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m39 · 2 years

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Doom WADs’ Roulette (2004): Daedalus: Alien Defense

In 2003, seven years have passed since the release of Icarus: Alien Vanguard. A 32-maps big MegaWAD that, in my eyes, redeemed TeamTNT from the fiasco known as TNT: Evilution. Now, we are going to take a look at the official sequel to that WAD. A WAD that is...

massively annoying and disappointing.

S4: Daedalus: Alien Defense

Main author(s): TeamTNT

Release date: December 10th, 2003

Version played: ???

Required port compatibility: ZDoom

Levels: 33 (hub-based; 24 main levels, three optional levels, four cutscene levels, there rest is filler and without MAP33)

Daedalus: Alien Defense, like I said at the beginning, is the sequel to TeamTNT’s 1996 WAD: Icarus: Alien Vanguard (link to my ancient review of that WAD: ==>). It features a different style of playing, where instead of typical Doom gameplay that Icarus had, Daedalus offers something closer to Half-Life, interacting with the environment and hub-style level design among other shit.

Now you might be asking: Why “Daedalus” was marked as an “Honorable Mention” in “Cacowards 2004”? Well according to the section dedicated to this WAD, it basically was uploaded to the Internet on the same day as the Top 100 WADs of All Time list was released. And it wasn’t allowed for the 2004 edition because it was released in 2003 from what I can understand... even though Hell Revealed II was released just at the end of 2003.

I guess the WAD counts for Cacowards if it’s released from December 11th of the previous year to... probably the end of November of the current year from what I can tell. I don’t know exactly how Cacowards ceremonies work.

But, yeah, Daedalus received an honorable mention... even though I feel like it should’ve actually been a DIShonorable mention but let’s not go off the rails. I’ll go into details later about why I think like that.

As for the development cycle, Daedalus was in the oven for around 4,5 years. It was originally titled Doom2000, but the name was changed due to the rumors that John Carmack wanted to buy a domain under the same name. It was also originally supposed to be released at the very beginning of 2000, but stuff happened and it was released almost four years later.

You can check other sites related to Doom WADs for more information if you want to.

Now, let’s take a look at what Daedalus has to offer, and why it disappointed me.

The story takes place after the events of Icarus. Our main character, now named Dave Razor, is drifting in space in one of the escape pods after self-destructing the titular ship. While drifting in the solar system Beta Pictoris, he manages to locate an alien ship passing by him. Long story short, he ends up crashing into the trash bay section of the big ship. Now, with a help of someone on the other side of his comm, Dave must find his way out of this ship, and presumably even the solar system.

Despite its problems, at least I can say that Daedalus looks pretty damn good. While it’s not as diversive as its predecessor WAD, I can say that it’s on the same level of quality if Icarus were released at the end of 2003. It’s somewhat creepy too since despite being an alien location, the ship (and the locations that you visit after that) feels like it was created by humanity.

Unfortunately, this is where things start to go downhill for me.

Like every typical WAD made for ZDoom, this one has ambient noises or other sound effects added to make the atmosphere better. And while most of these are fine, some feel like they overstayed their welcome. It’s like someone was blowing actual steam right up your ears. They are that loudly annoying.

The music feels underwhelming. It doesn’t sound bad, far from it, but not only the amount of tracks repeat in the following hubs after the first one, but they are pretty short and repetitive, making me go apeshit from listening to MM_04.MID for the Nth time after hearing it the first time in Kitchen. It feels like six to seven tracks compared to Icarus having individual track per level. Might as well mute the music entirely. It kind of helped me at least.

And at least I can say with a positive tone that, like Icarus, Daedalus has leitmotif that you can hear in most of its limited soundtrack.

As I said earlier, this WAD is more focused on exploring rather than typical Doom gameplay. Grab an item from an enemy’s corpse here, replace Microgen there (like five times for this WAD, three times in just the second hub), or even learn some stuff about alien culture in another place when it comes to more unusual things to do.

Daedalus is split into four hubs. The first two take place on a ship that you end up crashing into. Meanwhile, the second half of this WAD takes place on a planet that the ship was circling around (I think). Or at least until the very last level, where it all goes off the wall in terms of additional stuff and the plot.

But changing the subject, for now, it feels rather annoying going back and forward to get one item or flip one switch from one end of a hub to another, just to come back where you came from. It gets especially annoying when you play Daedalus blind, and you probably end up constantly moving in circles for an item/switch/terminal that is important to continue progress.

In my case, while it wasn’t as bad in the first half due to Doomwiki having a walkthrough for it, the second half felt like a nightmare, especially the fourth hub, constantly punishing me for forgetting even one thing that nobody would’ve thought during their blind playthrough, forcing me to watch as you slowly go from one train station to another among other things that I’ll get to later.

sigh

By the way, you have an aural translator, implanted into your brain or somewhere else (might as well be shoved in the not Strider’s arsehole). This thing, as you may guess, helps you understand the language of aliens in this WAD. Unfortunately, during the first half of Daedalus, it has a limited amount of juice, so you need to refuel it in special stations spread around the ship. I recommend doing that before moving to another location if there is a station to do that.

By the end of the second hub, you will charge this thing up with the station on an alien cruiser (in Scout Bay) so hard, that you will be able to understand their language without worrying about charging this chip up anymore.

Daedalus isn’t really hard. Most of the time, you will usually fly through the enemies without any problem. It kind of makes sense since this MegaWAD is focused more on puzzles and other shit like that. The only legitimate challenge you might get is from the fourth hub but for me, it was nothing since I played much harder stuff before this.

Unfortunately, the WAD decided to artificially pump the difficulty. Starting with needlessly shoving stealth enemies into the maps. And we all know how fair and balanced these enemies are.

What’s that? Not enough bullshit for you?! Don’t worry, my sweet, summer child. For Daedalus also RESPAWNS enemies in some of the previous locations, not only in a randomized pattern but also with the aforementioned STEALTH MONSTERS too!

Usually, I do not mind maps/WADs that are spawning more monsters into the map because I believe that it lets the player know that they are progressing in a right direction. In the case of this WAD, however? This isn’t a reward. It’s a punishment for not knowing where to go. I feel like it happened almost all the time. This WAD literally mocks you with more enemies that will eat your ammo just because it thinks you are braindead for not knowing everything. On your blind playthrough.

Thanks for the message, Daedalus. Here is my answer to all of this:

You show up two middle fingers.

youtube

And if that was STILL not enough of you, and you want more insanity, then let me tell you something. As I mentioned earlier, Daedalus becomes a different WAD at the very end, adding some stuff that wasn’t even that important until now, and spewing some bullcrap about saving some alien race from... bugs, I guess?

First off, the new weapon, the Cloner. It creates grey-armored copies of you that shoot plasma. I guess their limit is five per map. You can find this weapon earlier asides from the last map, but I don’t recommend doing that since it will break your Plasma Gun after arriving at the last level. Thanks again, DEADANUS.

Secondly, three new monsters that look like out of this WAD. We have:

Some crab-looking rock critters that will try to eat you.

Dragonflies that shoot a volley of fireballs or some other shit.

And finally, some spiders. No, not Spider Demons. Some regular spiders that shoot Mancubus’ fireballs at you. They will be the only enemies that will give you some challenge, I can tell you that.

Daedalus is kind of buggy. I don’t think it’s as severe as Hellcore for instance but I also think that it’s worse in Daedalus’ case since Hellcore at least has an excuse for being unfinished.

I’ve not mentioned it before but I feel like this WAD is missing some of the textures. It’s like you are just walking around the map, minding your own business, and then all of a sudden you see some chess-looking placeholder for a texture that was supposed to be there.

Aside from that, I’ve noticed how replaced microgen was floating in the air one time, the area with teleporters in Teleport Control has a part of it that can let you look at the void, and how the new weapon displays itself even on an Automap when you pull it on the screen among other stuff.

I can definitely say that after playing both Icarus: Alien Vanguard and Daedalus: Alien Defense, I feel like these two WADs perfectly relate to what happened in the original myth with their namesakes. But instead of Icarus believing that he was more than he thought and eventually falling to his doom, it was Daedalus, that wanted to be more than its predecessor and went too far with its ambitions.

Daedalus: Alien Defense is a disappointing sequel to Icarus. It might hold the same level of quality in terms of its visuals, but it takes a downward spiral in the rest of itself to some degree. It hurts me especially because Icarus felt like redemption for TeamTNT after TNT: Evilution and Daedalus WAD makes me feel now that they wasted their second chance.

I had to spend a day of a break after every section of review making this WAD because I was that sick of it. Do not, I repeat, do not check this WAD out. It will suck out your enjoyment and make you question if playing custom WADs was even worth it to begin with. There are better ZDoom WADs to play than this one.

...

sigh

...

Normally I would at this point start my few days-long break from reviewing, but there is one last thing to talk about before taking it.

See you in the future.

Bye.

#doom #Doom WAD #review #Doom 2 #doom mod #doom 2004 #2004 #Daedalus: Alien Defense #doom Daedalus: Alien Defense #daedalus WAD #cacowards #Doom WADs’ Roulette

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quickbanana · 2 years

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Girlvania demo more games

Girlvania demo more games download#

Apparently, it was too similar to the first game, so they figured, fuck it, let’s just call it a comeback. I read that this game was supposed to be a spiritual successor, instead of a real sequel. Or at the very least, it’s going to be a pirate-themed Didnapper game. From the general vibe of the demo, you can tell that this is going to be a pirate game. Keep in mind we’re still only talking about the demo. This pretty much sets up the narrative for what you can expect to see in the final version of the game. She quickly manages to get herself kidnapped and taken aboard a pirate ship. I never understood this kind of fantasy racism, but it works well as a plot device, so I guess I’ll live with it. She’s a bit of an unwanted presence, since she’s magical and people don’t like that. It’s your standard RPG story, at the start. You play as a chick named Seles, who is a fighter mage that lives in a small village. This one takes place in the same universe, but you’ve got an entirely different cast. You didn’t do a lot of boating, if you know what I mean. The first game very much took place on land. The biggest difference between this game and the previous one, other than the quality of life improvements, is the piracy. You give me that type of gameplay, and sexy bitches all in one universe, and I’m set to have hours of fun. Why would you do that? Who knows? Who cares? It was the most fun part of that game’s entire kit. In that game, you can fuck around and hogtie people any time you want, then drag them behind you while you ride off on your horse. I’ve seen this type of thing in Red Dead Redemption 2. You straight-up get involved in the action, any way you want to at any time you feel like it. You’re not just talking about tying people up or going through cutscenes. It’s this kind of open-world fun that makes RPG games immersive. You knock her out, tie her up, and take her back to your sex dungeon where you proceed to … I dunno, recruit her to capture more chicks? You see some gorgeous redhead with big flopping tits just minding her own business. Conversely, say you’re the random passerby. You escape, you fuck their shit up and take their stuff. You fuck around, minding your own business, and you get hogtied by some random passerby. You’re role-playing inside a fantastical world in which spontaneous bondage is an everyday occurrence. But, I have to say, the RPGs they’ve made so far are perfect for this specific BDSM sub-genre. DID have dabbled with other genres, they don’t just do RPGs. In terms of actual gameplay, there’s a lot of potential here. It’s all about the games and plays of trapping and feeling trapped. Whether it hurts or not is very secondary. Should you still play them even though they don’t technically have smut? Absolutely and I’m about to explain why.īDSM features all kinds of chains, whips, ropes, punishments, pains, and pleasures, but DID are very specifically focused on everything and anything that you can be bound in or use to bind other people. It wouldn’t be too hard, but it’s not exactly intended use. That’s what they do, and they do it well. The big shtick is that DID focus on damsel in distress narratives and all kinds of bondage and escapes. There’s no nudity in these games, at least, as far as I can tell. Wait, did I say softcore? Yeah, sorry, boys. Overall, public opinion on DID’s games has remained the same throughout all of their work – they make the best softcore bondage games out there. I’m not saying DID aren’t entirely to thank for the amazing success of Didnapper 1 it’s just that, the tons of fan information must have helped at least a little bit. The Patreon supporters who backed that project were very much invited to share their opinions on the game. Plus, their first game was very much a labor of love. DID are very proud of the work they’ve put into this fantastical world.

Girlvania demo more games download#

This game’s got an available demo for you to download right away. So far, their games have been available for free, more or less, but they’re changing that with this next game that isn’t technically out yet, at least not fully. I’m lucky I’ve already reviewed Didnapper, because it would appear that that game was very much a build-up to DID studio’s next big break.

#Girlvania demo more games

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phoenixiancrystallist · 2 years

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Day 231! More shading, yay! Am I over-doing it? Should I have gone for a more anime-esque shading style to go with my anime-esque general art style? Probably! Is it too late now? Yup! Am I having fun? Absolutely! And that's what art is all about: fucking around, finding out, and having fun with it :P

#the great artscapade of 2022 #bobbi's being weird again #art #my art #friend oc #dozen years late christmas present #I read a bit more of Dawn of the Future today! :D #haven't touched that book in ages for some reason #I basically finished the novelization of Episode Ardyn and went ''yep all good here'' even though I'm SO HYPED for Eps Aranea and Luna #so I finally started reading the Episode Aranea equivalent #and man #I wish we'd gotten to play it #because there's so much so far that I would LOVE to have seen the game sequences for #I can tell exactly where the cutscenes were supposed to go and where the gameplay was supposed to be and #we were robbed ugaiz ;-;

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yanderecandystore · 4 years

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ok ok hear me out hear me out. Yuma becoming obsessed with one of the game’s ( few ) sentient, non-romancable npcs. Like they can think and feel and ( somewhat ) act for themselves but there just isn’t a route for them. Also bonus points of the darling is kinda bratty/prissy, we haven’t see a lot of readers like that. Ily and your writing so much, mwah — ✨ anon

My my, how different!

Welcome in, ✨ Anon! And thank you for enjoying my writing so far.

TW/Tags: I love this concept, although being very different from the norm // some ddlc vibes // I just discovered a new word and I'm so glad it exists! (prissy reader cause I think this would be very fun-) // angsty // trapping, manipulation and gaslighting // every time the gender isn't set, I like to keep it ambiguous, basically making it gender neutral (gender neutral reader) // gender neutral Yuma //

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

Just Yuma (lol) [Yandere!A.I OC x A.I!Reader - Headcanon]:

I like to think that a game like Yuma's would be made to entertain the players to at least 5 or so years before the next installment- Which is basically the same as the last with better graphics and switching the main love interest cast.

The games would be made clearly for the sake of fan service and slice of life material- But would be surprisingly more advanced to us than to those who have created the franchise.

Because there is already an estimation of the amount of content and for how long players would play the game, every single character should get at least some bit of highlight- So even npcs that are just there for the sake of ambience and narrative, are treated with a lot of care and given the best a.i the developers could give to make the experience entertaining.

You are just like any other non-dateable npc, except that you have gained a bit of a role in one of the main cast's routes. It wouldn't be a stretch to guess that one of these characters would be Yuma themselves.

You were supposed to be Yuma's love interest, meaning you would have an role as an player's rival- But due to an strict schedule and corporate greed, you have been demoted from having such a big impact, and now you're basically Yuma's best friend who keeps them from committing homicide every five seconds.

It's not exactly a bad role, since you keep having the same dynamic with them from before- Chaotic gremlin is best friends with Paranoid goody two shoes, now with less romantic interactions.

The only mistake by the company was to leave half of the data showcasing this relationship in the game at the release. Basically- Half of the cutscenes and dialogue involving you and Yuma not only being friends but the start of you two dating (the game kinda pairs the couples up if the player fails to date them, or simply shows disinterest in the characters to begin with-) and even some of the things involving you two during the dating phase- Even the potential break-up sequence which could be orchestrated by the player.

Well, could have- Since none of this content is really available or considered official, the only way to access it is by messing the games files.

So in a way, you're already pretty sentient as it is, you act not as a rival but as a somewhat helper into getting the player to get closer to Yuma. I don't know how much you are aware about your own circumstances, or if you even care about the concept of being just an character made for the sake of another-

In the home planet that has created and released the game, players were kinda disappointed with what happened- They preferred the deleted/unused content more than the events and dialogue that was used for you two, so much so that people started shipping you two more than actually being interested in romancing Yuma, especially since they're way too chaotic for most player's taste.

There was an update overhaul being planned to happen where not only the stuff related to you would be changed- But all the other characters and gameplay mechanics would be updated and hopefully make the game better- But ever since your cartridge has been suddenly lost and forgotten on Earth, you were never able to see that update.

Not that you were aware of it to begin with, but still, what a shame. And not only that, your game is basically Glitch Station- Absolutely filed with mods to help the gameplay be "easier" to the original owner of this cartridge. I don't think she even remembers where she has left it.

Still, even when a new save was made you felt a weird sensation of deja vu. The game has started again with a new player playing it and trying to work their way through this broken game.

You didn't understand why all these events felt familiar though, you only felt like it made sense. It was your first year in college, you got ready and made sure to look your best and give your goodbye to your parents-

It felt like this day has happened before, and even if your routine was similar, you felt like this day was supposed to be a big deal- Why does it feel oddly nostalgic?

Why… Why are the floors on your house flowing? Why are there so many empty spaces here and there? You feel like you could potentially fall from your disintegrating house. And your parents, where are they? Why can't you see them? Why can you only hear them saying goodbye back to you from one of the other rooms?

When you open the door to see them- There is nothing there. There is not even a room.

It's a door that leads to nowhere. Just an empty void.

The sensation of dread was starting to creep in yet you thought that it would be uncalled for to overreact. Like you weren't allowed to showcase concern for the odd reality around you.

You walked on foot towards your college, panicking slightly at the people who would fade in and out of existence- Yet you had held yourself from screaming, from showing any sense of vulnerability at the thought that maybe you were in a dangerous place or realm.

You were coded to not find issues with the odd reality around you, like any other npc- You were taught to hold in and try to keep a sense of normality so no players would find issue with screaming characters begging to be freed. But your nervous personality caused you to search for help, you panicked and ended up running away to what you assumed to be a safe place- Somewhere crowded with a lot of people.

The institution's gates were open, you entered like your life depended on it (and maybe it did) yet you stopped yourself from screaming when you noticed a commotion happening.

A guy who was wearing the uniform lazily has bumped into a girl, causing her to fall. She is yelling at him because the fall has broken her phone, he is trying his best to calm her down- But at the same time it feels like he is just making poor choices of words because of how sick he is of having to chat with someone so angry at an accident.

Haven't you seen this before? But if so- When? When could you possibly have seen something like that happen?-

"- [Y/N]?"

"- AAAAH- Oh hey Yuma."

You yelled after getting spooked by Yuma- Who was…. Why are they wearing that?

"- Why aren't you in your uniform, Yumie?" You asked them, showing your own uniform in the process. You called them by a sweet nickname you had given them- But when exactly?

You know that you're best friends with Yuma, but since when? You know it should have been for about 6 years or so, but… It feels like you have only known them for a year- How… Weird.

"- Don't tell me you're already breaking a rule on your first day." You pouted and stomped your fit into the ground. Yes, you know that Yuma is a troublemaker…. You know…. That.

Yuma hasn't been able to speak ever since you showed concern about their outfit. They were staring at you in shock- As if you were an odd creature who they just found.

"- Y-You can see my outfit??" They blurted out. How can you recognize it??? All the other npcs recognize it as their uniform, but why are you suddenly acting like you do??

"- Hm, duh? Sorry Yummie, but that sporty outfit of yours is more eye-catching than that guy's barely well put together uniform- Such bad manners, I bet he woke up and hastily wore the first thing he saw-" You were beginning to go on a rant about that guy's uniform- That guy being the MC of this new save file. Yuma has stopped you by pulling you away from the college's entrance and entering into a secluded area so they could interrogate you over this odd behavior you were displaying.

"- Yummie- What are you doing!?" You cried out feeling hurt by their tight grip on your wrists.

"- WHAT DID YOU CALL MY OUTFIT??" They yelled desperately. Begging for their hypothesis to be corrected.

"- … A breaking of the uniform rule?" You genuinely did not understand where they were talking about.

"- No, No NO! You said Sporty Outfit, right?" They said reminding you of what you have previously commented about their outfit.

"- Oh! Yes, yes I did- And although being somewhat casual looking- It does fit the category of sporty." You readdressed the topic while going on a bit of detail- The usual annoying talk you would always do whenever a dialogue with you was activated.

Yuma was over the edge- They have never, ever met another sentient character with the same a.i as theirs.

They haven't been this happy since a long, long time.

"- You're so annoying!" They screamed, their face showing a bright smile as tears filled their eyes.

"- Yummie that's so rude!-" You were about to defend yourself when they grabbed you and hugged you as tight as they could.

"- You're genuinely so, so, so, so, so, so ANNOYING!!" They continued to go on, laughing while crying, loving every second of this.

You were coded to be their best friend. You were coded to be the one that would balance them out. You were once coded to be someone made to be able to be their lover, but here you are- The real you, free from all the locks that would keep your a.i from growing and understanding them.

If you're able to be sentient, then all of their friends can as well.

You're the personification of a miracle, to Yuma. The personification of hope.

In this scenario, Yuma isn't aware that the player isn't the same alien who has destroyed their digital world, so to them, they can't ever let the player see you getting sentient and becoming aware of your imprisonment.

" If a player finds issues with any of the characters being portrayed, they must return the cartridge to their nearest store to get a factory reset." Such a simple yet frightening tip to Yuma, to any a.i that has suddenly found itself desperate to get out of the system that traps them.

At first, the idea of having someone like them be also aware of the situation is incredible, it's amazing even! You two could possibly work out a way of getting a way to be free- It wouldn't be easy but hopefully you two would be able to have life away from this game and even finding a way of bringing your other friends with you two.

However, after discovering that not only has the cartridge found itself on another planet with another player being the new owner of it- And discovering that it's just a matter of trading places with other people to be able to be free- Yuma would start getting really clingy to you. They have been all alone thinking that they were the only one capable of feeling and thinking for themselves.

Yuma has found those unused events and scattered dialogue, you know?

While they were looking for a possibility, any possibility of getting out- They found those unused files where you two were able to be together.

And although they thought it was weird at first, after seeing you have a better understanding of your current reality and existence- It oddly sounds fitting.

Of course it would be you, the one who always puts them back on the right tracks, to be the second one to want to escape this game.

It 's so fitting.

The idea of being something more than just a best friend to you is starting to sound more and more appealing in their eyes- It's so ironic that you two work together so well.

After Yuma gets their taste of freedom and you try to calm a frightened young guy that wasn't expecting to be suddenly kidnapped and be forced to stay in the game world for a while, you wait for them to find the solution to free everyone without trying to trap anymore "humans"..

No one should be stuck here for the sake of someone else leaving, that's what you have told them.

But Yuma didn't care. Yuma just wanted to be free with you and everyone else, who cares for those that have to deal with a glitchy game for eternity?

You two had an argument. You didn't want to continue feeling like your whole life was a lie, you want to be free but no one should be hurt in the process. What good would it be if someone else has to go through the same torment as you two?

With each day that passes by, you notice how both of your ideas of freedom were different- To the point they had to tell you the truth.

You aren't going out of there anymore. Not until you understand and truly appreciate the effort that Yuma goes through to find a way of freeing you- Of finding a victim, to be in your place.

They never told you about your previously intended role in the game, they thought you would be more terrified of following their instructions- And besides, it would be very distasteful to insinuate that the only reason that they care for you it's because of that code that was left unused- Which couldn't be more of a lie! They genuinely care for you!

…. But maybe a bit of tempering would help you see their side of the story, right?

It can't be that hard to modify some of the codes, the game is already broken anyway.

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

#yandere #sheep stuff #sheep's stuff #yandere oc #yandere x reader #yandere oc x reader #yandere oc headcanon #yandere ai #yandere ai x reader #yandere ai x ai reader #yandere a.i #yandere a.i x reader #yandere a.i x a.i reader #special delivery headcanons #special delivery request

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secret-engima · 4 years

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*kicks down door* WHO WANTS TO READ ME RAMBLE/RANT ABOUT THE GRALEA LEVEL IN FFXV AND WHY IT ACTUALLY WAS A GOOD LEVEL AND EVERYONE SHOULD PLAY THE NOCTIS ROUTE AT LEAST ONCE RATHER THAN THE GLADIO ROUTE EVEN THOUGH IT’S TERRIFYING AND FRUSTRATING.

No one?

WELL TOO BAD.

(Unless you haven’t played or watched the game yet and don’t want spoilers in which case TURN AWAY NOW).

...Ahem. *deep breath* Okay so I will forever stand by my opinion that chapter 13 of the game (the one that takes place on the train and then in Gralea) is Good™ and does exactly what it's supposed to in the narrative. That is not to say I don't hate it with a passion and didn't cheer when they added the Gladiolus route for those of us (like me) who didn't want to replay the Noctis route again, but I will stubbornly insist to anyone that wants to listen that the chapter's difficulty and wildly different tone and pacing was THE POINT of the darn thing and deserves some respect for it.

See, the game up to that point is, if not always lighthearted (because it's not), has still been something of an Adventure Story™. Yes there's horrible tragic things like Insomnia falling and Regis dying, but for the most part the gameplay is exploration and cool combat mechanics and the relationship between the four brothers. It's ... happy for a good chunk of it. There's this light at the end of the tunnel, this comfy assurance that there can be a happy ending, that this can all be fixed and tied up in a neat little bow somehow.

Then Altissia happens. Luna dies, Ignis is blinded, and the game puts you on literal rails, forcing you to go hurtling toward A Different Tone. Everyone is stressed, everyone is scared or angry. You’d THINK that this is the lowest point of the story and that surely there’s going to be an emotional reconciliation between Noctis and Gladio and then we’ll get back to exploring and saving the world and all that jazz.

Except we don’t.

The train scene with Ardyn and Shiva happens, and the entire heartbreak with Prompto happens, and that’s when things start to seriously crack. You lose all access to your magic while stuck in this narrow train, then you lose the Regalia, your symbol of freedom, your main way to travel through the game (even when you fast travel, the animation of arrival shows you getting out of the Regalia). You are now trapped in Gralea. In dark, hostile territory with one of your party missing, one of them blind, the other angry at you, and still no magic. Then a few minutes later you are forcibly separated from the rest of your party, the characters you’ve spent all game getting attached to, and leaning on, and laughing with. They are your last anchor points to the brother dynamic that has kept the whole game on a lighter note and now they are GONE. You have none of your weapons or skills, you have no idea where the others are (first time playing the game without spoilers anyway), you have NOTHING. No hope. No backup. No distractions from the fact that, oh yeah, this is a story where the Bad. Guys. Win. Are winning, have won, and all Noctis (all you) can do is take out the Ring that slowly killed Regis, that Luna died for, the thing that represents everything going wrong and all NOCTIS must do to fix it even when he is painfully, woefully unprepared ... and finally put it on.

Noctis (and by extension you, the player) MUST shoulder the responsibility of being the king of a lost kingdom, of acknowledging that he IS the king, his dad was MURDERED, and Luna was killed for the thing you are now wearing and everything it means. It’s your only option until you eventually find the dead Ravus and take back Regis’s sword toward the middle/end of the level, which you can’t use recklessly because every swing drains your very life-force, forcing the Ring to still be your “best” option in many cases.

Most of that level is spent running, and hiding, and praying that the MT Units on the floor don’t leap up and try to murder you, or that the daemons don’t notice you, or that the teleporting daemon doesn’t find you, or that Ardyn will just SHUT UP because his taunts are really unhelpful right now.

The only hope you have left in this level is to grit your teeth and get through it with the Ring until you can reunite with your brothers and get magic back and go get the Crystal, the mcguffin of this whole game, and put the game back on the normal track of brotherly dynamics and fun quests. Just get to the Crystal, and everything will somehow start going back to normal.

And then that turns out to be a trap too.

Welcome to the final act of a tragedy, and your character is the one living through it. There will be no restoration of the norm until you’ve seen this to its final conclusion. There will be no light save for the one Noctis dies for.

Even when I first played that level (vanilla, not even a day one patch version btw because I was an idiot like that) and hated it because it was terrifying, I never thought it didn't belong in the story like ... quite a few comments I saw on the internet later insisted it didn’t. This is Noctis's story. This is Noctis's tragedy. THIS is the level that strips every last distraction and security blanket and shelter away from him and makes him put on the Ring and thus shoulder everything it represents. There is- terror here, there is trauma, there is GRIEF. This is practically Noctis's headspace without his brothers, because let's not forget that while we the players are having fun fishing and catching frogs for a silly scientist lady, Noctis is a refugee from an empire that MURDERED HIS FATHER and the FATHER OF HIS SHIELD-BROTHER, destroyed his HOME and then, right before Gralea, murdered Luna, the girl who he's known and talked to and confided in via letter for twelve years. This is a world falling into literal darkness (and if the player hadn’t noticed how the daytime cycle in the game kept getting shorter and shorter before this point YOU CERTAINLY NOTICE NOW) and it's up to Noctis- JUST Noctis, ONLY NOCTIS thanks to a Prophecy made long before he was ever born, to somehow Fix It™.

One person. Just one.

And he has to fix ... all of this.

How?

He doesn’t know. During the Gralea level he DOESN’T KNOW. All he (all we) know is that the Crystal is the key, but since the Crystal only answers to Lucis Caelums, that means Noctis is the key, and Noctis (and you the player) is painfully aware of how Not Ready he is.

And the weight of that is enough to render you helpless in the face of it. The fear of that is a maze. The terror of it is a monster following you down the halls that you cannot escape from and cannot kill while it laughs at your misery.

All of that is GRALEA. The capital city of the people who overthrew his home, killed his father, killed his fiancé, and isolated him from the last safety nets he had.

The entirety of chapter 13 isn’t meant to be enjoyed. It’s meant to make you scared. It’s meant to frustrate you and make you feel helpless. It’s meant to make you feel sick when you learn what the daemons and MTs you’ve been killing really are. It’s meant to make you RAGE against Ardyn, and the Empire, and this entire situation because you’re one person and you’re not prepared for this and it’s NOT FAIR and you just want things to go BACK TO THE WAY IT WAS AND ALL OF THIS SUCKS.

Yeah. It does.

And who else do you think feels like that?

Noctis.

Chapter 13 isn’t meant to be fun. It’s meant to make you feel like Noctis does.

And what emotions would you expect from someone who has just lost everything and is expected to fix everything for everyone else, and now has no distractions or shields between him and his grief?

I remember reading an article about “why this chapter failed” and it was basically to the order of “this game is about a fun road trip with your bros and reuniting with your fiancé and chapter 13 breaks away from that too hard” and I respectfully have to disagree.

This story isn’t about a “fun road trip” and it isn’t just about “reuniting with your fiancé”. From the very first cutscene we are told that it’s not in Regis’s desperate (and soon revealed as last) words to his son about setting forth on a journey and not being able to go back. We are told it’s not in the first hour or so when Insomnia burns and Noctis cries and Cor tells us that “in his last moments together he didn’t want to be your king, he wanted to be your father”. How is that a “fun story about a road trip?”. Yes the road trip IS fun for us, and it IS about the brother relationship, but in a large, LARGE part-

Final Fantasy XV is about a young man setting out into the world and facing the hardships of it. It’s about loss. It’s about regrets. It’s about how no matter how much you want them to, some things can never go back to the way they were yet you must keep going anyway. It’s about how the darkness of the world will just keep taking-taking-taking until someone is willing to pay the price to make it stop, and that sometimes a happy ending for the people you love most means giving up your own personal happy ending on their behalf.

Final Fantasy XV never really hid the fact that it was a tragic, bittersweet story.

But it’s in chapter 13 that the story refuses to let you mistake it for anything else any longer.

Could the chapter have been structured a little better so that the gameplay itself wasn’t so frustrating? Probably. I know almost nothing about game design so that’s not really my call. But does the chapter, for all its frustration and anger-inducing inversion of pacing and tone, brutally get the point across?

Maybe it’s just my opinion, but I’d say yes. Yes it does. Because this video game was the one that fully 100% convinced me, in a way that no other video game had before, that the platform could tell heart wrenching stories, could give me characters I would care for, cry over, rage on the behalf of.

And a big part of that clicked for me at the ending, but it likely wouldn’t have if I hadn’t first struggled my way through chapter 13 and all the emotions it causes and represents just like Noctis did.

...

There. I’m done. Thanks for reading my long-suppressed rant on the most hated chapter of FFXV.

#Secret Engima Rambles #SE rants #ffxv #storytelling things #writer things #I will die on this hill

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savior-of-humanity · 4 years

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OKAY here are my Thoughts(tm) about The Ancient Gods part II

ALSO: MASSIVE FUCKING SPOILER WARNING FOR THE ANCIENT GODS PART 1 + 2. BE WARNED THIS IS LONG AS FUCK. TL;DR AT BOTTOM.

In terms of the gameplay: I really liked how it played! The combat encounters weren’t downright vicious like in the first DLC, but they still go out of their way to mix things up (i.e a hallway filled with explosive barrels + blood punch pick-ups + Pinkies, or the double-Marauder encounter that you could ACCIDENTALLY FUCKING BUFF JESUS CHRIST) so it was still fun all around.

The new enemies added - the Cyber-Baron/Armored Baron, Riot Zombie/Chaingunner, Screecher Zombie, Stone Imp, and Cursed Prowler - are...okay. I like the idea of new enemy variants based off pre-existing ones but they felt either really fucking frustrating to fight (particularly the Cursed Prowler and Chaingunner) or were very “simple”, I guess. The Stone Imps, in particular, are a variant of Imp that are very resistant to damage unless you use the full-auto mod for the shotgun, in which they drop even more shotgun ammo if they’re killed by that. Other than that they do a Sonic-style spin-dash and slam into you, which can actually knock you off a ledge. Screecher Zombies are basically just mobile hazards that if you accidentally hit, will act like temporary Buff Totems. Cursed Prowler is fucking awful: basically, if it hits you with a projectile, you’ll be cursed with a debuff that keeps you from double-jumping and dashing that also drains your health over time, and you HAVE to kill it with a blood punch in order to remove the curse. Chaingunners are basically just the Shield Zombie Soldiers, but they shoot faster and have an indestructable shield. And finally, the Cyber-Baron: It’s basically a Baron of Hell, but with indestructable armor that can only be destroyed by shooting it’s mace when it flashes green, or by shooting it with plasma. After the armor is gone you have to kill it as fast as you can before the armor is regenerated, repeat until it dies.

Summoner Ghosts and Blood Maykrs also make a return, which is cool.

The Hammer is cool to say the least. I was hoping to see some glory kills with it but considering that it’s primary use is to either clear out groups of small enemies or to stun larger ones like Barons, it makes sense that they’d omit glory kills from it. On top of that, Marauders now have a mechanic (for the entire game, not just the DLC) where when you shoot them as they flash green, they’ll become stunned (though the sound effects are rather corny and cartoonish, even for the game). Using the Hammer on a stunned Marauder will GREATLY extend that stun, which allows you to just fucking shit on them.

I also really liked the grapple-Hookshot points that you had to use to progress in a level. I’m still not really used to how you’re supposed to move in the opposite direction of the point to swing yourself, but the idea is intuitive, fun, and makes me wish it was in the base game and the previous DLC.

My biggest grievances with this DLC, however, is how it handled some of it’s characters, the story, and the new lore that was implemented in the codexes.

So first off: I want to say that while I still appreciate the DLC, that’s honestly only with the gameplay. The story, much less the lore, is fucking stupid to say the least.

To TL;DR the story: It is, quite honestly, bare-bones as fuck. We continue from where we directly left off from the Ancient Gods Part 1: Davoth/The Dark Lord is being summoned into existence and into his physical form, which for some reason looks exactly like Doomguy except with sick tats, glowing red eyes, and a weird implant in his chest. Doomguy, naturally, tries to spawncamp him and shoots him with his super-shotgun, but nothing happens as “no blood can be spilled in this holy place”. Davoth leaves, telling Doomguy that he’ll be waiting for him in the city of Immora, the capitol city at the very center of Hell.

Doomguy goes to Argent D’Nur. He murder-death-kills shit, as per usual. He goes into this big castle where a hologram of Valen is waiting for him. He tells him that he atones for his sins and gives him the Hammer since Doomguy lifted the curse from his son’s soul. He goes to the Torch of Kings and lights it, marking his journey to the giant crystalline spear that impales Argent D’Nur known as the World Spear. Cue cutscene of a bunch of different Argenta people/Night Sentinel seeing the light of the Torch of Kings from all over Argent D’Nur. Internguy tells him that it’s a day’s walk still from the World Spear, and conveniently a very fucking awesome looking Argenta dragon shows up and gives him a ride to the World Spear.

Doomguy gets to a lake that separates him from the World Spear. The Father says “He is worthy” and then a bridge rises out of the water. Doomguy crosses past some big ass Sentinel ghosts/guardians and into the World Spear. Turns out the inside of the World Spear is like some giant, fucked up ship made out of crystal, with weird figures lining the wall and all that: Internguy even says “This isn’t a crystal at all, this is a ship!” This does not get expanded upon whatsoever in neither dialogue or codexes. Doomguy grabs Convenient Power Crystal and leaves.

Doomguy arrives on Earth through a portal, which is looking substantially better than since its invasion. Internguy tells him that a Convenient Ancient Portal close by is the only way to Immora. Doomguy kills shit, arrives at portal, activates it with Convenient Power Crystal, and leaves.

Doomguy arrives in front of a giant wall surrounding Immora. Davoth walks out, wearing a big ass power suit that looks like something straight out of Warhammer 40k. He’s surrounded by guards in cool red armor with cool spears that look very humanoid. He says some shit and a bunch of Hell-ships and demons and titans start showing up. But then surprise! A bunch of portals open up on Doomguy’s side like it’s fucking Infinity War/Endgame all over again and a fuckload of Sentinels start coming out, with mechs and dragons and spaceships. Valen is there. Doomguy and Valen stare at each other for like 5 seconds before Valen says “Let Hell tremble before our might!” or some shit like that. Doomguy fights, gets past the wall, fights some more inside the city. Again, the usual.

I also want to briefly point out that Immora is basically just a Maykr city but red, and that it’s apparently “Hell’s own technology.” Also, the red dudes in armor are actual enemies but the guns they have (the hell-razor from 2016) do piss-poor damage and they die if you so much as breathe on them.

Doomguy finally catches up to Davoth. Davoth monologues about how he’s going to get his revenge and that it’s inevitable, bla bla bla. Fight begins. It’s basically Marauder 2.0 but if he hits you and/or you shoot him at the wrong time he heals a fuckload of health. And also 5 different health bars. After you knock down 2 or 3 of his bars he stops the fight to monologue for some fucking reason? And then shits out a plot twist that surprise, he’s actually the real God, and that the Father betrayed/usurped his power, and that he will “unmake everything by his hand.” Fight resumes. Doomguy eventually beats him. Davoth asks him if he has anything to say before he strikes down his creator. Doomguy takes off his helmet, stabs Davoth in the heart, and says no in his stupid sexy voice. Davoth dies, his life-sphere emerges and then explodes. Doomguy suddenly becomes weak and falls over. The Father says “He created everything in his image, even you.” Doomguy passes out and wakes up to see 3 Seraphim seal him in a sarcophagus like the one from 2016. Fade to black, with the quote “May the blood on your sword never dry, and may we never need you again.” End game, roll credits.

If you hadn’t read any of the codexes while playing the DLC, the story probably makes little to no sense to you whatsoever. But honestly the codexes don’t expand upon things much and, if anything, just fucking make some aspects of the story even more stupid.

The World Spear is implied in the codex that it contains live Wraiths (“A live Wraith has not been seen in centuries, but rumors persist that some yet remain inside the World Spear itself.”), and while the figures in the World Spear could be Wraiths, absolutely nothing is said about them out of three Codexes related to the level, which honestly just makes me wonder the point of adding this stuff if you don’t even give a single sentence of why the interior of the World Spear is Like That.

The codex entries related to Earth are basically uninteresting as they’re pretty much just “humanity is rebuilding and views doomguy as a hero”. There is one about the Convenient Ancient Portal (Gate of Divum) but all it really says is that it was built and used by the Father to access Immora. Nothing about why it’s on Earth, or anything interesting like that.

However, the real bullshit comes in when we start to look at the codex entries related to Immora and Davoth.

So, Immora is the central - and oldest - city in Hell. It’s described as such: “Once a paradise at the dawn of creation, Immora now survives as a stronghold where the Dark Lord resides. Sustained now by the essence of Hell's victims, the people of Immora experience life eternal. Regular infusions of Hell energy have prevented them from transforming into the demons found outside the boundaries of the city. Ancient technology defends Immora from invaders, the high walls impenetrable to those who would bring harm to the last people of the first world.“

Yeah. So not only did Hell have high-tech technology all this time, but also the red guys in armor? Those are Immorans. Which is weird to me, because if Hell had this super advanced technology that’s also ancient, and thus around for a long time, why the hell are we only seeing it now?

Also, surprise! Turns out the Book of Seraphs is a complete fucking lie according to the very first codex entry related to Davoth! (”Our research shows that Maykr history and lore holds truths that are not consistent with passages found in the Hell Priest texts, revealing the true origins of Hell and all surrounding dimensions. This revelation would explain why Hell is the single dimension that connects to all others, and why it is the oldest in existence - the first world.”)

The real truth is that Davoth is the real Creator/God, and that Jekkad was the very first realm, not Urdak. He still sought immortality for his people, so he created the Maykrs to figure it out for him. They did, but decided it would be too dangerous to give Davoth that information, so they basically said “fuck you” and sealed Jekkad/Davoth while re-writing their own records to hide the truth. Obviously, this pissed off Davoth. So much so that he basically became super angry and emo and became the Dark Lord from all the vengeance and hatred (which also turned Jekkad into Hell.)

Another surprise! Turns out that Davoth had a hand in the creation of the fucking Doom Slayer! Because he wanted to get revenge against the Maykrs, he started to manipulate a bunch of people while he was trapped as a life sphere I guess. He started with the Khan Maykr, convincing her that there was a “chosen one” who would threaten her rule and thus making her paranoid as fuck. He then guided her into creating the Divinity Machine using a fragment of himself that had been sealed in Urdak. Then he manipulated Samur, by convincing him that “the Khan Maykr will lead us all to ruin.” He was then controlled and compelled to release a stranger from his prison (Doomguy) and empower him using the Divinity Machine.

As you can probably guess, he got his revenge since Doomguy would go on to utterly fuck Urdak/the Khan Maykr (as well as Samur), and ever since he knew that his “Beast” would come for him.

Listen. I don’t really mind the idea of Doomguy being used or even manipulated by different godly powers. Or even Davoth being the real God or whatever. But this new lore and story just feels... really sloppy and poorly executed, especially since it directly conflicts with the fucking base game. If he manipulated the Khan Maykr and wanted revenge against her, then why did he scream “NOOOOOO!” when Doomguy killed her?

And, if anything: Why the fuck does Davoth even look like Doomguy in the first place? Is it some form of mockery? Or did id just decide to fucking retcon the Doom Slayer being the same person as the Doomguy from Doom 1/2 with the Father’s line of “He created everything in his image -- even you.”

And, on top of that, the DLC just left more open questions than answers: what the fuck happened to Samur, since he isn’t even so much as mentioned beyond the codexes? Who is the Wretch, the being who had supposedly forged Doomguy’s armor back in 2016? What is the fate of Earth/Hell/Urdak/Argent D’Nur after the Slayer’s victory? What the fuck happened to the Demonic Crucible, the one from 2016? What about the ARC Carrier and the Fortress of Doom?

Finally, Valen, Internguy and the Father should’ve been far more involved in the story beyond just being either convenient voices telling you convenient stuff or (in the case of Valen) being a convenient guy to give you convenient weapon that also conveniently shows up with a giant army that doesn’t actually do anything but look cool in the skybox.

TL;DR The new lore and story of the DLC is basically garbage, and since I highly doubt id will change it I’m going to completely disregard it, write my own, and also take up Davoth as a muse because it seriously pissed me off that much.

#doom spoilers #doom eternal spoilers #the ancient gods spoilers #the ancient gods part 2 #tag part 2 #ooc #wow. um. this got long #doomguy #doom guy #doomslayer #doom slayer #the dark lord #davoth #doom eternal

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scottymcgeesterwrites · 4 years

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Final Fantasy XV Review

Year: 2016

Original Platform: PlayStation 4

Also available on: PC (Steam), XBox One

Version I Played: PlayStation 4

Here we go. The final Final Fantasy review of the main single-player games. I just want to say, first off, we’ve been waiting for this game since 2006. It took them ten damn years to finally release this game. I clearly remember the teaser trailer they released when it was called Final Fantasy XIII Versus, and my next-door neighbor and I were so hyped for this game when we were freaking teenagers. After years of delays, Square Enix revamped it into Final Fantasy XV.

Did it live up to the wait? Well, read and find out.

Synopsis:

Noctis Lucis Caelum is the heir to the throne of the kingdom of Lucis. On his birthday, he sets off with his three best friends and bodyguards (Ignis, Prompto, Gladio) to marry his betrothed, Lunafreya. The marriage is supposed to be a political one, though Noct and Lunafreya had grown up together and become fond of each other. But peace turns to war as the empire of Niflheim betrays Insomnia and invades. Noct, now on the run, has to reclaim his right to the throne by collecting the necessary family heirlooms which will banish the darkness.

Gameplay:

Open-world Final Fantasy.

That is the big selling point for this game.

A MASSIVE step up from Final Fantasy XIII’s gameplay, Final Fantasy XV has you roaming around and attacking enemies on the field in real time. The battle system returns to something slightly more conventional by having you cast spells and use items. It seems like this is what Square really intended to do after Final Fantasy XII. Looking back, Final Fantasy XIII feels like some prototype before Final Fantasy XII, so it really becomes apparent that Final Fantasy XIII’s gameplay comes off as a huge mistake.

This game’s major’s strength comes from the player engaging with a massive world. You camp. You take on hunts. You take on a bajillion sidequests. You run across the world. You drive across the world. You can ride a chocobo across the world.

However, the dip in the gameplay comes from how easily accessible these sidequests are. The map tells you exactly where you go 24/7. I started to have an existential crisis around my 50th sidequest in a row. Why am I doing this? What’s the point? I go here to kill a thing, or go there to help someone by giving a potion or taking a picture. You start to realize that a good bulk of sidequests are either hunting daemons or fetching an item. You start to deconstruct the meaning of playing a video game as you think to yourself, “Why do I play video games?” while also thinking “But wait, one more and then I swear I’m done.”.

I get it, not everyone has the time nowadays to figure out a huge game like this. I get it, video games are now marketed to everyone for ease. At the same time, I personally love a good challenge. I mean, I’m the guy who has Dark Souls as one of his favorite video games of all time, so my opinion on the matter might definitely be skewered compared to most. I generally want to feel like I actually figured something out by myself rather than following a tracker on the screen and walking from task to task and then saying, “Okay done. Next.”.

Too much of that and playing a video game starts to feel like a 9 to 5 job to me. This game is great to play during quarantine, but at one point I saw playing this game as feeling like an actual job. Wake up, eat breakfast, time to hunt some daemons.

This is the growing conflict some people have with story-driven games versus open-world games. I see the argument focused too much on words like “linear”, but in reality we should be talking about “automation”. If a video game is too automated, then did you really play a video game? Or did you watch a movie that allows you to control the camera angle? At first, the idea of driving around an open-world Final Fantasy game sounds amazing. Isn’t that what fans always dreamed of? In reality, you don’t really drive around at your leisure. Even when you have the car set to “manual”, you can’t speed up, drive off-road, or pull off a sick drift like in The Fast and the Furious. Your car still automatically stays on the road wherever you’re going. It’s not so much “manual” as it is “I can control where and when to stop and which road to take”. Riding chocobos at your leisure is much more fun, but becomes increasingly impractical as you can just fast-travel to necessary locations in your car.

The sights and sounds of the fictional world of Eos are enough to gloss over these shortcomings though. It IS still fun to roam around and fight monsters and save the day. My bottom line is, “You don’t think about just how mindless the tasks are unless you keep playing for many days straight.”. And I poured hours into this game day after day because of the 2020 pandemic quarantine.

Graphics:

Obviously the best thus far. However, in-game facial expressions on the NPCs are still quite stilted and awkward. This game made me realize that we’ve yet to jump a hurdle when it comes to in-game graphics. The game is so polished but there are still limitations when it comes to giving the characters natural movements, both in body and lips. So an NPC could be shouting “WOW THAT’S AMAZING!” but have a straight face jumping up and down, despite the fact that the character model is the most realistic we’ve created so far in a video game. I was looking back at in-game cutscenes of Crisis Core: Final Fantasy VII, and found it ironic that they can portray body movements so much better, but that’s the trade-off. Less graphics power to portray realistic bodies, but the graphics power can then be allocated to focus on natural movements. Nowadays, all the graphics power is focused on making things look good, but that hardly leaves room for making things move naturally.

Story:

After the overly-complicated plotline of Final Fantasy XIII, Final Fantasy XV feels like a breath of fresh air. On the surface, it’s a straightforward tale of a boy seeking to become a king after his father is brutally murdered by enemy forces. The bromance between the young king and his bodyguards is endearing. Each character feels distinct and genuinely makes you laugh. The setup sounds like prime real estate for an emotionally charged storyline.

Unfortunately, it falls apart somewhere around the last quarter. What should have been a strong and straightforward story turned into a rushed, hasty mess by the final act.

The story started SO strong, they practically had it in the bag, but then it became apparent that many important elements were glossed over - especially when it came to the main villain. I realized that some things required me to read between the lines, or even were only explained in character dossiers in the archive section of the menu. Supposedly, the movie Kingsglaive: Final Fantasy XV explains more, but do you really expect me to have to watch a separate movie to understand the actual game? The final quarter of the story feels like someone was trying to finish NaNoWriMo, realized they were running out of time, and quickly jumped from scene to scene to reach that 50k word goal. The ten-year time-skip is a joke. The final chapter is sorely disappointing.

The ending was appropriate though, and even beautiful. However, the overall story didn’t have the necessary emotional weight to really make me feel anything. I thought to myself, “I feel like I should be tearing up but instead I feel nothing.”. Even Final Fantasy XII, which lacked a romance, had me swelling up at the end. Final Fantasy XV didn’t make me swell up until literally the last few seconds of the post-credits scene.

People complained about the advertising (Coleman, Cup Noodles) but that didn’t bother me.

What does bother me is the lack of variety in the main cast, and in numerous ways. There were so many interesting side characters that didn’t receive much screen time, or use at all in the story. The strong focus on only the four male leads made it a sausagefest. I was craving more out of Aranea Highwind and Iris Amicitia. They are important but don’t get any screen time at all in the final chapter, nor do we ever hear from them ever again after the time-skip. Aranea Highwind was such a cool character, but once again ends up being wasted potential.

The main cast lacked distinctive styles. When I first saw the main cast, I had a hard time telling them apart. They looked like a k-pop band. Compare the main cast of Final Fantasy XV to literally any other Final Fantasy main cast and you can immediately spot the difference.

The four main leads do have distinct personalities, and I quite loved hearing their comments and banter. It felt realistic, but at times it became ridiculous. I rolled my eyes when Prompto would say things like, “Hashtag sorry not sorry.” That was a bit too on the nose, and came off as Square trying to pander to the current generation.

But what really rubbed me the wrong way is the incredible lack of non-white characters in the entire game. Lestallum feels so wrong to me as a Hispanic. Lestallum is supposed to be modeled after Havana, Cuba.

Its music, its buildings, its activities. It has a tropical climate, and yet every single denizen is pale white. Every. Single. One. I am not exaggerating. It feels so absolutely wrong walking around that city and not seeing anyone with the slightest shade of brown. This isn’t some uncalled-for SJW rant, it’s a simple fact. Tropical climates breed tanner skins. My brain naturally did a double-take when seeing the all-white population, saying, “Hmmm, something’s wrong here.”. For God’s sake, Final Fantasy XII, made over a decade earlier, did a better job at displaying the various nuances in skin tones, and that was on the PlayStation 2! Final Fantasy X, even older, seemed to properly portray tropical beach populations, inspired by the Philippines, with the character Wakka.

I noticed that they really took the time to incorporate elements from virtually every single Final Fantasy game. Aside from the crystals, the modern settings, and other obvious elements, four male leads are reminiscent of Final Fantasy III, the sinister chancellor hearkens back to Kefka from Final Fantasy VI, the enemy Yojimbo resembles Final Fantasy X’s version of Yojimbo, a certain boss battle reminded me of Cid Raines from Final Fantasy XIII.

Also, there’s Dino. Quite possibly the most annoying Final Fantasy NPC ever.

The overly obnoxious Italian stereotype made me want to punch his face, and also took me out of the experience of the fictional world. Every time you spoke with him he's all like "HEY HOW YOU DOIN WELCOME TO OLIVE GARDEN YOU TALKIN TO ME BADA BING BADA BOOM SPICY PIECE OF MEATBALL CAPISCE? AMIRITE??"

Square seemed to treat this game as a milestone in the series, alluding to everything the series ever did. It’s a shame that the story itself wasn’t quite up to snuff to be held in such regard.

Music:

The game’s major lyrical song is copyrighted, which is a first for a Final Fantasy game. It makes sense why they chose the song “Stand by Me”, both in literal and figurative terms of the story.

The score to this game is quite fantastic. The series has its first female composer, Yoko Shimomura. I have absolutely no complaints about the music. Nobuo Uematsu didn’t even pop into my head during the entire game. It’s the first time since Uematsu’s departure that I felt immersed in the score. The motifs are distinct and strong. The battle music is vibrant and an orchestral orgasm to listen to.

Notable Theme:

“Somnus”

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The main theme of the game. It plays right away in the main menu. I love how it is incorporated into the rest of the score, and my brain kept wanting to hear it to its completion.

Direct Sequel?

Nope. However, there is downloadable content that fills in the gap of events within the game. Supposedly, Final Fantasy XV is loosely connected to Final Fantasy XIII and Final Fantasy Type-O, all sharing common themes and possibly set in the same universe. You can also watch the prequel movie, Kingsglaive: Final Fantasy XV.

Did it Live up to the Hype?

Eh.

Yes, and no.

It was cool to play around, but the rest is a flaccid attempt at being a notable entry in the series “for fans and first-timers”, as the words proudly display every time you load the game. It’s not the worst in the series, but certainly not the best. It’s somewhere in the mid-to-low tier.

#final fantasy #final fantasy xv #square enix #ps4 #fantasy #fantasy rpg #rpg video game #rpg #video games #onvideogames #noctis #ignis scientia #prompto argentum #gladiolus amicitia #aranea highwind

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adobe-outdesign · 5 years

Video

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Little something for everyone while y’all are in quarantine. Part 2 coming whenever.

Transcript under the cut:

Five Nights at Freddy’s. Where do we even start with this one? FNAF is probably one of the most confusing games out there when it comes to trying to figure out what the hell happened in it. Everyone has their own opinions and interpretations, so I figured I’d provide my own.

Do keep in mind that I’m not going to cover every single part of the lore, as some of it’s fairly self-explanatory. Instead, I’m going to focus mostly on FNAF 4, as that’s where this Gordian Knot of confusion really stems from.

Be warned, this video’s going to contain something truly scary: OPINIONS. [scream effect] Yes, my views on the lore are much different than everyone else’s, so don’t get your springlocks set off just because my theories don’t align with yours. Because for starters…

[Why I don’t think Michael is the brother]

[Mob noises]

Okay, okay, hear me out. Basically, there are two main family in FNAF: There’s the Aftons, comprised of William, Elizabeth and Michael. Then there’s the - is this really their name? Really? okay - Emilys, comprised of Henry and Charlie.

However, in the books Charlie had a brother named Sammy. So the question is, is Sammy canon? And the answer is yes: During Stage 01, we see one of the kids disappear when left alone with Spring Bonnie, which parallels Sammy slash Charlie’s kidnapping in Fredbear’s by William.

This raises another question though: Who is Sammy in canon, then? And I’ll jut outright say it: He’s the Bitten Child. Yeah, I’m kind of amazed more people don’t realize this. The Fredbear Plush is implied to be possessed by Charlie, as its talk about putting the Bitten Child back together parallels the Puppet giving cake in Happiest Day, and the empty girl’s room indicates that the Bitten Child has a dead sister - her being the Plush explains why the Fredbear Plush cares so much about the welfare of this random kid.

Likewise, Charlie and Sammy were twins. The Bitten Child and Charlie have the same blocky sprites, and they both have brown hair and brown eyes.

Most importantly, the Bitten Child is spirited to look exactly like the Puppet. Given that he isn’t the one possessing it, the only way this makes sense if the two were related.

Finally, the Bitten Child freaks the hell out when approached by an employee in a Fredbear suit, and the Fredbear plush says that he’ll “know what happens if he catches you”. Many people believe this means the Bitten Child witnessed the children being murdered, but it’s too early in the timeline for that - Phone Guy says in 2 that the Freddy’s where the murders occurred was shut down and left to rot afterward. The restaurant in 4 is still open, meaning the murders haven’t occurred yet - given some other context, it’s likely they died in 1985.

The only other incident the Bitten Child could be reacting to… would be the kidnapping back in Fredbear’s, where William stole one of the twins while in a Spring Bonnie suit. And the only way he would know about it is if he was there during the kidnapping - which is enough for me to say with confidence that the Bitten Child is indeed Sammy.

Also, Sister Location has a lot of kidnapping references. [I kidnapped you.]

Especially in the Immortal and the Restless. Vlad represents William throughout the games - not dong much in FNAF 1, working the night shift in 2, being in the burning building in 3, and the hidden scene representing Baby not killing Michael who she thinks is William. And what is said every episode?

[The baby isn’t mine]

The baby isn’t his because Sammy literally isn’t William’s child; he’s Henry’s.

However, if the Bitten Child is Sammy, then that means this [Older Brother footage] cannot be Michael.

Now, I know all of you smart people out there are already thinking the obvious: The books are an AU. Couldn’t Sammy be the one kidnapped in canon, thus allowing Michael to still be the Brother? And to that I say: …Yeah. If you want to work with Michael being the Brother, then this is the best way to do it, and it’s entirely possible this is the correct answer. …But with that said, I’m not entirely convinced.

[Why Charlie was kidnapped and not Sammy]

For starters, there’s the simple question of motivation. Why would WIlliam be raising Henry’s kid? Killing kids is kind of his M.O.. Even in the books, he killed the child he kidnapped. The idea of him kidnapping and raising a kid is even brought up in the Fourth Closet… then dismissed because it would be out of character for him, which would be strange if he did exactly that in canon.

As established earlier, Sammy also remembers the kidnapping, which would make it weird if he was the one kidnapped and yet is just allowed to freely wander the neighborhood. What’s to stop him from telling someone else, or even just running away?

Moving on to actual evidence, the map in SL’s breaker room lists the FNAF 4 house and the minigame house as two separate observation areas. This could be to differentiate the two for the player, but I don’t know why they’d be separated in-universe unless they were two separate houses. This would also explain why the living rooms don’t look the same and why the grandfather clock is in two different locations.

Likewise, the Fredbear Plush has either a camera or a walkie-talkie in it to spy on Sammy. However, the private room also reveals that William has the FNAF 4 gameplay house bugged. He shouldn’t need to use the Fredbear Plush to spy on Sammy, given that he can watch him both through the house cameras and the (presumable) cameras in Fredbear’s - unless Sammy is still in Henry’s house, which would force William to slip a camera into the place discreetly.

Speaking of the minigame house, there are a few parallels between it and Henry’s house in the books. The house was connected to an underground location in the Twisted Ones, just like it’s connected to the Sister Location in canon. And one of the rooms contains a tiny toy animatronic - just like the ones Henry built for Charlie in the Silver Eyes.

Continuing on that train of thought, let’s look at that tiny Toy Mangle. Assuming the Toy Chica principle is in place here - that being that the literal toys in this game look the same as the Toy Animatronics - the Mangle here looks like the FNAF 2 version of Mangle, not like William’s Funtime Foxy, pointing to it being Henry’s creation and not William’s. The SL extras even reveal that Funfox was supposed to be purple at first, which doesn’t make sense if it was supposed to match the tiny toy version.

But perhaps one of the biggest pieces of evidence regarding this toy is in Mangle’s Quest. While walking, you can encounter a huge silhouette of the Puppet… which makes Mangle look toy-sized in comparison. This only makes sense if this room was Charlie’s, and the Mangle toy was hers.

This also makes sense considering that Sister Location didn’t exist at the time of 4′s release. Scott claimed you could solve the lore back then using only the first four games, and if this was Charlie’s room, you could do it by combining the knowledge of the Fredbear Plush with Sammy’s missing sister and Charlie from the novels. If this is Elizabeth’s room, the only way that could be would be if it was retconned into place behind the scenes.

Additionally, I don’t think Elizabeth’s death is the correct date for this room to be empty in 1983. Handunit says that CBEAR didn’t open until after Freddy’s closed, as it gave them the opportunity to move into the entertainment space without competition. I’d assume this also applies to the original Circus Baby’s Pizza World, which indicates Elizabeth didn’t die until after FNAF 1. Given that Michael still has eyes in FNAF 1, SL in general had to have taken place after it - it’s unlikely William waited 10+ years to finally send Michael to save her, so her death being after FNAF 1 makes more sense timeline-wise.

Meanwhile, Charlie died in the very first Freddy’s location, before the other murders. HW confirms the FNAF 4 location was this first Freddy’s, meaning that she died in 1983. This not only lines up with her death date in the Fourth Closet, but also explains why the room in 4 hasn’t been cleaned out; she only died recently.

This would also explain why Henry claims that no-one was there to save Charlie. It’s his restaurant; wouldn’t he have, like, been there and been watching her if he was the one who brought her in?

And finally, I do have one massive piece of evidence that I feel proves the idea that Charlie is the one who was kidnapped.

[Chica School Days opening]

I know, I know, stay with me. Each of Toy Chica’s husbandos in these cutscenes represent one of William’s victims and how he killed them, as proven by her talking about running over a dog which aligns with Susie’s death in both Fruity Maze and the novels. There are a total of six people she targets.

However, that’s the thing - there are six victims, one for each of the original five - and the Puppet. That means Charlie’s death has to be included in here. And yet, none of the deaths line up with what we see in the minigames… unless you assume Charlie was the one kidnapped. In which case, there is one that fits…

[Toy Chica talking about kidnapping]

There are six deaths, so Charlie must be included. If the only thing that lines up with her death is the kidnapping scene, then Charlie must have been the one who was kidnapped, not Sammy.

But that brings us back to the original problem: If Charlie was the one who was kidnapped, Sammy is still living in Henry’s house. Which means Michael is not the Brother.

[Why do people think Michael is the Brother?]

Let’s move on to explaining away some of the evidence for Michael being the Brother.

The first and most obvious piece is that we play as the Brother in FNAF 4. Michael lives in the FNAF 4 house, so he must be the Brother. Which is a fair piece of evidence. However, I do think there’s something that explains this: Midnight Motorist.

Yes, the reason this minigame has perplexed so many fans might be because they’ve been looking at the entirety of FNAF 4 wrong. Let’s start with the Yellow Guy, who’s likely Henry. Why? Well, he’s driving William’s purple car and yet isn’t purple himself, so he can’t be William yet must have a connection to him. Henry and William were friends and business partners, so the idea of this being a company car or one of them just borrowing it for the weekend makes sense.

Likewise, every minigame and cutscene in FNAF 6 pertains to one of the main characters. The Puppet minigame for, well, the Puppet; Fruity Maze for William slash Scraptrap; and Candy Cadet’s stories for Scrap Baby and Molten Freddy. Henry is the only main character who wouldn’t have something in-game pertaining to him unless this sprite is him.

Moving on, we see him interact with a green sprite. I’d wager this is Clay Burke, for no other reason other than the sprite is presumably color-coded because we know the character, and because Clay is a cop and therefore could easily kick Henry out a bar.

Out a bit from Henry’s house, we see a grave, and around the back of the house there’s a smashed window and an animatronic footprint. In the books, the Twisted animatronics specifically targeted Henry’s family, kidnapped people through aggressive means, and buried themselves during the day. Given that the Twisteds are just AU Nightmare animatronics, it’s likely one of William’s robots was trying to kidnap another one of Henry’s kids.

However, the kid being targeted doesn’t seem to be Sammy or Charlie. Henry’s wife is still present and this is a different house than the one in FNAF 4, suggesting this is early on in the timeline, as Henry got a divorce and moved shortly after the kidnapping. The kid that was targeted here was old enough to lock himself in his room and make a run for it, suggesting it wasn’t one of the two babies but rather the Brother from 4, who’s certainly enough of an Angsty Teen to lock himself in his room several times.

As we can see by the footprints and Henry’s blase attitude, it looks like the Brother escaped from the animatronic… this time. It’s likely William kept trying to kidnap him until he succeeded, locking him into his house once he was successfully captured after the Bite. The dialogue from the FNAF 4 trailer might actually apply to William; he brought home the Brother, he think he sees a ghost haunting him which is why he’s observing him in the first place, and he treats this whole thing like a sick game.

So with the FNAF 4 house out of the way, there’s only a few other pieces of evidence. The logbook shows Michael having drawn N. Fredbear… but given that the Nightmare animatronics were still in his house, it’s likely he would have seen then at some point during the night.

The logbook also indicates that Michael is Mike Schmidt from FNAF 1, with his pseudonym being a combo of his own first name and “Eggs Benedict”. FNAF 4 plays like FNAF 1 does, and you can hear one of Phone Guy’s calls in the background, meaning the Brother must have worked in the FNAF 1 location and heard Phone Guy’s messages. And while Michael does fit these requirements… there is one other character who fits them even better.

[Continued in Part 2]

#five nights at freddy's #fnaf #fnaf 4 #five nights at freddy's 4 #older brother #michael afton #outdesign posts things #the black box #now I'm going to hide from the angry mob that is inevitably going to form because I dared to suggest michael is just michael

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earthnashes · 4 years

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LAST OF UUUUUUUUUUUUUUUUUUUUUUUUUUSSSSSSSSSSSSSSSSSS!!!!!

I started playing the very second it was made available to play and just finished it last night at like 4 in the morning. And of course it destroyed me. I love this series man so much man. ;w;

SO! I don’t usually do this but I’m like, fuckin’ dyin’ to talk about it a lil bit so if ya have plans to play it, SPOILERS BELOW THE CUT. <:

-Aight so lemme just say right off the bat that this game is fucking. Gorgeous. The environments, lighting, visual design, the level design, everything was spot on. And don’t get me started on the CHARACTER MODELS. AND ANIMATION. Like bro that shit was lifelike in not just appearance, the characters emoted and carried themselves with so much life they felt legitimately real. They were all so unique too; characters had unique special ticks to just them (Like Ellie pinching her fingers when nervous or upset, or Joel standing taller and squaring himself when talking about hard subjects like he’s bracing himself for it, or Jesse giving his stunted headtilt when he talks) and expressed in a way that was just. Bruh. Aight I’mma stop but fuckin hell what they pull off with the characters in specific in LoU (both part 1 and 2) is just somethin’ outta this world.

-For anyone interested in playing it, the game is roughly 22-30 hours long if you’re just focused on the story, and much longer still if you take the time to explore and find all the little secrets. Some secrets include unique cutscenes and dialogue that are well worth the look; I haven’t found all of ‘em yet but I’m considering trying a completionist playthrough.

-Joel’s death fucking destroyed me. I’m in no way surprised he died, but it hurt regardless, just how quickly things went south for him and Tommy there. And ELLIE. FINDING HIM AND WATCHING HIM GET REKT WAS PAIN INCARNATE. Set the tone hella hard and I’m fuckin’ here for it.

-I’m not gonna lie I fully expected to dislike Abby given she rekt Joel, even though I figured it was for a pretty good reason before it was revealed her pops was the doc Joel killed. But damn. I really enjoyed Abby, a lot actually. From a gameplay standpoint I dare say I enjoyed her section more than Ellie’s since you were BLASTING ENEMIES with those fuckin’ GUNS of hers. And by guns I mean her arms’, jesus she was shredded. As a character, she felt a lot like Ellie from a different perspective and mindset, and I really appreciated the reflection the two of them had. Two sides of the same coin, basically. Also I really, really liked how killin’ Joel brought absolutely no peace to Abby at all, and you caught her beginning to regret it. And it kinda sorta acted as the catalyst to her shift in how she viewed the world. I think that’s a good portion why she latched onto Yara and Lev so hard. Perspective is everything, and there is always more than just one side of a story.

-In the same vein I had a blast learning more about Abby’s friend group, dynamics, how she lived, who she worked for and her past and everything. Of them all I think I liked Nora the most, but Mel and Manny were both reaaaalll close seconds. O:

-Speaking of, DOGS. DOGS DOGS DOGS. So many dogs man and you got to play with and pet them! Fuck yeah. That should be a rule in gaming; if you have a cat or a dog in the game, you should have a button to pet it. Also good gorl Alice is best doggy don’t fight me on this. uwu

-Jesse and Dina were the beez knees I fuckin loved them man. They were exactly the sort of folks I can see Ellie being best friends with. ALSO, this one isn’t major, but I really appreciated that there was no love-triangle here? Dina and Jesse dated, smashed, didn’t work out but they still remained good friends. Ellie’s first reaction to seeing Jesse is to confess that she and Dina kissed, and Jesse readily accepted the fact that Dina moved on (and he had too). It’s just refreshing. No bullshit love triangle there, just three people who really understood each other. Also jesus christ, I really didn’t want Jesse to die. Goddamnit. But I’m so glad they didn’t kill Dina too like, I was fully prepared to see her get fucked up. Base rule of LoU: anyone you like has a high probability of dying. ;w;

-BRO THINKING OF JESSE, ELLIE, AND DINA MADE ME REALIZE THE PARALLEL OF THEIR RELATIONSHIP TO MEL, ABBY, AND OWEN. Ellie’s triangle was essentially non-existent; no feelings of betrayal or anger, just understanding and love, like there was a deep-seated bond here that would weather anything. If Jesse had lived, I wouldn’t doubt he, Ellie, and Dina would have lived together to raise the baby together. Meanwhile Abby’s triangle had Owen seeming to unable to let go of the past he and Abby had together, that poor bastard was still in love with her, and how that supplemented the slow deterioration of all three’s friendship. I was sad to see Mel turn on Abby the way she did but like. I mean. Dude was ready to leave Mel in the dust for Abby despite HIM GETTING MEL PREGNANT. Abby also kinda did drag everyone into this, even if it was of their own violation. Oof. Though it did feel like she was angry at both Abby and Owen equally, not just blaming Abby for everything there... or at least the romantic relationship part. Honestly probably one of the few times I actually enjoyed a love triangle in a story, or at least of this caliber.

-Isaac, the leader of the WLF? He was cool as fuck. I love how much character they packed into him without even showing him too much. Like there was a scene where Nora mentions she tried to question Isaac about Owen and she said “he gave her that fucking look and told her to drop it”. Hell, when he was talking to Abby, he isn’t that much taller than her but he felt like he outright dwarfed her with the way he carried himself and how they reacted to him. I love shit like that man. But anyway fuck Isaac. uwu

-Not gonna lie I kinda wish I got to see the leader of the Seraphites, but it was hella cool to learn that she had been dead already and how the Seraphites operated with and without her. I don’t think I found everything regarding that specific point in game, but it sounded a lot like a peaceful religious leader who’s words and teachings were twisted to suit the goals of corrupt members of the tribe. She was essentially an equivalent to Jesus, at least to the Seraphites.

-I honestly really loved all of the characters introduced but I have to admit that Lev and Yara were standouts. Yara’s one hell of a big sister, lemme tell you, and the lengths she went through to make sure Lev was safe really shooketh me. AND LEV. MY CHILD. MY SON. To those of you who are familiar with the LGBT+ controversy around the game, he and Ellie are what people are complaining about. Ellie because she’s gay, Lev because he’s trans.

Lev in particular was heartbreaking. His tribe were outright hunting him for who he was, as well as Yara because she chose to protect him. The mindset the tribe had was pretty much isolated to them though.

And jesus. That scene with him and his mother? Fuck.

-YARAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA :( BRUH that scene pissed me off, fuck you Isaac, you bastard.

-THE SCENE. WHEN YOU PLAY AS ABBY. AND YOU FIGHT ELLIE. WAS SO FUCKING COOL. AND SCARY. Ellie man, that section really showed how efficient and smart she is. She legit tricked me a few times not gonna lie, like I thought she didn’t see me but she’d pretend she wouldn’t, only to ambush me with a FUCKING MOLY. Also the fact that the game outright says “hey uhhhhh you can’t actually take her head on, she’ll fuck you up in a heartbeat bro”. Welp. A really strange mix of horror and sadness and pride there. Hm. :/

-Mom!Ellie was so fucking sweet to see. And it made me catch a glimpse of hope that Ellie actively tried to soldier through for her fam’s sake. But she clearly had demons she had to confront and I’m angry at Tommy for disrupting her and Dina’s life, but it felt necessary. Still made me sick to my stomach to watch her go after Dina fucking BEGS HER TO STAY. NOOOOOOOOOOOOOOOOOO

-Speaking of Tommy, it was so sad to see how much he fell after Joel’s death. It really showed just how much he was like his brother though; underneath a gentle man is someone you best not trifle with, and is very familiar with doing horrific things to reach a goal. Because fuckin hell, Tommy is legit a badass. That sniper part was SO. COOL. Aaaaand terrifying. RIP Manny. :/

-Bro, I’m very curious to see more about the Rattlers but. They were fucked up in a special kind of way. There’s no telling what they did to those people they captured and enslaved. Seeing Abby in the state she was in after seeing her throughout all the game in tip-top shape was painful. That poor girl was literally skin and bones and... just beaten down.

-ELLIE AND ABBY’S FINAL FIGHT WAS SO SAD. I HATED (but I loved) EVERY SECOND OF IT. I was so scared Ellie had fully lost herself there, when she threatens an unconscious Lev to force Abby to fight, who at that point, very clearly didn’t want to. Honestly. Ellie clearly didn’t either, far as I could tell, but it felt like it was the only way she knew how to confront everything. Fight it, until you kill it, or you die. It also felt like Abby understood that since she was in Ellie’s shoes once upon a time.

-I don’t care what anyone else says I’m so happy Ellie let Abby go. I’m so glad she chose not to go through with it. For so long Ellie has been angry and resentful about a lot of things, and she never got a choice once throughout the majority of her journey. As much as I will 100% agree with Joel sayin “fuck this supposed cure, fuck the Fireflies”, it’s not fair of him, or the Fireflies, to just outright take that choice from her, that she didn’t really have one to begin with. She was justifiably angry with Joel and the moment she chooses to try and forgive him, he dies. Another choice stolen away from her. The fact that she chose mercy despite everything, and it was prompted by a memory of Joel, the very reason she was doing this, is profound to me. Like she finally understood why he did what he did, and why he said he’d absolutely do it all over again. Hell, she probably even reached the understanding that her and Abby really aren’t that different from one another in that aspect.

-Ellie returning to an empty home, with Dina and JJ gone, was heartwrenching. I fully understand why Dina left and she honestly had every right to, but it still hurt man. :C AND ELLIE. PLAYING THE SONG JOEL MADE/SUNG FOR HER. ALWAYS KILLED ME. But this instance in particular was something else man like fuck I balled like a baby. Especially when it was followed by the fact that Ellie and Joel were on the cusp of mending their broken relationship only for it to be ripped away man. Goddamnit.

-ELLIE AND JOEL DUET NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO. FUCKIN HELL I love this game.

-----------------------------------------

So, this isn’t really a review more than it is me just sharing some of my thoughts on the game, but if ya want me to give it a rating? 10/10. If not a perfect score? At least a 9/10.

The Last Of Us as a series is one that’s moved me more than any other game I can think of honestly (outside of Telltale’s The Walking Dead), and just like the first one, LoU2 left me thinking about it for hours after. It’s thought-provoking, it’s compelling, it’s fun as fuck, aaaaand it’s made me cry like a baby a good number of times. I also really appreciate the fact that, in this game, they actually show the consequences of your actions. Like, they made you consider the fact that you aren’t just killing grunts to get to the next enemy or mowing through mindless drones. You’re killing people, who have lives, and friends, and families.

We got to see Joel for who he was: a very broken man, with a very dark past, who has done very horrible things in this shitty post apocalyptic world, but he is a father, and protective, and loving and thoughtful, who will do anything, anything, to protect Ellie. Blood or not, Ellie is through and through his child. But Abby only saw a monster, and could you blame her? He killed her father, and countless others, and she never got the full story. Just that a man came in and killed the entire hospital, put an end to even the smallest possibility of finding a cure, killed her dad in cold blood, and walked away no problem. And then it cycles right back to Ellie, where Abby becomes her monster.

It’s just some grade-A storytelling as far as I’m concerned, and I’m someone who usually prefers happy endings. LoU always leaves me feeling bittersweet but goddamn do I love this series. I’m kinda hoping for a DLC, to be honest? Like LoU part one, where you found out about Ellie and Riley. I wanna see what happens to Ellie; I get the distinct feeling she returns to Jackson and hopefully scrounges out some semblance of a decent life there, after confronting Tommy and (hopefully) making peace with Dina. But we’ll see! uwu

#earthsong talks

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mamthew · 4 years

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Been playing the Final Fantasy: Crystal Chronicles remaster some since it dropped, and I have some thoughts on it. It’s been a…really long time since I last played the original, and I never was able to get too far in, since I was so new to video games that I was unable to intuit most of its mechanics. Despite this, I fell in love with the game. For quite some time, it was the only game with “Final Fantasy” in the title that I had played. I played, enjoyed, and beat its three sequels: Echoes of Time, Ring of Fates, and The Crystal Bearers (neither of the My Life As spinoffs, but eh).

This remaster is not a good remaster, but mostly not for the reasons I’ve seen put forth online. The developers didn’t do much to improve the visuals, sure, but honestly the art direction of the game was pretty enough anyway that it skates by on that alone. The load screens are not nearly as long as I’d been led to believe. The gameplay is unchanged from the original, and like…I like the gameplay of the original? That’s why I played the remaster? I want to play the game?

My biggest issue with the remaster is how the online is handled, but reviewers have straight up lied about problems with the online? Like…you have a permanent friend code you can give people. The temporary online codes you can generate are different from the permanent one. Why are reviewers saying your online code changes every 30 minutes and you can’t save permanent friends when that’s demonstrably false? Seems like a thing you maybe shouldn’t be writing in your official review.

I’m going to put my own issues with the online aside for a moment, though. I promise we’ll come back to it, but my issues with the remaster are only understood in the larger context of what the game did as a piece of art and what it no longer does now as a result of the changes. First, then, we’ve got to lay down what Crystal Chronicles did as a piece of art. Crystal Chronicles, I’ve come to realize during this playthrough, is a game about storytelling as collective memory, and much of the game’s mechanics work in service to this theme.

In the world of the game, something happened long ago that released poisonous miasma into the air and made much of the world uninhabitable to the four major races. The game follows the players’ customized characters as they take annual pilgrimages to collect enough “myrrh” from magical trees, which is used to maintain the barrier that keeps their town safe from the miasma. The game is broken up into years; it takes four drops of myrrh to maintain the barrier for a year, each dungeon’s tree only provides one drop of myrrh, and it takes several years for a tree to replenish that drop, pushing the characters’ caravan further and further out each year in search of trees that are not yet spent.

I’ve compared this setting to Death Stranding a few times in the past, and I think the comparison holds up. The game’s story has only gained something from the current moment, too. I go out and risk myself to get groceries, which I then bring back home so I can continue to hole up safe in quarantine until I run low again, and I think the game fairly accurately simulates the rise and fall of that pattern, the balance of risk and safety, and the way the dangerous unknown eventually becomes the mundane with time. Most of the locations in the game are old products of civilization that have been lost to nature, and walking through former farmland, abandoned roads, and empty towns in the game do remind me of walking down empty city streets back when coronavirus was still keeping people off city streets.

The game has several stories running in tandem, but the most central one is the ongoing story of the characters’ caravan, chronicled in a journal. After every new encounter, new area, or completed dungeon, a new entry is added to the journal, and at the end of the year, all the entries are incorporated into a cutscene, so the player can read them and relive the year’s events. The entries are very short and written in a simple style, but they still give the player an idea of how their character viewed the events. These end-of-year cutscenes are actually really enjoyable little rituals, and I’ve been avoiding reading the journal entries specifically so I can experience them for the first time in these retrospectives.

As the years progress, the character’s entries show that their memories of earlier years are fading. “Whenever I close my eyes, I vividly remember all my adventures,” says the entry at the end of the first year. By the end of the fourth year, however, “so many memories from my earlier adventures have dimmed, from the joys of chance encounters to the suspense of my first battles.” The entries also show the ways the annual pilgrimages have changed the player character. “It was an easy fight, so I spent a peaceful interlude over a light meal,” says an entry after revisiting an older dungeon. “I was a little surprised. I never considered myself a fighter.”

The written and oral records of the past permeate this game in so many ways. Before each dungeon, a narrator who is presumably another caravanner who went to the same places in the past introduces the location with either a history of the place or an anecdote about the place. The Mushroom Forest, to her, evokes a childhood memory of her mother. She introduces the Veo Lu Sluice by explaining the history of who built the sluice, what conditions allowed for its construction, and what its irrigation has done for the people since. After each dungeon, the player character receives a letter from a family member, telling them what has been happening in the town while they were away. At the beginning of each new year, the town’s patriarch tells your character a story about the previous caravanner, who mysteriously disappeared after announcing he had found a way to remove the miasma entirely.

It feels like history, generally, has been put on hold. The Lilty military once dominated most of the world, but had to shrink back into their capital city due to the miasma, and the city eventually diminished to a small trading post. The Yukes once were at war with the Lilties, but they’ve allowed trade between their towns again, so caravans can have safe havens to stay in while collecting the precious myrrh. The once-nomadic Selkies were unable to find a new homeland before the miasma spread, and now most are stuck on an island that was supposed to be a temporary stop. We hear much of this history throughout the game, but we don’t see any of it. It’s recorded and known but has little bearing on the culture or lived experiences of the inhabitants of a world where no one can leave their homes.

The moogle adventurer Stiltzkin asks the player character where memories go once they’ve been forgotten, and it’s a fair question in a world where everyone is as alienated from the past as they are from each other

The problem is, this isn’t supposed to be a game about alienation, exactly. It’s supposed to be a game about shared experiences and the ways we experience and remember the same events differently, as different individuals. It’s supposed to be a game about combatting alienation through shared experience. This is supposed to be a game in which I share a screen with three other players even as we each also have our own personal screens providing us with different objectives and showing us different letters from our different families. In the original game, the multiplayer was devilishly difficult to actually set up, as each player had to have their own Gameboy Advance, attached to the Gamecube and used as a controller, to control their own character. The players’ characters lived in the same town and were on the same caravan together but competed over who unlocked which powerups and picked up which recipes, meaning everyone’s stat spread and armor was different. Players had slightly different experiences within the larger shared story, and the use of the Gameboy Advances were meant to highlight those differences.

Which leads to my issue with this remaster. In the original, characters were saved to the same file, and every player’s character lived together in the same town. Their families each had different houses in the towns and would eventually provide the party with different supplies, depending on their jobs and the responses they received to their letters. At the end of each dungeon, the player characters would sit together in a circle and each receive a letter from their families. At the end of each year, the retrospective cutscene showed the characters and their families celebrating their return together. Your characters explored towns together, and your fellow players watched the random encounter cutscenes with you.

In this game, you can’t play local multiplayer at all. You can only play online multiplayer in dungeons, and clearing a dungeon with other players only counts towards the host’s file. At the end of each dungeon, the characters sit in a circle as the mail moogle tells all but the host that there is no mail for them. At the end of each year, the retrospective cutscene shows an almost entirely empty town; the character and his immediate family dance alone. Certain secrets have now been relegated to the single-player experience only, and the minigames you could unlock and play with friends were removed entirely. Towns are also exclusively single-player. The game is no longer a shared multiplayer experience so much as a dungeon-crawler where friends and strangers can jump into dungeons to offer brief help.

This creates a strange two-minded state of play, where I see and remember the vestiges of the game that once was while playing a game that’s in thematic opposition to it. As my character explores Tida Village and sees signs of the population that once lived there, I play this remaster and see leftovers from now-removed game mechanics. It’s a deeply unsettling and alienating experience.

The online isn’t inherently bad, then. It reminds me of FFXIV, where dungeons and bosses are their own separate experiences, removed from the rest of the game. But this online is inherently unsuited to the game it is in. Crystal Chronicles is not FFXIV; the developers put together a system of online play for a different game than the one they were remastering.

It would have been possible to change the game to suit this online system, too! The journal entries for dungeons could have also included the names of players who joined them for those dungeons. The online players could have still received letters, but from the host character’s family, thanking them for keeping their loved one safe. New random encounters could have been added between different online caravans, allowing them to trade items or play minigames with one another. The party at the end of the year could have included the families of randomly selected online companions These changes could have could have given us a synthesis of the old and new, and helped to center the chronicles over the crystals.

Instead, though, we have this incredibly flawed remaster, after almost a year of delays, that serves more as an empty reminder of what the game once was instead of actually allowing us to experience that game, or instead of, god forbid, actually building on that game’s premises and promises. I’m still enjoying the game a lot, but the experience is hella soured by my knowledge of how the game used to play. I’m not sure how enjoyable this remaster would even be to someone unfamiliar with the original.

This remaster feels like a purposeful nail in the coffin of Crystal Chronicles; an excuse to show that the franchise is no longer a potential seller. Whether that’s its actual intent doesn’t really matter, though, since I fear that will be its ultimate effect either way.

#Final Fantasy #final fantasy crystal chronicles #ffcc

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dazais-guardian-angel · 4 years

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This post has been sitting in my drafts since like mid-November around when I finished replaying the game, long enough for me to write and upload a fic about some of the concepts I wrote here, what the fuck. DGS brainrot is real. But aNYWAY finally, here are my massive thoughts on Unwound Future, the golden child of the PL series. This is literally *checks* 8k words, because I can never shut up!! and because there is just SO much going on in this game at all times, so many different interweaving plot threads and funny moments and incredible, fascinating characterization, especially combined with the games that come after it; I just had SO much to say. So much analyzing and headcanons and crying galore. :’) There’s a reason this is considered the best game, and that’s why I had so damn much to talk about.

behold the incoherent, rambling, unconnected mess of a novel that I hope makes a modicum of sense under the cut:

Continuing the trend, this game has simply AMAZING graphics/art/music, with a huge uptick in cutscenes and voice acting, and I feel like the sound/music quality is greatly improved too? I love the main bgm for London in this game, never really remembered loving it before, but it’s just *chef’s kiss* and so is the song that plays in other areas like the hospital and subway

Quickly mentioning the gameplay, I really love all the minigames, and the storybooks are especially hilarious to play with putting the wrong things in the spaces to create mad libs-esque crack that makes no sense; it’s so fun lmao

The beginning flashback segment with the time machine demonstration is honestly just so funny, for so many different reasons: Dimitri droning on and on with time travel technobabble while Luke, Bill, Chelmey, and Barton represent the definitive last four brain cells. Hershel being skeptical about successful time travel after all the magical shit they went through just like a year or two ago. The way that Bill’s sprite slowly and nervously shuffles onscreen after Dimitri calls him to the stage, like omg I don’t know why that cracks me up so much but it does. Dimitri’s lowkey savage shade he’s throwing at Bill throughout this whole thing. The way Bill says “wHAT” when Dimitri asks him to help, clearly about to shit his pants. Dimitri just standing there completely unfazed as the smoke from the machine flies past him. And of course, “sOmEtHiNg’S gOnE vErY wRoNg!”

…okay but in all seriousness, am I just stupid or do they never explain how they get Bill to the underground city, like the machine CLEARLY explodes with him in it, there was no secret elevator built into the thing like at the clock shop, so…???

also the presenter’s voice is really funny lmao

Still disagree that this is the biggest mystery they’ve ever encountered, despite being near the top; Luke you say that literally every game!! so what is the truth!!

Spring’s face is terrifying as FUCK in the two cutscenes in the clock shop… why they decided to show both of them in ominous, shadowed lighting in those scenes I do not understand a;lskdl;fds

I need someone to draw a diagram of how exactly the shop looks as a giant elevator because frankly I still can’t wrap my brain around it-

THE FACT THAT WE NEVER GET TO MAKE UP WITH HAZEL IS A TRAVESTY, HONESTLY

Belle… why…… ugh

Wish they’d had “Schrader” drop a casual nod to the events of Diabolical Box; it would have been cool :’) (especially since this is Paul so he’d know about all that)

College-age Hershel is just….. the pinnacle of adorableness. someone protect him from all the pain

One of the few flaws/plot holes in the story of Unwound Future that I only noticed during this replay with more media under my belt, is the that the developers didn’t really decide on what kind of time travel they wanted to portray, or more likely just didn’t scrutinize Clive’s fake role enough when writing it. This is blatantly obvious upon the very first meeting with Clive where he desires to test Hershel to make sure he’s really him. Obviously in a closed loop scenario, everything Luke and Hershel are doing “Future Luke” should remember doing himself in his past, so a test would not be necessary; this is a major trip-up on his part that it’s very odd Hershel doesn’t notice for how smart he is, imo. However, later on when meeting “Future Layton”, Paul calls Dimitri out on this exact principle, proving that he’s not actually Future Layton because he doesn’t remember the absence of a pen in Hershel’s pocket in this moment in his past, and it’s a nice little touch that Paul, on the other hand, an actual scientist, would mention this. Back to Future Luke, though, he should know how everything goes down with stopping Future Layton, because he lived it all as a child with Hershel, which makes it even more dubious to the fact that after seeing all this, Hershel still goes dark and everything plays out the exact same way it’s portrayed in the “future” of the game; it’s the idea that destined fate can’t be changed, but the suspension of disbelief is quite high, especially since we already doubt that Hershel would ever do such a thing, knowing what kind of person he is. Of course this wouldn’t be the case in an open-loop/branching timelines universe, but since the game uses the former type with the pen argument (and something else important I’ll mention in a second), I feel like the rest of the game should have adopted this idea as well and addressed it. Because Dimitri is outed via the fact that he should have memory of things he doesn’t, so it would have been easy to simply add Hershel adding that argument into his final explanation in the bar (”my suspicions were first raised when we first met Big Luke, and he didn’t know if I was really who I said I was- [etc etc]”). Even if they didn’t want Hershel to bring this up early else the entire story would fall apart, they could simply draw attention to the fact that he notices something in these moments, like with a “...” or “Hmm”, and then he explains it at the end like I said. Interestingly enough, Clive actually addresses these concepts at one point in the game with Luke in the statue plaza: he doesn’t want to tell Luke how things play out in his future, so that… things play out the way they’re supposed to…? Even though his entire story here is that he wished Hershel hadn’t gone dark and distanced from him, and ruined the city? But then he makes the suggestion that they could instead be operating on an open-loop/multiple timelines system, where in his past he never travelled to the future, but in our Luke and Hershel’s timeline they do. This is only a hypothetical he gives though, with him seeming unsure of how things truly are, which… again, in this story he’s concocted, he should know for sure, because if he doesn’t “remember” time traveling and how everything went down, then they’re operating on different timelines and it shouldn’t matter how much he tells Luke about his future. You can definitely argue that in-universe Clive didn’t think all this through when planning his dialogue for this role (but I honestly find that hard to believe, since he’s so intelligent, and he nailed the realism of everything else to a T), but it’s obvious just that the writers didn’t think it through, because like I said Hershel really should have picked up on his blunder when they first met, as well as later when Clive is surprised to see Flora suddenly with them and didn’t know for a fact that she and Chelmey/Barton would arrive there. Since the time travel scenario in 99% of the game isn’t actually real, I don’t entirely fault the writers for not getting every single detail right… and yet, that 1% exists where time travel is real, with Claire’s situation. It’s a very isolated incident though that wouldn’t be replicated, with only her going to the future… and yet, she does return to the past again, if only for a split second before dying and thus not enough time to do anything with her future knowledge, the real thing to note here being that they took care to show that she was wearing the same outfit when she died that she gets in the future, one she wasn’t wearing when she entered the lab originally. So they DID think about some things very well, like such a minor and easily-overlooked detail here (but that blows your mind once you realize it). All this is hardly enough to ruin the game or break the immersion completely though, especially since the player is already predisposed to heavily doubt everything with PL’s “the town is a lie” track record lmao, but I can’t help but be bothered by it now after playing games like Zero Escape and watching time travel shows like netflix’s Dark, which have bootstrap parodoxes and timeloops galore looool. My friend who watched me play the game blind this time around brought up all these questions as Clive said things, as someone who didn’t know if it would end up being real or not, and so I spent a lot of time puzzling (har har) it out with her… even though it wouldn’t matter lmao.

……In short, if it wasn’t obvious, despite Unwound Future’s time travel setup being completely fake, I’m really fascinated by the notion of how it would all work if it was real. >.> …and I mean, I know I’m not the first one; monocle Layton aus are popular, after all, but I don’t really care quite as much about the allure of an “evil Layton” as I do just about how everything else would be, I think.

Because, like, lets be real? taking the prequels into account with Unwound Future’s proposed setup, the potential is endless. It honestly KILLS me that the prequels didn’t exist yet at the time of UF, because!! so many people from Hershel’s past!!! SO MANY REASONS FOR HIM TO WANT TO HARNASS TIME TRAVEL AND CHANGE THE PAST, NOT JUST FOR CLAIRE’S SAKE. FOR RANHENGELA’S SAKE. FOR LUKE AND EMMY’S SAKE. FOR HIS PARENTS’ SAKE. FOR DESMOND. listen, listen, you don’t understand how much the idea of Desmond being involved in UF’s concepts destroys me. I wrote about this in my last fic but. imagine if Desmond learned about Hershel going down a dark path for his sake and everyone else’s, just like he did. Or imagine if, instead of Hershel being the one to do it, it was Desmond himself; he’s willing to play the bad guy once again, one very final, this time definitely final, time, if it means he can undo everything that caused all of them so much pain in the first place: his betrayals, the death of his former wife, he and Theodore’s separation, their father’s betrayal, ALL of it, and Hershel would never know. When Luke first is like “oh it’s gotta be Don Paolo right” and Clive says no, i LITERALLY screamed “BUT IT COULD BE DESCOLE!!”. JUST. PAIN. And where would Randall be in this future; what would he, too, think if it was Hershel going after time travel? Imagine him trying to smack some sense into him just like Hershel does in MM, trying to tell him that despite those lost 18 years of his life, despite everything wrong he ended up doing, he’s still happy, and so are Henry and Angela. So is Desmond. And Emmy, she wouldn’t want undone those years she had with Hershel and Luke and then Aurora and Desmond, despite how sadly it ended. Just… so much pain. So much potential. I hurt :’)

and adding on to this, i love love LOVE the idea of Clive knowing about some of this stuff in Hershel’s past, in order to faithfully play his role as Future Luke. Like obviously he wasn’t in Misthallory with them all, he wasn’t on the island in ED, he wasn’t at Monte’dor, and he wasn’t on the Bostonius or at all those Azran ruins that I can’t remember the names of right now, of course he wouldn’t know the intimate, specific details of what all went down, but if there was just one npc who was in the right place at the right time at any of these locations, who knows what beans they could spill? Maybe even an ex-Targent person or something. Hell, fucking Bronev is in jail for at least a little while before the events of UF. There are possibly MANY people Clive could have gotten information from to pull off this role - he’s a reporter, he’s skilled at digging for stuff. Not to mention just reading and hearing about large incidents in the news. And this makes his character so much better because he’s admired Hershel for so long, grateful that he saved his life all this time, to the point that he asks him to unknowingly come and save him again… and he most definitely didn’t know back when he first encountered Hershel that he’d already experienced so much loss and pain as well (some of which Hershel hadn’t even gone through yet by that point), but learning about everything he’s suffered? I think it would really affect him, and possibly contribute to why he asks him for his help in the first place in UF: because Hershel has suffered just as much as he has, and he feels a connection to him, feels like he can relate to him, and wants someone who can empathize with him, and show him how to cope. All of these reasons and emotions would probably be completely on an unconscious level, but they would exist - he’d use this limited but meaningful knowledge to try to connect with Hershel more when he’s still in Future Luke mode, to try to convince him he’s really Luke, at first, but unconsciously it’d be an effort to get closer to him emotionally, which is what he truly desires deep down, until his so-called act somewhat stops being an act, and talking about these things makes his vulnerabilities start to show (again, i wrote a fic about this). This all just adds to why Hershel is the perfect person to help and support Clive - the prequels make their similarities even stronger, more than just with Hershel losing Claire, and those accidental parallels when the writers hadn’t even conceived the prequel trilogy at the time of UF are just *chef’s kiss* beautiful.

THE CASINO SCENE IS JUST ICONIC, IT’S SO FUNNY. LUKE BEING SCARED OF THE SHOOTING AND HERSHEL JUST DITCHING HIM. CLIVE’S LITTLE HOP AND ROLL BEHIND THE SLOT MACHINES. THE SLOT MACHINE GUN IN GENERAL. THE CLONE FAMILY MEMBERS FALLING OVER LIKE DOMINOS UPON BEING HIT. BOSTRO CRYING AND SPLINTERS AND LOCKJAW RUNNING IN CIRCLES PANICKING WHILE LAYMAN JUST IS LITERALLY PUSHED BACK SLOWLY WITH ONLY A CHAIR TO DEFEND HIMSELF, I CANNOT STRESS ENOUGH HOW FUNNY LAYMAN AS A CHARACTER IS TO ME. it’s just so glorious, oh my god. this series is ridiculous i love it so much lmao

Luke wanting to use the time machine though… there are so many reasons why he might want to, mainly from Azran Legacy. :’)

The statue is the worst thing ever for multiple reasons. The fact that it represents Hershel & Luke’s relationship, the two main characters, who have been through so much together and have such a strong bond that can never be broken, and how it ties into the whole Evil Layton scenario and seems to foreshadow that their bond does end up breaking, as “Future Luke” seems to be proof of (though the game doesn’t really put much emphasis on this; Luke is more worried about the fact that he’s moving away soon straining their relationship, and not the whole Future Layton thing. imo it would have been interesting to see his actual thoughts on/feelings about it, since he’s surprisingly calm throughout the entire game before the reveals happen; you can argue he just has complete faith in Hershel and doesn’t think he would ever go dark, but then why doesn’t he bring this up, insist that this can’t be true? I think he should have). The fact that as I just said it foreshadows how Luke will leave Hershel at the end of the game, something that Luke worries about later on in the game. And most of all, the biggest, worst thing it foreshadows… Hershel’s relationship with Clive. Clive had that statue made himself, put it in his giant set. He WANTS that kind of mentor-student bond with Hershel, that’s how he sees them, just from their one interaction in front of the exploding buildings… or at least, that’s how he wants to see it. He sees how close Hershel and Luke are throughout the entire game, and he yearns for that kind of bond with Hershel, too. The fact that the boy in the statue story has an illness that he eventually dies from, but that their friendship withstands… it’s probably meant to represent Clive’s insanity, that he hopes Hershel will save him from - he is Clive’s light of hope in his despair. Or, to be more accurate to the statue, even if Clive’s madness ends up killing him (which it very nearly does, and by that point he fully expects that it will), he’ll still have had those memories of that time he spent with him, and Hershel will never forget him, and that will mean something special. man though can you imagine an AU where Clive is literally terminally ill too, and that’s why he’s yolo-ing this entire thing so hard and doesn’t care if it ends up killing him in the end, at least he got to be with Hershel one more day; ahahahaha turn up the angsttttttttttttt-

Shmelmey and Shmarton do not at all look like Chelmey and Barton, smh

For everything Clive accounted for with his role and setting, he’s honestly way too rude and crass sometimes to be Luke lmao, even if you try to imagine a world where Hershel did go dark and Luke was changed by it… at least imo

the like 4 puzzles that give Clive’s solving animations/dialogue are the most serotonin-boosting things in the world

“you will come back, won’t you?” Clive asks Hershel about his trip to visit Chelmey, desperately wanting him to stop him before it’s too late :’)

Rosetta and her....... sessions....... with Hershel........ hajkkALSKDLD

Okay but Hershel is kind of dickish sometimes though, despite his whole “gentleman” thing??? There’s the elephant in the room which I’ll Get To, but like first he guilt-trips Chelmey into getting him access to confidential information about the lab explosion, and then he has the absolute balls to tell him “Bill Hawks is being held in the future” and that’s IT. No explanation, nothing else, just THAT, and then he LEAVES, after he’d promised to share every last detail with him. I don’t blame Chelmey at all for tailing them and barging in to get information himself, like damn Hershel, why so savage sometimes in not a good way

which brings me to Ranting About Flora’s Treatment, Part 3: The Finale. Y’all I literally cannot even BEGIN to describe how much the way Hershel and Luke treat Flora in UF specifically makes me seethe..... It was already bad in DB, no doubt, but in this game they are straight-up rude to her, mostly Hershel, for absolutely no reason, and I CANNOT fathom why. He constantly makes the excuse that he’s concerned for her safety, and that the places they’re going to are too dangerous for her, but it all exudes a level of thinly-veiled annoyance, even confusion as to why Flora is so upset that they never bring her along and wants to go with them at all... almost like her “frail” feminine appearance (which isn’t helped by how the games make her feel sick or dizzy or tired multiple times), compared to someone like Emmy who could fight and has more masculine traits, means she’s less capable in Hershel’s mind, which, like, even if it’s unconscious on his part... how about no?? I could accept being worried about her, even if I’m still frustrated at her being left behind, and her constant kidnapping (which isn’t Hershel’s fault, even if he probablyyy could do a better job both times at protecting her), but I CANNOT excuse how short and dismissive Hershel is with her in this damn game; it honestly borders on ooc to me for him, I don’t know what the writers were thinking; do they just hate Flora that freaking much??? He treats her like a burden the entire time, apologizes to people for her, acts irritated at having to accommodate for her, when poor Flora just wants to spend time with him and feel like an equal to him and Luke. Meanwhile Clive of all people is the first one to treat her with kindness and respect and pleasure to see her when they first meet, like when Luke bitches about Flora being excited to see the river and not taking things seriously and Clive tells him to go easy on her (Clive, the one who has been rushing them along this entire time himself). honestly can see why it’s so easy to ship them, when literally everyone else treats her like crap It’s SO depressing honestly. Flora asks them if they thought to wonder where her future self was, and Hershel is just like hhhhh we’re kinda busy thinking about... you know.... important things... sorry not sorry....... like BITCH I WILL STRANGLE YOU, BE NICER TO YOUR DAUGHTER!!! Luke at least is a kid, but Hershel??? there’s no excuse!!! Luke be like “damn I hope Becky doesn’t look down on us for leaving Flora behind... >.>” THEY KNOW. THEY KNOW IT’S NOT RIGHT BUT THEY DON’T CARE AND DO IT ANYWAY. I’M SO MAD

Beasly just gets... straight-up murdered yo... between him and Subject 3, what were they smoking when coming up with the animals in this game, jfc. Test subject animals?? that’s unnervingly dark, despite how glossed over it is and how hilarious Subject 3 is a;lksd

LUKE LOVES SHERLOCK HOLMES THIS IS NOT A DRILL. THE DGS CROSSOVER IS WAITING, LEVEL-5 AND CAPCOM. MAKE LUKE’S (AND MY) DREAMS A REALITY

the intentional zoom-in on Clive’s sinister face in front of the tower will never not amuse me, and baffle me as to why they drew attention to it lmaooo

And okay back to time travel bullshit shenanigans, WHY the fuck does Dimitri not pick up on why him not remembering about the pen is such a big deal as soon as Paul first brings it up?? bruh. bruh. aren’t you a fucking TIME TRAVEL SCIENTIST. WHY DO YOU NOT KNOW SUCH A BASIC CONCEPT THAT BREAKS YOUR WHOLE FACADE IN SECONDS. It’d be one thing if he just couldn’t provide the right answer, but no, he straight-up HAS NO IDEA WHY HE SHOULD HAVE TO KNOW ABOUT THE PEN. “HOW THE FUCK SHOULD I KNOW-” bruhhhh. Dimitri. my dude. i love you but you are actually so dumb sometimes, like holy shit (more on this later though)

Paul talking to Dimitri about his plan is really good; he has a “...” moment before telling him what he’s doing can’t be excused, like “oh shit let me jump on board, wait fuck i gotta stay in character, Layton is a wuss he would never agree to this god dammit Layton-”. jokes aside though, I’m honestly confused as to how much he actually knew before Dimitri’s exposition in the pagoda, and why exactly he goes along with helping Hershel stop him... and what Dimitri was thinking roping him into this. Because I can’t really figure out Paul’s motives here and how they changed, if they did at all. The only information we get about how he first became involved is that Dimitri was paying him a lot of money to get Hershel to the pagoda and to him - he knows that “future London” isn’t real, he knows Future Layton isn’t real, so the extent of his knowledge seems to be that “this man wants to screw Layton over somehow and is giving me $$$ to get it done; there’s no downside here, never mind this suspicious as fuck fake London and all these people that shouldn’t be here”, but then Hershel gave him more information, probably that Claire was involved in what Dimitri was doing, and his concerns about a traitor being involved if he had already begun to suspect Clive by that point, and then he suddenly decided to turn against Dimitri? Even though you’d think saving Claire would be a reason for him to want to help him...? Or did he plan to turn against him from the very start, and wanted Hershel to come because he knew he could stop all this (part of his character development)? The latter is the most likely, though I still don’t entirely understand or maybe I’m just having a brain fart, that’s very likely too. And Dimitri on the other hand, did he know that Paul liked Claire too and would want to save her (and maybe about his salt for Hershel too), and that’s why he got his help? That makes more sense... but also doesn’t, cause as I said it seems like Paul didn’t know Claire was involved until Hershel told him and then Dimitri told everyone at the pagoda, so maybe he literally just said “here’s some money, help me fuck over Layton, not telling how” and just trusted in him that much, even though Paul is an evil genius who could and does put a stop to all his plans with his machines... once again, Dimitri looking dumb....

Clive, in the most deadpan voice ever at the top of the pagoda: oh no, the prime minister is in danger, someone help him

Flora as they’re escaping the tower: “professor no please take me with you instead of future Luke” Hershel: *ignores her feelings and makes a decision for her yet again* Clive: “shhh don’t worry Flora; i know i’m going to kidnap you in like an hour but i’m just trying to rescue you from these insensitive jerks. not Don Paolo though; he’s a gentleman.”

It’s interesting to me that Luke and Hershel keep acting as if Future Luke and future London are legit even after Future Layton has been revealed to be a fake. Hershel at least probably knows none of it is real by now, even if he hasn’t exactly figured out Clive’s role in everything yet, and is just not revealing his knowledge for now, but Luke is still rolling with it... wonder what’s going through his mind by this point. again, it frustrates me that Luke really has no emotional reaction to anything in UF, aside from the statue and his worries about leaving Hershel soon and how that in particular will affect their relationship

I also wonder what Clive is thinking by this point. Now that the Future Layton jig is up, what kind of story is he going with now? We never find out because Hershel reveals everything completely the next time Clive joins up with them again, but in the (unreasonable) case that he hadn’t, would Clive have just acted like he didn’t know that Alain Stahngun was actually someone named Dimitri, who was actually pretending to be Layton, and that the real Layton was somewhere else out there that they needed to find? I don’t know WHY I’m so interested in details like these that don’t matter at all in the long run a;lksdfklfd, but I am... he tells Flora to continue the “investigation” without him, so clearly he still had something in mind, and didn’t expect Hershel to out him quite so soon after that even if deep down he wanted it

Chelmey really cares for Barton and it’s actually so sweet, oml :’)

I didn’t really praise Paul’s character development in this game enough before, but I really do love it, even if I don’t quite understand the circumstances that started it. It’s not something I would have expected with how he’s presented in CV and DB, but it’s very nice to see this be the culmination of his character, and it’s kinda sad that it feels a bit more natural than Descole’s sudden shift in backstory/character between ED and MM/AL... It’s very funny and good to see him and Luke bicker at each other, and how he seems to have a soft spot for Flora... it’s all cute. I just wish there’d been a bit more time for him to talk to them, but that’s what fanfic is for

Don’t make me have to see Hershel beaten up in the street :’(

The sprite of Dimitri standing in the bar is incredibly hot.... damn why are all the older male characters my type >.>

Alright but it’s about time I finally talk about Dimitri without dissing him for being stupid sometimes and say that in short, I love him. He might even be my favorite new character in UF, even more than Clive; I don’t know if it’s just the Liam O’Brian Tragic Sexy Tired Villain effect or what (nah let’s be real, that’s a huge part of it lmao), but he’s fantastic and utterly breaks my heart, in a much more understated way than how the game shoves Clive’s angst in your face, but his tragedy is nonetheless impossible to ignore. The flashback with young Dimitri is my favorite scene in the entire game, it is devastating and feels so cinematic, so raw and painful, and I’m glad they animated that part because it humanizes him so much more. Claire was his everything, he loved her so much, but it is so obvious to me (and to a lot of the fandom too, I think) that his love was entirely selfless - he might have been a little sad, but he was still mostly content letting Hershel have her, and when it comes to after her death, Dimitri would have been absolutely happy not being able to have her if he managed to save her life; he just wanted her to live. He was in love with her, yes, but he also loved her, as a friend, as a scientist, as a person whose time was cut far too short for entirely selfish and unnecessary reasons, and the majority of his anger and bitterness and drive came from a desire to fix such an injustice - to save an innocent person’s life. And the saddest part of him doing all this and trying to sustain Claire’s existence in the present once he finds her, if you go with the closed loop time travel theory, is that Dimitri should already know it’s impossible for him to succeed in this as long as he remembers finding her body in the past - him succeeding would create a paradox, thus, he can’t save her. But he’s so deep in his despair and obsession and insistence on preserving her life that I don’t think he ever stops to think about this - or he does, but refuses to acknowledge it. I’m sure he was incredibly sweet and kind and soft in the past, with her, and with his passion, and it’s heartbreaking to see how broken he is now, how miserable and tired he is, how much everything changed him. And wanting to get back at someone like Bill, who had it all to begin with and then carelessly used them to gain even more, well, I don’t blame him for that. >_> Not to mention his relationship with Clive, which is all kinds of fascinating to think about: the most chaotic, dysfunctional mess of a half-business partnership half-father/son relationship there is, ahaha... Both of them are unhealthy to the extreme in different ways, but with how much time they spent together, it’s inevitable they had vulnerable moments around each other... Clive is the only other person Dimitri would have around during his research to possibly grow to care about, even if it was entirely unconsciously. Learning he was using him would, well, ruin their relationship even more than it was already messed up, but maybe he would visit Clive in prison at least once, assuming Hershel was. I just crave content for them, ugh. Dimitri just deserved so much better, he makes me so sad </3 and I honestly hate that we don’t get to see him say goodbye to Claire at the end before Hershel; sure it would have utterly killed me, but surely he deserved that much...

The utter, frankly amazing, stupidity of Flora’s kidnapping has been stated everywhere, we all know it, but just.... yeah. smh

Seeing the mobile fortress be like *war flashbacks to the Detragon* “Not This Shit Again” Hershel why tf you putting Luke in more danger AGAIN???

The car scenes with the mobile fortress are, at least to me, the funniest parts of the entire game, even better than the casino, oh my god they’re AMAZING. Luke screaming and flailing his arms while Hershel deadpan flings the car towards the fortress, all the bumps they hit riding across it later on, the car just FALLING and Bill almost falling out of it, and then the plane, all the while Hershel displays no more than mild frustration while everyone else is PANICKING... “a plane? This is an automobile!” ...iconic. top PL moments ever. Luke don’t you recall the time when Hershel built an entire mini plane out of a chainsaw and a barrel in ED, come on now

Onto Claire. Claire doesn’t get much screentime, but some of the moments she does have are very good; she’s one of the best and most fleshed-out female PL characters imo, and like a lot of things, I appreciate her a lot more after this replay than I did years ago... LayClaire is a cute ship and all, but I was never really obsessed with it; rather, I’m realizing now I’m more invested in what Claire has to offer by herself. I hate to use the term “strong female character” cause that sounds so cliche... but she really is strong. The entire part with her wanting to save Clive, their conversation, and her bringing him out... god it gets me, it really does. She’s known she’s going to die for ages, and at this point in the game she knows it could be any moment now, so she has no reason to try to keep herself safe; she’s doomed no matter what, so she might as well spend the last few minutes of her life saving another life, and not just anyone: someone who’s just killed countless people, who anyone else would see as insane, who doesn’t care for her, doesn’t care if he lives or dies - but Claire is compassionate enough that, despite everything, she fiercely believes he deserves to live. Because of her own guilt and sins she believes she bears, yes, but also simply because she believes he can still change, and doesn’t deserve to die, despite the HORRIBLE atrocity he just committed. She’s just that good a person. It’s no wonder she and Hershel loved each other and were made for each other; both of them are such kind, loving, selfless people who see the best in anyone no matter what. Perhaps she hoped and suspected that Hershel would look out for and care for Clive once he was in prison, so she wanted to make sure that could happen, even if she wouldn’t be around to ever see it.

sorry I just get really emotional about this part, about the entire mood and tone of Claire desperately trying to save this kid, and the way the camera focuses on the massive scale of the fortress and how it dwarfs them in size... It’s a really powerful and melancholic scene (just like Dimitri’s flashback scene; have I mentioned how much I adore the atmosphere and cinematic direction of this game? cause god I do) with the knowledge of her real identity and circumstances, the visuals and the music are so good, ugh i just have so many feels. mom Claire hurts me </3 she’s so good... Despite the fact that she dies, and so much of what everyone is doing is because of her death, her presence in the story is so strong, and it never feels like her only purpose is to die for everyone else’s development and that’s it (unlike... well, a lot of other pl females :’); she has her own things to do, she stops the fortress alongside Hershel, and literally saves the main antagonist’s life. Seriously I just adore the fact that she of all people is the one to rescue Clive in the end even though she wasn’t at all obligated to (although I’d be interested and cry over an AU where Hershel saves him instead; it honestly surprises me that he wasn’t going to until Claire said something...), because Clive is the only character (of the adults) who doesn’t have a direct relationship with Claire, but they’re still connected by the explosion, and so it makes for an interesting and terribly sad dynamic, even if they only have a few minutes with each other, for all the reasons I said earlier. Claire doesn’t think what he did was right, but she knows what she and the other scientists did wasn’t right either - and it’s too late for her now, but it’s not too late for him; she knows he has a kind heart, deep down, and that he needs help if he wants to redeem himself. She feels responsible for him, feels like she owes him that second chance, after indirectly taking his parents from him and causing him such misery and brokenness... She’s so brave and strong-willed to be able to do and admit all that she does; I just love her. It clearly kills her to leave Hershel, I don’t think she intended at first to ever let him know who she was (hence Celeste), but she’s not too upset in the end, because she (rightly) knows that he will be all right. ;; She’s so beautiful, too... wish we could have seen her interact with so many of the other characters </3

and so my favorite “insert Descole into the main trilogy” AU is where Descole intercepts Claire and makes some sort of body for her, like how everyone headcanons that for Aurora post-AL. (or/also just mobile fortress vs. Descole robots, that’s cool too lol)

And finally, Clive, the infamous star of Unwound Future, thought I talked about him a bit already (and also in this post a few weeks ago). Clive is probably the PL series’ best written villain Anton excluded, I absolutely love him, like everyone does. Nothing really about him hasn’t been done before elsewhere, but that’s not a bad thing; when I was younger and first played the game I really only paid attention to his sympathetic side, but now I’ve also grown an appreciation and fondness for that kind of unabashedly awful, manic, evil insanity a villain like him has, it’s just SO entertaining to watch. If PL was a more mature/higher rated series I’d love to see his chaotic crazed energy played up even more, just to really hammer in how messed up he is, ahaha, but of course that would make it harder to sympathize with him..... and unfortunately, it already is kind of hard, because.... shit, the number of people he must have killed? It’s a LOT. A FUCKTON. The level of sympathy the game gives Clive and the way it presents him at the end is not at ALL relative to the astronomical amount of people that had to have been squashed to death by his machine, to the point that it honestly makes me uncomfortable, and I try to just retcon that in my head, as hard as it is to imagine a scenario where that thing could have come up to London and not hit any houses, because like..... There’s no coming back from that. He knew exactly what he was doing, madness or not, and I honestly just... don’t want him to be such a mass murderer. Maybe it’s wrong to ignore it, but the game wants me to feel sorry for him and see his potential for redemption, and his relationship with Hershel is so good... dammit game, why’d you have to show those houses being crushed. Ugh. Because Clive is so compelling as someone who feels betrayed by people in power, who desires revenge not only for himself but for all the people who suffered just like he has that he says he bore witness to as a reporter; it’s a very relatable position and a good story, for his well-meaning intentions to be skewed and lost in the midst of his rage and despair and hatred and insanity, where his very valid point of “hey people in government are fucked up and don’t give a shit about us and that needs to change” gets turned into “they all need to die even if the very innocent people I want to save get hurt by this as well”, and I really wish that whole angle of it had been played up a bit more, and there had been more of an opportunity for Hershel to reason with him and argue that in the midst of his blind need for revenge, he’s become even worse than the people who need justice handed to them (cue some Descole allusionssss). He wouldn’t have to win him over, Clive is already too deep by that point despite how much he wanted to be stopped, but just having more of that than just what happens in the surveillance room would have been sooooooo good, I love that conversation. It would have made Clive even better and really drive home that he’s 1) kinda right about some things and wants better for people 2) still very fucking wrong and selfish at the same time and has taken it all way too far 3) very fucked up and broken. Not that the third point isn’t already abundantly clear, but... yeah. It would have given him even more depth, made him more sympathetic, and helped juuust a little to offset how much the game handwaves his mass murders... just a little... One of my favorite Clive scenes though is when the fortress is breaking down and he’s still there, desperately trying to save it, still in denial about the fact that all his plans have failed and that everything he’s done (and himself) is about to go up in flames; I know everyone loves making fun of him and that that scene is pretty memeable (he does get bodied so much in the game, lmaooo), but it makes him look so vulnerable, all alone in there by himself, like a child, which is what he really is, deep down: he never truly wanted to do something so abhorrent and evil, but his emotions and mind spiraled so badly out of control and it led him to such a dark, horrible place, where he couldn’t stop himself, no matter how much he wanted to, and in the end all he can do is watch helplessly as the reality of what he’s done and his unwound future all comes crashing down in front of him, never to be salvaged. And he believes wholeheartedly that he is going to die, that he deserves to (this is my favorite Clive scene; he’s so hurt and resigned, the voice acting kills me ugh), he doesn’t understand at all why Claire wants to save him, especially if he knows she’s one of the scientists (as his line of “why are you of all people helping me” implies), because he always thought none of them ever cared about him and people he saw as like him, thought everyone was like Bill Hawks, but Claire still cared enough to want to save his life, even though she was one of the people he was actively targeting with his revenge... I wonder how he would have felt at the time if he had known about her situation and that she was dying. </3 I just want so many good things for him, as so much of the fandom does. He’s so messed up but that’s what makes him so interesting, and his potential relationship with Hershel that the ending of the game suggests could happen is so touching and lovely and uplifting, one of my favorite kinds of relationships in fiction: Clive’s issues would persist for so long, for forever, really, but Hershel would support him and help him heal, and be there for him always, no matter how much Clive would feel like he didn’t deserve it. I eat this dynamic up, I really do, every single time I encounter it in a story, and it’s made even better by the fact that as I’ve said, Hershel has so much in common with Clive, and so they would get along very well for that reason, and Clive could unknowingly help Hershel just as much Hershel tries to help him. They’re so good for each other. Add Luke too, and Flora, and Desmond...! just ahhhhh........ there’s so much goodness. Clive you absolute glorious, fucked-up mess of a character, I love you. :’) and I love fic writers who explore facets of his personality and write about him. He’s only in one game, and there’s still a few hiccups, as I said, yet he’s handled far better than Descole or Randall in my opinion (though I love them too)... just an amazing fucking villain, and character. I wish UF could have gone deeper with him than it did, but even so, the possibilities with Clive are endless. I love him, so much ;;

and some of the themes of the plot in this game, uhh, hit a little close to home in good ole’ 2020/21 time we live in? :’) #FuckBillHawks

Hershel saying goodbye to Claire.... god. One of the top scenes in the entire series, probably the #1 most iconic I’d even go so far as to say. I don’t even really ship LayClaire, but there’s an indescribable emotion that finale gives me... it’s just breathtaking, in the most gutwrenching, nostalgic, beautiful way. I still maintain that Diabolical Box’s ending is sadder than this one, for a multitude of reasons, just comparing the stories and situations the characters are in, but I 100% don’t blame people for bawling at this scene more than any other, just because of the way it’s done yes I know I won’t shut up about the cinematography; the lighting, the camera angles, the pacing of it, Hershel’s fucking kicked puppy faces, the dialogue oh god the dialogue; it ALL hits like a TRUCK and comes together beautifully. At this point in his life Hershel has been through so much loss, so much so that it is unbearable - when he cries that he doesn’t want to say goodbye again, that he can’t say goodbye again, that he refuses to, nothing in the world is more true: this man has been through too much, and he’s hit his breaking point. even if you don’t have the prequels in mind when watching this, as most people don’t/didn’t the first time through, the overwhelming sense of burden and loss Hershel is feeling is so palpable, so painful - you get the sense that this isn’t just about Claire; Hershel has never shown emotion like this before up to this point, so for him to finally break down like this... it speaks volumes. After so many years of holding everything in, he finally can’t take it anymore, and basically stabbing me in the fucking chest would hurt less </3 I complain about Hershel never showing emotion like this (never crying) in the prequels whenever he’s hit with an equally horrible bombshell, and I still feel that way, but at the same time a part of me is also glad that’s the case, because it makes the very last (two) scenes in the entire series hit so much harder, knowing that he finally loses his composure after dealing with so much. As the titular character of the series, Hershel’s development is very understated and subtle, so it’s all the more meaningful when he actually snaps, because it makes him feel so much more real and human than he ever is the rest of the time, when he maintains his facade of being a perfectly composed, calm, and together gentleman; this scene finally say that, no, Hershel is a person, and he is broken in a lot of ways, because some puzzles you just can’t solve no matter how hard you try, and it’s so sad. And this sad tone of loss and longing permeates the entire cutscene; the way the title is dropped in Claire’s dialogue (both versions equally haunting imo), and Hershel taking off his hat for the first time ever, and the pan up and transition back to show the falling snow as “Time Travel”, my favorite instrumental in the series, kicks in... y’all there is no other feeling in the world like the feeling that elicits, there really isn’t ಥ⌣ಥ ❤️💔 the only thing that might even come close to it is the ending of Azran Legacy with Surely Someday, simply because it was the ending of the series, but the ending of Unwound Future hits me harder knowing it’s the end of the timeline, and with everything else in hindsight. And then an unknown amount of time later, even with Luke gone and Hershel only having Flora there with him anymore unless we headcanon DESMOND COMES BACK BECAUSE OF COURSE HE DID RIGHT, Hershel is still no longer wearing his hat, to show that he’s finally started to heal from his pain, and accepted the loss(es), because throughout all of UF Hershel had never really gotten over Claire’s death no matter how much he tried to pretend like he had, but you don’t realize that until you see the ending, until he got one final chance to see her. I just... ugh I love it so much, so much. It means so much, for Hershel and for the series, and that’s why it makes me cry (and don’t even get me sTARTED on Luke’s goodybe, and how upsetting yet beautiful THAT is. yes, Luke isn’t a gentleman yet, and Hershel finally learns that maybe he doesn’t always have to be one, either :’’’’’’)

Unwound Future is a masterpiece. Diabolical Box has my favorite characters and story for the new characters, and favorite settings, personally, but Unwound Future is such top-tier storytelling and writing; it feels so epic and sweeping and (here i go again) cinematic, it’s so polished and everything flows so well, the pacing is wonderful, everything ties up so perfectly and there’s very little I would change Flora bitching aside and practically nothing that feels like filler, even though some of it technically is. The tone stays consistent and they really push the boundaries of how serious and heavy these games can be, and it works, and doesn’t feel silly or glossed over or too unrealistic or too heavyhanded like some of the other games are at times; the plot twists/reveals feel the least absurd and the most grounded in reality, despite still being wild, and it focuses on some really relevant stuff and themes (again, it feels really grounded and raw, and the least fantastical, which isn’t a bad thing for the other games/movie per se, but being more realistic works in this one’s favor. No one is going to have their family separated and murdered by a criminal secret organization working to unearth ancient advanced civilized ruins, or lose years of their life and memories in said ancient ruins, or have their life ruined in an eternal unaging state from hallucinogenic gas, but being screwed over by people in government who will do anything to make sure they never have to face consequences? now that’s a mood). It’s just a really fucking good game, by far the best Professor Layton game, and I’ll always stand by that, despite preferring DB just a bit more cause it hits more of my personal tastes (DB is still very good too though, don’t get me wrong), and it’s also enhanced even more by the prequels, though it stands perfectly on its own. The perfect culmination of Hershel’s character arc, and the absolute high point of the series. It’s one of the ones I keep coming back to the most, just because it has so much to offer; as someone who is absolutely enamored with near-perfect stories of this caliber, I couldn’t ask for more. ❤️

#professor layton #professor layton spoilers #meta #who wants to read 8k words about a 12 year old game: no one #who's still gonna post it: this bitch #i actually got emotional near the end writing hjklskdfkfldlksk watching the end of uf always hurts :' )#me: 'db is my favorite' also me: 'rants and cries about uf for almost double the length of the db rant'#It's About The Potential.jpg #i didn't even talk about the puzzles much at all lmaooooo none of them really stood out to me #just........ story........ so good...... emotions go brrrr #i need ALL the dimitri fanfic tbh #and dimitri and clive #and CLAIRE and clive #and clive and hershel ofc #catch me being obsessed with time travel in a game where 99% of it isn't time travel ahjsdffkldskkdfl #It Could Be That Deep.jpg #need to write my other uf ideas.... and then get to the prequels already #but i also wanna replay pl vs aa... and the aa trilogy...... so much to doooooo

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