing it as a podcast series, but so far, nothing is set in stone. Hell, it’s possible that after this, a new vigor of interests might pop up inside of us, and the world is finally introduced to this plan that is now 8+ years in the making. You never really can tell.

The main reason I wanted to write this was to just put this all out there, and finally view something of it. Maybe I wanted people to finally see this thing that has been on my mind for a portion of my life. Maybe it’s a cautionary tale of not stepping back and taking the necessary steps to make something come to life properly. Or maybe it’s simply my plea of vanity, begging someone to tell me what I made was good. At this point, I can’t really tell. I just hope someone enjoyed it enough to get to the end.

And man, did it get kind of depressing at the end. Well, for those who made it here, here is your secret easter egg ending. Presented in full is the original draft to the Awesome Trevor Theme Song, produced by the extremely talented Evan Greenhoe. Thank you for reading!