#but the gameplay there is kind of lacking

[shewolfofvilnius]

There is a huge part of me that is curious about dragon age because I love BG3 so much. But idk anything about it? Also none of the characters strike me as interesting (or attractive....) Maybe you could tell me what you like so much about ? maybe talk about the characters so I can give it a chance? I want to like it! but I just don't know!

I DIDN'T FORGET

So for me the first draw of Dragon Age is the incredible lore and worldbuilding that goes on in the games and books. It's arguably just as fleshed out as a setting like the Forgotten Realms despite just being three (soon four) video games and about a dozen books/comics. There's centuries of history. Ancient ruins. Environmental storytelling for days. A little visual cue in the first game that's referenced in optional banter in the third that pays off in the fourth (FIFTEEN years apart). I really appreciate that the first game, Dragon Age: Origins, only exposes you to part of the story. The game's set in a pestilence known as the Fifth Blight, and you're the plucky young adventurer that the grizzled old veteran manages to recruit out of a bad situation just before the end. And you and your friends are all that stand between victory and oblivion. But right off the bat there's storytelling about love and loss and prejudice and honor. There's a noble character who dies, leading to a coward being killed as the stakes are built. (There's also a dog you can pet, and moments to show kindness during armageddon, like a prisoner who just wants a sandwich before he dies, he hasn't been fed.)

And the banter is funny (if some of it's aged a bit unwell), and the gameplay really encourages you to get in the head of whatever character you want to build. Yes you can be the cliche prince charming. You can also be the sibling of a prostitute to pay the bills until your sister lands a high profile john who catches feels for her. From the start it's equal measures hopeful and bleak at the same time. (And as you invest in YOUR character emotionally, you inevitably emotionally invest in your companions too.) And gradually the world gets bigger. A character whose town you watch get destroyed becomes the protagonist of the second game, and they hook you in to. They're a refugee, a very timely story, and if they're a magic user, then they're an especially persecuted refugee. But you still make friends amidst the hopelessness. More of the world gets revealed. You have FUN, somehow. Characters from past games recur, either as cameos or in one very specific case as a high profile recurring character in 3 out of the 4. And you become so glad to see them as they represent continuity of story.

It's a game about family and faith and the lack thereof and prejudice and love and how one counters the other, about how persecuted people often pay the price of things that happened before their ancestors' ancestors were born, and that tomorrow should always be better than today.

That's thematic, though. Maybe you take a shine to Isabela the Pirate and Aveline the Guard Captain (maybe Merrill the blood mage elf, too). The three women basically form one of the best depictions of big/middle/little sister trios I've ever seen in a game. What starts out as cold hostility becomes banterful compassion and love. A lot of folks fell for Solas, an elven apostate whose every word is couched in three mysteries and two half-truths but seems to know way more than he's letting on. When you find out a horrible secret about the honourable Grey Warden Blackwall, do you leave him to his fate, try to redeem him, deliver a sufficient consequence, or outright torture him.

And you won't like everyone. The odds of you liking both the spirit-possessed mage Anders and the anti-magic elf Fenris in the same play of the same game are low unless you metagame it. And sometimes the games even rewards you for someone hating your ass or vice versa, and THAT'S organic. But being mean or having a negative interaction isn't some edgelord thing either, it's just "sometimes people don't get along" or "something you just need to punch someone"

You get to laugh at the tough stern warrior Cassandra getting absolutely beside herself wanting to know what happens in a book that it's writer, another of your companions, hated writing - and that even Cass herself calls smutty literature. Another character, The Iron Bull, is faced with a choice: His found family and the freedom to be who he's become, or the belief system he's known his entire life and that expects him to conform.

Does your character sacrifice? Does your character make the streets run red with blood? Is all you want to make people feel inspired and in something bigger than themselves? Even playing three (soon four) wholly new characters, you get to truly role-play and emotionally invest in these little blorbos, maybe even more strongly in Baldur's Gate. When a character returns you weren't expecting, is it joyful or melancholy? Can your character handle a confrontation of everything they've ever known.

And in the newest game, there's a baby griffon.

I love Dragon Age. The lore is expansive beyond sanity for a franchise with it's commercial output. The characters feel alive, and the game tasks you to emotionally invest in order to reap the maximum reward and suffer the strongest heartache. Plus, in many cases, when the game doesn't tell you, say about your character? You get to roleplay and use your imagination so, so strongly.

[littleghostblogs]

Playing Fallout 1 and noticing Necropolis disappear from the caravans is just. So perfect.

The game brings no attention to it. No one mentions it. The caravans just don’t go there anymore. It makes you wonder what happened, you solved all their problems already, right?

So now you have a reason to go back there, cause otherwise there’s really no reason too. And when you do, everyone is gone. There’s no more ghouls, just super mutants. They invaded, and there’s nothing you can do to stop them. Once you hit that date, the city is gone.

It’s frankly a brilliant moment of subtle storytelling and even though I already knew about Necropolis’ fate it still motivated me to go back, just to make sure.

I wonder how many people discovered it this way? I can only imagine just how effective this reveal is for someone actually playing the game blind.

[rawliverandgoronspice]

another thing I'm kind of sad about re: totk is that I feel like the release completely de-energized the community? I don't know if that's just me, like for sure any game has a shelf life and things get quieter over time, that's normal, but I don't know. We're slightly over 9 months since release and honestly? even the blogs that were hellbent on defending totk as a genuinely great game that would leave a wonderful impact on the gaming community are radio silent right now.

It's not that there isn't any new conversations or cool/creative content or anything, but I actually do believe the Zelda Youtube community when they say that TotK kinda killed the groove a little bit. :/

[todayisafridaynight]

At which point did you realise that the plot of IW is ass? I've seen people complain only about the ending or the halfway point where the teams separate, while I was already actively rolling my eyes like four-five chapters in

i think the moment i fully accepted that IW's story was. Definitely A Story was the moment ebina announced 'bleach japan'. like i think leading up to that point i was thinking to myself 'oh i hope i see X happen' or being like 'i wonder where this is going' and that sort but the proverbial bucket of ice was definitely that moment

[fryshrimp]

yuuma toutetsu has such good aesthetics like not only are both of her themes bangers her design is too. of course i am a big fan of the goat lady

[dankovskaya]

Yeah I won't lie this game is gonna have to win me back somewhat

[wyvernne]

idk if you plan on playing hsr but blade is an insane immortal man who wants to die but can't and lives for revenge

he sounds like my type 👀

[zombiewizzard]

HOW TO DEFEAT THE DEPTHS KING GLEEOK: TLOZ TOTK (gameplay spoilers ahead, clothing collection mission)

prep

the gleeok den is just east of the drenen highlands chasm in the depths, in the north central portion of the map, beneath typhlo ruins.

you will need to prepare some gloom recovery recipes. additionally, bring a lot of arrows (at least 100). i would recommend leveling up your armor as well, at least to 2 stars. i also found good use of some haste potions. lastly, you should try to upgrade your stamina wheel, or maybe make some stamina restore potions.

having a couple fairies on hand is useful. and, obviously, bring some strong weapons.

the fight

. the gleeok will notice you as soon as you are in its line of sight, but will not notice you if you make noise where it cant see you (i tried whistling but it didnt hear me). begin the battle by catching its attention as it circles around the arena.

. as soon as the battle is initiated, the goal is to stun each head so that the gleeok falls to the ground. to do so, shoot directly into the eye of the head a couple times. to speed this up, you can attach something like boko fangs to your arrow so it does more damage. note: after a period of time, individual heads will recover-- you will need to take down all 3 in a relatively short span of time.

. each head will shoot a beam of its element at you. avoid these beams by running around the arena, and disable them by stunning the heads. if you can avoid taking damage in the first leg of the fight, you will have done a great job.

. after stunning each head, the gleeok will fall to the ground. take this chance to run up to it and beat the everloving shit out of its heads.

. after a few seconds of being stunned, the gleeok will stand and flap its wings to blow you back. to avoid this, sprint backwards before it can knock you off your feet. then it will begin shooting beams at you again.

. if you are fast, you can quickly stun one or two (or all three, idk) of the heads before it flies into the air again.

. at this point, the gleeok may start shooting balls of elemental magic at you. the most annoying one is the ice spell, which creates a cold fog that suddenly turns into large razor sharp ice snowflake. avoid these.

. repeat the process of stunning the heads and hitting the stunned gleeok.

. after its health bar is lowered significantly (maybe 1/3 or 1/4 remaining?) it will fly so high up in the air that your arrows cannot reach it and begin a new wave of attacks.

. the ice gleeok head will rain down a ton of icy spikes, and the thunder gleeok head will shoot down lightning strikes (there will be small colored indicators targeting the location these attacks will hit before they do, so stay frosty).

. after one of these lightning strikes hits the ground, a buffet of air will appear which can take you upward with your paraglider. float up, moving between air streams, and avoid the continually falling ice spikes as you do. glide toward the gleeok.

. IMO, you will want to take out the fire head first, as it can send a huge fireball at you and knock you right out of the sky. again, you will want to attach extra damage items to your arrows or use some stamina elixirs so that you can stun all 3 heads before you fall out of the air. correction: you NEED to stun all 3 heads before you fall.

. once stunned, the gleeok will fall to the ground again. kill it, and then reap your rewards >:)

from the kill you will recieve a horn from each head, wings, guts, and the chest in the center of the room will become openable, holding a collectable clothing item: the cap of twilight!

[bugbeast]

Self promo for my newest card game, Jewel Thief; but you can play it for free! First, though, let's cover the basics...

TL;DR - Its a 4+ player competetive card-matching game with four rule variants; buy it here or look for the orange text in this post to learn how to play it with a regular deck

"What is Jewel Thief?"

It's a card matching game with a villain; one player tries to match jewels in a 36 card grid while their opponent, the titular Jewel Thief, periodically steals cards from the board. You can check out its page on The Game Crafter for more information, but it'll spoil the rest of this post

"What makes it special?"

The game's turn structure would theorettically allow you, perhaps via some kind of infinite cloning machine, to play a round of Jewel Thief til the heat death of the universe. While I wouldnt recommend that, its lack of a player cap (and ease of set-up; seriously, all you do is put cards on a table) makes it a good party game choice.

But that's not all!

There are three extra rule variants that drastically alter the gameplay while keeping card matching and stealing as main mechanics. I believe the cards are versatile enough to allow for many custom games, too

"Okay, but why should I buy a silly game from some bug nerd?"

First off, ouch. Second off, that's the best part; you dont have to buy it to play it! Jewel Thief can be played with a standard 52 card deck. Here's how:

Step 1. Remove the 10s, Jacks, Queens, Kings and Jokers

Step 2. Download the free rules from the shop page

Step 3. Play the game, matching cards based on their values. You'll need to designate a value as the Diamond jewel for game 4

-------

That's it for my little self-promo. If you dont buy the game, I hope you'll at least give it a try and consider supporting my future projects.

I also post art and photography, which you can find under the bugbeast art and bugbeast photos tags. I hope you check them out

Thank you for your time <3

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Edit (Mar. 25, 2024) : Thank you to everyone who liked and reblogged this; if you play the game I encourage you to share your thoughts in the comments and/or reblogs (even if you hated it). Feel free to share any custom games or house rules you come up with, too. I'd love to try them!

Edit (Aug. 10, 2024) : Final edit most likely; gonna blaze this one more time for good luck then maybe start work on a postmortem for the project, maybe give a little backstory for anyone who cares. Life is a little rough right now, but fate willing, I'll be able to work on/post about my future projects, including the future of Jewel Thief itself

[sharkylass]

YOU I LIKE YOU @faislittlewhiteraven These questions are a little hard to answer with doodles but I tried my best- Nil generally has a pretty heroic and brave personality overall. She's loud and brash and ready to jump into things super quickly.

She's not the best with words, but she is very reliable overall

More art and writing under cut, it's just a long post man-

In terms of helping about during travels, she likes doing a lot of heavy labor jobs- She's the type to fix broken fences, gather supplies for folks, carry stuff around, tend to crops or lend a help wrangling animals. Nil wouldn't be great at things like sorting and organizing tho- Just tell her what you need and where to put it and she will! I mentioned she's not really the best with words (she is very emotionally intelligent just sometimes struggles to communicate stuff), HOWEVER, With folks that have been frozen she connects with a lot. How it's scary that you've been frozen for so long when your entire belief is to change and evolve, how (if Mal Du Pays is anything to go by) they had to fight their own demons in there, how everything can change so easily without you even noticing- It's terrifying to think about.

Actually- a while ago I made battle sprites with Nil- I wasn't happy with them so I never shared them BUT

Specifically I wanted to contrast her frozen sprite with everyone else's- Cause if she were to SOMEHOW be frozen again, knowing what it feels like, what could happen while she's out- It would TERRIFY her instantly. Not just a mild shock or surprise, it would stick with her for a while-

Speaking of battles tho-

Nil is super brash and lively as a whole. She puts up a brave face for a LOT of things, including fighting. She jumps in without really thinking, and as long as it goes their way, she'd have a smile on her face doing it.

However, while brave, it does come from both a place of coping and naivety. She's not used to genuine fighting, in fight or flight situations she actually tends to flee. (Which is why honestly, if she had to fight the King I don't think she could do it-)

If a battle were to start going south, she'd actually start to panic more then anyone else- Physical wounds and seeing the people she loves hurt would lower her accuracy and general capabilities, despite the brave face she puts on.

And due to her lack of experience, especially in bigger groups- Nil tends to... miscalculate sometimes

She had to learn the hard way not to just jump at any opportunity she sees. The party can see where Bonnie got it from (also after the battle Nille proceeded to heal Sif, profusely apologizing, I forgot to doodle that whoops-) (Also gameplay wise, imagine every second turn she does an action of her own without your command)

Also just the Sif image by itself cause I liked it :]

As for chores and stuff-

She does foraging and stuff! Honestly I don't think the other 5 would have done so before they traveled together.

Mira would have most DEFINITELY learned about it but didn't feel confident in her abilities. Bonnie will grab stuff they think is edible from what they remember Nille telling them and they'd grab a stick to cook. Odile would not be interested and would prefer buying the ingredients rather then wild scavenging. Isa doesn't read to me as a biology student, I see him more of a math history type of guy, so either he doesn't know, or him and Mira did it occasionally together, but only as a last resort type of deal (maybe when it was just the two of them and they had to manage alone) And Sif in my mind is an accident prone goober who'd forget which ones are edible and which ones aren't so I wouldn't trust him personally.

SO! LONG STORY SHORT! I don't think any of them are really experienced with foraging. And as a means to make money management easier- I imagine Nil (nature being a passion of sorts to her) took up the mantle! Probably taught the rest how to do it too!

That's it when it comes to stuff specific to her- Other then that she's kind of ready to help out with anything! She can help set up tends, do odd jobs for money, help cook if for WHATEVER reason Bonnie wanted her to or wanted to do something else in that time, bring water, wood, fish, help with weapons- She's not the best at those things, but if anyone needs a hand to be lent- she is there!

I'll be entirely honest, I don't think I understand your last question- But I do wanna say that Nil and Isa become like. Best buds real quick. He is the first one she instantly trusts, since she rivals with Mira, is prickly with Odile and Sif is someone she wants to help rather then ask for help. So if she needs someone to turn to, or needs a partner in crime- Nil would turn to Isa And now I just imagined Mira and Nil bonding over how to grow plants. Cause Mira tried REALLY REALLY HARD and couldn't do it, so Nille would actually love to give some tips- Imagine Mira genuinely walking up to her with a little alive plant with a proud glint in her eyes and have Nil fully support her- Honestly I could keep going for forever, I have so many thoughts on her and her dynamic with everyone- Bro I even have nicknames, you don't even know-

BUT I'M GONNA CUT IT HERE, HAVE FUN, I'VE BROUGHT SOME FOOD FOR NOW-

[txttletale]

Can you elaborate on what you think would be the minimal needed changes to fix what you see as an issue in Civ? Civ has done fairly large shifts in some mechanics before, and "civ like" is still an interesting game space that can scratch certain itches

yeah i mean as i said, the baked-in racism arises from a certain set of core assumptions that i think lock it into that position, which are that civ is a

1) symmetrical

2) 4X

game about

3) 'real world civilizations' (deeply loaded terms ofc but that's how civ envisions them)

4) trying to 'win the game'

5) with a global

6) and transhistorical

scope

so, in its role as a symmetrical (1) game with victory conditions (4), civ as a text has to take positions on what constitutes a 'successful civilization'. as a (2) 4X game this definition also has to include some variation on the profoundly loaded eponymous Xs, 'explore, expand, exploit, and exterminate'. furthermore, as a (1) symmetrical game with a global, transhistorical (5, 6) scope, it has to necessarily create a model of what 'a civilization' looks like and apply it to every 'civilization' it wants to include, at all points in their history.

this all kind of naturally leads into civ being a game in which the colonial european imperialist powers are the default 'civilizations' and all other cultures are basically just like them -- a game where technology progresses linearly and innovations are made in the order they were in european imperial history -- a game where all cultures fundamentally work in the same way and hold similar values, a game where all religions are based on christianity (i mean, just look at civ vi's system, where every religion has a 'prophet', 'apostles', 'missionaries' and 'inquisitors'), a game where not only do cultures have teleological overarching 'goals' but where these goals are shared and these goals are fundamentally based on imperialist visions of 'victory'.

to drill into some specific examples: you can't play a game of civilization without founding cities. you will constantly be founding cities. when you're playing as 'the mongols' or 'the cree' or 'scythia', this makes no sense! these were peoples who historically had rich culture, science, arts, and certainly a notable military history, but were (to varying degrees, at varying times in their history, i don't mean to create a new and similarly heterogenous absolutist category here) nomadic!

similarly, to advance in civilization you must invent 'the wheel'. 'the wheel' is necessary to many later innovations, while of course the andean peoples represented by the playable 'inca' never made significant use of the wheel because the lack of suitable pack animals and environmental factors meant that it did not, in fact, prove a suitable tool for transporting large quantities of heavy goods. for an even more glaring example, a lot of early military technology is locked behind 'horses', which is pretty absurd considering that several of the game's playable civilizations, in the real world, developed plenty of military technology despite living on a continent without any horses!

so having established what i mean by 'the issue', which is that the game's core assumptions lock it into imposing a eurocentric, imperialist vision of 'civilization' onto cultures where it doesn't make sense, here's a few different jenga blocks you could pull out to resolve it:

SID MEIER'S EUROPE

the pillar you knock out here is #5. keep the game engine and core assumptions just as founded on eurocentric imperialist societies as they are now, and just make it about european empires doing imperialism. now, i think we can immediately spot some problems in there -- how are we going to represent the rest of the world? after all, this kind of just creates a situation where, either as NPC factions or as outright exclusions, all other cultures in the world are deprived of any meaningful agency in "history". this one just kind of gives you a new problem and also from a gameplay standpoint results in a game that just Has Less Stuff On It. i think this is a bad one

SID MEIER'S ELYSIUM

now here's one you can get if you knock out pillar #3. keep the same assumptions and gameplay and transhistorical global narrative scale, but remove the 'real-world' aspects. you can get real silly with it and add fantasy stuff to it, or you can be a relatively grounded 'our-world-but-to-the-left' situation. now to some extent this already matches a lot of the features already in civ games: after all, unless you specifically load in a 'true start location earth' map, you're usually playing on a strange parallel world with semiplausible but wholly original continents! now, you also need to get some fucking Nerds and Geeks working at your company to build out your fictional world, or you'll just end having pointlessly pallette swapped a bunch of factions that are now just Schmance, Schmina, and the Schoman Schempire, and not really have avoided the issue. but if you do that, and invent a deep and rich fictional history to riff on, then you could create something really cool and incorporate alt-tech or fantasy or retrofuturistic elements or all sorts of cool shit.

the downside of this is that it makes your game less accessible and appealing to a lot of people. a big part of (at least the initial) appeal of civilization is pointing at the screen and saying 'hey i recognize that thing!'. it is instantly more accessible to someone who isn't super invested in strategy or fantasy dork shit to say to them 'you can be BRAZIL and nuke FRANCE while at war with CHINA and allied to BABYLON'.

more importantly than that, i think some parts of the historical theming (because let's be honest, it is ultimately theming, i don't think civ is interested in 'history' in any serious way) serve a pretty load-bearing role in the game's information economy. it's a pretty tall order to ask a player to remember the unique abilities of dozens of factions and unique wonders, and the historical background makes it a lot easier. e.g., it is a lot easier for a player looking at wonders to remember 'the pyramids need to be built on desert' or 'broadway will help me make more culture' than it would be for them to remember the requirements/effects of 'under-eusapia' or the 'wompty dompty dom center'. i think this is one of the number one things that, if subtracted, would meaningfully create something that is no longer 'sid meier's civilization'.

SID MEIER'S ALPHA CENTAURI

now if you cut out #3 and #5 and #6 on the other hand... sid meier's alpha centauri is not technically an entry in the civilization franchise, but i think most people correctly consider it one. it has similar 4X gameplay to the series, and its (very bad) spiritual successor beyond earth was an official entry. instead of 'civilizations', the playable factions are splinters from a colony ship that fell into civil war as soon as it landed, each one representing a distinct ideology. now, y'know, this doesn't mean it's free from Some Problems (the portrayal of the Human Hive in particular is some of the worst apects of 90s orientalism all piled together) but i think they're problems it's not at all locked into by its design!

SID MEIER'S THERMOPILAE

by cutting out #5 and #6 -- making a civ game about a particular time and place in history you could achieve something much more richly detailed in mecahnics while also being able to handwave a lot more homogeny into it. giving the same basic mechanics to, say, every greek city-state in the peloponnesian war is far less ideologically loaded than giving them to every 'historical civilization' someone who watched a few history channel documentaries once can think of. it also lets you get really into the weeds and introduce era-and-place-specific mechanics.

the scale needs to be smaller conceptually but it doesn't really have to be smaller in terms of gameplay -- just make maps and tech trees and building more granular, less large-scale and more local and parochial and specific. this also gives you the advantage of being able to do the opposite of the last two options and really lean hard into the historical theming.

if this sounds like a good idea to you, then good news -- old world does something pretty similar, and it's pretty good! worth checking out.

SID MEIER'S LOVE AND PEACE ON PLANET EARTH

what if we take an axe to #2 and #4? instead of putting all these civilizations into a zero-sum game of violent expansion, make it possible for several civilization to win, for victory goals to not inherently involve 'defeating' or 'beating' other factions. now, that doesn't mean that the game should be a confictless city-builder -- after all, if you've decided to be super niceys and just try and make your society a pleasant place to live, that doesn't mean that the guy next to you isn't going to be going down the militarist-expansionist path. hell, even if all you want to do is provide for your citizens, a finite map with finite resources is going to drive you into conflict of some kind with your neighbours in the long run.

to make this work you'd have to add a bunch of new metrics -- 'quality of life', for example, as a more granular and contextual version of the 'happiness' mechanics a few games have had, or 'equality', game metrics that you could pursue to try to build an egalitarian, economically and socially just society where everyone is provided for. after all, why shouldn't that be a goal to strive for just as much as going to mars or being elected super world president or whatever?

SID MEIER'S DIVERSE HISTORICAL CONTEXTS

ultimately, all cards on the table, if i was made god-empress of The Next Civ Game, this is the option i'd go for: jettison #1 as much as practically possible, introduce as much asymmetry into the game as you can. some civilizations keep the established settler-city model -- others are nomadic, building their units in movable 'camps' -- maybe the 'colonial' civilizations, your USA and Brazil and so on, can be like the alien factions from the alpha centauri DLC, only showing as NPCs at the appropriate point in the timeline when other civs are colonizing other continents, or putting you into an accelerated-forward version of the game if you choose to play as one.

you could combine this with a more interesting version of humankind's civ-choosing system, where you lock certain civilization choices behind specific gameplay events. this would let you do crazy shit with the balancing -- imagine an ostrogothic kindgom civ with crazy strong abilities and units that you could only choose to play as if your capital is overrun by barbarians, or a hungarian civ that requires you to have started as a nomadic civ and invaded somewhere, or a soviet union civ that requires you to lose a revolution, or a usamerican civ that requires you to split off all cities on a foreign continent from your original civ -- you could add so much variety and so many new and bizarre strategies into the game with this!

as for the universal aspects of tech and the narratives of linear progression contained within, there are lots of approaches that already solve this! stuff like stellaris' semi-random branching tech paths, or endless space 2's circular tech web, could allow civilizations to take tech paths that make sense for them, rather than imposing one single model of 'technological progress' on the wole world.

obviously there's limits to this, right -- civilization isn't going to be a detailed historical materialism simulator any time soon. but i think abandoning the idea that every faction has to play fundamentally the same and introducing some severe asymmetry as well as choices that you can make after starting the game would work wonders to wash out some of the racist and colonialist assumptions built into the game's foundation, while also (imo) creating a more fun and interesting game.

[blueskittlesart]

did u not like totk?

i LOVED totk. i think it was well-written and did its job as a sequel to botw very well. HOWEVER. i do think it suffered slightly from the commercial success of botw. as i mentioned in my last post, nintendo does this. thing. when one of their games gets popular where every game after it has to be Exactly The Same so they can make all the money in the world via comparison marketing. (and this is a problem with the wider game industry in general but also a very observable pattern in loz specifically.) I know it's been a pretty long time since botw came out, but before (and immediately following) its release there was some pushback from longtime fans who worried that the open-world and lack of traditional dungeons meant that the game had strayed too far from the classic formula that makes a game a "zelda game." this is to say, botw was EXPERIMENTAL. and the devs had no idea if what they were doing was going to be successful or not. the open-world of botw wasn't a gimmick, and it wasn't the devs jumping on the open-world bandwagon. it was what CREATED that bandwagon. the open-world was a deliberate choice made specifically for botw because it reinforced the story that botw was designed to tell. the game is about exploring a desolate world, about making connections, and rebuilding both the broken kingdom and the player character's shattered sense of self by traveling and learning and building relationships. a large open-world map with only minor quest guidelines and lots of collectibles and side quests lends itself perfectly to this specific story, which is specifically about exploration and rebirth.

the problem is, botw was. almost TOO good. it was so good that every other game company on the planet started scrambling to build giant open-world maps into their next release, regardless of how much sense that actually made narratively. and because of that, when it came time to release a sequel to botw, the devs had a lot to think about. they had HUGE shoes to fill in terms of fan reception, but they were ALSO being asked to follow up one of the best-performing games of all time, commercially. totk needed to SELL as well as botw. And, likely because nintendo was worried about that potential commercial value, totk needed to keep people comfortable. I don't know for certain, but I definitely get the feeling playing totk that the devs were specifically told not to stray too far from what made botw marketable and successful--that being the open world and the versatility of gameplay. so in order to follow that up, they made... 2 more huge open maps, and new gimmick gameplay which was explicitly super-versatile.

do i think that the extra maps and ultrahand were BAD choices? no. however, i don't think they necessarily ADDED anything to the game as a narrative whole. one of my favorite things about botw was how everything seemed to be designed AROUND the narrative, with gameplay elements slotting neatly into the story thematically. totk just. didn't really have that, imo. there wasn't a huge narrative benefit to the gigantic, completely unpopulated depths and sky maps. ultrahand was cool, but within the context of the story it meant basically nothing. in some ways, i almost think totk could have benefitted from a much more linear approach to its storytelling, a la skyward sword, because there are a lot of story beats that have to be found in chronological order in order to have the right emotional impact, but because of the nonlinear open-world it kind of became a struggle to hit all the important story points in the right order. an easy example of this is the dragon's tears in comparison to the memories--the dragon tears have a very specific set order in which they happen, and finding them out of order can make the story you're seeing in them feel confusing and disjointed. the order in which they should be found is technically displayed on the temple wall, but most players aren't going to pick up on that or follow it--more likely, they're just going to explore the geoglyphs as they come across them organically, and therefore will likely witness the story in a completely disjointed way. compare this to the botw memories, which ALSO technically have a set order--the order in which they're displayed on the sheikah slate. however, because they're largely just small moments in time, and not one continuous story, finding them out of order has a lot less of an impact on how you as the player experience the narrative, and it's not hugely detrimental to your experience of the story if you find them naturally as you explore rather than explicitly seeking them out in order. If TOTK had been allowed to deviate from the botw formula a bit, i think we may have ended up with a more cohesive game in terms of narrative beats like that. as it is, i just think the game is torn slightly between wanting to be its own new game with new gameplay and needing to be botw, if that makes sense.

[mintsuwu]

Guess who has jumped into the Smiling Critters bandwagon after watching a gameplay of Poppy Playtime Chapter 3(?

This is LoolaLamb! Either it's written together or separate I still have to figure it out-

EDIT: Profile Card/Character Description

Loola Lamb was conceptualized as a replacement for Catnap amid Playtime.co's reputation troubles related to the poppy gas and Catnap toys issue. Her design closely resembled the feline's, with the notable difference being her that her voice induced sleepiness instead. Despite initial plans, her concept was scrapped, and she never appeared in the cartoon series.

Despite this, the company still created a Bigger Bodies version of her, albeit smaller compared to others. Though Catnap, feeling threatened, locked her away before anyone else knew about her existence and removed her voicebox (and sewing up her mouth). However, Catnap occasionally allows her to move around the factory and mentor the Mini Smiling Critters, she is kind of his "assistant" so to say.

Loola's bell in-game serves as an indicator of Catnap's proximity when she lurks around. Its chiming alerts other toys to Catnap's whereabouts, providing a sense of safety or potential danger.

And in regards to Dogday, he and Loola have limited interactions. Despite their lack of familiarity, she occasionally checks on him in Catnap's absence, providing care and support for as long as he is holding up.

And in an AU or continuation where Dogday were to survive, they could potentially bond over their experiences and find peace and healing together(?

[karasuno-planet]

All's fair—Academic Rivals | Tsukishima Kei

Tsukishima x Reader (she/her pronouns used)

wc: 1.1k

genre: kinda angsty but nothing crazy! sfw

warnings: feelings of inferiority, jealousy, slight cursing, calculus 💀

a/n: finally the long awaited academic rivals fic!! sorry I've been MIA for a couple days, I was traveling <3 everyone say thank you to @23starii , @alexaslibrary13 , @nym-blogs , and @h0neymustardwh0re for asking and encouraging me to write this one :)

(gif not mine)

Even after a long losing streak on the boy's volleyball team, Tsukishima always had one thing he believed he could never feel defeated in: his academics. School was just naturally easy to him, but that's not to say he doesn't work hard. It was his innate intelligence coupled with his work ethic that made him an absolute force in the classroom.

So when the calculus tests were being handed back, there wasn't a worry in his mind. The teacher set it on his desk face down.

Tsk, how dramatic, he thought, flipping it over.

In big red pen, he saw 98% written in bold on the top of the paper. Scoring a 98 was certainly above average, but not above Tsukki's average.

Before he could say a word the teacher was projecting at the front of the class, "Sorry, but there's no curve on this one. Somebody managed a perfect score, so it was achievable."

What?

The class murmured, upset with pretty mediocre grades for such a prestigious class. Discontent spouted from all directions. Well, besides directly from Tsukki's left hand side, where you sat. It was silent as a mouse. Awfully suspicious.

He stole a quick side glance at you to see exactly what he feared, a big, bold, 100% at the top of your test.

No matter how hard he tried for the rest of the day, he just couldn't shake that jealousy from his mind— the constant image of your perfect test seemingly ingrained to the back of his eyelids. He was so used to setting the curve in that class, how could he have overlooked competition this whole time?

☾ ☾ ☾ ☾ ☾ ☾

Later that day at practice, he tried channeling his emotions into his gameplay, with mild success. He was definitely playing with the kind of ambition he often lacked after long days of school.

When the team stopped for a water break, Nishinoya was quick to chime in, "Hey Tsukki, what's got you so worked up??"

The annoying presence of his pesky teammate irritated Tsukishima, "I doubt you'd even be able to understand it, dumbass."

Noya's face dropped at the outburst, "Sure Tsukki. Just let me know when you've pulled the stick out of your butt!!"

☾ ☾ ☾ ☾ ☾ ☾

Days went by, then weeks, and Tsukishima's hunger to match your academic achievement only grew. He became exceedingly obvious about it.

Every time you raised your hand, suddenly he did.

At the end of every test, when you stood up to turn it in, so did he. And his legs were long enough to beat you to handing it in every time.

When the tests were returned, you started to turn and catch his eye as he stared intensely trying to get a peak at your grade. Eventually you just made an effort to show him. After all, you weren't insecure about your grades. They were phenomenal and you both knew it.

The real surprises began when you both started to talk to each other. Suddenly the rivalry was put into words. It started out friendly, asking about when due dates were and simple things like that, but eventually you started to full-on taunt each other. Everything became a competition, and you weren't about to lose.

Even friendship had become a competition, you could feel Tsukishima's glare burning a hole in you when you turned around and asked Yamaguchi for a pencil one time. Not to mention when he had caught you talking to him before class. If only he had known what kind of information Yamaguchi let slip about him.

The final straw was when the teacher called for a group project, and you immediately turned around and looked at Yamaguchi. That was too far. Tsukishima immediately snapped, "Y/n, what do you think you're doing?"

"What's the big deal?"

Tsukki met your resistance with fierce eye contact, "You're working with me."

"huh?"

Yamaguchi's face was just as shocked as yours for a second, but he quickly shook it off and asked a boy who sat near him to work with him.

You pulled up a chair to Tsukki's desk and got to work on the packet of problems you were assigned to complete during the next two classes. You remained mostly in silence, dividing the work equally, but occasionally you shared glances and raised your eyebrows as a way to taunt each other.

As you started to run out of room on your paper and move far to the right side with your writing, your hand bumped Tsukki's. You could feel your heart drop and he quickly recoiled and pulled his hand away.

When you finished your allotment of problems for the day and set your pencil down, Tsukishima quickly grabbed your paper and starting checking over your work as you followed suit, looking over his.

He sighed, setting your paper down, free off mistakes. "Wow, you aren't quite as hopeless as I thought."

"Same to you..." you returned his completed problems, "If only you were as good at volleyball as you are at calculus."

"Like you would know," he returned your banter with a fervor, a quality you caught yourself enjoying a little.

"You'd think with four eyes you'd be a little more observant..."

"What?" He grasped to understand your insinuation.

"Look harder in the student section next time."

He sat in silence, floored, now knowing you had been watching him play. Is this what he had caught you and Yamaguchi discussing before? He felt like a fool, not being able to feel your malicious gaze on the court—not even considering that you might've been there.

Little did he know, it wasn't quite malice in your heart as you watched him play.

☾ ☾ ☾ ☾ ☾ ☾

He left without saying a word when the bell rung, and flocked straight to Yamaguchi to walk with him to practice.

They made sure to walk out of the vicinity of the classroom before Yamaguchi broke the silence, "Tsukki?"

"Yes?"

"I'm not upset that you didn't partner with me, but uh... why her? I thought you kinda hated her."

"Oh, uh... I don't know. I didn't want her to work with you."

Yamaguchi looked Tsukki in the eyes, his curiosity peaking, "Do you have a crush on her?"

Tsukishima was completely taken aback, "A crush??" He hesitated, "Yamaguchi, don't say stuff like that."

[masterlist]

[leog4u]

Adult Gaming Survey Results!

Hey, hey! Here's the results of that survey on adult games I set up a while back. I was blown away by the amount of responses, totaling at 1,159! After reading every write-in, I've made a little write up with some analyses that adult game devs could chew on. I think it's also interesting from an audience stand point, so give it a read! The link above goes to the survey results, so you can see the percentages and write-ins for yourself. Oh also here's a link to the top 12 favorite adult games of the responses, so you don't have to count the 591 answers yourself.

As a reminder, this is a survey for adult games. Search any game in the response list at your own risk. Minors go do something else.

And with that out of the way...!

How often do you play adult games?

Something I noticed was quite a few replies mention very large gaps between adult game sessions. I'd like to drill down on this, because paired with respondents mentioning not know how to acquire adult games, this lack of awareness might lead to less opportunities for playing adult games.

The flip side to many responses in “Other” mention binge bursts, followed by long periods of no adult game activity, it might just be a case of adult life lacking free time. 

How long do you expect an adult game to be?

A relief to game devs, there’s no major expectation for an adult game to be pulling JRPG playtime numbers. A majority would rather play a game that does what it sets out to do at its own pace, rather than hitting a target goal of X hours and be subject to poor flow and padding. 

How long is an adult gaming session?

A majority spend over an hour, with time set aside to do said adult gaming. While “till i finish” could be less than an hour, it’s still a designated time set aside to play an adult game.

What’s interesting is the responses in the “Other” category that go into detail, if the goal is to just get off, it’ll be quick. But if a game has plot and gameplay, like some kind of video game, then it’s likely they’ll take more time as they’re now being entertained in the way a video game does.

When it comes to art, what level of quality do you expect?

Again, something that should come as a relief to adult game devs. There’s not a big expectation of painted, master quality art that would be hung in a museum. People want something that gets the idea across and something fresh. 

The style should match the actual content of the game. Too many times I've played a game with the most facebook friendly mobile game style, and it just feels like it's distracting from what the game is trying to actually do.

It also would help if when a potential customer scrolls down the itch.io adult game page, their eyes don't glaze over at art that looks like every other game on the market.

Do you buy your adult games?

A problem that is highlighted here is the lack of ability or knowledge on how to buy adult games. Storefronts hide the settings needed to see adult game options, which actively lead to a lack of knowledge on how to purchase. 

A majority of the “Other” category mentions it being a combination of spending money and playing free games.

Another point to note is that some mentioned that they will pirate with the intention of spending money later. A free demo, like some mention seeking out first, can help devs avoid piracy, since some people use pirated games as a demo when none is available to see if the game’s worth it.

Another note, which unfortunately won’t help the devs affected, but when non-english games aren’t available in english or on english storefronts, some respondents feel that the only way to play is by pirating. It’s difficult to get the numbers, but I’d be interested in seeing how well japanese adult games on steam that have been localized for english speaking audiences are doing, since that previously wasn’t an option for japanese adult devs until very recently.

How important is writing in adult games for you?

This was actually a surprising result to me. Adult games primarily advertise their art. How much of it there is, how well drawn it is, if it’s animated or not. So seeing 77% of respondents cite good writing as one of the most important parts to an adult gaming experience really changes what the priorities should be for an adult game dev. 

While some would skip writing, either to get to “the good stuff” or just to skip over bad prose, some have an actively worse experience with being shown bad writing.

How important is animation in the porn scenes?

A recurring sentiment in the “Other” category is that if the animation is bad, don’t bother. 

Combined with the majority of 67.1% saying that animation is optional, I think adult game devs are safe to not prioritize it unless their game is the kind that needs it to function, like a side-scroller. It drains a lot of money and resources, especially for a first time project.

Even the live2D tweening has little payoff with these numbers considered.

How important is voice acting in the porn scenes?

Similar to animation, voice acting is a nice feature to have, if it’s done well. Otherwise it can feel tacked on, or worse, detrimental to enjoying the game.

With 50% not caring or actively muting, I think it’s safe to say that it’s a “nice to have” and resources should be focused on other things like writing and gameplay.

How important is sex sound effects in the porn scenes? (moaning, wet slapping, squelching, etc)

What’s really fascinating is that the sound effects and audio design are more appreciated than the voice acting. If I had to pinpoint a difference, it’s that bad delivery can ruin a scene, but a sound effect is far less intrusive.

What genres of porn games do you like the most?

The genres chosen were a combination of which were the most populated as well as recent trends. A large amount of write-ins were expressing that simulation games were a favorite. 

Now comes the question, is the number one favorite genre RPGs because that’s the best genre for an adult game, because it’s a genre people enjoy playing for gaming’s sake, or because a massive amount of adult games are made in RPG Maker? I think it’s a little bit of columns A, B, and C.

When it comes to adult games, what matters more?

People are here for porn, but that doesn't mean they're here for just porn. They want a good delivery vehicle for the porn. Both parts of this sentiment mean that there's one thing you should avoid more than anything and it's annoying padding and grinds. They bought your game, there's no need hide a nipple behind five hours of gameplay. Likewise, it's not very good game design to give the player everything at once, as I've mentioned before.

There are several draws to adult games. It's intimacy in a safe, virtual environment. It's making bonds with characters the player falls in love with that end with a climax, or two. It's exploring kinks. And it's blowing off some steam by getting your rocks off. These should be considered when designing a porn game.

Does a kink you enjoy influence if you buy an adult game?

In the future, I would rephrase this question as asking how much your kink factors into buying a game, rather than what was presented. As it stands, “I buy things if they’re good” isn’t that interesting or valuable of an insight.

Respect to the small slice that don't buy shit unless it has their kink in it.

Does a kink you dislike influence if you buy an adult game?

Making more extreme or polarizing kinks optional enables the developer to explore said kinks while allowing the player to avoid uncomfortable situations. As long as it’s clear what’s optional and what isn’t on the product description, this seems to be the preferred method. 

What’s your stance on AI art?

A landslide stance. This can be attributed to politics: there is a hardcore stance against any and all AI. That aside however, when it comes to selling a product to a consumer, why would they want a product they know was made with no care or effort? Where else were corners cut? AI in porn games are usually used to generate the art and writing, the most important parts (according to the survey) to the porn game. It's where you want the most care and attention, not the opposite.

What aspect of an adult game do you care about the most?

Players care about the porn in their porn games. This isn’t a surprise. Audio being ranked so low also isn’t a surprise considering the previous results. But, what is interesting is how gameplay is ranked highest in the “important” category, past art and writing. I interpret it as “come for the art and writing, stay for the gameplay.” 

Talking Points From the Free Form Responses

Replayability and customization are gameplay features people value, which can be reflected in the amount of responses citing games such as Corruption of Champions and Degrees of Lewdity as their favorites.

Porn games are really unique because you need to list out its content. We're used to spoilers being a bad thing in marketing materials, but for porn its mandatory. A customer needs to know: what's the degree of sexual content, is it cheese cake, is it gay, is there dub-con, is there inflation, the list goes on. Nobody will be mad to know that something they don't like is in something. Well, some people will be, but it's a lot worse when it's a surprise. Also consider, it stops comments asking if there's content like pregnancy in your game or not.

I can not understate how important customization is to a number of people, wanting the body and pronouns they have to be reflected in the player character. This gives text based games a bit of an edge, since it's significantly less resource intensive to accommodate for all these different identities in text vs having to make art assets for every configuration and body type.

There’s a general lack of knowledge on where to actually get adult games. This is due to social media sites making it difficult for adult content to be shared, as well as limited market places for adult content. Epic Game Store has a ban on it, despite allowing for full on con-artist projects like NFT and Crypto games, while Steam requires some settings to be changed that aren't advertised. However, Steam's new feature to hide games definitely helps gamers feel more comfortable acquiring adult games since their friends won't have to know when they're jerking off.

Woman focused content that doesn’t involve non-con is lacking. Meanwhile, a lot of adult games that feature a woman protagonist that does consent either have her be bimbofied or a literal succubus, rather than an actual character that wants sex like their male counterparts. These male counterparts could be extracted from their porn game and placed in any other fantasy story and get along fine, so why not women?

Don’t forget to add a gallery to your game.

[i-rate-horse-games]

rating bella sara for 3DS

i don't really get why there's a human on the cover, is bella a shapeshifter? there are no humans in this game

in this game, you're a magical horse running errands for other magical horses around a beautiful magical world. right off the bat there are 2 different coat options for being a green horse, which i appreciate. there's lots of different categories of accessory for you to layer with, and you get a handful of them every time you do literally anything. as you progress, horses will bestow upon you magic wings that let you fly around to your heart's content, and three layers of magic invisible leggings that let you sprint for longer periods of time.

ultimately, bella needs you to gather all of the fancy magic jewels in order to protect the world. from what? who knows! the first gem is simply given to you for winning a race. all of the gems are just given to you by other horses after you help them with things like collecting roses and butterflies, although to get the last one you have to chase after a mysterious thief who stole both the gem and the magic special horseshoes!! who could it be!?!?

bellissa, no!!!

this quest can easily be completed in one sitting, and after that, it's just more fetch quests scattered around the world to unlock the rest of the cosmetics. they are stylish cosmetics! they really know how to dress a horse up fancy!

the world is pretty and there's a LOT of butterflies and flowers everywhere. there's even a few bees, which buzz really loudly in the gaps between the music. the music is pretty cool!

all of the horses seem to have vaguely the same personality, except for Bellissa who seems like she might have a valley girl accent. good for her <3

this game is full of magic and horse dress-up, but the length of the gameplay is pretty darn short and is entirely fetch quests, chases, and following fairy npcs that fly just a little bit slower or faster than you. this game is great for someone who gets distracted easily and has fun just wandering around the map lost, forgetting what they're supposed to be doing for long periods of time while enjoying magical horse dress up. it's kind of odd to me that the gameplay is so sparse because so much work went into designing the different worlds and environments! and it's incredible that the story revolves around protecting the world, but there is never any mention of anything bad. no bad horses, no villains, no threats. the lack of them almost makes them more concerning. if i were a 7 year old using this game as a portal to a magical world, i would rate this 5 out of 5 and then fail to defend it in court and retire in shame.

i'm rating this game 2.5 stars out of 5!

★★✬☆☆