#and also like... a dozen ideas for other abilities and upgrades and so on. i do think he'd have basic spear up until the upgrades rolled in | Explore Tumblr posts and blogs

eri-blogs-life · 2 years ago

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Part 3: Bloodborne

God, what a treat to replay one of the best games in all of existence.

Bloodborne is absolutely gorgeous as an experience, on near every level. The settings are beautiful to observe, horrifying to hear, and fun to explore. The combat is tight. Things just work in a way that no other FromSoft game really feels like it clicks in the same way.

To start off with some discussion of the great gameplay, let’s start with some of the first things you get in game. The trick weapons are a genius idea. A single weapon that shifts into being another type of weapon? It’s wonderful. But each one is not just two weapons with differing abilities, the forms can shift into and out of each other in the middle of attacks, allowing you to weave form-shifting into your combos. And that became a huge thing with my play! I mostly used the Saw Spear as my primary weapon, and would often hit situations where I would hit once in saw form, then shift-attack into the spear form to do a wide hit and hit multiple enemies or get some extra reach, before shifting back into the faster form.

And the weapons feel excellently balanced, with even the three starting weapons being not only viable into the end game, but with some of them being some of the best weapons available (in my limited opinion). The downside to that, though, is that new weapons acquired throughout the playthrough do start a lot weaker than your existing weapons, so trying out a weapon without upgrading it means it feels a lot weaker than it should. And bloodstone shards felt just rare enough for a good bit of the game that I quickly gave up on trying out any other weapons for fear of wasting shards.

But, of course, the game also features the other genius weapon invention of the motherfucking gun. The guns in bloodborne feel absolutely fantastic. I primarily used the hunter pistol as my gun of choice through the game, and it served me excellently. As discussed before by those much smarter than I, for example hbomberguy’s excellent bloodborne video, the removal of shields to focus on guns naturally pushes players into learning to focus on dodging and parrying rather than turtling up, which pushes players into a much more fast and active style of gameplay that just works so excellently in these types of games.

But the gun also has another aspect that makes it feel a lot better than shields, at least to me, which is that it also does damage. The damage isn’t usually much, unless you use specific guns and build your character specific ways, but that small amount of damage still helps. Even if you fail to parry with the proper timing, you still do a bit of damage. And that bit of damage can also briefly stagger enemies, cancelling their upcoming attacks. You may not be able to get a visceral attack, but at least a failed parry can still prevent you from getting hit.

And to go back to upgrading weapons, while bloodstone shards felt sparse at times during my playthrough, I can’t say the same for blood gems. The blood gem system in bloodborne feels really nice, but also feels kinda bad. The really nice part is how flexible they are, allowing you to really play around with how exactly you want your weapon to work. Just more damage? Change the damage type? Change the damage scaling to something else? A ton of possibilities open up. However, they also have this problem where you just get so many and of those so many are just incredibly boring. I ended up with dozens of just “Physical Attack +7.9%” for some reason, when really I should have had at most a couple with the same effect. The game doles out bloodstone gems as drops from enemies, but it feels like they just give too many ones with random but repetetive effects.

The other aspect of equipment I wanna touch on is carrying capacity. There’s absolutely no distinction in bloodborne between heavy armor and light armor, and you can always dodge at the same speed. This is an absolutely incredible change from the previous games. It allows the developers to create a much tighter design, further helping to push players into that specific dodge and parry game that bloodborne excels at being. You can’t just equip a heavy armor load and be slow but take hits. You have to dodge, or parry, or die. And it just feels great.

Healing is of course also integral to FromSoft games, in a lot of ways. Prior to bloodborne, a few different versions were utilized, and in some ways bloodborne brought back the Demons’ Souls version of exclusively consumable items. However, they really improved on it in so many ways. They recover a set percentage of health (like 40%, I believe?), and can be regularly acquired from enemy drops much of the time.

However, especially as I got into the later game, I did feel more and more of that blood vial tax - with enemies not dropping as many as I was using to beat them. This was especially true when it came to bosses. I kept attempting the Orphan of Kos fight a dozen or two times and kept running short on vials, only to need to pop coldblood or go grind to buy more. Thankfully I had the forethought to save most of my coldblood to use for buying vials, but it definitely does feel bad having to use stuff you could be using to level up just to get more healing items. Also, they really shouldn’t go up in price as you continue in the game. That just feels silly.

In some ways, DS2′s version of the healing system, with a mix of estus flasks and consumable items, feels like the best balance.

However, bloodborne also has another important form of healing. Rallying is so freaking satisfying to use. If you’re careful, you can save tons of potential blood vial uses by just knowing when and how much to hit an enemy so that you don’t let yourself get hit again. And through getting back health when you hit enemies, you can get yourself fully back on your feet in no time.

Let’s see, what else...

Enemies flinch when you hit them in an incredibly satisfying way. And that continues to be the case throughout the whole game, even into endgame bosses. It feels very good to hit an enemy and really feel your attack connecting, not just because you see their health go down but because you see them react to your hit.

Father Gascoigne really does feel like a great first (required) boss. An excellent encapsulation of the game’s themes and aesthetics, at least early on, while also being a great test of the player’s skills in dodging and parrying.

The game overall features this excellent balance of exploration and linearity, with the game largely having large explorable areas that branch off into other such areas until each hits some kind of dead end. And that nervous balance between carrying a ton of blood echoes, but feeling like you need to keep exploring so you don’t have to kill all those enemies again, feels amazing.

The game’s story is of course amazing. While it is, like a lot of FromSoft games, not necessarily told in a direct way to the player, the game makes up for that in a significant way. First off, your character actually has a goal of their own. It’s not just to fix the mistakes of the past or anything like that, it’s to get blood healing and participate in the hunt. But while you go on that more personal journey you begin to unravel the mysteries of Yharnam, and get involved in the larger, real story of the game. You learn of the Great Ones and their sadness, and why Yharnam truly is so fucked up. And that feels great.

There’s one moment in particular that gets me every time I play. I ascend Vicar Amelia’s chapel, knowing my character needs to fight her because the healing church is a major part of this whole beast plague thing. I need to confront her cause the church is a problem. I ascend the stairs, I fight her, and then I turn around. And as I go to leave the chapel, I see the statues on the stairs. Going up, their heads were just a little out of sight. Or maybe they were in sight but they looked normal enough? But on the way out, I notice they have these grotesque heads, that look like the amygdalas that start showing up just a bit after that point in the game. It feels like such a great encapsulation of the game’s evolution from this focus on the physical challenges of the city itself to the metaphysical challenges of the great ones and figuring out what’s really going on in Yharnam.

And the amygdalas always being there, just out of sight, is also such a great part of that.

In general, the game is just such a masterpiece. The audio is so beautiful and haunting, with the music tracks for bosses providing so much hype and horror as they need to. The enemy designs are absolutely gorgeous, and you can see even from early enemies like church servants that there is a distinctly non-human appearance to even human-like enemies that hints there’s even more going on than the beasts.

The doll is a fantastic partner character. FromSoft has a tendency to make your level-up characters in these games amazing, from bonfire-chan in Dark Souls to the Emerald Herald in DS2, Melania in Elden Ring... But the Doll is definitely one of my favorites. In a way, she kinda feels like the most human of the level up partners, with the way she has a few different locations she can be found in the workshop where she does different actions, and with the way she reacts to the use of gestures around her.

Chalice dungeons, on the other hand, are not as great. They’re kinda easy a lot of the time from my experience, the layouts get pretty repetetive, and while some bosses can be real interesting, a lot are fairly simple. However, I only really did do the one dungeon, running the full gammit of the Pthumerian Chalice set down to the end of the Fixed Dungeons. Maybe things would’ve been a little better had I accessed the other Fixed Dungeons, but I didn’t get enough materials to really do any of those rituals, and I didn’t really want to grind. Only exception is the Hinterlands chalice, which I did at one point have the materials for, but I sold them for blood echoes cause I thought I’d easily get more. I did not. Until late game at which point I kinda just wanted to finish off The Moon Presence and be done with the game. Was not the biggest fan of the chalice dungeons. Maybe one day I’ll dig into them more, but not today.

All in all, bloodborne’s just a freakin’ masterpiece. I gotta say, for a long time Dark Souls 2 held the position of my favorite FromSoft game, but I recognize a lot of that was due to nostalgia. With time having passed, and a more objective look at the games under my belt, I gotta say I like Bloodborne a lot more. There’s a LOT it does so much better.

The Souls Are Always Darkest

So since I have been on a FromSoft kick again (my gf and I started playing the Bloodborne board game, and that made me go back and finish Elden Ring), I decided I’d go back and replay some FromSoft games and write down some of my thoughts on them.

So, here’s my thoughts from this playthrough of Dark Souls

Keep reading

#eri blogs games #bloodborne #next will be dark souls 3 #but i'm gonna take a break before I dig into the second half of the FromSoft catalogue

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space-ninja-fashion-show · 2 years ago

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(@riftwalker-limbro here hi hello!!)

you recently mentioned that in your world, the forge cannot be used to create warframes. apart from the fact that this idea has now also taken root quite stubbornly in my own head, i'm wondering - the original warframes were originally created through Severe Human Rights Violations, right. is this still possible in current times? (could we like. bring the helminth a corpus and. yknow) or not at all anymore due to some Lost Arts type deal? what are the Conditions? (you mentioned warframes were unique, too - you can't just bring the helminth a um. Suitable Host & tell it 'excalibur pls'?)

I love the polite anoning like I don't know what your main is :D Hi!

I'm gonna answer this in reverse bc it sits better with my logic somehow, here we go! Many many words up ahead

Yeah, there is no Excalibur Button. Or recipe. Or anything. Well, there kind of is, there is a list of parametres, from the host's genome, to drugs used to "prepare" the host, to environmental factors, and a million other things, but that'll only give you something…Excalibur-esque. Maybe you get an Excal wearing the proto skin. Maybe you get an Excal with abilities that work differently. All this is simplifying it A Lot but the gist is that no two frames are the same bc no two hosts are the same

Just like how two humans can come down with the same sickness in the same place on the same day and have completely different sympthoms (ranging from "oh you have a headache but I don't!" through "chickenpox spots are in different places on everyone" and far beyond), the Helminth will not make the same exact thing twice (neither will the infestation as a whole technically. Ignore the million copy pasted enemies as a game mechanic)

(And hey, maybe with time, they could've gotten it down to an art, to produce an army of Almost Perfectly The Same Excaliburs. But warframes proved to be ridiculously powerful, entire squadrons in one human-shaped body, so exploring options and building a varied arsenal proved to be a more efficient use of resources than copy-pasting one design that happened to work out. Plus the orokin were self-obsessed dipshits, they all wanted to be the one to come up with and/or sponsor and/or command The Best Warframe Design)

But of course there's a lot that can be controlled, and the Orokin figured out a fair bit of it! Warframe creation isn't just random, there is a lot of specific engineering and carefully tuned variables behind the whole thing. When i said that it was Vilcor's project that he made a frame with no energy troubles and elemental powers, I meant it - that was a design, which was then executed. But if he tried the same exact formula on a different host, the result wouldn't have been the exact same, even if it probably would've also hit the "no energy issues" and "elements" checkboxes

The "Art" of making warframes isn't all that lost tbh. It's still out there, a large part of it anyway. An absolute fuckton of data. A bunch more could probably be reverse engineered and extrapolated from existing warframes

But the Helminths that still exist are guarded by their tenno and frames, and a lot of the orokin knowledge on the topic is scattered across derelicts and places like the iso vaults. But technically, someone with enough dedication to hunt those fragments down (or enough money to make other ppl dedicated enough for that) (looking at Alad V and his dozen pet projects here) and access to a Helminth could technically create something that might be called a warframe*

(Now other technology that can interface with somatics and transference without being made of HR Violation Brand Meat is a whole other topic entirely!)

The way this connects with primes is a bit of everywhere? Since some primes were made as primes, some got upgraded into being primes, and some kinda just…evolved on their own. Making a prime frame or priming a frame tho is just another whole bunch of extra paramentres and resources and Hoping It Works (don't tell the orokin that last bit, they probably glassed ppl for it). In either case the "base" frame is considered a prototype of sorts, with its specs being matched as closely as possible in order to create something very similar, just this time with bits of gold on it

*There is a semantic issue here about whether a "warframe" is exclusively an Old War person-weapon of orokin construction or if a new one would still count, but eh, as i said, semantics

#ask #my lore #hee hoo i have been excitedly spinning in circles about answering this since i saw it last night thank you #my worldbuilding

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thevindicativevordan · 4 years ago

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My Take on a Superman Video Game

I've seen other people give their takes on how to approach this, and given Superman and video games are two major topics of interest for me, I thought I'd give my pitch.

So first off, I’m giving him a health bar. Yes I know some people will b**** and no I don’t care. I don’t care what people who get their Superman knowledge from YouTube or Instagram “fact” pages think about the character, and all the other attempts such as the city health bar in the Returns game didn’t satisfy me. So right off the bat he’s getting a health bar. Second: it’s time to start showing casuals areas of Superman lore they either don’t know about or aren’t very familiar with. The reason for that is people think they “know” Superman so we need to immediately show something they DON’T know about or HAVEN’T seen already to get them to not immediately dismiss Superman out of hand based on memes or whatever. Which leads into my third creative point. Third: I’m not setting the first game in Metropolis. The Arkham games didn’t immediately throw you into an open world Gotham, they built up to it. The Spider-Man PS4 game started off with an open world because they were able to build upon dozens of Spider-Man games that laid the ground work for them. The first Superman game in decades needs to avoid biting off more than it can chew, and throwing Superman into an open world feels like a bad idea. So where can it be? Well there are options. There’s Warworld. There’s Apokolips. But I think the best location is one that’s intrinsically tied to Superman and his Kryptonian background, and serves as a nice counterpart to Batman starting out in Arkham Asylum: The Phantom Zone

The Asylum was a great starting point for Batman for a couple reason: 1. It’s the iconic prison where Batman leaves his Rogues, 2. It’s gothic and horror esque vibe crafts the perfect atmosphere, and 3. it’s place as a center for examining the mind makes it great for exploring Batman’s mental state. For similar reason the PZ is the perfect place to start off Superman: 1. It likewise is an iconic prison for Superman Rogues 2. It’s science fiction and horror mixed together which crafts the perfect atmosphere for Superman to kick ass or be introspective, and 3. It lets Kal come face to face with his Kryptonian heritage in the nastiest way possible as he’s dumped into a place filled with prisoners his father helped exile as well as all the other monsters and criminals other races have dumped there. So he’s going to the Zone but how does he get there and what’s the story? It would be boring if he just walked in. Here’s the pitch: It’s Year 2 of Superman’s career. He’s already established himself as a hero in Metropolis and worldwide. The public knows he claims to mean them no harm and that he only seems to do good deeds, but they know very little about his origins and are divided as to his true intentions. The problem is Clark himself doesn’t really know his origins either beyond knowing he’s an alien from another planet. His only relics from his home planet are the rocket, a tablet written in a language he can’t read, and a curious device that doesn’t seem to have any use. As a show of goodwill, and because he hasn’t made any progress understanding them himself, Clark turns the tablet and the device over to STAR Labs for study. One day as he’s beating down some Intergang thugs, reality twists, and suddenly Clark finds himself in a place that is definitely not Metropolis. The “earth” is chalk white, the sky is a purple, green lightning flashes around as far as he can see, and where the sun should be there’s instead a black hole. Somehow Clark and the terrified Intergang thugs have ended up in the Phantom Zone with no idea of how they got there and how to get back.

The thugs accuse Clark of transporting them there and attack him, with Clark suddenly realizing his powers are fading in this place with no sunlight. Luckily a stranger arrives and aids Clark in dispatching the thugs. Clark thanks him for his aid and then asks who he is. The stranger pauses and tells Clark: “My name is Dru-Zod, a general of Krypton”. He raises a hand for Clark to shake. “I was a friend of your father, Kal-El”. Zod tells Kal about the place he’s in, and his history with it. He tells him that other humans have been brought here as well besides the Intergang thugs, including many of Clark’s foes. Zod informs Clark that the likely culprit for their arrival to the PZ is the very first prisoner Jor-El ever banished to the Phantom Zone: Xa-Du the Phantom King, who has spent so long imprisoned that he seems to have obtained a degree of control over the Zone that gives him strange powers. Kal is told that if he does not collect the scattered humans and escape the Zone soon, he and the humans will become trapped there, as anyone who spends too long in the Zone eventually becomes unable to leave without special equipment on the other side to bring them back, thanks to the way the Zone warps the inhabitants. Kal’s mission is clear: Collect the scattered humans, defeat and pacify his foes trapped there with him so they can be brought back as well, and defeat the Phantom King before he tears a hole between the Zone and the real world that could cause catastrophe for Earth. That’s the basic story pitch, next I’ll go into gameplay mechanics and what Rogues I’d use.

Clark starts the game having been de powered back to “Golden Age” power levels due to there being no sun in the PZ. Zod teaches him about Sunstones that grow naturally in the PZ, which will allow him to slowly re-empower himself. The Sunstones ward off the PZ’s influence and basically act as perk points for Clark to unlock and upgrade his powers. At the start he can’t fly, he can only run and leap. Zod acts as Kal’s mentor throughout the game, teaching him about Kryptonian history and how to read the language. He also tutors him in the dangers of the Phantom Zone as well as training him to hone his powers. Kal gets the feeling there’s more to Zod than he’s letting on though, and some of his comments raise Kal’s suspicions. The base of the game is the Fortress of Solitude.

It’s backstory is that when Jor-El first discovered the PZ, he built the FoS as a research outpost to study the place. It’s packed full of Kryptonian tech and it has the ability to shift back into the natural world. Zod couldn’t use it because it’s caretaker Kelex only responds to House El members. However it won’t shift back until it judges its user “sterilized” in order to avoid contaminating the natural world with the Zone’s influence. Because Kal was brought over so suddenly and without the proper tech, he has to use Sunstones to purge the Zone from his body before the Fortress will respond to his commands. This is a nice way of tying the gameplay and story together. Kal needs the stones to save the civilians and to go home, which helps explain why he might do side quests rather than stick with just the main questline. Civilians Superman has to rescue in the Zone: Lois Lane, Perry White, Jimmy Olsen, Dr. Veritas, Ron Troupe, Dr. John Henry Irons, Dr. Hamilton, Bibbo, Dr. Hank Henshaw and his family, Commissioner Henderson, Captain Maggie Sawyer, Detective Turpin, members of the Newskids Legion, Morgan Edge, and other OCs or nameless civilians. Kal also meets Krypto, who was transported into the Zone by Jor-El in order to watch over the Fortress as its guard, in order to keep it safe so that Kal might one day reclaim it. Rogues: Some of Superman’s Rogues have been teleported to the PZ as well, and unfortunately they have their own plans for escaping the Zone, even if it means they have to kill Superman to do it.

Metallo: John Corbyn is a cyborg soldier that served in the US Army under Sam Lane and was created as the government’s Anti-Superman deterrent. After a fight with Superman in his early career left him crippled, he was bonded to a nanosuit that equips him with various weaponry capable of killing Superman. He believes Superman transported everyone there as part of a first strike against humanity. Parasite: A Lexcorp lab experiment gone horribly wrong, Rudy Jones is a science fiction vampire who needs to kill to sustain himself. He absorbs the memories and skills of whoever he kills, and he is able to transform his body into various weapons (think Alex Mercer from [PROTOTYPE] to know what I mean). He’s hunting the civilians to feed on and has his eye on Superman as well. Livewire: Leslie was a vlogger with a far looser code of ethics than Clark. Her “reporting” eventually angered the wrong people who attempted to have her assassinated. Instead Leslie ended up with powers over electromagnetism, and a grudge against Morgan Edge who she believes was behind the Intergang hit on her. Edge is her target but she doesn’t mind stepping over Superman’s corpse if she has to. The Terran (Terra-Man): Krypton wasn’t the only planet to discover the Phantom Zone. One alien race banished the immortal hunter known as the Terran, whose human name was Tobias before he was abducted by aliens who were interested in the potential of the human meta gene and wanted to experiment on him. Their experiment was a success and Tobias broke free, using their own weaponry to hunt them down and carve a bloody path across the stars. Eventually he was transported to the PZ and is now desperate to escape. Mr. Mxy: Who is this creature? Neither a human nor seemingly an alien prisoner of the PZ, Mxy engages Clark in a series of puzzles that reveal secrets about the PZ... and foretell of threats to come. Red Cloud: An enforcer for the Invisible Mafia, her only loyalty is to her boss Leone. Her identity is a secret from Clark for now and she intends for it to remain that way. Silver Banshee: Not every human teleported to the PZ was unchanged. Some reacted much more strongly to the Zone’s influence. One former human has now been twisted into the sinister Silver Banshee, driven insane by the whispers in the Zone and the alterations to her body. She poses a formidable threat to Clark in her current state. Xa-Du: The Phantom King and first prisoner of the Phantom Zone sent from Krypton. Zod claims he was insane even before he was sent here but his incarceration has done nothing to improve his health if so. Gleefully plotting his return to the real world, Xa’s only desire is to raise an army of super zombies with himself as their Necrogod ruler. His time in the Zone has given him control over the degraded Phantoms, and he can channel the energies permeating the Zone into a variety of attacks (basically he’s a space necromancer). His aim is to corrupt Kal-El and the Fortress and use both to travel to Earth and he will never stop hunting Kal. Non boss mooks for Clark to fight: Phantoms - Some of the inhabitants of the Zone have degenerated into the ghostly Phantoms, their only desire to spread their suffering to others. They have been so warped by the Zone they’ve become a part of it and are thus incapable of permanently dying. Shades - Much more powerful Phantoms, Shades retain some memory of their former lives and posses some of their former skills. They serve as the elite of Xa-DU’s forces. Shadowbreed - Native creatures of the PZ, these beings feed on the light of the SunStones and thus see Clark as a meal as well. They possess various animals of the PZ to attack and feed on him. Eradicators - Once these machines served House El in their study of this place acting as defenders. But time has eroded their programming and they now seek to destroy even the Last Son of their old House.

That's the basic of my pitch, I think it's a fairly manageable one that addresses a lot of the arguments you get from people about why a game "wouldn't work" or whatever.

#superman #the phantom zone #supermangame #krypto the superdog #fortress of solitude

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solitvdcs · 4 years ago

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* kathryn newton, cis female + she/her | you know zoey simon-archer, right? they’re twenty-three, and they’ve lived in irving for, like, eight years? well, their spotify wrapped says they listened to a little wicked by valerie broussard like, a million times this year, which makes sense ‘cause they’ve got that whole black clothes and black coffee, dark under eye circles barely covered with concealer, might put a hex on you thing going on. i just checked and their birthday is august 10, so they’re a leo, which is unsurprising, all things considered.

TRIGGER WARNING: CHILD ABANDONMENT

basic info

full name: zoey tallulah simon-archer

birth date: august 10, 1997

pronouns: she/her

hometown: boston, massachusetts

sexuality: bisexual

height: 5’1”

eye color: blue

hair color: blonde

build: slim

tattoos: one of her younger siblings doodled on her arm and she said ok i see u and made it permanent

piercings: basically every piercing you can get on your ears split between both (no piercing is in the same spot except maybe the earlobes, she thrives on the chaos), septum

style: if it’s black and shapeless then yes

favorite color: black

favorite food: whatever she can find in the house while scavenging at 3am

zodiac: leo sun, scorpio moon, capricorn rising

mbti: istp

hogwarts house: ravenclaw

enneagram: type 4 wing 5

temperament: choleric/sanguine

alignment: chaotic neutral

bio bullet points

CHILD ABANDONEMENT TW it’s unclear how zoey came into this world, but what we do know is that she was dropped off on the doorstep of a fire station before her birth mom disappeared into the night. no note, no keepsakes, just two week old zoey wrapped in a nondescript blanket that was probably the one the hospital wrapped her in. the rest of her childhood was a blur of failed adoptions and shitty foster homes across the country (east coast especially), leaving her with no ability to fully connect with anyone and, okay, maybe a mild anger problem. rage blackouts weren’t uncommon, but in one foster home they had an old nintendo 64 and she learned to channel her anger through video games instead END TW

along came the archers, a lesbian couple that already had twelve other children. zoey was fifteen already and had fully expected to age out of the system and end up another statistic. for a good year after the adoption was finalized, zoey still didn’t trust that they wouldn’t send her back, so she acted out. she wanted to give them an excuse and get it over with, but her tactics went unnoticed in a cheaper by the dozen-esque household. her new moms couldn’t give her the attention she craved with so many bodies, but her older siblings stepped up and tried to make her comfortable. it sort of worked, but being smack dab in the middle of so many kids meant she faded into the background more often than not

at school, she thrived without trying, a natural aptitude for math and science and mechanics landing her a place on the robotics team, but because her many siblings had already made names for themselves, the archer name was almost like a curse for her. she didn’t want to be known as another archer adoptee, so she went by the name she’d carried with her from birth: simon. zoey simon could be her own person, whoever the fuck that was

one day, the robotics coach brought in their old computer for anyone who wanted to tinker around with it, and wanting an excuse to stay out as long as possible, zoey jumped on the opportunity. over the course of the semester (with the coach’s guidance) she took apart and put it back together again, upgrading it with some donated parts from a local electronics store. the best part? coach let her keep the computer after she was done

obligatory at some point she cheated on frankie with both sutter and ziggy ✌️😗

anyway we’re onto college, where she got hella scholarships and grants for being a girlboss and ended up at university of michigan, studying mechanical engineering. money was still tight, though, so she spent her first year trying to balance studies and a part time job at the local superstore, but her mental health and grades started suffering to the point that she almost lost her scholarships for her second semester. Between semesters, over a night of video games with her roommate, she offhandedly suggested zoey start live streaming her playthroughs. it may not make all that much, but a few viewers and subs would be better than nothing

but oh boy did she do better than a few viewers and subs

using a digital rendering of a random avatar and a voice modulator, psychozomatic was born, and they blew up. popular streamers started inviting her to their servers, and she made enough to cover all of her extra costs and then some — she graduated summa cum laude because of streaming, but she couldn’t stop after graduation; she was doing something she loved and getting paid for it. that’s what people always hoped for in a job, right? so after graduation, she fabricated a job to her friends and family to explain the income, moved into her own apartment with a soundproofed second bedroom (that she kept under lock and key for whenever anyone came over) and kept up the facade. it’s been five years and nobody even knows she’s a girl — female streamers get so much shit, she’s not sure she ever wants to do a face reveal. she’s perfectly content for the time being having everyone think “zo” stands for “lorenzo” or “vincenzo” or whatever, and being a faceless streamer means she gets the weird blend of notoriety and anonymity that she craved her whole life

personality wise, zoey is a mash-up of deadpan humor and snark. she’s never been good at face-to-face communication, which is why streaming works so well for her. she’s never known how to flirt and has been known to tie someone’s shoelaces together in an attempt to get their attention, which has obviously not worked out for her. once showed a person she thought was cute the computer she built and well...they were impressed but nothing came out of it. she’s probably a lost cause, but she can just play a dating simulator if she’s that lonely

is big on first person shooter games — the main reason she keeps her identity hidden, because people get nasty in those lobbies. also absolutely loves horror games, currently doing a playthrough of resident evil village on her stream

wanted connections

fans of her stream !!! obviously they wouldn’t know it’s her but it’ll still give her a lil smile and maybe even a blush if she hears someone talking about “zo”

other gamers she’s played with ???

people she met in the foster system

someone who has a crush on her and she has no idea bc she can’t read people (and vice versa)

friends of her siblings that had no idea she was one of them (i’m mean to her bt i think it wld be funny)

i’ve been working on this intro for like a week this is all i got pls take it and run <3

#irvingintro #u would think for how long i've been working on this it wld be longer but no <3 #anyway enjoy xoxoxoxo

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m39 · 4 years ago

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History of the Creed - Part 4.5: The Tyranny of King Washington

The Tyranny of King Washington is an interesting case of an expansion (yes, I call all three episodes combined an expansion). While there were mission packs in two previous games, this one might be the first one on such a scale. I might be over-exaggerating what I’ve said but still, there are over 20 main memories in all of the episodes combined.

Okay, I think that’s enough of rambling. Let’s get to the review.

THE TYRANNY OF KING WASHINGTON (The original PC release in Europe: February 20th (Infamy), March 20th (Betrayal), and April 23rd (Redemption), 2013)

The version I played was, again, the remastered version released on March 29th, 2019.

STORY

Sometime after the events of the main game, Connor suddenly wakes up in the alternative timeline, where George Washington found the Apple of Eden, which made him go mad with power and take the title of King Washington. So now it’s up to Connor, now having the powers of spirit animals, to stop the Mad King himself.

So the story is more bonkers than the main game, and that says a lot since we are talking about Assassin’s Creed. Overall I enjoyed it. It’s probably slightly better than the base game’s plot. I like how the expansion is a Mohawk powerhouse experience in the nutshell.

CHARACTERS

I think Connor is also slightly better here than in the base game. Not only does he have to experience the trauma of losing everything he loves again but it’s also implied that with each sky journey he takes, he becomes more hungry for power, showing that he’s closer to the grey area than what we saw in the base game.

As for the secondary characters, it’s mostly positive. Giving Ben Franklin a bigger role than in the base was definitely a good idea. Thomas Jefferson finally shows up – sure, he only appears in the last episode and he doesn’t exactly show much of a character but still, it’s good that he finally appears. The cameos of some of the Homestead community was cute. On the other hand, some of the characters are here just to die like these two native guys in episode 1.

Since George Washington is now our main bad guy, the question is: Does he do a good job at it? Well… it looks like he is. He nicely changes his moods from ravaging dog, to calm, even though he mostly stays in the former mood type. Also, having Israel Putman on the side of the bad guys was a very good choice due to his voice actor.

GAMEPLAY

I said earlier about how Connor has new powers based on the spirit animals. Throughout all of the episodes, you earn 4 new powers to tremendously help you. In episode 1, you get the Wolf Cloak and Wolf Pack. The former one makes you invisible, while the latter one summons three wolves that one-hit-kill their targets. The second episode has the Eagle Flight, allowing you to quickly move through the terrain. The last episode gives you the Bear Might, a powerful shockwave that can kill everyone close to Connor.

All of these abilities are very good but I was mostly using three first of them (especially Eagle Flight). The Bear Might has a chance to also kill civilians and that’s the reason why it’s not as much used by me like the rest.

ACTIVITIES

In this expansion, there are three side activities to do. The first one is helping the civilians – giving them food, freeing them from convoys, etc. This can be kinda’ annoying since you will eventually have to run around like a madman if you want to complete them all.

Chests are back and there are two types of them: Small ones that have ammo in them, and the big, locked ones, that while they function the same as the small ones, they can have an upgrade to your arsenal or a new weapon. If you want to, big chests are only worth your time. Open the small ones only if you lack ammunition, and even then, I think it would be faster to just loot the guards’ bodies.

The last type of side activities is finding the Lucid Memory Fragments. There are three of these per episode and the best way to find them is to go after the bigger chests. Once you collected them, there is an award for you somewhere on the map. I’m not going to tell you what it is, but let me tell you – it’s really worth it.

STABILITY

In the case of bugs, I was lucky to not bump into the game-breaking ones. There were although two that were noticeable for me. The first one was when I was trying to open the cages from the convoy but I couldn’t because the place where you are supposed to open them moved away dozens of meters from it. It happened twice to me. The second bug was when a bunch of wild hares came in unison to the Bostonian fort while I was trying to steal the captain’s horse.

There was however one really nasty bug that I’ve heard about. In episode 1, if you do any side activity, or even activate it, you will make the last mission of this episode unbeatable, and the only way to fix it is to start the entire episode again or, in a worse case, reinstall the entire game. Because of this reason, I didn’t go after anything in episode 1 and I want you to do the main missions only run if it’s the first time you are playing it.

SUMMARY

The Tyranny of King Washington is a very good expansion to Assassin’s Creed 3. It extends the character of Connor while giving him animal powers and fighting Washington himself. Honestly, I won’t be surprised if you will find this more enjoyable than the base game.

I could have said more about this but the rest of the stuff is basically the same as it was in the base game. Same combat, same parkour mechanics, same graphics, same sound effects, etc.

However, before we will move on to Black Flag, there is one game in the series that I haven’t played, that was only on PS Vita before.

See you next time.

Bye!

#review #Assassin's Creed #assassin's creed 3 #the tyranny of king washington #history of the creed

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shinyobjectreviews · 5 years ago

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An In-Depth Analysis of my Observations Playing CROSSBOW: Bloodnight

CROSSBOW: Bloodnight looks like shovelware, and I don’t blame anyone for thinking that. There’s a lot missing from the game. There’s a typo in the launch announcement. However, the lack of standard triple A bloat means it’s rather easy to dissect the game. So I’m going to break apart some of what happened to me as I was playing and started to question the quality of the game only to determine it was my own skill lessening my experience.

Devil Daggers

Credit where it’s due, a lot of stuff in the game is a blatant ripoff of Devil Daggers. It will occasionally come up. If I say DD know I’m referring to Devil Daggers. The developers have said publicly the game is intended for fans of DD, so they’re not trying to hide it, and though the games are extremely similar, it’s still worth analyzing CB:Bn to see what they decided to keep, lose, or change. Originality is nice to have, but it’s not everything.

The Crossbow

Let’s start at the beginning. The crossbow is amazing. When sustaining fire the triple-chambered crossbow fires each chamber individually. When firing like a shotgun, they all fire at once. When firing the rocket, the center chamber pulls back further, and the prongs bend back considerably to emphasize the weight of the projectile. The appearance starts to resemble a modern-day compound crossbow, as though it is focusing the strength from other prongs into one. Your character also slows down: thematically this shows again the strain of this massive projectile, but practically it also helps you line up your shot better, since the rocket has more pinpoint accuracy and higher damage than the standard projectile and can therefore be used to fire at long distances. Something taken from DD is that the projectiles have a rather significant spread and a slow velocity, meaning that you can deal more consistent damage faster by being closer to your target, a dangerous but rewarding and skillful strategy. The crossbow also changes color as it upgrades, which you won’t miss due to the camera slow and bright glow, but it’s nice to see it on the crossbow itself as you’re playing. It’s an easy signifier, but it also just looks nice and feels cool.

The Introduction

The first half minute of the game is slow. A single zombie (The Restless One) spawns, then a couple more. You then get the big tentacle monsters (The Tainted Ones) that spawn the bats (The Hungry Ones). Of the few comments I’ve seen in the game, one was a complaint about this intro being slow and uninteresting after the first few runs. After all, while it does a great job at slowly introducing elements to new players, you learn pretty quick, but it can’t just be removed from the game because it would interfere with the time-attack scoring. I also disliked this part after my first few runs. However, I have come to love this part of the game. The end of a run can often feel dissatisfying, and most players will immediately want to try again. While most just want to rush to where they were at, the game forces you to wait, calm down, and get reacclimated. You also get to blow off some steam by obliterating the weak early enemies at almost no risk. I’ve also used this time to practice: learning exactly how long after the spawn animation takes until a demon is vulnerable, how close to the eye I have to shoot, rehearsing projectile timing, anything that I feel could use work.

The Spawning

This was one of the first issues I had with the game. I often died to demons spawning in behind me, or werewolves (The Feral Ones) using their long range dash to hit me from the other side of the map when I hadn’t even seen them appear. Even with the big red circles that appear before they spawn, However, there were two things I learned in short order. The first is that each enemy has its own unique spawn sound, each one roughly as loud as its importance (I wouldn’t even think the zombies had any if I didn’t hear it isolated during the introduction). The howl of the werewolves is especially notable, which is good because their dash has incredible range. The second thing I came to realize is that the game was pushing me to look where I was going. Shooters are all about circle strafing and firing while walking backwards, but not CROSSBOW: Bloodnight. In this game, you have to fire forward. Where you’re looking. It is safer to run towards one of the stationary Tainted Ones to try and kill them while letting the zombies and bats chase you from behind. The Feral Ones will dash at you, but you can pay attention to the noises they make to try and dodge them, or just turn and look if you dare. Once again, the game offers you a choice: run away from enemies while shooting behind you and risk bumping into guys in front of you, or charge at foes head on (remember the primary fire is better at close ranges) and try and thin out the herd later.

The Dash

If you check out the reviews on Steam, the primary difference between CB:Bn and DD is that the former has a dash. Once again, It didn’t really think of this while playing, and didn’t really start using it until after my first dozen runs. I actually started using it almost jokingly in the introduction as a way to get from the first spawning zombie to the second. I started learning the exact distance of the dash and it’s timing. Eventually, I started using it in game. It has the same issue as above, where dashing into a crowd of enemies is just as common as dashing away from them, but if timed well and planned well it can be a literal lifesaver. If you can properly perform it, you can also dash into the Tainted One and fire off a one-shot kill into the eye with the shotgun.

The Special

The game has an ability it grants you once every 60 seconds roughly where , if you press Q, it will slow down time a bit and show you a giant line the width of a house directly in front of you. Your crossbow is also aimed up and glows with radiant light. If you pull the trigger, every enemy in the highlighted area will be skewered with a holy lance and get one-shot. Like the dash, I was unsure of how best to implement it, but I have three theories. The first use is as a emergency clear. If you’re panicked and want to just get rid of some enemies, you can hit this to get a little space. It’s a nice way to bring the tension down if you’re starting to not enjoy it. The second option is as a time-saver. If you have multiple enemies you want dead, especially Tainted Ones whose weak points you can’t reach, you can line them up to hit at least two and maybe more. This is a use of skill and lets you try and optimize your runs. Lastly you can just show off with it. Use it for some dumb reason because you feel like it. Whatever the reason, the fact that it’s on a cooldown encourages you to use it aggressively rather than save it for a powerful attack, since the sooner you use it the sooner you can start charging up the next one.

The Enemies

I’m solidly impressed at the enemy variety. The Restless ones are bolt fodder, keeping you aware of your surroundings, but never dealing enough to kill you without you knowing it. The Tainted Ones are stationary to give you fixed goals, and they spawn bats to harass you but only until you give them a little attention. The werewolves are the first big threat: they do not exist to be killed, they exist to kill you. You must know where all of them are to stay safe. The Troubled Ones shoot shockwaves, and are the first true long-range foes. They force you to jump at the right time, forcing you to stay aware of your jumping, and punishing those relying too hard on bunny-hopping. Those are all of the enemies I’ve encountered for now, but they all come together in such exciting ways. Even the Tainted Ones themselves have neat interactions. Nearly all of them spawn at the edge of the map, making it harder to kill them form the other side and forcing you to get up close, but I also encountered one in the center of the map, whose positioning forced me into an awkward spot in order to get to its weak point.

The Map

I’ll be honest, I don’t have much to say about the map. It is donut shaped: big circle with a spot in the center no-one can get through. I much prefer it to DD because it has some landmarks around it that help orient you, allowing you to more easily remember where enemies spawn and where you are in the moment. The hole in the center also give you just enough of a safe space that your circle strafing doesn��t get weird with demons just sitting in the center getting constantly kited. I also expect a boss to spawn there at some point, making for a nice focal point.

The Setting

On a thematic level, the map is heavy with gothic arches and pointy spires. While I assumed this was an anachronistic stylistic choice, I did my research, and it turns out gothic architecture did in fact originate in the early 12th century, where the game is set. The opening text tells us that the game takes place close to 1193 AD, a time when the church outlawed the use of Crossbows against Christians. The game recontextualizes this as declaring the Crossbow as “ungodly” and “demonic,” which is a clever way of getting an excuse to use Crossbows against Demons. The crossbow in question, is mildly inaccurate not in terms of time but location. A triple-chambered repeating-crossbow seems far-fetched, but China had been using repeating crossbows (Cho ku nu) and triple-bed mounted naval crossbows for hundreds of years by this point in time. Firing multiple bolts simultaneously at the cost of reduced range and accuracy was actually a real tactic used at the time as well. The idea of either being hand-held requires some suspension of disbelief, as does the ammo storage, but that’s well deserved for an arena shooter like this.

The Story

There isn’t much of a story here, but it’s there if you look. As mentioned, the game declares the Crossbow ungodly, and implies that it is used in some form of demonic ritual. However, the glowing light implies otherwise. Each enemy is named after some form of torment: hungry, restless, troubled, tainted, etc., and with exception of the Restless Ones, each one releases a soul when slain that the player can “collect.” This implies that these demons may be corrupted forms of humans that are being slain to release their tormented souls from some form of punishment and collecting them for some unknown reason. The fact that the zombies and the bats don’t leave souls follows this logic, since the zombies seem more like animated lifeless corpses than living creatures, and the bats are, well, bats. They also spawn from the Tainted Ones, so they are kind of just extensions of that. The game also has achievements that I have yet to understand, and seem to imply I am either evil or not evil based on a statistic I have not found. It intrigues me, but I will have to keep playing I guess to find out what it means.

Minor things

I’m ashamed to admit I didn’t have anywhere else to put these so here’s some other stuff I just want to throw in there.

The first upgrade you get is from killing a werewolf, after which another werewolf immediately spawns, letting you directly compare how long it took to kill the last one and how long it took to kill this one.

You can actually see the werewolves jumping in from outside the map before they spawn.

When you’re hit, the screen goes bloody like any other game, but there’s already blood everywhere, so the game give you a scary tone that plays until you heal back up.

Conclusion

And that’s all I can really say about the game. I’m not here to convince you to buy CROSSBOW: Bloodnight, I’m not here to convince you it’s good, I’m not even trying to convince you to play it. I just wanted to talk about this. I’m not even sure if it’s my favorite game of the year, if only because Hades is about the toughest competition it could have faces. So if it’s not my favorite, not the best, and arguably not worth your time, then what is CROSSBOW: Bloodnight?

My best answer? It’s mine. This is a game I want to exist. This is a game practically built for me. I bought it, played it, I loved it, and I feel like I’m the only one who has, and that makes me feel special. So maybe don’t look too much into this review. Perhaps I’m overblowing it because I feel personally attached to this game in a way I never have before. But hey, if you’ve gotten all the way to the end, maybe you care about what I have to say. So here’s the summary.

CROSSBOW: Bloodnight is a really cool video game, and I really like it.

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writingonjorvik · 5 years ago

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Can We Discuss Skill Collections?

So one of the things I think we’d all like to see in the game is getting actual skills we can use. But if there’s one thing I’ve learned so far about good storytelling in games, it’s that even game mechanics need stories behind them. So, what would it look like if we had to earn skills in SSO?

One of the things I really like in GW2 about some of their prestige mount collections and about the story in Bofuri (which is an adorable anime), is the idea of gaining abilities based on progression in story. And I don’t just mean unlocking skills by default in the story. I mean going out of your way to acquire something extra and helpful.

So, what I’d propose is something similar in SSO. While some basic skills we’d unlock as we progress the story, gaining extra and unique abilities would require completing special quests hidden around the map.

For example, let’s say you learn Soul Strike in the story, but Soul Strike can gain a couple variants in how it’s used. Like one is that it will chain between nearby targets and the other is that it’ll shoot two bolts instead of one. But to get either of those, after you get Soul Strike, you go and hunt down the quest to upgrade it.

This adds a story behind how you build your character, instead of simply collecting the skill. None of them should be hard, and much like my opinions on classes, either you should be able to reset them or have alternate accounts to build a different play style, but this little bit of flavor adds a lot more narrative into the story without it being necessary. It gives the option to build a character outside of the limitations of the main story without breaking it either by adding different ways to play.

This also gives you something to work on at end game content. Instead of just waiting between updates, there could be dozens of little quests to hunt down to develop out your character in cool and interesting ways. Not to mention how this could layer on any kind of class system. It also gives a lot more value to gaining these skills, because it was something you had to go out of your way to achieve.

I think it would also add a lot of variety to magic that we haven’t seen yet. Like, we’ve got four fields of magic, but we’ve really only seen one ability in those fields outside of the Moon Circle. You got hitting, healing, teleporting, and scrying. But the fields of magic are described as being wider than that. Adding this kind of system would allow the worldbuilding to expand into even more interesting ways magic can be used in the setting outside of singular uses.

#sso #star stable #starstable #star stable online #starstableonline #woj analysis

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avaantares · 5 years ago

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FFVII:REMAKE - A Review

So I beat the game two weeks ago and started writing down my thoughts while they were fresh in my mind, but I didn’t post anything then because my one IRL friend who is also playing it hadn’t finished it yet and I didn’t want to risk posting anything spoiler-y. But the extra time has allowed me to play through the game again on Hard difficulty, which has allowed me to reconsider and elaborate on some of my thoughts. And frankly at this point I just need to dump my Very Big Opinions somewhere, so... here ya go.

I discuss visuals, gameplay, character and story below. I’ve tried to keep spoilers minimal up front, though obviously if you want to go into the game totally cold, don’t read this. All major spoilers are clearly tagged. All of it is below a cut to spare your dash.

Also, there are pretty pictures, because why not?

First, my background with this franchise: I played through the original FFVII multiple times; I’ve watched and rewatched Advent Children and Last Order, played Crisis Core, gave up on Dirge of Cerberus despite my deep love for Vincent Valentine (sorry, VV, but your game was just a mess), and lamented that Before Crisis wasn’t available in my country. I even played (and own!) Ehrgeiz, the obscure fighting game that featured the main cast. (Still bitter that they didn’t keep Miki Shinichirou as the voice of Sephiroth. He’s one of my faves.)

^ Ehrgeiz, a mediocre fighting game that forever endeared itself to me by including Turks!Vincent Valentine as a playable character. 💖

In short, I’ve been waiting for this game for DECADES.

So. Here we go. My thoughts on Final Fantasy VII: REMAKE.

The good:

The character models are very pretty. With individual pores, threads and scuffs visible, they’re so detailed that it’s almost impossible to reconcile them with the mouthless sprites from the original game – even more so than Advent Children (and dear goodness, that was over a decade ago now, wasn’t it?). Still, they’ve kept the costume details and absurd proportions largely intact (Barret’s fists are literally larger than Tifa’s entire head, yet somehow it works visually), so it’s not too much of a departure from the familiar.

They’ve kept the aesthetic. I was afraid the game would try to update the iconic world of Midgar, but by and large, it’s full of visually-arresting designs that preserve the gritty-industrial look and feel of the original.

Japanese version is included. BLESS YOU, Square Enix, for including the Japanese voices and character animations. Not only is it impossible for me to hear Cloud in anything other than Sakurai Takahiro’s voice, but the Japanese script is a bit nicer to the characters. I’m not really keen on the English dub… but more on that below.

They fixed the spelling of Aerith’s name. This may seem like a minor point, but considering it’s been 20 years and I’m still bitter that Devil May Cry still hasn’t corrected “Nelo Angelo,” it’s a small victory.

Improved combat. Admittedly, I wasn’t sold on the new combat system at first, but after playing through the game twice, I’ve come to really like it. It has a few rough edges and can get chaotic in some battles, but it does a decent job of blending the feel of an action game with turn-based strategy. The fact that you can switch to a more traditional turn-based system if you prefer is also nice. (I haven’t tried Classic mode yet, though.)

Weapon customization. The Skill Points system allows you to upgrade your loadout instead of acquiring new gear. The tutorial was somewhat lacking (I didn’t quite figure out the multiple-core-unlock thing right away), but I appreciated the ability to add materia slots or stat buffs rather than just cycling through a dozen swords that Cloud apparently keeps in his back pocket.

Background dialogue management. On the whole, the conversations as you run through town enhance the story without slogging down the gameplay; you don’t have to stop and talk to every single resident, because snatches of their conversation reach you (and your on-screen chatlog) as you pass. You can stop and listen for more detail if you want, or you can just keep moving. The extra worldbuilding is really nice.

The music. The orchestrated versions of the original themes are excellent (and some of those music cues gave me goosebumps… Did I spend way too many hours immersed in the original game? Probably). I can take or leave some of the collectible jukebox tunes, but the background music in general is good. (But did I earn that Disc Jockey trophy? Yes, yes I did.)

Supporting character development. Jessie, Biggs and Wedge actually have characters! And personalities! Clichéd ones, admittedly, but it’s an improvement over the original game killing them all off within the first few minutes. The game also does justice to the Turks, and actually surprised me with how much depth of character it gave Reno and Rude in particular (perhaps setting them up for a mini redemption arc so players forgive them for dropping a plate on tens of thousands of slum residents?). Their moments of concern for each other and (brief) crises of conscience made them more than the stock villains they were in the original game, more in line with their temporarily good-aligned characters in Advent Children. Tseng, likewise, was on point. However, I do have to qualify all this with one irate question: Where the heck is Elena?! Seems like the female characters are always getting left out… /sigh/

Improved plot devices. REMAKE cleans up some of the more questionable and outdated content from the original. As you likely already know from the demo, the new game somewhat exonerates the protagonists by having Shinra blow up their own mako reactor to turn public opinion against AVALANCHE (possibly because someone finally realized that it’s hard to sympathize with characters who are willing to melt down an entire reactor and kill a bunch of innocent civilians). AVALANCHE are still eco-terrorists, but they’re… terrorists with a conscience? I dunno, at least they feel bad when people die now… Likewise, the weird and uncomfortable Honey Bee Inn segment of the original game has been reborn as an amazing dance extravaganza. Less voyeurism/prostitution, more Vegas floor show (complete with minigame choreography) and makeover. The whole Don Corneo scenario is still hella creepy, but frankly, there’s nothing that can fix that.

Series references. Fans of the original will appreciate all the inside jokes and direct references to the original game and other franchise entries: One-off comments about Chocobo racing; a broken console in Wall Market that shoots at you; a framed picture of the original 32-bit Seventh Heaven; ads for Banora apple juice; side mentions of characters and plot devices from spinoff games; PHS communication… The game definitely pays tribute to its history. They even recreate the original loading screen and several of Cloud’s iconic poses/animations throughout the game:

The neutral:

Recycled gags. Look, I know Advent Children was the ultimate evolution of FFVII for a while, and admittedly, it did some things very well. The running gag with Rude’s sunglasses and the victory fanfare being used as a ringtone are some of the best moments in the film, in part because they were so unexpected. But as much as I enjoyed the repeated nods to AC in this game, they felt a little desperate, like there were no new jokes to insert so they had to double down on the ones they’d used the last time this franchise had a renaissance. (See Rude’s broken sunglasses, below.) And fitting into the series as a whole, it feels a little weird. Why is Rude’s ringtone the same as the clones’ from Advent Children? Does Barret really need to sing the victory fanfare over and over when he defeats an enemy? Is there supposed to be some history behind that song that was left out of the worldbuilding? It just feels too meta.

Arbitrary localization of names. I don’t really grasp why it was necessary to rename so many items and characters for the English market. Some changes make sense for localization (e.g. Whack-a-Box certainly works better for an American audience than Crash Box), but others seem arbitrary, like changing Aniyan Kunyan to Andrea Rhodea or Mugi to Oates (a play on the meaning of his name in Japanese, but... does it matter?). And then… well, I don’t want to spoil A Major Plot Element, but there’s another thing that changes names from one English word (in the Japanese track) to a different English word. Why? No idea. It doesn’t affect gameplay, and it’s not really a problem, but listening to the Japanese track, I found it jarring to have the subtitles contradict what I was hearing.

Underutilized characters. While the whole gamut of original FFVII characters make appearances, several of them aren’t used to full effect, or aren’t used at all to advance the story. Rufus Shinra’s bossfight is a decent challenge, but while his character was vital to both the original FFVII and Advent Children, his presence in this game is little more than a cameo. His fight could be cut or swapped out with any other boss, and it would have zero effect on the plot. Similarly, while Hojo is a key player in the full story (which this game doesn’t cover, since it’s only a fraction of the original timeline), he’s largely wasted here, except as a means of extending play time by making you wander through corridors and fight a bunch of monsters for “research.” (I have no idea what his motivation is; you’d think he’d be more interested in recapturing Aerith or Cloud, but instead he just... opens an elevator and lets them leave? after they beat up some midbosses.) Reeve Tuesti actually has a solid presence in this game, but since he’s ONLY ever active as himself, there’s no explanation for the random Cait Sith cameo in one scene (players new to the franchise probably have no idea why a random cartoon cat showed up for a few seconds and was never mentioned again). Obviously the plot arcs have to change when the game is covering only a few days’ time in a much longer story, and the major players need to be introduced at some point if they’re going to feature in later games in the series, but from a narrative standpoint, there are an awful lot of superfluous characters doing things for no reason in this installment.

The bad:

THE PADDING. Dear goodness, there is so much padding to make this a standalone game instead of just the first chapter of a longer adventure. I got really, really sick of running literally from one end of the map to the other on side quests – and that’s me, an avowed trophy hunter who spends hours scouring dark corners for collectible items in other games, saying that. So much of this game felt like time fill that didn’t really advance the story. It’s also full of unnecessary new characters with improbable Squeenix hair, like Roche the super-annoying motorcycle SOLDIER (below), or Leslie, Don Corneo’s doorman who somehow merits his own backstory and side quest. (Though in fairness, every FFVII sequel has added superfluous characters, with Crisis Core possibly being the worst offender.) But it just felt really drawn-out and bloated for a game of this generation. If this game had been as compact and tightly-written as the other games I typically play, it probably only would have taken me 15 hours to beat instead of 50. (I don’t actually know how many hours I spent on it the first time through, as I didn’t check the play clock before restarting on Hard difficulty. I do know it took me over 110 hours total to complete the game on both modes, though much of the second run was spent dying repeatedly on a handful of nasty fights. Hard mode removes items and MP replenishment, and if you run out of MP at any point during a chapter, you’re going to die. A lot.)

The pacing. Related to the above... the Midgar portion of the original game was just the setup for a larger story. It wasn’t meant to have its own complete dramatic arc so much as to introduce you to the world and the major players. Consequently, there are some really odd beats in this story, as well as a total lack of urgency in your mission. There are no natural places to slot in the side quests and minigames, so they’re shoehorned awkwardly between plot sequences. “Quick, our friend is in mortal peril and needs our help!” "Okay, cool, we’ll go rescue her after we spend ten hours running around town doing random errands for townspeople and playing games with the local kids.” Uh... what?

The graphics just aren’t as good as they should be. While the character models are gorgeous, there are a lot of low-res background textures and weird polygons that don’t quite match up with other components. Most egregious are the Shinra logos, which frequently get close-ups as part of the fixed camera work and, frankly, look like lossy JPEGs. (See image below, screencapped from a PS4 Pro. Those jagged edges on the logo are present throughout the entire game.) There are weird clipping errors and artifacted images and reflective surfaces that don’t reflect, making the game look more like something from the PS3 era than a 4K late-gen PS4 game. (And it’s not that we don’t have the technology: Uncharted 4 was released back in 2016, and the rendering of its vast world was twice as pretty. Devil May Cry 5, released in early 2019, has far more realistic textures and object interaction. Granted, those are different types of games with fewer NPCs to render, but I feel like there’s no excuse for a game this big to look this mediocre.)

The HUD could be better. The lower-corners concept is okay, though it took me a while to train my eyes to travel between both sides of the screen and track the fight action. But for a long time, I didn’t even notice the commands in the upper left corner of the screen, and after playing through the game twice I still have no idea what they say because I couldn’t focus on the tiny text long enough to read them while trying not to die in combat. (I just looked it up; apparently they’re combat control shortcuts? Huh, that would have been useful to know.) It wasn’t until my second time through that I realized there even WERE separate controls on screen during the motorcycle minigames; I had resorted to panicked button mashing to figure it out the first time through because there was no tutorial (you’re just dropped into the action) and, having ignored the small text for the previous hundred combats, I had no reason to look for on-screen instructions there. Not that it would have helped, since on many backgrounds the text in the upper left is really difficult to read (see below). It’s worth noting that I have better than 20/20 vision and played this game on a large TV screen and still had trouble reading some things; on a smaller TV, or for someone with less acute vision (like my sister, who is blind in one eye), I think even the basic menu controls would be difficult to see. While you can resize the font for subtitles, my cursory glance through the menu did not uncover an option to increase the size of the HUD.

Inter-fight menu mechanics. Specifically, the inability to save (or save loadout settings) between fights in a multi-part sequence. There are several back-to-back fights in which it is necessary to switch characters or change gear between bosses. The game treats them as one continuous fight, though it does allows you to access the equipment menu by holding square during key cutscenes. Which is good, if you only have one of a particular materia or accessory that you need to switch between characters, and in most cases when you die the game lets you restart just before your current fight instead of restarting the whole sequence -- also good, since some multi-stage bosses can easily take 20-30 minutes to beat, and if several of those are strung together in sequence, you’re in for a long play session to get past them. But since it’s treated as one fight, you can’t save between bosses (more than once, I had to leave my PS4 running in Rest Mode overnight and just hoped we didn’t have a power glitch), and if you happen to get killed and need to restart the fight, your loadouts reset. Which means if you’re, say, fighting the end boss on Hard difficulty and get killed in the first two minutes -- which happened to me a lot -- by the time you restart the fight, sit through the unskippable cutscene, access the menu and rearrange all the materia and accessories you need, you’re spending five or six minutes gearing up for two minutes of play, and then doing that over and over again every time you die. It gets really old.

The English dub script. *deep breath* Okay, look, I know I can be a bit elitist about translations, but I really do not like the English adaptation of this game. It makes Cloud come across as less socially-awkward and far more of a deliberate jerk, Aerith is mouthy and even swears (which is not accurate to her original character), and it downplays some of the symbolism that’s more obvious in the Japanese script. One quick example: When Aerith gives Cloud a flower, she says (in Japanese), “In the language of flowers, this means ‘reunion.’” It’s subbed/dubbed in English, “Lovers used to give these when they were reunited.” That’s a subtle difference, but since the concept of “reunion” is a freakin’ huge part of the FFVII plot, and since Sephiroth was on screen literally seconds before that line is delivered, my brain automatically went, “OMG REUNION!!!” while I’m guessing people listening in English only picked up on the romantic subtext. It’s a pretty minor thing, and of course translation is always a complex balancing act between literal meaning and local market understanding, but the English version just seemed to me to have a different vibe overall. (Unfortunately, the English subtitles are the same as the dub, so unless you can understand the Japanese audio you’re kind of stuck with that dialogue.)

[WARNING: SPOILERS BELOW THIS POINT]

- …And my #1 complaint about Final Fantasy VII: REMAKE is…

…it’s not actually a remake.

Sure, the game starts out the same way and covers a lot of the same events, but fundamentally, it’s a sequel, not a retelling. It’s evident from Cloud’s future-oriented visions throughout the game that something else is going on, and the ending MAKES NO SENSE if you don’t already know the story. Heck, even the rest of the game doesn’t really make sense if you don’t know the story -- Sephiroth’s presence is never explained; Zack isn’t even introduced, just shows up randomly at the end; Cloud’s flashbacks of Tifa and her dead father in Nibelheim are left as a complete mystery (and since she evidently remembers the burning of her town, judging by her dialogue outside Aerith’s house, why doesn’t she even react when Sephiroth shows up?).

The core elements of the plot – the Feelers (Whispers) preserving a specific fate; the three entities from the future (whose weapon types just happen to correspond to certain named characters) defending their timeline; the return of post-Advent Children Sephiroth (the only time we’ve seen him in human form with one black wing), who has inhabited the Lifestream since his death and promised that he would never truly disappear, who in the end appeals to Cloud directly for an alliance rather than attempting to control him, because he knows now that Cloud is strong enough to defy the Reunion instinct; the change in the outcome of story events in which Biggs (and, unconfirmed as to which timeline he’s actually in, but quite possibly Zack) now survives his intended death -- all point toward Sephiroth trying to manipulate destiny into an alternate outcome in which he is victorious, and using this naive version of Cloud to facilitate it. That means this game is taking place in an alternate or splinter universe, created at some point after the events of the original Final Fantasy VII, and possibly even after the events of Advent Children.

All of that is fine from an overall continuing-story perspective – it opens up a lot of interesting possibilities, like the fact that Aerith might survive now that Cloud has seen prescient flashes of her death (among other events), and there are opportunities for more story twists and changes from what players might expect. But touting this as a remake of the original game has the potential to confuse players who are new to the franchise. FFVII was groundbreaking back in 1997, and it defined JRPGs for an entire generation of Western gamers. But that was more than two decades ago, and a lot of current gamers weren’t even born then, so while they’ve probably heard of the classic game, they aren’t necessarily steeped in its lore. FFVII:R relies heavily on prior knowledge of the series to carry its twist ending, so it largely fails as a standalone game.

Also, speaking as a longtime fan of the franchise… I honestly found the ending rather lackluster. It was a twist, of sorts, but not the sort of shocking, mind-bending revelation that made the first game so iconic. Granted, it’s hard to follow an act like revealing that your protagonist’s entire identity is a lie, not to mention killing off one of your main characters a third of the way into the story! But when the surprise ending is just, Surprise! We’re going to change things up a bit this time around so you aren’t entirely sure what’s coming! Also, here’s a gratuitous Sephiroth fight because everyone expects that, even though it doesn’t serve the main story at all nor resolve any conflicts previously established within this game! it smacks of Different for the sake of Being Different, not for the sake of a really amazing storyline they’re hiding up their sleeve. It’s a bit of a let-down, and I find that I... just... don’t really care that much. Which, for someone who’s been a fan of the series for nearly a quarter of a century, means there’s a Big Freaking Problem somewhere. If you’re not keeping the attention of your die-hard fans, how do you hope to build a fanbase of players new to the franchise?

Given the pacing and story issues inherent in this game, I’m not convinced that the following game(s) in the franchise are going to be structured any better. Considering the amount of pure side-quest padding they did in Midgar, I have no idea how they’ll maintain that same tone on something the scale of the World Map portion of the original game, unless they just completely eliminate things like Fort Condor and the submarine and the spaceship side quests. I have a feeling the Gold Saucer is going to be reduced to a Jessie flashback, a Chocobo race (probably to win a key item), and a battle arena run like the coliseum in Wall Market in this game. If they include all the story elements and side characters from the original, this series is going to be a dozen games long.

Still, on the whole this game was enjoyable, and I’m glad I played it. It wasn’t as good as I’d hoped, but they haven’t completely killed off my interest, so I’ll probably continue with the series whenever the next game comes out. Though I’m not really sure if the higher-priced edition I pre-ordered was worth the extra money, so I may wait and see how the next game is shaping up before deciding which version to get...

But if they don’t give me a really pretty (playable) Vincent Valentine in the next installment, I may riot. I do have priorities.

#final fantasy vii #final fantasy vii: remake #ff7:r #final fantasy 7: remake #ff7 remake #video games #long post #review

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furornocturna · 6 years ago

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More Werecat AU

Because I have no restraint, and here I am sharing more of this. Now this is for the context of the story I plan to write for this idea. It still stands that anyone else who wants to use it and take their own creative liberties for the mythos is still free to do so. Feel free to also use my ideas below if you wish so long as you credit me. ANYWAYS

There are indeed other supernatural entities that exist out in the world. The focus will be on Werecats and their rivals, the more well known Werewolves, for the story

Werewolves = most powerful and most primal under full moons, weaker but most lucid under new moons

Werecats = strongest and most controlled under new moons, most primal and destructive under full moons; there is no abject “weakness” under any moon or night conditions as cats in this world are a bit more in-tuned with night activity than wolves are, but with the drawback of werecats being a greater disadvantage during the day than werewolves if the members can voluntarily control their transformations

The most sacred lunar phenomenon to Werecats is the Lunar Eclipse, also known as Harvest or Blood Moons from the crimson coloring. It is the one time a full moon grants a Werecat more power than a new moon, and it not only “supercharges” their abilities under its light for the duration but will also grant an overall “upgrade” going forth if the ritual is performed right. Conversely, solar eclipses have a similar supercharging effect on werewolves to no benefit of Werecats, which greatly detriment it instead (lunar eclipses have no beneficial effect on werewolves as well as greatly detriment their power), but no solid ability upgrade ritual is known as solar eclipses are rarer phenomenon to perform such

Werecat abilities include powerful fangs, heightened strength, speed, stamina, durability, dexterity, senses; in addition they also have heightened agility/flexibility, hunting skills, smell/sight/night vision/hearing, sharper claws, and longevity superior to that of werewolves; both have a partial accelerated healing factor, which is augmented by their saliva, and as werecats constantly groom themselves with their tongues, the saliva layers on their coats provide additional shielding/boosted healing effects

Werewolves vulnerable to wolfsbane, silver, the usual; Werecats can be mortally injured by gold (burning them akin to how silver is to werewolves) and electricity (which is why Joxter is wary of Hattifatteners and is both horrified and impressed by hearing about Snufkin’s encounters with them); while catnip is not fatal, it is an egregiously potent drug that causes intense highs, and if used recreationally, is to be done so in a safe, controlled environment and for at least one (capable) party to be sober to reign in any unruliness – valerian leaves/roots, silver vine/matatabi, and Tatarian honeysuckle wood will also produce such effects (Joxter can at times be very loose with this ‘rule’ on his own, but is very firm about safety when letting Snufkin try them because they can be addicting and while it would take an absurd amount, Werecats can still die from overdoses, especially young ones); mountain-ashes/Rowan trees are harmful/deadly to werewolves, but is symbolic and sacred to werecats, who as vagabonds in nature can utilize the “wayfarer/traveler’s tree” in a multitude of ways; Werecats are also particularly vulnerable to supernatural poisons/venoms, like the poisoned claws of Fennoscandian werewolves or basilisk venom

Full-fledged and fledgling Werecats by default have two additional feline transformations apart from their “humanoid” forms (in Joxter and Snufkin’s cases, they’re referred to as “mumrik forms”); these transformations are a domestic-sized cat and the “hulking ass cat beast”. Joxter’s forms have a rich, deep pure black coloring and icy blue eyes, his cat form the size of a small nightstand while his beast form is at least ten feet tall. As a fledgling, Snufkin’s are both considerably smaller. In fact, until he becomes a full-adult at 100, his cat form will be a spotted brown kitten and his beast form, while still much larger is still kitten-sized that is dwarfed by his father’s with slightly darker shades. Also while transformed, Snufkin’s brown eyes become a striking gold.

With magic and lunar eclipse rituals, Werecats can obtain other additional transformations that are separate or enhance the qualities of their default transformations. For example, being able to switch fur patterns/colorings or coat thickness, height, muscle and bone bulk for greater brute strength or speed, or have another transformed disguise if another is too recognizable/is being searched for. Joxter has obtained at least a dozen over the course of his lifetime.

Joxter is old. Like, pretty damn old. Like several centuries to maybe a millennium or two old (he sorta lost count after 600). Where Joxter is in his life, there isn’t much else that would invoke a transformation without him willing it outside of full moons, high emotional/adrenal responses, and a third-party magical influence (but even with that last one, Joxter’s developed a decent willpower resistance towards the majority of what he would encounter at his present stage) that his total experience hasn’t allowed him to overcome

Snufkin on the other hand, as a new fledgling, has a LOT more involuntary transformation triggers than he won’t have the control to prevent yet for some time. Alongside the aforementioned of what will cause forced full transformations in Joxter, Snufkin will be vulnerable to them via most nights were the moon is visible during any phase, and even during new moons when Werecat forms/powers are the most stable will not be able to avoid full-transformations at first. In addition, uncontrollable partial transformations are an issue both day and night during the waxing lunar cycles (though to a lesser extent, also waning if he’s emotionally high-strung during it), and whenever he slips deeply into more feline instinctive behaviors, which also are more prominent and hard to curb as a fledgling. Think how adolescents start producing a hella lot of hormones as they go through puberty.

Around the time of the fic, Snufkin over the course of a month leading up to his actual birthday (he doesn’t remember the real date and Moomin insisted on picking out a day for them to celebrate it, which turns out to only be a few days earlier than the correct date) starts having the partial transformations and heightened feline mannerisms (for the latter, he’s showcased those traits all his life, but they’ve been more subtle and inhibited prior to this point minus his “newborn kitten years” [age birth-6yo] that he doesn’t remember until after reuniting with Joxter). This latest birthday is when Snufkin becomes “of age” in Werecat terms (between his early to mid twenties), where his kittenhood ends and enters the fledgling or “adolescence” stage begins, starting with his Werecat transformations first emerge. So yeah, Snufkin ends up going through two puberties more or less.

Werecat ‘coming of age’ early adolescence is MESSY and DANGEROUS for anyone who doesn’t know how to train the new fledglings to use their newfound abilities. Joxter may not know much about how Snufkin has changed over the years, but by the scents young kiddo gives off around other people, Joxter can at least tell he has friendly relations with a lot of the valley denizens, and takes Snufkin because if he doesn’t isolate them from the others, there will be carnage and someone will get hurt. Joxter does not want his son to hurt those he cares about in his uncontrollable primal states or live with the guilt of learning he hurt someone when he was in unsound mind after regaining awareness. So he more or less ends up kidnapping him the eve of Snufkin’s birthday after discovering him while Joxter’s travels brought him to Moominvalley…and struggles to keep said-son-who-doesn’t-know-he’s-my-son quarantined somewhere secluded until the worst of the adjusting is over and Snufkin learns control

So yeah, that’s what I have so far. Hope you like!

#werecat joxter #werecat au #joxter #cat dad #snufkin #more ramblings

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tinycartridge · 6 years ago

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Approaching Infinity ⊟

[Guest writer Caroline Delbert brings us a fully unexpected article that manages to be both philosophical exploration and interview-based journalism, at the same time. I couldn’t be happier to share this piece! Find more from Caroline at her Twitter and Medium. -jc]

We live in a golden age of computing power. Our games are filled with giant procgen worlds and RNGs and thousands of ticking background variables. The math is surpassing human ability far faster than we can grasp, and we’ve, I think correctly, put it to work making the grass in Stardew Valley so fun to swoosh through with a sword. But the idea of infinity horrifies people more than almost anything else and remains as confusing and terrifying as ever. As our games get closer to endlessly detailed, I chose four designers who’ve worked on four of my favorite games of the last few years, all with totally different ways of using space, time, and more to give the feeling of an infinite playspace. I’ve also been spelunking the idea of infinity itself and why it makes us feel so uncomfortable and intrigued.

We Contain Multitudes

What is infinity? We aren’t born with an understanding of the idea of something that never ends. Psychology researcher Ruma Falk put together existing studies about infinity. “[C]hildren of ages 8-9 and on seem to understand that numbers do not end, but it takes quite a few more years to fully conceive, not only the infinity of numbers, but also the infinite difference between the set of numbers and any finite set.” You could spend your entire life counting out loud and get to 2 billion. But in calculus, which is all about approaching infinity, a billion is rounded down to zero. An average 2019 computer could count to a billion in about two seconds, depending on the code you wrote. That’s how tiny a billion still is. Falk calls the distance between our human billions and the idea of infinity an “abyssal gap.”

When I talked with Immortal Rogue developer Kyle Barrett about this project, he mentioned Jorge Luis Borges’s famous short story “The Library of Babel.” Borges imagined an infinite-seeming library of books filled with random combinations of letters and punctuation. He sets out 25 total characters and 410 pages. I averaged a few lines from David Foster Wallace’s primer on infinity, Everything and More, which had 57.5 characters per line. For just two lines of, say, 50 characters each, there are over six googol possible versions: that’s a 6 with 100 zeroes after it, for just two lines of a book of 410 pages. The largest math Excel let me do was for about four lines total, which became 3 with 300 zeroes after it.

Philosopher Daniel Dennett has spent decades writing about how humans think about problems and ideas. His 2013 book Intuition Pumps is filled with helpful analogies, including a spin on the Library of Babel. “Since it is estimated that there are only 10040 particles in the region of the universe we can observe, the Library of Babel is not remotely a physically possible object,” Dennett explained. But despite containing far more books than the possible volume of our entire region of space, that number of books is still a real number, not infinite! The takeaway from all this, and then I swear I’ll stop talking about math, is that nothing we can measure in real life is truly infinite. Infinity is a pure concept reserved for mathematicians and philosophers.

Playing with Time: Immortal Rogue

In Kyle Barrett’s 2019 mobile game Immortal Rogue, you begin in prehistory and fight your way through progressive eras in chunks of 100 years. But time is a flat circle, and eventually your progress is bombed back into preagricultural oblivion. The mechanics of Barrett’s game are fun and satisfying and I can’t recommend Immortal Rogue strongly enough, but the framework of endless time is what got my attention.

“It’s not really infinite,” Barrett explained. “It’s a matrix that loops every time you reach the end of it. There’s an x-axis that’s based on time, basically—it goes from agricultural to pre-industrial to the industrial era to the computational era and space age, so time based on human technological development, and if you get too far into the space era you’re gonna destroy the world and go back to the preagricultural era. Then there’s a y-axis that is based on authoritarian control in the world, so at the bottom you have anarchy, at the top you have fascism, and if you go too far into fascism you’ll get anarchy because people will rebel.”

I said I wouldn’t talk about math again, but Barrett brought it up this time. A matrix is just a grid. The Matrix is something else, but if you’ve ever done a “Sally has a blue hat and wasn’t born in March”-style logic puzzle, you’ve used a matrix. There’s also a proper math definition of a matrix and a whole field of operations we do to those matrices, collectively called abstract algebra.

Barrett’s matrix of time and authority determines the overall feel of the levels, but each one is procedurally generated after that. His day job is in mainstream game development, and he originally shopped the idea for Immortal Rogue as the system to power an AAA game. “You can imagine any AAA game with that kind of variety in environment would cost just too much money to make,” Barrett says. “It was a game concept that I had pitched to studios earlier as a sort of introduction piece—not necessarily to make the game, because I know that doesn’t happen, but as far as getting into the industry.”

The way Barrett combined his basic variables means Immortal Rogue does feel endless. My longest life so far is 800 years, and Barrett says a complete cycle in which you beat the game can take anywhere from 1,000 to 4,000 years. I’d love to tell you I believe I’ll beat the game at some point and see that full cycle. I’ll keep trying, at least.

Immortality and Endless Time

Would you want to live forever? This is one of the major philosophical questions that underpins western thought and especially the Christian form of the afterlife. Heaven and hell are each presented as an eternity, but again we run into Dr. Ruma Falk’s findings about how humans conceive of an infinite period of time. “One does not get closer to infinity by advancing the counting sequence because there is no way to approach infinity. Nowhere does the very big merge into the infinite.” If the lifetime of the planet Earth were condensed to one year, humans have lived for less than 30 minutes. We balk at the length of lives of record-setting elders who were born just a few years after the 19th century: imagine living that entire time and then living it again and again for literally forever. Our earthly understanding of time, and how our earthly brains process information, just isn’t compatible with thinking about living forever.

For many people, God or another higher power is the only way that infinity can make sense. In turn, a much longer afterlife helps to also make sense of how tiny and fleeting our earthly lives can feel. In the potentially infinite scale of time, our lives are the meager billions. They round down to zero, and it definitely feels that way sometimes. Falk cites 17th century mathematician Blaise Pascal, himself a late-in-life convert to Christianity and the trope namer of Pascal’s Wager. During Pascal’s lifetime, infinity was still a scandalous idea and a wedge issue for mathematicians and theologians. “When I consider the short duration of my life, swallowed up in an eternity before and after, the little space I fill engulfed in the infinite immensity of spaces whereof I know nothing, and which know nothing of me, I am terrified,” Pascal wrote. “The eternal silence of these infinite spaces frightens me.”

In her memoir Living with a Wild God, journalist Barbara Ehrenreich describes grappling with the same problems as an isolated teenager in the 1950s. “I didn’t think much about the future when I was a child—who does?” she writes. “But to the extent that I did imagine a future, it held an ever-widening range for my explorations—more hills and valleys, shorelines and dunes. […] The idea that there might be a limit to my explorations, a natural cutoff in the form of death, was slow to dawn on me.”

Randomizing Infinity: Alphabear & Alphabear 2

Game designer Pat Kemp worked on both 2015’s Alphabear and 2018’s Alphabear 2 at Spry Fox. Both have the same core word game, a fresh take on the classic Bookworm where you have to spell words from rapidly deteriorating letter tiles. Unlike in Scrabble and its knockoffs, rare letters don’t have higher point values. And into the mix you throw dozens of different collectible bears, each with a total score multiplier and a specific boost like a bonus for 5-letter words or preventing all Xs and Zs. Both games are free to play with in-app purchases. In Alphabear 2, Spry Fox took the mechanic of the first game and added a linear story, multiple difficulty levels, and a host of other features. Playing the game feels like getting an upgrade at the rental-car place and realizing you have heated side mirrors. I didn’t ask for them, but I love them and now I need them. But why did the second Alphabear get so much bigger?

“I hope this answer isn’t disappointing to you, but the first Alphabear, although it’s a lovely game we’re very proud of and was critically well received and we got lots of features and good reviews, wasn’t much of a financial success for us,” Kemp told me. So Spry Fox went into development of Alphabear 2 with goals to convert more users into purchasers and more purchasers into multiple-purchasers. “The decision-making around making it into a world, and a linear campaign, and building out all the different features […] was creating this rich, interwoven progression system that players can feel invested in and value. Basically how you monetize a free-to-play game is, people play your game for weeks and months and come to really value things in the game.”

In the first Alphabear, each chapter had a set of collectible bears that quickly eclipsed the power of the previous chapter’s bears. “And you would almost never go back and use bears from earlier chapters, just because of the way it was set up,” Kemp says. “So you had this weird ‘disposable’ feel to bears. It was cool when you unlocked them, but the game was telling you, ‘You’re done with that bear, here’s some new bears.’” Now, the bears accumulate over time as one big group, and you can continue to level them up as high as you want, but your progress is paced by how quickly you regenerate in-game energy in the form of honey.

After a certain chapter in the Normal campaign, players can begin again on Hard mode, and then after a later chapter, they can begin Master mode. I don’t know the full length of the basic campaign, but I’m probably 100 levels in and somewhere in chapter 9 on Normal mode. The scope of the whole thing including all three difficulties is staggering, and the game had been out for just seven months when I talked with Kemp. “Have people finished the amount of content you’ve made so far?” I asked. “We know of at least one person who’s completed the master-level campaign,” he said. When I said I was surprised, Kemp said, “Every game developer I know has this experience where they’re surprised by some small portion of their fanbase that is just so into it that it defies all expectations.”

In this case, the fastest player ended up lapping the development team. “It was so far off that we had planned to build whatever happened when you did that later on,” Kemp said. “They sent us a picture of their screen of the campaign board, and all it was was just a black screen, because it was trying to load the next campaign board, which doesn’t exist. We were like, ‘Oh my god, we didn’t even put anything in there, and it looks kinda like you’re in purgatory or something.’” Spry Fox plans to replace the Sopranos non-ending.

Purgatory or Something

Earlier this year, I talked with my friend Tristan about his existential dread. He’s pretty fresh out of college and still figuring it all out. “I was going to write about games,” he said, “and as I entered my last year or so, I was going to write about movies. I don’t know if I’m still going to do that, so that’s a large part of the dread. Not knowing what I was actually doing.” Humans can’t conceive of infinity using numbers, but we can use our pessimistic imaginations. Our set of plausible options is no match for what we dream or panic about.

Christian existentialist Søren Kierkegaard wrote about dread and fear of the unknown in his 1844 book The Concept of Anxiety, where the Danish word angest could be translated as “anxiety” or “dread”. Using the story of Adam and Eve, Kierkegaard posits that anxiety dates back to a fraction of a second after original sin. “The terror here is simply anxiety,” Kierkegaard writes, “since Adam has not understood what was said.” In other words, like a pet in trouble, Adam didn’t know what was being told to him, but he understood it was bad from the tone of voice.

“Anxiety can be compared with dizziness,” Kierkegaard goes on. “He whose eye happens to look into the yawning abyss becomes dizzy. But what is the reason? It is just as much his own eye as the abyss, for suppose he had not looked down.” Those who think about Dr. Ruma Falk’s “abyssal gap” between the finite and infinity may be dizzy forever with the uncertainty of what they’re pondering. “A persistent pursuit of the infinite may bring the individual to a blind alley, both emotionally and intellectually,” Falk writes. His analogy isn’t an accident. A blind alley is like another famous philosophical idea, Schrodinger’s cat: without shining a light, we can never know if the alley is empty or full, terrible or fine. And we can never shine that light.

Infinite Reality: Telling Lies & Her Story

At 2018’s E3 conference, Sam Barlow appeared on a panel about the future of narrative. “People will write to me and say, ‘I haven’t played a game in twenty years, and I played Her Story,’” Barlow said. “Or ‘My daughter installed it on my iPhone for me.’” It makes sense: Her Story’s core mechanic is as simple as a YouTube search, and the game is set in 1994, with a Windows 3.1 aesthetic to match. The game also fits with Barlow’s career arc. His 1999 XYZZY-winning interactive fiction Aisle gives players just one chance to type any command before reaching one of the game’s dozens of endings, placing players in a finite setting that even feels claustrophobic, but setting before them seemingly limitless possibilities. He was a natural fit to lead two Silent Hill games after that, and he views Her Story as the surprisingly successful “one chance” he had to make a successful indie game.

“This is something I’ve pitched so many times to publishers, with the rationale that in every other medium, crime fiction, police procedurals, murder mysteries, detective stories—if you have a TV channel and a film company, you’re gonna have a few stories in that world because it consistently works,” Barlow told me. “Games publishers were never into the idea. They felt like the things that sold in video games were power fantasies and superhero stories.” Barlow chose to home in on the interrogation room both as a convenient single setting and the place where his interest in crime stories was naturally drawn. “I wasn’t trying to do the police chases and locations and all those elements which would be expensive, but also, I was zooming in on the dialogue and the interactions and the human side of it,” he said, citing the groundbreaking ‘90s show Homicide: Life on the Street and its Emmy-winning bottle episode “Three Men and Adena.”

“I did a ton of research, reading the interrogation manuals for detectives, academic studies and pieces about the psychology of the interview room, a ton of crime books, movies with notable interrogation scenes and police interviews. This was slightly ahead of the true crime wave that we’ve had since, so I was discovering there’s so much footage online of real-life interviews and interrogations that has been released or leaked,” Barlow told me. “One day, as these things do, I woke up and went for a walk, and my subconscious—which is far cleverer than I am—put all the pieces and all the research I’d been doing together. [T]he detective’s sat at a computer, and there’s always the twist where they stay up all night sat at the computer and then they find that one little bit of information or the one piece of evidence that will break the case.”

Her Story is made of hundreds of discrete video clips, divided into main character Hannah Smith’s answers to an unseen detective’s questions. For his upcoming game Telling Lies, Barlow brought the setting forward into the Skype era and is introducing new mechanical twists to match. “To some extent Her Story was about giving you the writer’s perspective into a story, and here it’s giving you some of that editing room insight, where you spend so much time with the footage, choosing whether to cut out on this frame or that frame,” Barlow said. Instead of separate clips, Telling Lies gives you long, uncut videos that show both sides of a Skype call that you can scrub through—meaning drag the progress bar searching for highlights. “Not only are you coming at these stories in a nonlinear way, but also within a given scene you might end up watching it backwards.”

The text side of searching has also evolved. Because the videos aren’t separated into clips, searching for a specific word drops you into a video at that exact place. “Those conversations are split into two parts, so you can only see one side of a conversation at a time. You have the full seven minutes in front of you and you get dropped in to the point where someone says the word [or] phrase you've searched for,” Barlow said. “So early on, if you search for the word ‘love,’ you get dropped into a moment when Kerry [Bishé’s] character says, ‘Love you!’ and hangs up.”

Including Her Story and now Telling Lies in a group of very big-feeling games runs into a funny obstacle, because they’re both made of a very finite number of minutes of video. Her Story even has Steam achievements linked with what percentage of the total clips you’ve discovered and watched. “Something like 20% of people 100%-ed it. For most games you’re lucky if 20% of people finish the game. It had a display that showed you all the clips you hadn’t seen—that was an incentive and somewhat maddening if you could see there were clips you hadn’t seen. My approach with Telling Lies was to make it so big and huge and messy and colorful that it would feel less like something you could 100%, because I really wanted people to lose themselves in just the joy of exploring these characters’ lives.”

Just Out of Reach

Even with the incentive to find all the clips, in Her Story I found myself revisiting clips I’d already seen as I tried to find new keywords or listen for clues, and I maxed out just past the 75% achievement. The rest eluded me. With Telling Lies, this one kind of mystery will be removed, and that’s a blow against infinitude. In the perfect world of pure mathematics, having one more item just out of reach is one of the fundamental ways we can make proofs of infinite ideas. This structured approach also helps us turn the overwhelming idea of infinity into, at least right now, the one step in front of us. It’s infinity in the form of a child asking a parent for just five more minutes of sleep, then asking for five more, for eternity.

In Daniel Dennett’s book Intuition Pumps he uses this idea as an illustration for why infinity just can’t exist in real life. If every animal evolved from another animal, then there are infinity animals stretching back into infinity long ago, always with one preceding. We know that’s just not true. On the other hand, a study of how children process infinity showed that knowing the names of some large numbers made children think those were the largest numbers. Learning named ideas pushed out the very idea of having unnamed ideas, which makes sense given how large and robust our language brains are. Being strong, clear communicators has shaped our brains and the societies we form as humans. If we all became existentially troubled abstraction peddlers, I don’t think that would necessarily be a step forward.

To consider infinity with a finite mind is a paradox, and as Dr. Ruma Falk explains, “Mathematicians and philosophers are often no less addicted to resolving these paradoxes than some adolescents are to experiencing the limits of existence.” Like the Library of Babel, an infinite world is made mostly of incoherent and random nonsense, compared with a human mind that can only remember its own history in cohesive story form. My friend Martin has a rich life and a beautiful family, and he told me, “My personal greatest fear is probably losing my mind. The idea of being unable to make sense of the world is horrifying.” In fact, studies show that we’re more able to tune out conversations we can overhear both sides of than those where we can hear just one side—this is how deep our need for clear narratives runs, and it’s why we’re not made for an infinite world.

Infinite Liminal: Sunless Sea & Cultist Simulator

In February of 2019, Alexis Kennedy addressed something that had grown beyond his reach, and his post was the catalyst for what eventually became this essay. On the Weather Factory blog, where the developer typically shares updates to 2018’s Cultist Simulator, Kennedy described an alternate reality game (ARG) called Enigma that he’s built into his work—not just Cultist Simulator but 2015’s Sunless Sea and even 2009’s Fallen London. In the Enigma post, he sums up the appeal this mystery seems to have to fans: “If you’re working through things and looking for meaning in your life, then all the hidden meanings in this project may look like they add up to something more important than they actually do.”

I love Kennedy’s work—if we’re friends, you’ve probably heard me talk about it—and while I’ve never mistaken him for a guru, his games have affected and stayed with me more than anything else I’ve ever played. He’s gifted with language, stuffing his work with plausible and evocative neologisms or uncommon historical terms. But his more powerful gift lies in what he chooses to reveal and how long you must wait for it. I’ve thought often of something my friend Diana said nearly twenty years ago, about traveling with other people and seeing their luggage: “They wonder what I’m taking, but I wonder what they’re leaving behind.” I constantly wonder what Alexis Kennedy is leaving behind.

“Gamers tend to be—to borrow a phrase of Mike Laidlaw's—more like dogs than cats in the way they consume content. If the core loop is even moderately compelling, they'll gorge on content and rush through it,” Kennedy told me via email. “As soon as players are doing that, they'll skim text, and if they're going to skim text, text had better not be your A feature. I constantly skim quest text in games, and I'm a narrative junkie. So pacing is a way of saying: hold on, appreciate this, take your time with it.” In both Fallen London and Sunless Sea, one variable shuffles what day it is, so you receive different flavor text or events even when you’re repeating actions or storylines. “I don't think I ever quite recovered from the initial terror, back in 2009, of seeing players consume Fallen London content literally ten times as fast as I expected,” Kennedy says.

Like Sam Barlow, Kennedy reached for inspiration outside of what’s traditionally in the purview of a video game. I asked how he chooses end goals in games with such wide-open mechanics—Cultist Simulator is even more open than Sunless Sea in some ways. “I come at those stopping points from two directions. One is 'what sort of emotions and experiences are we aiming for?' The other is 'what sort of activities would a character in a novel, not just in a game, do in this setting?' So in Sunless Sea, we want people to be thinking about loneliness and survival and discovery, and we also want people to be aiming for the kind of things they'd aim for in Moby-Dick or Voyage of the Dawn Treader or HMS Surprise.” The only ending I’ve reached in Sunless Sea is the most basic one, where you amass some money and retire. In Cultist Simulator, I’ve managed to live a normal working life and then retire, which is considered a minor victory. And still, the game wonders what I’m taking, while I wonder what it’s leaving behind.

Pure Abstraction

“The study of infinity stretches human abstract thinking to some of its loftiest possibilities,” Dr. Ruma Falk writes. “By definition, it calls for modes of reasoning that transcend concrete representation.” What I’ve found most interesting as I researched this piece and talked with these gifted game designers is how thoughtfully they’d constructed gameplay loops that continue to feel fresh and challenging. The games themselves couldn’t be more different in terms of genre or lack thereof, revenue models, or mechanics, but all feel large and immersive inside to an extent that I instinctively ignored whatever seams I might end up seeing.

I asked each designer to share a game that felt infinite to them as players. Sam Barlow answered the question before I even asked it, though. He described wanting Telling Lies to feel like a huge place to explore. “My only go-to reference, which is somewhat ambitious, is the way I felt when I was playing Zelda: Breath of the Wild and the way that Nintendo made me feel, where I could just go off and explore in any direction and I could let my curiosity guide me and I would always enjoy myself. I would always find something interesting.” He called this kind of freedom a form of magic. “To some extent, Her Story was me trying to get some of the magic and—again, this wasn’t a conscious thing—some of the magic of the old text parser games.”

Pat Kemp also chose Breath of the Wild. “The world feels huge and dense in a kind of unusual way even amongst all the other open-world AAA experiences that are out there. There’s this big mountain and you climb up it, and on the way up you encounter two or three little unique-feeling things, and you make your way down and encounter a bunch of other little things, and they’re all handmade little surprises. It feels like the world is just brimming with delightful little nuggets of story or interesting challenges or encounters. It’s really a remarkable achievement and it’s also one of those things where, as a game developer, I can recognize what a monumental task it must have been to create that world,” Kemp said. “Every inch of it feels handcrafted by someone who cares about that itch, which is just incredibly daunting. It must have been so expensive to do.”

Alexis Kennedy chose Elite: Dangerous, and I enjoyed how his answer mirrored how I feel about his games, where some amount of suggestion makes it easy and fun to project the rest with your imagination. “I put a hundred-plus hours into Elite: Dangerous because I so enjoyed the sense of jumping through galactic-size simulated space. I knew perfectly well that the procgen systems were largely identical in all meaningful ways, I knew the space between star systems isn't simulated and you're just jumping between skyboxed instances, but I've spent 47 years learning how space works IRL and I still carry over those assumptions if the sense of resource cost lets me. I need to feel like I'm working to cross the space and have something that will run out or need balancing.”

Kyle Barrett pointed out that, infamously now, No Man’s Sky sold itself as an infinite game. “The game definitely feels infinite. It also has the effect of what infinity would feel like, which is empty after a while. It teaches people that lesson,” Barrett says. It brought back to mind something he told me before about deciding how much to procedurally generate within Immortal Rogue: “If it’s pure random, I think it normally fails. That’s something designers find pretty quick. So it’s like, what’s the right amount of random and what’s the skeleton that can make the random meaningful?” He mentioned Dwarf Fortress as a game with infinite-feeling possibilities, and Minecraft as something that marries the two. “It feels infinite in scope and the amount of possibility feels infinite, which is why it’s probably one of the best games ever,” he said.

“Anxiety is the dizziness of freedom,” Kierkegaard wrote. “Freedom now looks down into its own possibility and then grabs hold of finiteness to support itself.” The games we love might feel infinite, but we only hang around in them long enough to realize this because of the hard work of building structures and feedback loops that make games fun to play. We study infinite math from the security of offices with comfortable temperatures and lighting. As Alexis Kennedy put it, “So it is a design choice, but there's a reason I made that one design choice rather than a million others.”

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#caroline delbert #original #infinity #sunless sea #her story #telling lies #cultist simulator #sam barlow #alexis kennedy #immortal rogue

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iveonlyeverseenliketwoanimes · 6 years ago

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Manga Spoilers ahead :)

So when the new chapters came out I, like many others, was a little annoyed at this whole concept of Deku magically having a bunch of new quirks. I understand that it's been established from the beginning that One For All works as this whole ‘passing on of power’ - but I always understood it as more of an energy than actual individual quirks (and the content given thus far seemed to support this). That said now that is turning out to be the latter, it isn’t something that's caught me off-guard and it very much does make sense and I don’t think it’s ‘Lazy writing’ on Hori’s part, it just hasn’t been explained up until now and if we had learnt how One For All worked all in one single episode at the start of the series I think it wouldn't be as fun of a journey.

One of my main concerns with what's happening is this whole idea of Deku becoming some all-powerful God that no-one can beat, because, lets face it, as powerful as characters like Bakugou and Todoroki are, i don’t think even they would be able to compare to a guy that has a combined total of like 7 quirks, all of which have been cultivated into one massive super-quick that has been held by the former number 1 Pro Hero, so is clearly very powerful.

So that got me thinking. Why would this happen? Why would a show, that up until now, has been very good with balancing the power levels of its quirks suddenly do a full 180 and just be like ‘Oh yes lil broccoli boi and his rabbit costume can now become God and just breathe in the general direction of his opponents in order to win’?

So, I have a couple points I’d just like to discuss. Feel free to add on anything or challenge my views, im just doing this because im bored and trying to rationalise the decisions in a show made for teenage boys.

So first of i think some people are being a lil bit dramatic about this current arc, sure it’s not perfect and I too wish that some things had played out differently, but at the end of the day it’s not my show/manga and tbh if the guy who made me fall in love with this show to begin with decides he wants to take it in a new direction then let him, he has every right to do what he wants regardless of what i, or anyone else, think and i put my trust in his hands and hope that he can pull this off. Furthermore, are we forgetting that Todoroki exists? The guy has not one, but 2, of the most powerful quirks i think i person could get. His dad is the current number 1 hero and HALF of Todorki’s power is the same as his (sure his maybe works a lil different but my statement stands). Now Ice and Fire, in my opinion, are two very powerful quirks, i mean at like 15/16 the kid took down a dozen or so villans and nearly stopped Nomu (With half his power and with no real training from UA). We compare that to what Deku has and i still think Todoroki has a fighting chance in a match against Deku because these quirks Deku is getting aint all that to be honest, some people are acting like Deku now has; super strength, super speed, telekinesis, can see into the future, mind control, laser eyes, the ability to fully heal on the spot etc. spoiler: He doesn’t. He’s getting some pretty average quirks that will still probably make him top of the class, but not unbeatable. I think some of you are a lil dramatic, and hey i get it, i said at the start i was too, so i feel ya. So, i guess my first point is that some of us need to calm down and maybe just wait until we get more details on the whole situation before we get out our pitchforks and start burning down the fandom over a couple chapters that haven't been fully explored yet.

My second point that actually has more to do with the plot and less about fandom drama is going back to Bakugou and Todoroki, so my initial thought when everything was happening was “ Bakugou and Todoroki are the other strong members of the class and Deku is now way more powerful than them, how will they ever beat him?” but now actually thinking about it, what does that have to do with anything? Like sure the show is centred around the whole school system and the magical friendships we’re making along the way, but like, Deku’s end goal here isn't to send Todoroki and Bakugou to their graves, they’re just class rivals, and while they do fight, it’ s not to actually kill each other - its to train. Now i’m just going to make a big ol’ assumption here based on basic human nature, but when you train with someone vs when you are actually fighting a villain in a life and death scenario, i don't think you’re going to be fighting at the same effort level. Todoroki vs Deku and Bakugou vs Todoroki were great fights (or at least they were in my opinion) but you compare them to the UA kids vs Stain and you have two very different circumstances and the fights we’re very different for obvious reasons. One was to win a silly little medal and bragging rights. One was to save a friend from literally being murdered by some Teenage Mutant Ninja Turtle lookin’ dude with no nose. I don’t really think Deku’s new powers will affect the class stuff too much, it’s been established that both Todoroki and Bakugo are more powerful and Deku already and the three of them will never go all out vs each other anyway. So basically my point here is that Bakugou and Todoroki aren’t Deku’s endgame - they’re Deku’s rivals and they’ll be around the whole time, but they’re not Deku’s Villian. So this idea that Deku is now the Number 1 is the clas, while true, really doesn’t matter because Deku is still... Deku and he wants to save people more than he wants to kill them or prove he is the best.

Now children, who is Deku’s Villian? any guesses? Oh yeah, it’s my boy Shiggy (AKA Tomura Shigaraki, AKA Tenko Shimura, AKA Crusty, AKA Get this man some lip balm). Now then. So we have our lil Deku, a young boy of just 16 who has been blessed with 300 new magical quirks (well it's more like 6/7 but that's beside the point here). But who else do we know that probably does actually maybe, kinda, definitely, literally, but also i don't really know, but i think, DOES HAVE 300 QUIRKS?!? It’s none other than Shigaraki’s Master, Mr suit, tie and no face, All For One. Now in one of the recent episodes of the Anime, All Might questions why All For One wants/needs a successor, to which he gives a lil giggle, chats some shit and basic says he wants someone to pass on his legacy to, in the same way that All Might has with Deku. Now I couldn’ t find this exact conversation in the Manga so it might be that the Anime went a lil off script here for drama and whatnot, but when i heard this i was convinced that this meant All For One is going to somehow transfer his quirk into Shigaraki (or maybe take over Shigarakis body or some other nasty stuff - in this world anything is possible), this is also kinda supported by All For One giving a lil giggle to the concept of him being ‘ locked up for the rest of his days’ - the guy clearly thinks he is going to get out and i highly doubt that his current state will allow for him the fight Deku, i certainly do not want to see the lil green troll doll fight a crippled elderly man, but i would like to see him fight a handsome, young, slightly anti-social, gamer nerd.

So we make it to the end of my lil tale, Deku needs to have all these quirks because his Endgame is Shigaraki and Shigaraki might also be getting a power upgrade in the future and it makes sense, as i don't think some green lightning sparks will defeat some grand-evil mastermind with the powers of all that's evil in this world.... but some black beams that can wrap around stuff might...?

Anyways, i wrote this over the span of two hours, its midnight and i did minimal research into this theory... BUt HEY ITS JUST A THEORY! A GAME ANIME THEORY! And im probably wrong about all of it and also im so sorry for all the sarcastic comments throughout this, i couldn’t contain myself. Im now going to sleep for the next 10 hours because this stressed me out :)

If you’d like to see more of my rambles then heres one on Hori’s female characters

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vagabondanon · 6 years ago

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For posterity; Grand Summoners X KLK Collaboration Limited Time Side Story

Spoilers ahead for Kill La Kill itself, the Side story in GS, and shockingly Kill La Kill: If. An overview of a story only available for a limited time.

It may be surprising to many, if not practically all fans of the show, that Kill la Kill: if was not the first video game story to star a certain pair of scissor crossed sisters (that I might care too much about and will continue to obsess over any and all content for, which led me to downloading a gacha game and grinding for days to level them and their equipment for no other reason than it was them.), and a handful of their closest compatriots/equipment options. Kill La Kill was featured in a (relatively) short crossover story in Good Smile’s mobile game “Grand Summoners”. In it you could (eventually when the event was rerun and all content was put out on the NA version) spend Gems/”alchemy stones” to “summon” Ryuko, Satsuki, and Mako as units. Senketsu, Junketsu, Guts, Mako’s two star fight club uniform, Mako’s brass knuckle, Ryuko’s scissor blade, Bakuzan, Mako’s fight club baseball bat, and the completed Rending Scissors (titled “The Snippity Snips” for some as yet unknown, but probably awful, reasons) as support “Equips” that can be carried by any unit with compatible sized/typed slots. Sukuyo Mankanshoku’s croquettes also featured as a consumable item that dropped as mission loot for minor stat buffs if consumed by your four unit squad before any mission. (Equipment refresh 2% faster, base skill refresh 2% faster).

While the stats themselves are interesting as they provide direct numerical valuation of everything listed above in terms of what they can do Offensively, Defensively, etc the story itself is the focus of this post. Because it turns out that out of everybody that knew about it nobody else cared enough to preserve it in whole. (And as I have learned from experience, if you like something save it. Before you wake up one morning and find 1/3 of it has been deleted off the face of the earth) And it could only be accessed for a limited time before it was removed, and again basically nobody seems to either know or care that it actually had more than just pixelated cameos at all. (KLK game marketing tho, for real. Twice now.)

So I present a record for the Library, Grand summoners X KLK, a “too long, I can’t read it anymore anyway, so tell me what happened”; I got you.

(”Stickers” were given for log in streaks that you can post as the only form of communication in multiplayer modes/lobbys.)

The story opens with two of the GS main characters, Rayas and his possible love interest(?, that is at times vague) Mira, out hunting a monster that purportedly had a vitality so high it was unkillable. Upon finally finding the thing the monster hunters as a group had corralled into a forest they are interrupted by a flash of white light. That drops Ryuko, Satsuki, and Mako in full combat readiness between them and the monster.

(Lower right stickers are Rayas and Mira. Our characters on this wild ride.)

Confusion ensues all around.

The monster runs off to escape, but not before Senketsu (and Satsuki somehow) could "feel” the monster was empowered by Life Fibers. Ryuko blames Satsuki and becomes suspicious of her involvement because of their presence there. (Ryuko constantly tries to pick up the fight they, per Mako, had been having before they got dragged in. What fight? No idea. Fight club Mako is there, but the post fight club Ryuko and Satsuki are not. Except Ryuko can be upgraded to full Kisaragi. How? No idea.) Satsuki refutes being responsible. She also talks down to everyone. (For reasons somewhat unknown.) In KLK fashion the conversations that follow dip into the absurd. Satsuki's text font is so large at times her lines broke the speech box (though this seems to have been fixed in the cutscenes that can be downloaded today as record provided for beating it while the event was on), before going off in search of answers/on the hunt. Ryuko insults the kinda gary-stu mc by calling him “a geezer” (He claims to only be 25 in shocked response), demands he not gawk at her by minding his own business, and ran off after Satsuki. Mako follows Ryuko to keep from being left behind.

Leaving the GS MCs to give confused ellipses laden speech not sure what just happened, and this continues throughout the story.

(Interesting line from them though, the girls officially have 0 magic in full Kamui. So life fibers confirmed as entirely nature/science/organic based/origin? If this story has any weight.)

Also apparently Satsuki is so in tune with/knowledgeable of Fibers she can sense them. Or maybe Junketsu could. It isn’t specified how Satsuki is picking up what Senketsu is without being able to hear him. The “Life Fiber resonance” as it is called guides them either way. The chase leads deep into a forest/jungle full of dense vegetation (which in the missions slows them down leading to loads of fights against mobs of fiber altered orcs, monsters, and human bandits that get stronger the further they go. All controlled by life fibers.)

Ryuko doesn't know what the word vegetation means.

Mako took a nap as they waited for the GS MCs to catch up so they could get some answers as to where they were, and what they could be facing, after Satsuki points out they are not on Earth.

Between remarks during the missions themselves and in the cutscenes the cast attempts to figure what the Fibers are doing when they link up again. They figure life fibers can't break space or time (when weak, or not an OLF, as we learn in KLK: if) so no teleporting or time travel without magic at that time. So chase is deemed possible, but “so long as a single cell of a randomly infused organism exists the whole can regenerate” leading to more grueling fights the deeper they go toward the “source”. Over the same missions Ryuko butts heads with Mira, pointing to a dislike of tsunderes, as she hates when people are not upfront with her. Cast notes that they have similar voices as they argue eventually, but over time they find common ground to drop hostilities after the discussion.

When they reach the big monster again the GS MCs offer to fight it first, they are obliged. Ryuko actually wants to fight Kaiju though to the point she is actively looking forward to fighting giant monsters. Mako from the beginning thinks “Monster Land” is a theme park as she roots everyone on (she is a support character with buffs/healing equipment). Satsuki wishes to see how “magic” works, and if its effective. During the missions leading up to and including the boss fight Ryuko is confronted on if she would do “what it takes” as things ramp up in seriousness, to which she confirms that she has no issues killing targets to win if necessary. As you go through missions which involve mowing humanoids down by the dozen.

(Did not expect that, but given her life it's reasonable to expect that no Kiryuins have truly clean hands. I don’t suspect she has actually killed anyone before. Though that might not be for lack of trying, or simply lack of caring for opponents after any particularly nasty beat downs that may or may not have been shown to us when she reached high school in flashback.)

The first main boss (of two) is a giant quadrupedal demon like monster (”Betelgeuse” model in game colored differently) with spines on its body, altered seemingly loosely based on Senketsu. They share Yellow Orange “eyes”, some shapes, majority body coloration, and it possesses red clawed feet/hands/spines. Guarded by three dire wolves. (battle oddly enough took place in a desert canyon map, not forest as the cutscenes show they should have been in. Probably just a copy paste of the boss's regular arena.)

Once it is weakened/dropped Ryuko uses Sen'i Sōshitsu, but Senketsu fails to absorb the life fibers in it. The cast notes they see strings beyond the edge of the screen (which we can’t) and corpse though, which (likely) led from it to the true final boss that appears from there shortly afterword.

The final boss was a giant green bipedal monster with a vertical mouth that splits its face, which is based on a bright red boss in the main story (Beta-3), which was artificially created by one of the in game story factions through magi-tech. So one of those surviving living war machines likely got picked by Life fibers as a host in this new world they found themselves. It was powered by “Magically enhanced Life fibers” of some sort. (The battle itself was particularly difficult because the character's “top” ability, “Arts”, are powered by a substance called “Battle Ether” that is generated while in combat by using base moves. In this battle there was a substantial decrees in Battle ether production, likely trying to mimic the monster absorbing all free energy around it. Both Bio, or magically.)

This was also another boss fight that took place in an arena that shouldn't be there as it was inside a lab like structure full of green circuit looking lines over all the surfaces. Again likely because that was the “original” boss's arena. Once it is defeated it drops to the forest floor and reverts into a pile of fibers like the OLF in the show when its core got cut, just red instead of orange.

Mira and Ryuko have a moment ribbing “Ms. President”. Rayas just wants to know what is going on. (He won’t really understand it all.)

Satsuki can somehow read/anticipate people's wills, and life fibers exhibit a will through “vibrations in their strings” (Banshi vibrate? Wut.). She reads the vibrations by stabbing her sword down into the mass and holding the hilt.

Satsuki proclaims the life fibers were made to “fix seams” and somehow activates the monster's magic-infused life-fiber corpse to repair a hole in space and time itself. The monster was figured to be what likely dragged them all there in the first place through that hole to provide fibers from their Kamui it wanted. The hole in reality is propped open until they all passed through back to their own world where it is fixed permanently. After which the GS characters proclaim them immensely brave for literally running into a hole in reality without any hesitation.

Thus ended the Side Story.

Not sure who who wrote the script so its hard to tell how much of their given words are “true to cannon”. But it was credited as involving Nakashima who was directly on hand to make the first long explanation promo video on the JP YT channel. Who honestly knows at this point. But time wise it must have been made during production of KLK: if, which leads back to some very interesting consistent points.

Per KLK if: Life Fibers can in fact fuck with space, time, and reality itself. Though this is a power Satsuki was unaware of, (consistent with GS side story) even if she was the catalyst for initiating it in IF’s case through Junketsu's link to the OLF. Junketsu being Ragyo’s original “final” Kamui this was likely a function Ragyo prepared for her life after Earth. It would explain why she was so willing to give up the planet and everyone on it instead of seeking to rule it at least, she could literally just create her own reality and be its true god. Per how KLK: if ends by dumping “existences/minds” back to true reality at different times through the flashes of white light, with only the faintest of memories in the strongest of minds involved, they also very likely explained how this GS story can both feature fight club Mako and not change official “canon”. Or at least I thought it couldn't, before If once again set down that Life Fibers are the most powerful force in existence basically making up the “fabric of reality” itself on a whim.

Is the GS story retroactively canon if IF is canon?

Did Nakashima use the GS story as a test bed for KLK:IF ideas he had in the works?

Will we see more reality hopping for even more spin off stories?

Can these two finally have a happy reality as a couple?

:Shrug:

If you want to see all almost 30 minutes of prerendered cutscenes that remains for yourself in all their limited animation, and honestly somewhat questionably translated/proofread, glory I recorded them and threw that here: https://youtu.be/s3FneXNL8eQ

(Apologies for any sounds on top of the game’s already exceptionally loud music. I have never recorded from android before, I have no idea how to mute mics in the Google games app thing, and it picked up some air con being funky near the middle for a sec.)

#kill la kill #grand summoners #kill la kill Materials archiving #Nobody played this nobody cares why write it up #Because I can #For the lore

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shyguycity · 6 years ago

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Goty 2019

Hey. It’s game of the year 2019 baby. By now you know the kinda justice we seek on these streets, so no long-winded introductions, except to remind you that these aren’t reviews, and honorable mentions have been moved down to the bottom this year because we're evolving.

12. Super Kirby Clash (Switch) - A free to play online Kirby spinoff centered around combat that features microtransactions sounds like an awful idea on paper, and yet it’s somehow my most played multiplayer game of 2019. I won’t try and present the game as anything more than what it is, which is basically a very (very very very!) simplified, arcade-y Monster Hunter game with a very (very very very very!) cute aesthetic. But as a recent convert to Monster Hunter and a longtime Kirby lobbyist, it turns out that that’s all I need to play a game for nearly 100 hours. The four classes all have varied abilities, gameplay and roles to play, and there’s nothing more satisfying than freezing time as the mage in the middle of an enemy’s jumping animation. I found the microtransactions to be completely fair, as I spent around 10 dollars total on the game and never found myself hurting for apples (the game’s main currency and the only one you can buy with real money) to upgrade my equipment. This isn’t a game I would be able to recommend to everyone, but if it’s your type of thing then it’s going to be very much your type of thing.

*Image credit: 505 games

11. Bloodstained: Ritual of the Night (Switch/PS4/Xbox One/PC) - Despite horrible first impressions from my backer copy of the Switch version, Bloodstained really ended up delivering the true Castlevania: Symphony of the Night successor it promised to be, and I had a fantastic time with it (after trading in my Switch version and begrudgingly purchasing a PS4 copy). While I love almost all of the Castlevania games in their own ways, even the best entries post-SotN didn’t end up feeling much like SotN. Bloodstained, meanwhile, wears its inspiration on its sleeve. Or rather on its wolf hood and gas mask combo.

Obscure, bizarre, and goofy secrets are around every single corner of the castle. I mean, like, really esoteric ones that I can’t imagine having found without a guide. From the myriad of hidden (and very challenging!) boss fights, to trophies popping for playing a piano while having a fair familiar out to entire sprite based areas, the surprises never stop being thrown at the player. It adds so much goofball flavor to the game that’s missing from just about any other entry in the genre, and it does the brunt work in giving this game its identity.

Not only are the secrets plentiful and good, but the combat is also excellent; much like a couple entries in the latter Castlevania games, just about every single enemy in Bloodstained has a chance of dropping you a shard upon defeat, and each one gives your character Miriam a new ability. Some of these are simple passive buffs, while others completely change your combat options. From ghostly portrait guardians to giant dentist drills coming out of your hand to summoning disembodied dragon’s heads, the shard system is never not entertaining, and leaves the player so much room for experimentation and realizing their ideal build it’s actually a wonder they were able to bug test this thing at all. And truly, the main issues holding Bloodstained back from true greatness are its technical issues. Which is a shame, and seemingly an issue on all platforms. But if you can handle a hard crash here or there, you’re in for a treat.

10. Fire Emblem: Three Houses (Switch) - I never thought I would care at all for any Fire Emblem game. Certainly, I saw the appeal of them prior to Three Houses, but they just never seemed like something I would want to devote a lot of time to. But putting the game in a school setting and recontextualizing your soldiers as students really made a huge difference for me, and I bonded with the characters in the game in a way I normally reserve for my Pokemon teams. And unlike Pokemon, I can marry my students, which is beautiful and horrifying.

There are definitely issues with Three Houses. A silent protagonist has no right starring in a game like this, especially with all the emotional story beats the game is trying to pull off. The writing in general was also all over the place, ranging from odd decisions with both the characters as well as the overarching story (some of this is remedied by replaying the game multiple times and going down different routes, but I put 60 hours into the game and couldn’t even finish two paths, so that’s a bit unrealistic). Lastly, the monastery that serves as your school needs just a tad more variety in activities to do in between the battles, as what started out as my favorite part of the game became a chore for the last dozen or so hours.

All of that said, I am anxiously waiting for the sequel, as the foundation that’s been put down here could lead to something truly special. As it stands, this is the best secret Harry Potter game ever made, and that alone is going to have a lot of appeal to a lot of people.

*Image credit: Gamespot

9. Resident Evil 2 (PS4/Xbox One/PC) - Truly, I have never been more stressed out when playing a game than the first time I had to start dealing with Mr. X. Yes, on each subsequent playthrough (of which I did many!) and even encounter he became less of a threat and more of an annoyance, but much like a good horror movie, that first time will remain embedded in my brain as one of my most memorable gaming moments.

And that kinda sums up Resident Evil 2 as a whole for me. An amazing, unforgettable start in the police station, followed by a somewhat middling second act in the sewers, and ending on kind of a weirdly short whimper in a very tonally different setting than the rest of the game. And that’s without getting into how disappointingly similar the “B” playthroughs of either character were to their “A” counterparts. It was all still great, mind you, and the gameplay and scares remained excellent throughout. But man was that first act in the police station something truly special, and I’m hopeful that the eventual remake of 3 keeps more of that tone throughout.

8. Pokemon Sword/Pokemon Shield (Switch) - Cutting hundreds of Pokemon was pretty close to the bottom of my list of concerns going into the latest Pokemon. The series hasn’t really grabbed me in a major way since Black and White on the DS almost 9(!) years ago, and I had largely accepted the idea that I was finally growing out of the franchise. While this 8th generation of Pokemon titles is far, far from perfect, and in fact doubles down on a lot of the aspects I don’t like about modern Pokemon games, Sword has become my favorite entry in the series in a very long time.

This is down to two things: my favorite batch of new Pokes the series has ever had (Galarian Farfetch’d, my prince............) and the introduction of multiplayer coop content with raids. The former is subjective I suppose (but seriously, Galarian Farfetch’d), and the appeal of the raids is going to be dictated by how into repetitive content you are and if you have people to raid with. I’m fortunate enough to love repetitive tasks in video games, especially repetitive tasks that amount to fighting and capturing giant monsters for rewards, and to have a partner to enjoy those repetitive tasks with. We lost entire weekends to hunting down new raid opportunities in Sword, and this feels like the first major step the series has taken in nearly a decade to try and reengage me in a meaningful way.

And don’t get me wrong: Pokemon has a long way to go to bring me entirely back into the fold. The dungeons are nonexistent, the routes are largely completely straightforward affairs, the post game content is so light that “barebones” feels like a generous descriptor, and the performance issues in the wild area (the game’s more open, free roaming space) are inexcusably awful when played online. I hope by the time the 9th generation games roll around that we’ll get a bigger advancement than what’s been seen here, but to me, this feels like an all around better made product than any of the 3DS entries, with or without Galarian Farfetch’d.

7. Risk of Rain 2 (Switch/PS4/Xbox One/PC) - The original Risk of Rain is a personal all-time favorite, so seeing the developers successfully make the jump from 2D to 3D while still maintaining everything I love about the first game is a truly remarkable feat. Both games sport essentially MMO-lite combat with abilities dictated by cooldowns and items that you get from chests and bosses, with rogue-like progression and permadeath. That’s a lot of jargon even for me talking about video games, so essentially: keep shooting things and powering up by grabbing items and defeating bosses, and when you’re dead you’re dead (bar a specific item), rinse and repeat.

It’s deceptively simple while being endlessly replayable. The true fun comes in when playing with other people, as every character plays completely differently, and figuring out builds for each person on the fly is extremely fun and rewarding. This also means that if you start getting bored of one character, simply play a different one on your next run. Add in an extremely moody sci-fi aesthetic (including one of my favorite soundtracks of the year) and that’s Risk of Rain.

The main issue with Risk of Rain 2 at this point is that it’s simply unfinished, and won’t even have an actual ending state until spring of 2020. This doesn’t hamper my enjoyment of the game much, hence it being on this list, but I imagine a lot of people would be bothered by it. The developers have done a great job of updating the game at a decent pace so far though, and every major patch has come with a new character, among a ton of other things. And if I’ve already gotten this much enjoyment out of an early access title, it’s exciting to think about a feature complete version down the line. And hopefully that feature complete version of Risk of Rain 2 includes the Chef character from the first game *ahem*.

6. Astral Chain (Switch) - In a year full of some real dang weird yet shockingly great games, Astral Chain stands tall as probably the weirdest surprise of them all. You’re a future cop fighting invisible ghost demons from an alternate dimension with your own invisible ghost demon chained to you through some high tech handcuffs. That’s just the first half hour of the game, and it ratchets up the anime nonsense many magnitudes over in the course of its 20ish hour runtime. And it’s great and stupid.

It’s not just the plot that’s over the top, though. Coming from developer Platinum Games, renowned for their nonstop super sweaty action portfolio, Astral Chain spends just as much time tasking the player with exploring its world, characters, and lore as it does asking you to punch enemies the size of skyscrapers (or bigger). It’s a formula that works shockingly well, as I found myself enjoying the downtime segments just as much, if not more, than the action portions of the game. And the action that is there doesn’t really play like your typical Devil May Cry or Bayonetta, either; the player character, while critical to pulling off combos and the like, is not your primary damage dealer, with that role being fulfilled by your five “legions” (the aforementioned ghost demon buddies), all of which have different strengths, weaknesses and abilities. The gameplay ends up feeling kind of like a realtime Pokemon game by way of JoJo’s Bizarre Adventure, and no sentence I’ve ever written has been as cool as that one.

I do think Astral Chain falls a bit short in the combat department, at least compared to other games in the genre. It’s a bit too simplified, despite how crazy looking and overwhelming the actions you and your legions end up doing can be, and I think that the obligatory Platinum-style grading system in this is very poor - it doesn’t seem to grade overall performance so much as it just wants you to constantly be switching your legions in the midst of battle. Which is a great lesson to teach your players, but I would also like if anything else about my combat performance seemed to have significant weight on my grade. Having said all that, it’s a flaw that I found much easier to overlook in the midst of battle when I sent my wolf legion ahead of me, biting and tearing its way through a cluster of enemies, while I hung back inside of my punching legion, finally able to fulfill my years-long Star Platinum “ora ora ora” fantasies.

5. Anodyne 2: Return to Dust (PC) - There’s a lot going on in Anodyne 2, and I fear trying to describe it in words, not only because of all the jargon I’d inevitably have to use, but also because I’m not sure I can do the game justice. To that end, here’s a brief trailer of the game to get you started:

youtube

If you find that trailer at all intriguing, Anodyne 2 is definitely for you. And if you’re still skeptical, know that the game has far more to offer than just its (beautiful) low-poly aesthetic. While visually it’s obviously most evoking Playstation 1 era games such as Mega Man Legends, in terms of the tone of its writing it strikes a pretty peculiar balance between Earthbound and Nier: Automata (names I do not invoke lightly!). The visuals aren’t just an aesthetic choice, either - throughout the game you find yourself in 2D overhead areas, solving puzzles inside of the minds of other characters, and these varying layers of abstraction serve to further the game’s message and atmosphere. And it’s all of these things combined that pushed Anodyne 2 over the edge of “memorable” and into the realm of “haunting” for me.

It’s a game that wants to be played and experienced by everyone; you can tell how much love was put into every single corner of the world, every line of dialogue, and each and every single goofy joke. Steven Universe (another seeming inspiration of the developers) is the only other piece of media that has reminded me of just how lost and alone I’ve felt at various stages of life, while choosing not to dwell on that and instead using it as a launching pad to remind me of just how far I’ve come. As the game itself says, Anodyne 2 is a game about life, and I’ve rarely come across one that felt so full of it.

4. Judgment (PS4) - With the release of Yakuza 0 a couple of years ago, the Yakuza games went from a series I was vaguely aware of in my periphery to maybe my all-time favorite video game comfort food. They’re silly, melodramatic, sad, and beautiful, tonally swinging back and forth like a large imposing guard wildly trying to hit Kiryu with a couch section. Most importantly, they manage to feel heartfelt and personal in an age where high budget games seldom feel anything of the sort. I was initially hesitant, then, to play a spinoff that threw aside its entire cast of established characters for a crew that dabbles in detective and lawyer work; I didn’t think there was much of a chance that this new band of very handsome crimeboys with hearts of gold would be able to compare to Kiryu, Majima and the like. How glad I was to be wrong, as Judgment is now maybe my favorite of the Yakuza games I’ve played.

By pulling further out (but not completely away) from the culture of organized crime as the central driving factor of the story, you no longer need to memorize a dozen different yakuza organizations and all of their subsidiaries and patriarchs within, nor do you have to try and remember which side is feuding with who. And that isn’t to say that the story doesn’t have just as many twists and turns; it does, and despite the larger scale of the stakes, ends up feeling more focused and personal. I also found it easy to bond with the two main characters, Yagami and Kaito, as not only do their personalities play off of each other very well, but they simply share more screentime together than I’ve ever seen Kiryu get a chance to do with anyone. Truly, the story ended up being one of my favorites in the entire medium, and I fell in love with the characters to the point where I got misty eyed during the credits.

With regards to gameplay, it’s a Yakuza game. Which means a lot of running around Kamurocho, talking and shopping and playing minigames and brawling. Since the player character in this entry is a detective, there are various mechanics and events related to the profession, such as investigating crime scenes and tailing suspects, but they’re by far the weakest part of the game, and you shouldn’t come to this game looking for incredible detective gameplay. Instead, come to the game for literally everything else it offers, because it’s a fantastic experience all around, and a great jumping on point for anyone unfamiliar with Yakuza.

*Image credit: Steam user Symbol

3. Sekiro: Shadows Die Twice (PS4/Xbox One/PC) - Frankly, I did not much care for Sekiro for the majority of my first play through. Specifically, I dreaded its boss fights. To go from the sheer joy of being able to dispatch a courtyard full of enemies in any way I pleased in the game’s relatively free form stealth sections, to being killed in a matter of two or three hits to every single boss and miniboss was frustrating; how could I not groan when I started that duel with Genichiro at the top of the castle, knowing full well that I was going to be stuck there for a few (or more) frustrating hours? It wasn’t until the fight against the protagonist’s father figure, Owl, hours later at the same location as the aforementioned Genichiro fight, that something clicked. It only took around 30 hours, but suddenly, instead of approaching the situation like a Dark Souls or Bloodborne boss, I was not only being defensive, but I was being aggressively defensive, parrying nearly every single blow. Suddenly it was me standing in place, baiting out my opponent’s attacks only to throw the force of his own momentum back at him. Suddenly combat made sense in this damn game. And suddenly I was dead again in a quick three hits after inhaling some magic gas that prevented me from being able to heal. But that was ok! Because suddenly this game was amazing, and suddenly I had completed it four times and adored every second of it (except for that fucken four form final boss with no checkpoints).

I still stand by my (and a lot of other’s) original complaint that the disparity between the freedom offered in the rest of the game compared to the unflinchingly rigid roadmap you have to follow in fighting the bosses is jarring game design, and it’s very fun to imagine a version of Sekiro that lets you approach bosses any which way you like. On the other hand, no other game that I’ve ever played, not even Sekiro’s predecessor and my favorite game of this console generation, Bloodborne, has come anywhere close to making me feel this cool when fighting bosses. And that’s a mighty impressive accomplishment on any game’s part, speaking from the perspective of an overweight, sweaty, hairy, very uncool man.

But really, fuck that final boss though.

2. Dragon Quest Builders 2 (Switch/PS4/PC) - When we were around 10-years-old, one of my best friends, Patrick, used to host fairly regular Lego-building sleepovers, where everyone built whatever they wanted, and our creations were then showcased to the rest of the group. Being that the group consisted entirely of pre-pubescent boys, this meant building various robots or cars, all of variable quality/ability to stand upright. During one of these nights, in lieu of the usual deathbot piloted by the ghost minifig, I instead constructed a little bunker for the ghost - a place where, after a long day of being forced (by me) to pilot his mech suit and commit unspeakable acts, he could hang up his ghost hat and be forced (by me) to ponder the morality of his actions. It was just a tiny little room with the necessities: bed, table, bookshelves and pizza, but when presenting it to my friends I proudly declared that the bunker was also located at the bottom of the ocean, a factor that couldn’t be visually represented due to the harsh limits of time, Lego pieces and my ability. I was pretty proud of my cool-down chamber, but if memory serves correctly, it was Patrick’s no doubt boorish creation that was the apple of everyone’s eye. And who am I to try and convince a room full of my peers that actually, a secluded room where you could read in peace for all eternity was much cooler than a punching gorilla bot?

This is all to say that I have never been a creative type, especially when it comes to building. I had previously played Minecraft and the first Dragon Quest Builders, and while I enjoyed them, there wasn’t quite enough there to make me want to engage with them on a level beyond just playing them like any other game - I don’t think I ever built anything in DQB1 that wasn’t required for the sake of progression in the main story, and the less said about my Minecraft efforts the better. Builders 2 expertly sidesteps this issue by wrapping its building mechanics around an engaging and hearfelt story (I got teary-eyed multiple times!), great characters (especially the main character’s mysterious best friend/partner in crime, Malroth) and a lovely localization. It also encourages more freeform building than the previous game by tying the progression of the story to the progression of your main, customizable island. You don’t ever really have to go off into the weeds on your own in regards to building, but the game gives you so many opportunities to fill in the blanks on premade templates that you eventually just become comfortable in doing so. It’s hard to stop myself from gushing about the game, to the point where as I type this I’m questioning why it’s “only” number 2 on this list.

And thanks to DQB2, for the first time in 20 years I revisited my first creative endeavor: the underwater solitude bunker, this time no longer held back by the technology of the day, instead fully realized in digital form. Built as far down as the game would allow my character to dig, hidden beneath the still waters of a reservoir inside of a pyramid, it is truly a testament to mankind’s ingenuity. And it is wicked. Naturally I had my artist (and DQB2 fanatic) girlfriend visit my game’s world so she bask in my true brilliance. I gleefully guided her down to the catacombs and down the intimidatingly long chain that dangled into the deceptively still depths. After a brief swim into the murky unknown, we arrived at our hidden destination at the bottom of the earth, where she was greeted by the sight of my submerged masterpiece. A wry smile snaked itself around my lips, as I knew, was absolutely certain, that within seconds, once she had made it through the de-pressurization chamber at the entrance to my paradise, I would be hearing the words of someone simultaneously shocked, awed, and hopefully only a bit jealous. Instead, I was met with a few seconds of silence followed by a patronizing “Well, I’d have never thought to build something like this.”

So, I guess that’s why Builders 2 couldn’t quite reach the number one spot: true art is never appreciated in its time.

1. Hypnospace Outlaw (PC) - No piece of commercial art has ever felt like it was made for me in the way that Hypnospace Outlaw does. I grew up on the internet during the time period this game’s alternate reality take on the 90s internet is drawing its inspiration from; I have talked at length, to anyone who will listen, about how this early incarnation of the internet felt more like a physical space than it does now, and how much I miss the days of stumbling on to weird Geocities sites, meeting people in AOL chatrooms, and the early days of pirating. I met my first girlfriend through the internet, as well as my current one. The vast majority of the friends I’ve made in my life would not have happened without the internet, and not just because of distance; the internet allowed the younger me to be the person I was too insecure to be in person, and to develop my own voice. I owe who I am to the people I met in freeware fanmade Dragonball Z games and IRC chat rooms, and I think that’s kind of fucked up and magical, and it’s all kind of a miracle that I’m not even more of a mess of a person than I am today. And the developers of this game have clearly had those experiences, too.

I’m not going to sit here and tell you that Hypnospace Outlaw is for everyone, because it’s absolutely not. It’s essentially a detective game, but you’re solving cases by investigating user made internet pages circa 1997, and the “cases” you’re working on are largely things like bullying and copyright infringement. In other words, you’re mostly just reading gaudy websites and figuring out more about the back end and exploits of the Hypnospace experience. It is incredibly specific and niche and, as someone that sorely misses staying up until 3 AM downloading Winamp skins, I can’t stop thinking about this game, even months later.

I wrote a longer piece on the game on this very blog, and instead of rehashing anymore of it here, I’ll just direct you that way. Though if I may, I’d like to give one last endorsement for the game for any hypothetical person reading this that’s on the fence about trying it - if you’re the kind of person that somehow finds yourself reading this game of the year list, and have made it this far down the page without getting bored, I promise you that you’ll find something to love about Hypnospace Outlaw.

Honorable mentions (for games that were either not originally released in 2019 or I still wanted to briefly touch on):

Dragon Quest 11 S: Echoes of an Elusive Age - Definitive Edition (Switch) - Somewhere in between listing the original release of Dragon Quest 11 as my 7th favorite game of 2018 and now, it went from being “a really great JRPG” to “one of the best games I’ve ever played”, and in all honesty should have probably been at the top of last year’s list. A beautiful, unmatched experience all around.

Overcooked! 2 (Switch/PS4/Xbox One/PC) - The Overcooked games are possibly the best coop games I’ve ever played by merit of them actually requiring communication between players. Framing the game’s mechanics around cooking food, a universally understood act, is brilliant.

Baba is You (Switch/PC) - This is the most clever puzzle game I’ve ever played. Hell, it’s probably the most clever game I’ve ever played period. What prevented me from truly falling in love with it was that every single puzzle after the first couple of worlds became the hardest thing I’ve ever tried to do in my life. And while that did make solving those puzzles equally satisfying, the thought of dedicating multiple hours each to stumbling through dozens and dozens more of single screen puzzles was a bit more than I was able to handle. Still, for any puzzle fans, there are some genuinely jaw-dropping moments in this that shouldn’t be missed.

Kirby’s Dreamland 3 (Switch/SNES) - The things I didn’t like about DL3 as a single player game are exactly what makes it a great coop Kirby game, which was a way to play this game that I never had the pleasure of experiencing until this year when it was re-released on the SNES Switch app. It’s skyrocketed up my list of favorite Kirby games, as well as become my favorite SNES coop game. Also, Gooey.

Kind Words (lo fi chill beats to write to) (PC) - I don’t quite qualify this as a game, as it’s more of a message in a bottle app with a very warm and charming aesthetic. But if you’ve ever wanted to anonymously reach out to strangers and tell them things are going to be all right while listening to some calming music, this is the thing for you.

Luigi’s Mansion 3 (Switch) - I have a deep, deep fondness for all three of the Luigi’s Mansion games (the GameCube and the original game were my first launch day purchases!), and 3 is by far the best game in the series. Every single moment of it was some high degree of charming and/or cute, and it’s a game I would feel confident in recommending to just about everybody. However, while I truly loved my time with the game and will no doubt replay it years down the road, there was nothing inside of it that really left any kind of deep impression on me. It’s a summer blockbuster in a kid-friendly spooky form, and that’s great for what it is.

Super Mario Maker 2 (Switch) - Mario Maker 2, sequel to what I would consider to possibly be the best game Nintendo’s ever made, is by far and away my most disappointing game of the year. It’s still an amazing toolkit, and I’ve been very satisfied with the levels I ended up making. That said, the gaming landscape has changed a lot in the 5 years between the original and the sequel, and with Nintendo’s nigh complete silence regarding updates coming to the game, I can’t consider it to be anything but a massive disappointment. And maybe that will change! But as of this posting, there’s been almost nothing to keep me coming back to the game a mere few months into its life, and that’s a huge problem. All of that said, it’s still a fantastic game and value, especially if (like most) you didn’t get a chance to play the original due to the console it was stuck on.

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star-butch · 6 years ago

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More Mangai Rantings

Coming off of a whopping 26 note high on my secondary toa teams post, I have more rantings about the whole storyline of the Mangai.

So for starters, WHAT THE FUCK.

Lhikan, my heart and soul, my golden sweet sweet trauma boy, has the most fucked up life out of anyone in the entire lore like his entire life is spent losing the things he cares about and watching troves of people die around him. Like, boy probably had PTSD before he even GOT to Metru Nui from the Frostelus incident, like he had one job and he failed and ran away and everyone died horribly. Thats gonna leave some psychological scars.

He then proceeds to fight A LITERAL GODDAMNED DRAGON and like, he was probably useless as fuck in that mission. Maybe running support at most, but homeboy is a specialist with fire, and this thing specifically went to a giant lava pit to gain more power. He aint gonna hurt it. They had to call in 4 ice toa, mess up the 6 toa different element comp and just cranked it up to 11. SO hes not having a great start.

Then, after he kills the dragon, someone starts MURDERING THE CIVILIAN POPULATION LIKE WHAT THE FUCK. No other villain seemed to be as careless about Matoran life. Makuta? Brainwashed and boxed em up. Piraka? Brainwashed and enslaved. Not great, but it wasn’t just straight up elaborate murders! Tuyet, I love her. She is so full of personality and spite and I want to do so much with her character. Like next to Naho, I feel like before this, Lhikan would have trusted her the most. She is smart, skilled, and good at what she does. Easily a very useful friend, and so he had to really trust her and to find out she was doing this? My boy would have been devastated. He then has to watch as the one he doesn’t trust as much has to pick sides, which has gotta be stressful. Also yes, he definitely doesn’t trust Nidihki. Dude comes from the hell peninsula of hell island where life is hell and he gets out of there, dude aint gonna be a socialite. Hes the dark side of what toa are meant to be before he even gets there and golden boy has to just trust him to do what is right in this moment, and obviously, it isnt an easy decision, because we only know he sided with likhan in one universe, all the others might have been more in line with the Toa Empire or something like that.

So Nidhiki makes the right choice, they throw tuyet in jail to IMMEDIATELY have her stolen away to NAUGHTY HELL JAIL, so like, that must have been a conversation, like none of them knew it, and last they saw her, Tuyet was about to become possibly the most powerful toa ever, with the ability to become even more powerful as time went on. So shes just... GONE... and nobody knows shit. Thats gonna be stressful.

AND THEN A WAR STARTS. Like all of this has gone down, things are going to shit, and shadow boy just decides fuck it im going downtown and invades the island. Thats gonna be a hard time on Lhikan, who now is essentially a war general. He has to run an island that does not seem particularly equipped for dealing with this kinda stuff. At this point also, we might just be getting the start of the Vakhi, so its not clone wars level, they cant just send out all these robocops to deal with the issue, at best they might still have kralhi??? but no idea. Nuparu might even still be working on the vahki when the hunters show up, just trying to crank em out. So Lhikan has now 10 toa vs dozens to hundreds of dark hunters, and thats gonna be a fight you lose. So in order to make this work, he has to arrange for Naho to sneak out, leaving them with even less defenders because also so.

Water toa right? Easily some of the most powerful, if not the most powerful toa, especially in a small island like this. Just use the water around them to suck people to the ocean floor, and I feel like while Tuyet was more of a tactical and combat specialist, naho was really focused on her elemental powers, kinda like lhikan, with his precise fire powers. So she, possibly the strongest member of the team, just leaves, and has to go find some other army in the meantime. After this goes down and she comes back, its gotta be rough i mean they were holed up in the colliseum, thats gonne be crowded and hard to deal with morale, because that place cant be that secure, its got no roof sometimes. So any hunter that can fly is gona be up there trying to make a move, and those that can dig or climb have their own ways in. So after defending this for who knows how long with 9 toa, she brings in the cavalry and messes them up, but lots of them die. like just straight up in canon on both sides they were dying. By this point, its been a hard war already, righting back from within the colliseum, and trying to get control back of the city.

Then we get the big slap in the face numero dos. Nidikhi, all ready for his glory, gets too overeager and betrays likhan and is so bad at doing so that he wins the war for the toa. He is so weak compared to what tuyet could have been like he had no sense of anything going on, no military knowledge, he was just edgy. Now he goes off and tries to sell them out and Lhikan already was able to suspect this right off the bat so he cant be too trusting at this point still, so he has probably had these doubts like what if he had been thinking about what might have happened if nidikhi had sided with tuyet this whole time. Like he probably set the bar so low that Nidihki just tripped over it not knowing it was there. So he gets that, and has a whole plan set up.

THIS IS WHERE IT COULD HAVE GOTTEN GOOD FOR HIM. SO he talks to Hakann, makes the deal to RETURN THE ONE THING HE WAS SUPPOSED TO SAVE FROM HIS FIRST BIG TRAUMA so like huge personal victory for him and hes gotta be doing pretty okay, but the issue is, hes now gotta kick nidikhi out. I dont think hed be okay doing so either, like he had totaally been trying to give the edgelord a chance, and he just throws it back in lhikans face. So he kicks him out, never to be seen again, and the war ends. Nice and easy.

AND THEN HIS BOSS GETS POSESSED. Like this boy cannot catch a break, he has fought a dragon, an impossible war, lost two teammates to betrayal, maybe more during the war, I have no idea, but they have gotta be on edge after the war at least, because they were likely split up. they were the toa with the most knowledge of the city, so they would likely all be generals, not to mention whoever was assigned to Dume’s guard, because that would also be so much stress and i feel like that was probably nahos thing after she saved the day the first time. so shes been stressed, lhikans been stressed, and then their boss starts sending all his teammates off on suicide missions. That’s just gotta destroy him. He also probably knows at this point that shit is going south, you are telling me a man who has seen this much betrayal would not instantly be on guard about this? I think if anything this might have been the hardest part for me to believe, that after being betrayed by two of his teammates who he was so willing to trust, to have dume start pulling weird shit and him not question it is hard to get. SO I think naho would have been last. Naho would have been his rock, ironically, because shes there to make sure hes still sane after the war, and shes been personally guarding dume this whole time so she trusts him more, and is persuading lhikan right up until its her turn. I have more personal head-canons about some of this but ill save that for later.

so he is alone again. team all disintegrated, boss possessed, when guess who comes a-knocking, but the horribly mutated spider version of the only person he knows is left from his team. He has this last reminder of what he had show up, and it is so warped and distorted that he has gotta be just messed up so completely by that. So he decides to do what he can, make the stones, and then take on his old teammate, and then the movie happens, he gets captured, has to teach new toa how to do their stuff, which he has no experience in and so he is getting this chance to get to be a influential part of this toa team

AND THEN HE JUST DIES. And this is real hard, because Vakama and the rest were so ready to believe he was the Heart of Metru Nui like, this is someone who you can tell all the matoran respect and know and he just dies right in front of Vakama. This hero of the city, such an integral part that he was considered its heart, is just straight up killed by getting thrown aside by a shadow hand. That is the end of his life, is he gets this chance to try to prove his worth to these toa, and then he gets killed protecting them, even as a turaga. Beyond this, he was already a legacy. The metru, when they became turaga, told all these stories about him, about the adventures he did, like they know what he did for them, and so he does live on, in Jaller, in the metru, and in the minds of all the matoran, who may know now that this legend from their stories was actually real and actually did all this stuff. No other toa team did as much as the Mangai except the mata, and they werent even normal toa, they were specifically designed to be toa like they had to be the best designs, and also got upgraded several times. Lhikan and the Mangai didn’t. they got beat down time and time again and eventually all died protecting their city or turning against it.

I will tell this story in detail, and I think that it is one that needs to be told, because it isn’t one of the main stories that ends all happy, it is a tragedy, but it is the most important and untold tragedy of the entire canon.

#bionicle #long post #bionicle ramblings #ramblings #yes this is my special interest #especially the mangai #so i can go on about this forever #and may tonight #mangai #metru nui #my post #lhikan

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