#i feel like it’s generally not too complicated to make an rpg into another kind of rpg

[a-sketchy]

a persona inspired ttrpg would fuck so hard

[three-dee-ess]

Top 3 best and worst Streetplaza minigames?

i was literally thinking of ranking all of these just a little bit ago but upon making this list I realized i don't have many thoughts on most of these games. Maybe ill make a youtube video going into detail with each of these games and how I'd rank them later

top 3 in no particular order: market crashers- quick to play- simple to pick up and has a very clear goal! make as much money as possible lol.

find mii- it's just kind of the perfect way to introduce the idea of streetplaza- different miis will have different powers based off of arbitrary favorites. Also the hat prizes is good :)

monster manor- it's not a good streetpass game, but it IS a good lightweight RPG in general. like it's just fun to play. If it wasn't fun to play then it would have probably made it to the bottom 3.

bottom 3 in no particular order: Battleground Z- needlessly hard and complicated. this game requires way too much focus for what is supposed to be a lighthearted fun minigame. Also the game is just not fun to play unless you randomly roll a strong weapon which just feels unfair. IDK i just find it irritating

mii force- another game that is just. boring! it's bad!! i don't like it. The gameplay isn't explained well, it doesn't feel fun to shoot in this side scrolling shooter, and it's stupidly difficult (for me at least. I play streetplaza extremely casually, usually while multitasking or right before bed. nintendo hates me) mii trek/flower town- they are just kinda boring? i put them in the vault cuz i just dont wanna play them lmao

TL:DR; the games where the amount of players doesn't effect the gameplay too much are the ones I like better. battleground Z and mii force require you to have a lot of miis to make any progression which. for a long time just wasn't feasible.

[a-nice-egg-offering]

The way that Dennis and Dee are so similar and yet have nearly complete opposite personality types is so interesting and important to the fabric of the show no one else is an mbti/psychology buff like me so u probably don’t care but I’m gonna talk about it anyway. So Dennis is an ENTJ (if you break that down in the most basic of ways that’s extroverted, intuitive, thinking, judging but it’s actually a lot more complicated than that and I’m not going to go into it rn but u get the general gist) and Dee is an ESFP (Extroverted, sensing, feeling, perceiving) now in compatibility terms just with how you get along with the people in your life, the best matches are people with opposite first and last letters but the same middle two letters or opposite all letters but the same second letter so based on this Dennis and Dee couldn’t be more opposite unless one of them was an introverted type right so in theory they should clash in every way but here is when it’s nature vs nurture because they have so many of the same characteristics it seems impossible for their types to be so different and yet they are. Because your personality type is made up of your brain functions right and you can be one type while still having an overactive certain function that doesn’t technically align with your type so the way Dennis and Dee have influenced each other despite being such different types is very interesting in the whole outline of their psychology. Another interesting point is that Dennis and charlie are the only intuitive types in the group (ENTJ & ENFP) (Frank is ESTP) and also a pairing that seems to understand each other, charlie is certainly the person Dennis has the most compassion for and I find this super interesting because intuitive types generally don’t feel understood by sensor types and vice versa also since Dennis is an ENTJ and therefore the rarest type this also adds to the feeling of no one in the group truly understanding him and it’s bizarre bc I mean Dennis and Dee are twins they grew up together and tho Dee understands Dennis better than anyone else does there is still a rift between them where she is bad at intuitively feeling what’s going on with him at any given time possibly because she’s a sensor and that’s not naturally how she’s wired. Dennis on the other hand understands the gang intuitively to the point where it’s boring for him because they never surprise him - a reason why the RPG moment was so special and soft because he truly hadn’t been expecting it. This is what Dennis craves and values in the people around him - being able to surprise him. Being an INFJ myself (an equally intuitive type) I feel much the same way and also relate to him in the way that all my friends at school were sensors so though I enjoyed their company I never really felt like anyone truly understood me. I think that can be so frustrating for Dennis in regards to Dee sometimes too because she’s supposed to be his other half and he can read her so well yet she keeps missing the mark with his needs. It was interesting that in DTAMHD the Dee in his fantasy was on his side, knew how he’d react to something the gang did and actively tried to stop them from upsetting him because that’s what he wishes he had from her in reality. I don’t even really know what point I’m trying to make here these are just some thoughts and me finding a way to bring my two special interests together lol. Also just an extra little note Dee and macs types are very similar (ESFP & ESFJ) and yet they can’t stand each other which I find quite funny because as we know the gang is always offended by any kind of mirror so the fact Dee and Mac are so similar is also probably the reason they hate each other so much.

[baldursgatethoughts]

My thoughts on Baldur's Gate 3

This might just be the best RPG game ever created, and whatever you say game devs this should be a new benchmark for RPG game development! Let me touch down on some great, less great and just general experiences and thoughts around playing through this game ^_^

What they did amazing

This game feels like it took the best parts of Baldur's Gate 1 and 2, Dragon Age Origins, 2 and Inquisition, Divinity Original Sin and Witcher 3 and just made the optimal game ever.

The character creator - amazing. All the choices you need without being overly complicated. Lots of beautiful moving hair. Does not make you create your character in the green light of the Fade (looking at you DAI). 10/10.

The intro is epic and highly immersive, beautiful, scary, intense and a great introduction to the story.

The graphics and environments are STUNNING and immersive. The devs said they wanted to create an experience that is like the one you have with a group of friends going on a pen and paper adventure when it comes to environment epicness and magical story element, and they have.

The companions are insanely well written and voiced, and most importantly their personal quests are intrisincally linked to the main story in a way that almost no other of those games I listed above managed. And the multitude of characters you can enlist and get to know is perfectly diverse, and it gives you great choice when it comes to how you want your playthrough and party to be.

Going back to Dragon Age Origins and voicing everyone else but not the main character to instead focus on a multitude of choices, hooray and yes! It's wonderful!

Characters aren't gender bound in their sexuality, as a bi pan gamer I thank you from the bottom of my heart that you enabled us to create and write our own romance stories instead of making out genders the most important part of the storytelling of the game.

The music is epic and amazing, tear inducing <3 Just wow, queue on Spotify in repeat mood.

The books are great; they are never too long like they can be in Elder Scrolls games but just the perfect addon to the rest of the content to deepen the lore.

Outfits and dyes; the diversity is through the roof in all the good ways and it's not all armor bikini. Like, you can have raunchy underwear and bikini dress if you want to (late game, for gold) but there is all kinds of armor and outfits for all kinds of characters and needs and it's just so in line with the lore of the world. Thank you!

What I would have liked improved

A way for us to actually hear the companions banter even though we are not exactly over them with the camera. I have missed at least 80% of the banter because you have to zoom out to create a path to walk for them. The party banter needs it's own volume setting and it needs to be heard no matter where your camera is.

Inventory management; more bags with autosort, and much better "Sort by type" sorting (the dyes where all over the place o.O) and and less times the sorting bugs out. Also the possibility to sort according to the unsual themes in the vendor screen. Perhaps even a subcategory of buttons for "armor, weapons, potions, books" and so on.

Better warnings when you are about to cast another concentration skill while already concentrating on something.

There was one NPC I honestly disliked very much that I felt broke the immersion and it is the bloated bartender son in Act 2. It was full on modern Resident Evil vibes and not at all a very Dungeons & Dragons type of character. Nope nope. That whole area was just weird, far too modern in comparison to the rest of the game.

A photo mode, naturally.

Bugs that screwed with my game

A bug that makes the character portraits go black or weird if you do not have your graphical settings on ultra for everything, please fix that one Larian!

Shadowhearts friend disappeared, rip.

A romance scene was deleted due to too many long rest cutscenes getting stacked on each other, and it put me into a fight with steel watchers instead.

The city houses in Act three constantly loaded their objects way before their walls which messed with countless cutscenes where the only background was the sky and a floating bed. I really hope they can fix this so the walls are loaded first.

My journey through the game

Act 1 is amazingly well polished and filled with exploration, wonder and well balanced magical content.

The game's incredible way of letting you choose whatever way you want to do things is both a blessing and a curse. It makes for wonderful content; you can sneak, persuade, kill everyone, you can be good, evil, chaotic, neutral, wise, stupid, decieving or intimidating, you can miss whole quest lines, areas and characters, or you can stumble into the most obscure little nooks with lore tidbits. It's daunting, and really cool that they give you so little guidance and so many options. The openness and vague nature of the Journal - akin to the original games - are sometimes a fun challenge and sometimes for me too scary to handle.

Just because you can never be sure if your choices lead to what you want or the death of everyone making choices can be a bit too scary for me sometimes and I find myself relying on guides to be able to choose. Not optimal, but that's mostly down to personal preference. In those moments I long for the railroaded stories of Mass Effect, but those moments with more railroaded questlines are also there in BG3 and they are amazing.

Act 2 was honestly really scary, the atmosphere was completely different and they did an amazing job creating a frightening cursed land. The only "weird" thing here for me is how very "steampunk" the game turns, which continues into Act 3 as well, which is a testament to the whole American and D&D view on fantasy settings. It is what it is, I'm just not a fan of that kind of setting mixing.

I also developed a fear of long resting here somewhere because I had quests that failed when going to the camp or resting and there is like no telling what those are so I just started doing as much as I could between rests which made the cutscenes during the rests go haywire and fight with each other.

Act 3 had an amazing beginning, and fun well crafted areas. The performance was terrible and kinda buggy due to the many NPC:s and assets in the area. The villains and their quests and areas were great!

I think I did some personal quests a bit early while I should have waited until I was a higher level, they were pretty punishing. When I reached level 12 with a gazillion summons nothing was really difficult anymore.

In the end I had basically every ally possible (except for Astarion's vampire buddys T_T) but I only used the strange ox and dame Aylin, who survived, and iron hand gnomes and city guards (who were killed by mind flayer arcanists) since I don't want people to die.

THE ENDING...

What the heck Larian, that's not ok. No reasonable closure on my romance, no tale of what happens to everyone, I just got a cutscene with Karlach and some lines from Gale. I really hope they are working on expanding on this as we speak and there are some indications that they are.

It wasn't full on "Mass Effect 3 at launch" but not too far from it. I am disappoint... And on that note:

My romance experience

It started amazing with both Astarion and Shadowheart, beautiful stories both. Up until the ending of Act 1 it was amazing and peachy pie. During Act 2 not much happens at all, except for Astarion breaking up with me over a drow and her blood. The horror... I had to break up with Shadowheart to be with Astarion, and at least we could kiss.

But that was about it, the only thing after that until the end of the game was the main personal quest of that character - where I missed a whole part because I couldn't find his siblings - and I did that waaay too soon, and I chose the soft ending which just made him sad and brooding and then there was nothing except for him slut shaming me when I slept with the incubus and scenes bugging out, as well as no real ending.

It started so well, and it ended with emptiness and sadness. Apparently he also has new voice lines during the final fight that I missed T_T

Rip.

In conclusion

Amazing game, 9/10 until they patch the ending and pace the cut scenes during long rests better and make the lower city less laggy. I am perfectly confident in that within a year all this will have happened and there will be no games able to rival this one in the scope of epicness and emotion <3

[mirrorred-star]

Whumpuary Hiatus

Whumpuary is postponed for the following reasons:

I'm really close to running out of ideas for fics. I have two days, my prepared alts, and then I'm stuck for almost two weeks. And because I know I'm on a time limit, it's really hard for my brain to chill enough to come up with how to tackle prompts that aren't really up my alley. I am writing so much shit, guys. Like, writing badly shit. I'm typing everything up in Wordpad, so I'm not working with native spellcheck or auto-correction (for slightly complicated dumbass reasons). I'm not doing a proper rereading pass before posting things. Some of the fics posted are pointless. The first part of the Death Note fanfic needed to be cleaned up, and I didn't because I wanted it done so I could move onto the next thing. I can do a lot better, and you don't deserve your time wasted by reading things that I could have done better with.

All I am doing with every day, now that I have no fic buffer, is write, doing something else on my computer to give myself enough mental space to fix what's wrong with the fic, make myself food, eat food, accidentally spend too much time on the internet, do something else entirely because I need a break from writing or housemate wants to socialise, and sleep. All I have been thinking about is fic. This is probably not good.

Posting at midnight or 2am started to become a fix for the 'accidentally spending three hours on tumblr' issue, which is also… not great.

I haven't been able to set up my tumblr properly and friend more people there because all I've been thinking about has been writing fic or worrying about… fic, or tagging properly, or more fic.

I've been thinking of moving the sickos-yes show to a sideblog to make it easier for people who don't want to see it and want to pretend that I don't do that, and also in case I miscalculate and get the account nuked. I wanted to finish whumpuary first but the more things I post for whumpuary the more likely it is that I'll accidentally get noticed by the kinds of people who might want to try to get my account nuked or just make tumblr very unfun.

I've achieved even more than what I set out to do - I've posted every day for two weeks, I've freely written the horrible things that I like writing about enough to want to keep writing, with the side effect of maybe figuring out what I need to do to fix the vampire novel that I've been trying to write good since 2008*, generating a small hutch of horrible plot bunnies, and figured out more background for the two original canon fics I wrote. And it is probably a much better use of my time to work on the vampire thing or the rpg or making the other thing reasonably presentable than to push myself to churn out another 16 mediocre-to-bad fics before not wanting to touch the keyboard for another two months.

*for the umpteenth time. I'm feeling cautiously optimistic, but every time it seems like the fix will work and then it doesn't. I think I have it, but I won't know until I write the thing.

I don't know if I'll come back to it or not - it'd be nice to complete it, but the pressure of trying to find a new fandom for everything, even though that's probably the most unnecessary limit for a fic writing exercise ever, is a lot. It might be easier to come up with fics for prompts after I've given myself some time to just watch stuff and read stuff and play stuff.

[bakeura]

some ryou headcanons of mine! i have many more from over the years and could go on about him forever. it’s totally okay if you don’t agree with ANY! i just thought i’d post a handful for fun! under the read more for your dashboard's pleasure!

he’s extremely creative generally speaking - since he can create beautiful tabletop RPG worlds and detailed characters i always imagined his talent there extends to things like drawing, painting, sculpting, and all around having an artistic touch. i love the idea of him painting beautiful watercolors of his friends and loved ones - and some haunting pieces as well, like what he’s seen in the shadow realm.

ryou always struck me as a closeted violinist. i’m not sure if it’s because i subconsciously associate him with my other two favorite anime soft boy violinists (quatre from gundam wing and momiji from fruits basket) but i’ve always been able to picture ryou and his sister taking music lessons together before the incident. maybe she took harp or cello and he took violin. as another tribute to her he keeps practicing by himself throughout his life.

i personally love british! ryou even if it’s exclusive to the american dubs and have lots of headcanons based on him being born in england, traveling around the world with his father after his mother and sister pass away, and eventually ending up in japan - the home country of either one of his parents? eurasian ryou is *chef’s kiss*.

being more of a withdrawn and lonely child (but well traveled) gave ryou time and opportunity to pick up lots of hobbies and humbly considers himself a jack of all trades. he’s broadly artistic, likes to cook, plays (and is good at) various kinds of games, writes, perhaps speaks multiple languages (or is at least fluent in english and japanese while dabbling in others), partakes in tarot/ouija, reads a lot of fantasy and horror fiction, etc. not very athletic but likes to dance! probably knows some ballroom dancing.

it’s clear his relationship with yami bakura is obviously complicated. we see in the manga that ryou believes bakura will grant his wishes for friends - and bakura does, in fact, in his yamis-going-too-far way. we also see ryou reject bakura but then become convinced again that the spirit has changed. maybe he WANTS to believe that, after witnessing yugi’s spirit be an okay guy. bakura seriously harms and then saves ryou in battle city, and when ryou wakes up he actively seeks out the millennium ring again. my personal headcanon is that bakura keeps granting ryou various wishes and HAS been since he first claimed ryou as his host. sort of like a genie with really unfortunate consequences. i also think ryou could be privy to bakura’s past and may believe in his cause a lil bit. i could make an entire post on their relationship alone.

while ryou loves creepy duel monsters cards and all things occult, he DOES scare easily and isn’t the biggest fan of jump scares. he enjoys the feeling of being scared during horror movies, though, and finds most of them fascinating. he loves reading horror novels as well. the shadow realm probably gave him ptsd but he knew how to survive! the guy was prepared.

part of his charm is that he doesn’t pay much attention to his appearance but still always smells like citrus and fresh laundry. sometimes in the winter he smells like citrus and musk or like he left his jacket near the fireplace overnight. he likes his hair but doesn’t bother taking time to style it so i imagine the routine is fairly simple. shampoo, conditioner, wrap in towel, flip over, vigorous towel dry, flip over, hair dryer to his face, natural volume from genetics activates the Poof, and Go! all hair texture headcanons for ryou are always good.

while initially shy and withdrawn, once ryou is comfortable with people his strange sense of humor comes out and he probably, somehow, ALWAYS surprises his friends often with unexpected, hilarious observations and comments. when talking about a hobby of his he can become very passionate, but only after he makes sure he TRULY won’t bore anyone.

in terms of romance, if/when he thinks about it, i always imagine he’d look for something warm and reminiscent of family feelings/togetherness that he lost at such a young age. someone who finally makes him feel like he’s home and doesn’t care about things like status and wealth. someone who will play games with him, maybe someone who doesn’t like scary movies so he can seem extra brave, someone who will always justify his sweet tooth, or who can pull off elf ears.

[themattress]

My Top 30 Favorite Video Games

Inspired by @ultraericthered’s Top 30 Favorite Anime post. 

Although I’m doing mine in countdown form, ‘cause it’s more fun that way!

30. Super Mario Bros. - Arguably the first “blockbuster” game to be released, not only does Super Mario Bros. still hold up over 35 years later but it’s a gift that keeps on giving with how many different incarnations, remixes, fan games using its assets, etc. that we have now.

29. Phoenix Wright: Ace Attorney - OBJECTION! While I cherish the entire original Phoenix Wright trilogy of the Ace Attorney franchise, I’ll always be the most partial to the original outing. The sheer audacity and hilarity of the concept, which is grounded by endearing characters and compelling mysteries, shines brilliantly in this little, easily accessible game. 

28. Trigger Happy Havoc: Danganronpa - While similar in many ways to Ace Attorney, Danganronpa boasts a variety of more actual gameplay than mere point-and-click text scrolling. But what really makes this stand out, beyond gameplay or even the strength of its concept, story and characters, is the atmosphere it creates. For good and for ill, traversing the pristine, neon-lit hallways of the abandoned Hopes Peak Academy looking for clues as I’m forced to play by Monokuma’s twisted rules is an experience that will stay with me forever.

27. Star Fox 64 - Beyond all the entertainment this game provides through memes, it’s really just a fun, reasonably simple but just moderately complicated enough game that’s accessible to any player even if they usually don’t go for aerial shooters. It’s also one of the earliest console games that I ever played, so of course it’s going to hold a special place in my heart.

26. Batman: Arkham City - It’s an impressive feat when an open world game can still feel so claustrophobic in all the right ways, and that’s what Arkham City accomplishes. This game is essentially The Dark Knight to Arkham Asylum’s Batman Begins, escalating the action, suspense and sheer Batman-ness, providing unlimited opportunities to enjoy yourself playing as Gotham’s defender and facing down the greatest Rogues Gallery in comic book history.

25. Red Dead Redemption - Look, I know that Red Dead Redemption 2 is technically the superior game. But its complicated story, sprawling cast of characters, and vast canvas of a world can be pretty daunting, whereas I feel like the original Red Dead Redemption struck a much better balance. Allowing open world freedom within the confines of the straight-forward story of John Marston’s redemption really makes you feel like you’re in an old Western film, and the way that choices you make as a player impact the way that film ultimately turns out is one of the strongest arguments for video games being worthy of consideration as true art.

24. The Elder Scrolls V: Skyrim - So, ten years ago an open world adventure video game series releases its fifth entry...and to this day, we’ve had no sixth, in favor of expansions and updated re-releases of said fifth entry. But that’s not a sign of laziness; it’s a sign the developers know they hit such a peak in quality that they have no need to rush anything further out the gate, as Skyrim is a gift that keeps on giving. Addictive in how unlimited in possibilities it is, with each playthrough never being the same as the one before, Skyrim is a gaming masterpiece that I don’t think I’m going to get bored with playing anytime soon.

23. Super Paper Mario - This may be an unpopular opinion, but I vastly prefer this game’s action-platform-RPG hybrid gameplay style to the prior installments’ traditional turn-based RPG style, which feels more at home in stuff like Super Mario RPG and the Mario & Luigi series. But gameplay aside, I think this has the strongest story of any Mario game, trading in the usual “save the kingdom/princess” fare for saving all of reality, with legitimate emotion and drama and even character development. It’s one of the Wii’s shining gems, to be sure.

22. Epic Mickey - This game’s graphics are by and large unremarkable, its gameplay is fraught with issues (that camera is unforgivable), and it’s nowhere close to the best on its system or genre. But Epic Mickey is a case study in where the effort put into crafting the game’s world and story, not to mention the obvious love and respect for the material being worked with, pays off. Any Disney fan will love this game for its story, which puts Mickey front and center as an actual character rather than a mascot and dives deep into his history as he meets his “half-brother” Oswald the Lucky Rabbit, and its mystical, unique atmosphere - what the graphics can’t deliver, the fucking music more than makes up for. All of the game’s flaws mean nothing compared to the sheer heart on display, and I treasure it greatly as a result.

21. Batman: Arkham Asylum - I already mentioned that Arkham City is the superior game, but as was the case with Red Dead Redemption and its sequel, personal preference strikes again. The simpler story and narrower confines of Arkham Asylum just appeal to me slightly more, and I feel like the borderline horror atmosphere this game has could never fully be replicated by all of its sequels and spin-offs. Also, you can play as the Joker in this. WIN.

20. Metal Gear Solid - And on the subject of Arkham Asylum, it owes much to this game, which created the template of a lone badass hero having to use stealth and weaponry to liberate a government-owned island from the lunatic terrorists that have taken over. Hideo Kojima famously never wanted this game to have any sequels, and I can definitely see his point, as it’s a complete and wholly satisfying experience in of itself and I don’t feel like it’s ever been topped. At the very least, it’s certainly the most enjoyable of the series to me.

19. The Legend of Zelda: Majora's Mask - Also, speaking of “borderline horror atmosphere”, we have the freakiest game that the Legend of Zelda series ever put out. What was supposed to just be a gaiden to Ocarina of Time mutated into this beautiful monstrosity that’s become just as iconic. Nobody who plays this game is ever going to forget that fucking moon and all the constant jumping back and forth in time across three days as you try to prevent the apocalypse of Termina. It’s the kind of gaming trauma that’s well worth experiencing.

18. Kingdom Hearts: Chain of Memories - Like Majora’s Mask, this game is a case study where you can take a bunch of recycled assets and gameplay, and then make something unique from it if you have a well-crafted story with a dark and disturbing atmosphere. It’s hard to experience or appreciate the transition between Kingdom Hearts and Kingdom Hearts II without playing this midquel, which takes the narrative and characters to deeper levels without being pretentious about it and sets the stage for the proper console sequel perfectly. And if you can’t get into it being on Gameboy Advance, then just play the PS2 remake (which is arguably the superior version anyway) and you’re good! Just...don’t mind the cards, OK?

17. Sonic CD - And now we have another game about jumping back and forth through time to prevent an apocalypse! See the common threads at play here by this point? Sonic the Hedgehog is at his best in 2D gameplay, and I personally enjoy this the best out of all the 2D games in the series. As obscure as the Sega CD was as a system, it was powerful enough to take the blue blur’s speed to its maximum level, set alongside beautiful graphics and a kick-ass soundtrack (well, two different kick-ass soundtracks; and I actually prefer the US one). 

16. Pokemon Black & White - While there were advancements made to story and graphics and gameplay features in the third and fourth generations of the Pokemon series, nothing felt as truly ground-breaking as the second generation games until the fifth gen with its Black & White games. This was arguably the game series’ peak in quality on all fronts, but its specifically the story that lands it on this list, as its well-written and paced, subverts many formulaic elements from the previous games, is set in one of the most unique regions in the Pokemon world, and has a timeless message that has only grown more relevant with age. 

15. Super Smash Bros. Ultimate - The whole series could really go here, but fortunately the most recent entry is the perfect embodiment of said series, with every playable character there’s ever been and then some. The sheer variety is unmatched by any other fighting game out there, and its story mode, “World of Light”, is quite possibly the greatest video game crossover in history given how many characters are featured as both fighters and spirits.

14. Super Mario 64 - I’m pretty sure this game used to be higher in my favor, but replaying it on the Nintendo Switch recently has made me aware of how, as the first game on the Nintendo 64 and the first 3D platformer, it’s poorly aged in several areas. However, I must stress that it is still a very good game. The fun of going to the various worlds within paintings in Peach’s Castle hasn’t changed, nor has how smoothly and seamlessly Mario managed to make the jump from 2D to 3D. Just like Super Mario Bros., the number of games that owe something to this one is too great to count, and that’s an achievement that remains timeless.

13. Dark Chronicle - Also known as Dark Cloud 2. I hadn’t heard a damn thing about this game before renting it on a whim many years ago, and I was caught off guard by just how good it was. It’s got a simple but effective story and likable characters, a timeless atmosphere, beautifully cel-shaded graphics, dungeon-crawling gameplay, action-RPG combat gameplay, literal world-building gameplay, and even a fishing minigame! This game can actually stand besides the Zelda series without shame; it’s truly an underrated gem.

12. The Legend of Zelda: Twilight Princess - Oh, speaking of Zelda, this game goes full Lord of the Rings-style epic fantasy with it and it is glorious. Between the near perfect gameplay, beautiful 3D graphics, and one of the best stories in the series (with one of the best characters: Midna), Twilight Princess’ most prevalent complaint from critics all the way up to its own developers is that it wasn’t even MORE expansive and awesome given how long it was hyped, and if that’s the biggest issue with the game then I’d say it’s in pretty good shape.

11. Super Mario Galaxy - Super Mario 64 may be held back a little by how its aged, but no such thing is holding back Super Mario Galaxy. Super Mario Odyssey might be as good or possibly even better, but I just don’t hold the same feelings of amazement and respect toward it that I do for this game. From the blitzkrieg-style attack on the Mushroom Kingdom by Bowser to the discovery of Rosalina’s space station, this game had me hooked from the first few minutes, especially with it blaring that awesome orchestral score the whole way through. To this day, I maintain that this is Mario’s greatest 3D adventure. It’s simply magnificent.

10. Final Fantasy X - Ha! See what I did there? This game has caught flak for some of the awkwardness that comes from being the first fully 3D entry in the series, but I think that’s tantamount to nitpicking when compared to all it does right. To me, this was the last really good installment of the main Final Fantasy series, with a story and world so brilliantly developed that the game earned the immediate breakthrough success and acclaim that it found in its native Japan. 20 years later and, as the HD remaster has shown, it still holds up as one of the most engaging JRPG experiences I’ve ever had the pleasure of having.

9. Banjo-Kazooie - At the time, this was basically Rare’s copycat version of Super Mario 64, although considered about as good. Now, however, there’s a difference: the aging issues I mentioned for Super Mario 64 don’t apply for Banjo-Kazooie. Whether replaying it on the Nintendo 64 or on whichever Xbox you’ve got, this game is still just as fun, imaginative and hilarious now as it was back then. It’s quite possibly the greatest 3D platformer ever made.

8. Pokemon Crystal - The definitive edition of the Gold & Silver games of Pokemon’s second generation, taking what was already a phenomenal advancement and improvement to the first generation and making it even better with additional features such as the ability to play as a girl for the first time and a more clearly defined storyline centered around the legendary Pokemon featured on the game’s box art. Pokemon had been written off as just a passing fad up until this point. This was when its staying power as a video game juggernaut was proven.

7. The Legend of Zelda: Breath of the Wild - Talk about a win right out of the gate for the Nintendo Switch! This game returns the Legend of Zelda series to its roots while also applying all that has been made possible in video games since the original game’s release, and the result is an enthralling, addictive, open world masterpiece that has set a new standard of quality for both the Zelda series and for many modern video games in general.

6. Kingdom Hearts II - The Final Mix edition to be precise, although in this day and age that’s basically the only edition people are playing anyway. This game is the apotheosis of Kingdom Hearts as both a video game series and as a concept; filled to the brim with Disney magic and Square Enix RPG expertise and paired with some of the most refined action-based gameplay there is. And when it comes to bringing the original Kingdom Hearts trilogy’s story to a close, does this game ever stick the landing. The series could have ended right here and I would have been completely satisfied (and its reputation would be a lot better off, too!)

5. Pokemon Yellow - While I maintain that this game, the definitive edition of the original first generation Pokemon games, still holds up as fun to play even now, I’ll admit that it’s pure bias that it ranks so high. It was the first proper video game I ever played, there was no way I was leaving it off the top 5! Its blissful nostalgic atmosphere is always such a delight to return to.

4. Banjo-Tooie - Remember when I said Banjo-Kazooie was “quite possibly the greatest 3D platformer ever made”? The “quite possibly” is because its in stiff competition with its own sequel! And personally, I’m in Banjo-Tooie’s corner; something about how inter-connected its worlds are and the addition of so many things to do all while maintaining your full moveset from the original game is just beautiful to me. Both it and its predecessor are like obstacle courses that I never tire of running through, which is the hallmark of brilliant game design.

3. Kingdom Hearts - Another case where the sequel may be the superior game, but my own personal preference leans toward the original. And in this case, it’s a highly personal preference: this game and my memories of playing it for the first time are so very dear to me. The characters and worlds of Disney put into an epic crossover RPG was like a dream come true for me and no matter how far the series it spawned has deteriorated, nothing can detract from the magic of this game. It’s got a certain, indescribable feel and atmosphere that’s never truly been replicated, and that feel and atmosphere still holds up whenever I revisit it. The gameplay may not be the best, particularly when compared to Kingdom Hearts II’s, but the charm of the story and the characters and the world and the very concept more than makes up for that. As far as I’m concerned, it’s one of Disney and Square’s greatest masterpieces.

2. Final Fantasy VII - I was aware of the hype this game got and was totally ready to call it overrated, but damn it, it got me! I don’t know what it is about this game with its blocky early 3D graphics, poor sound quality to its excellent soundtrack, and frequently mistranslated script that proved to be so gripping and enjoyable to play through, but man did it ever Limit Break its way into my heart. This is considered a JRPG classic for a damn good reason.

1. The Legend of Zelda: Ocarina of Time - Do I really need to explain this one? It’s famous for being frequently cited as one of the greatest video games ever made, and like Final Fantasy VII, its hype is well-deserved and totally justified. Whether you’re playing it on the Nintendo 64, the Gamecube, the Wii, the 3DS, and hopefully the Nintendo Switch in the future, there is a magic quality to this game that permeates through every step you take in its fully 3D world. It’s a triumph that has stood the test of time, cementing the Zelda series as truly legendary.

[four-loose-screws]

An Interview with Mr. Toshiyuki Toyonaga about Fire Emblem (Claude‘s Japanese VA), Pg. 9

Asking More About Previous Titles

Have you played Thracia 776?

Toyonaga     I have. It is another game my aunt had downloaded on her Nintendo Power cart.※

For her to go that far, she must really, really know a lot about games!

Toyonaga    The story takes place in the middle of Genealogy's timeline, and when I heard that Leif is the main character, I thought, ‘Oh, wow, the main character is Leif!?’ I was happy to see Finn in the game. I used Orsin a lot.

It’s known as being one of the most difficult games in the series, so did you get all the way to the end?

Toyonaga     I did. ...No, wait, did I? I remember there being an excruciatingly difficult map towards the very end of the game. Laughs. Thracia is the one where one of its basic mechanics is being able to steal from the enemies to advance, right? You can steal their weapons, and such. So I remember feeling really lost about when to use silver and special weapons. I think I remember feeling that I always wanted to immediately see if there were any enemies wielding Killing Edges, so I could steal them. I kept stealing and stealing as I continued on… So even though Leif’s army said “We will defeat all of the bandits!”, as I played the game, I was left with the impression that they were the ones more like bandits. Laughs.

After that, the next game was on a handheld system, so you had your own Game Boy Advance to play The Binding Blade, correct?

Toyonaga     I did! The first one released was the purple one, right? I had that one.

Yes, it was called “violet.” And that’s when you finally owned your own Fire Emblem game.

Toyonaga     That’s right. I’ve owned the Fire Emblem games myself since then.

We talked about how you were moved by the improvements to the UI in the GBA games, but could you tell us some specifics about that?

Toyonaga     I remember that the combat forecast box, where you can see whether or not your character can attack twice, has been in the games since “The Binding Blade.” I thought as I played that the way it was laid out, and how easy it was to understand, was a really kind gesture!

Before then, you had to look at your character’s and the enemy’s stats, and confirm each one’s speed yourself, huh.

Toyonaga     We did, we did! So I thought it was really kind of the developers! Other than that, the combat screen graphics and animations really felt like those fit for a handheld. The characters didn’t fight within a scene, but in a space that popped out and looked like the game’s tiles. It was really easy on the eyes. I thought, “Wow, this is so cool! Is this handheld game graphics, or a scene from a play?” It left a huge impression on me.

(above) An example of the stunning graphics unfolding on a battle screen in “The Blazing Blade.”

The battle screens looked just like the work of a stagehand, didn’t they?

Toyonaga    They really did! When I played the games when they first came out, my initial reaction was that the features were really kind of the developers, but as I grew up, I came to feel that the comfort of being able to play a level and think it is a bit kind Is really impressive. I think the game developers are really amazing.

Can we ask you about which characters you liked?

Toyonaga    When Roy’s father, Eliwood, made his appearance in The Blazing Blade,* I was very surprised, and thought something along the lines of “Oh, so these two games are connected!” Flips through the character illustration book. I didn’t remember until I looked through this, but I really used Florina a lot. It’s part of my standard play style to use flying units a lot, because they are helpful in so many different situations. After that...Sue! That’s right, SUE!! ...I’m sorry, that was a bit loud.

Laughs.

Toyonaga    I remember now, I used Sue all the time, too. That’s right, this is when the nomadic archers of the Sacae Plains first appeared in the series, who could use longer and shorter range bows. Depending on which exact weapon they had, they could attack from two or three spaces away. I thought, “Three spaces away is really dangerous!” And they’re on horseback! I remember creating strategies based around Sue’s mobility and Chad’s abilities.

(right) Sue, a nomad of the Sacae Plains who appears in The Binding Blade

Then, I believe you said you weren’t able to play Path of Radiance or Radiant Dawn, and you weren’t able to thoroughly play Awakening or Fates, either... 

Toyonaga    That’s right. My workload increased as I got older, and I think those games came out around the time that I devoted myself to my work and didn’t have much time to immerse myself in games any more. Still, I did get to play Awakening…

So then Awakening was the first FE game you did voice work for, correct?

Toyonaga    Yes, it was.

How did doing voice work for a series you like feel?

Toyonaga     Hmm, how did I feel… It’s hard to put it into words, but to be honest, it was really complicated. This is due to the nature of my work, but as an actor, when I voice a character, I listen to the voice acting much more as a “play” than becoming engrossed in that world, and end up analyzing it however I found myself doing so. Asking myself, ‘If it were me, what kind of play would I make?’ and similar questions. I have a tendency to look at it like that. Of course, to just a normal player, I think the inclusion of voice acting probably increases the immersion for them, but I was very worried that I would wind up seeing the “play” as I played the game.

That’s probably normal for all voice actors. So you’re probably thankful for games with an on/off option for the voices, huh?

Toyonaga     Personally, I’m very thankful! Especially recently. I’ve been hearing all the voices as my work friend’s voices. When you hear the voice of someone you know, you can’t help but think of them.

It is a point to worry about as someone who likes games. Laughs. You also talked about how some of Echoes: Shadows of Valentia' features, like the 3D dungeons, left you with a lot of memories, right?

(above) Echoes featured 3D dungeons the player could freely run around in and explore, a first in the FE series. Whenever the main character collides with an enemy, the game enters a battle map.

Toyonaga     Echoes, being a remake of Gaiden, also made me feel nostalgic at many points as I played it. The villager’s class change loop feature was still there, so the game was really fun for me. Echoes’ unique feature is the introduction of multiple 3D dungeons. Moving around a dungeon and entering a battle whenever you touch an enemy is a standard system for an RPG, but in Echoes, the moment you touch an enemy, you enter a simulation map instead. I think that’s really, really revolutionary. I felt that such battle scenes would worry some people that it would break the immersion in the FE experience, but instead, the battles feel like the battle maps that we’ve always played in FE until now. I think it’s really amazing that the change to the formula happens without it feeling out of place at all!

That’s very much the perspective that someone who plays games a lot would have!

Toyonaga     Only around three or four units can deploy in one battle, but those numbers strike a balance between difficulty and skill. ‘This makes me want to level up all my units!’ I thought as I played. And when I pushed the A button to attack and started battles, I felt that this progress of battle would put me at a little bit more of an advantage, and things like that. Starting very far in the back and having to come up close and attack was also a very fun system.

Do you like to level up your characters in general?

Toyonaga     I do! I’m the kind of person who likes to gradually and untiringly max out all of my units.

※Nintendo Power cartridge: A service where one could use a terminal set-up in Lawson locations to download games. Thracia 776 was first released as a download only title.

* T/N: This is the game that was released as simply “Fire Emblem” in the West.

[lethesomething]

Ghost of Tsushima and the Hands of Fate

I see we're still trying to prove that games are an art form by making everyone feel bad.

For the record, Ghost of Tsushima is one of my favourite games in a very long time. It is extremely pretty, the aesthetic and general … polish is *cheff's kiss*. You can pet foxes and backstab people. The fighting mechanic is decent and there are just So Many Hats.

But also, it has the kind of story that pulls you in to the point where you have to drop the controller to hide behind your fingers going 'ohgodno'.

It is an absolute bastard of a game, is what i'm saying.

So let's talk about that, and specifically about Straw Hat Ryuzo and how I feel bad for him.

I am, by the way, going to be talking about the narrative structure of a video game about medieval samurai, so expect like, a bunch of spoilers.

The narrative is one of the big draws in Ghost of Tsushima. Like yes, it's an open world rpg with fighting and flower picking and all the important stuff, and also yes, some of the bits are sloppily written (looking at you, specifically, 'Ending to Norio's Arc'), but the game definitely sets out to Tell a Story.

And because this is a Serious Game that openly bases itself on samurai movies like Kurosawa's, it is a Drama.

In many ways it is an utterly brutal Bildungsroman, a narrative in which a young man finds his identity.

I have joked with friends about the clear intent for this game to make Important Stories, in that it actually tries to tick all the boxes of hotbutton subjects: childhood trauma? Obviously. Gay relationships?  Yup. Survivor's guilt and PTSD? Oh yes. Domestic abuse? Several. Suggested pedophilia? Damn, even that.

The foxes are there to soothe the soul

It's interesting to note that from a writing point of view, this bildungsroman is even Very Classically Structured. It goes so far as to be a three acter, with a pretty standard build-up.

 Jin Sakai, traumatized man that he is, spends the first act slowly getting to grips with the bit where you don't fight an army by yourself by  just walking up to them and challenging them With Honour, like he has been taught his entire life. Instead of getting stabbed repeatedly in the chest and set on fire, he  discovers guerilla warfare and creates this persona of the Ghost, a literal vengeful spirit seeking justice for the island of Tsushima.

It gets him some big wins and in the second act he slowly embraces this identity until things get to a head where he clashes with his entire old life. The third act starts at the hero's lowest point and is utterly gut wrenching (i am Still Not Over the horse, game), forcing him to pull himself together for an ending that is, well…fitting for the narrative. It's an ending that is needed, but perhaps not what Jin deserves.

 But anyway, this is about Ryuzo, and how until that ending, I was very upset about his role.

You see, this story is told in part through the lives of Important Npc's, who contribute to Jin's journey of self-discovery. This is pretty obvious with someone like Yuna, who is the one to introduce him to the Stealth Life and who is a driving force behind the marketing of the Ghost.

Someone like Masako, meanwhile, portrays vengeance and self discipline, but Jin also kinda tries to make her fill the mother-shaped hole in his heart.

Lord Shimura, meanwhile, is an Obvious Father figure but also stands for Jin's past. He's rigid and ineffective, which pushes Jin to further look for alternatives.

Ishikawa, that other mentor figure, is more moderate and flexible, but he also represents a possible unwanted future. He literally warns Jin at one point not to become like him.

Norio, then, is as mentioned not the best written, but he too is a person that searches for his destiny and tries to become like his hero, while only barely holding on to his sanity. 

Kenji, I'm sorry, I love you but you're just comic relief, that's all you do. It's an imporant job in the story, because god does it need it, but you're not teaching Jin anything other than how to make different 'resigned sigh' noises.

So what about Ryuzo? From the very beginning, Ryuzo's story didn't really sit right with me. There's the obvious class issue: he's one of the few important npc's that are poor, and he's an Antagonist.

It has always rubbed me the wrong way that his original intentions were good, depending on how you read it. He's trying to feed his men. He essentially made the decision that this one man's life (even if it is an old friend) is worth the price for the lives of his band of ronin.

It's a lot more complex than that, of course. Ryuzo partly blames Jin for his predicament in life, and he also knows that samurai treat their soldiers as chattel, which the game goes out of its way to show you they DO.

  Essentially, he's a complicated character who makes bad decisions for arguably good reasons.

Ryuzo did everything he could to save the lives of the people he cared about. He went so far as to abandon his honor and his childhood friends, to try to make this happen.

Does that ring any bells?

It kinda clicked for me at the very end of the game.

Jin, being the protag in an assassin game, does a lot of killing. But some of these deaths are given more meaning than others. Some of them are there to make you feel like shit (the Horse Again, but you lose several friends along the way), others serve a more defining purpose.

You see, there's a fair amount of what i'd like to call 'intimate violence' in Ghost of Tsushima. It's an old trope. The 'if someone was gonna kill me, it had to be you' kinda scene that hails from a worldview in which some deaths are better than others, sure, but some deaths are better even than living. It's a worldview in which life itself is less valuable than your legacy. You die for your place in history. For your clan, for your family, for your honor.

Bushido is full of that sort of thing, so it makes sense that a game building on that worldview, would use the heck out of that trope.

  The first is Ryuzo's death. You fight him in a duel, in which he tries to plead for some resolution. You could let him go, come up with some story. But Ryuzo is a traitor, so Jin ultimately defeats him and sends him off in what would be a touching moment of bro friendship if it wasn't for the blood and my 21st century sensibilities.

You grant him a warrior's death, is what I'm saying.

  It happens again with Shimura. The game actually gives you a choice here, but if you go through with it, the scene almost perfectly mirrors Ryuzo's.

You fight in a duel, and Jin tries to get his uncle to just let him go, come to some kind of resolution. But Jin has been branded a traitor, and the only way for Shimura to restore his honour and clan, is to take his life;

This being a game in which you have the power of bamboo strikes and also save games behind you, Jin ultimately wins the duel, and has the option of granting Shimura a warrior's death.

It is utterly heart wrenching and that whole scene has no business being as pretty as it is. The swelling music? The fucking strings? The anguished yell?

Fuck.

  But anyway.

That's about where it clicked with me, that Jin never had a choice.

Ryuzo's whole role wasn't fair, but this is one of those stories where life itself is just not fair at all.

Both him and Shimura are there to show us Jin's path.

  What if, the game says, Jin had listened? What if he'd taken one of several offers the Khan made and surrendered?

What if he'd cooperated?

Well, we see in Graphic Detail what would happen. He would get pushed into doing horrific things. He gets manipulated, again and again, until there is no way out anymore. At some point it becomes clear to him that he's on the wrong side but whenever he tries to devise some plan to turn things around, things go Badly. He's firmly stuck in Khotun's web and the only way out is death.

But what if, the game says, Jin had stayed true to his honour? What if he had listened to his uncle, not defied him, if he had dropped the Ghost before it was too late?  If he'd gone full bushido and repented for the shogun and done all the groveling and the proper stuff.

Samuraihood is just another straightjacket, says Shimura's fate. The tenets are so rigorous you would take your loved ones life, while fucking bawling your eyes out. Shimura knows damn well it's unfair but he also has no way to leave this path. It's a ride he cannot, and will not, get off alive.

  Jin never had a choice.

There was only ever one way for him to go.

Like let's be real: pretty much everyone in this story was dealt a bad hand. It's a narrative about resilience in the face of utter horror, of reinventing yourself and giving up entire structures of faith. People like Masako, Yuna, Norio are finding peace in dealing with huge levels of trauma and regret.

The goal isn't to start a family and live happily ever after, it's to Survive.

Submitting to the mongols would have killed Jin's spirit. Standing tall and rigid as he was taught to do would have, ultimately, killed him as well.

  "I've given up everything to save these people", he says near the end. "And I would do it again."

That's someone who has no regrets.

Jin never could have taken another path and he knows it.

And this is why Ryuzo needed a fate as shitty as his. He fell, so Jin could walk.

I'm sorry, it's still not fair.

This game needs some comfort fic.

[nitewrighter]

Hey :) i kinda miss your prefall Gency fic... Do you think you can write some more ? Take care ♥

I’m still thinking about the canonical existence of Overwatch Propaganda Cartoons that we saw in that preview of Hero of Numbani.

...can you tell I watched old GI Joe opening theme songs specifically for this fic?

Also credit goes to @apocryphist for coming up with “underhand” which really should be the only name for villains in the Overwatch universe.

-----

Genji drummed his fingers on the conference room table as he rested his chin in his other hand. Mercy sat to his left, nonchalantly tapping out some correspondence on her tablet as they waited. On his other side, Tracer was bouncing her knee with her fingers interlaced on the table in front of her, doing her best to at least put forward the semblance of a strike team leader despite her fidgeting. Winston sat stiffly next to her, apparently trying to scroll through lab results on his own tablet but clearly too nervous to stay focused. It was a bright and slightly breezy afternoon in Zurich, and normally Genji would have been gracefully slashing his way through the training grounds at this time, but instead they were all here.

“I can’t stand it when they don’t say what the meetings are about,” mumbled Winston. 

“It’s probably a top secret mission!” said Tracer.

“’Secret?’” said Winston, sounding even more nervous, “I’m... I’m not exactly good at ‘secret.’”

“Is it unrealistic to hope we got more intel from Doomfist?” said Genji, glancing at Mercy.

“I wish,” huffed Mercy, “But from what debriefings I could get my hands on, he hasn’t given us anything useful.”

“How is that possible?” said Genji, “After all the internal damage he did to Talon’s internal power structure, shouldn’t they be scrambling without him? Shouldn’t there be a power vacuum?”

“I don’t know any more than you do...” said Winston, readjusting his glasses. 

“Honestly I thought you’d know more about it, what with the Blackwatch stuff,” said Tracer.

“Still benched,” said Genji, folding his arms.

“Officially,” said Mercy with a slight side-eye.

Genji gave her an amused “Hmph,” before saying, “Either way, Reyes pushed me out of the loop now that I’m on your strike team... not that I paid that much attention to the loop befo---”

The door opened and everyone perked up at the sight of Jack Morrison and Sojourn walking into the room. Jack seemed uneasy, but honestly Mercy couldn’t really recall the last time he seemed at ease.

“Okay, before we start, I want all of you to keep an open mind with this,” he said, looking across all of them.

“...Very encouraging, Strike Commander,” said Sojourn, with slightly sardonic amusement. She put her hands on her hips and turned to face Tracer’s strike team, “As you all know, when you’re recruited into Overwatch, you sign a waiver allowing us to use your image in... all sorts of stuff. Press releases, scientific publications, training videos for new recruits---”

“Posters,” said Mercy, already skeptical.

“Posters, too,” said Sojourn with a smile, “However, back during Omnic Crisis Reconstruction, we were using the images of heroes for a lot more.”

“Heroes?” Genji repeated quietly as Sojourn produced a remote control from the pocket of her jacket and hit a button. The venetian blinds tilted to shut out the sunlight and the lights of the room dimmed as the wallscreen lit up behind Sojourn. The screen lit up in bright colors and red and yellow explosions as a trumpeting fanfare started playing. Tracer’s face lit up as a young cartoon version of Jack Morrison appeared on the screen, pumping his fist in the air. 

“The world needs heroes!” said the cartoon Jack Morrison, “Are you with us?” 

Genji glanced at Jack who was very clearly cringing at his cartoon self.

“Oh yes!” said Tracer, her eyes bright, “It’s been years since I’ve watched this! You guys know the song, right?” she said looking at her teammates, “..No?”

The theme song was already playing, and Tracer was singing along with it eagerly.

There’s no need to fear

Overwatch is here!

Saving all we hold dear!

Mercy made a ‘I really hope this meeting isn’t going the way I think it’s going,’ face at Genji and Genji suppressed a chuckle, but Tracer seemed absolutely thrilled and even Winston was humming along with the theme song. The theme song kept playing and even introduced different members of the old Overwatch Strike team. One of the animators clearly had fun lavishing a lot of attention on Ana Amari’s hair whipping around from the force of an explosion behind her. A still-blonde cartoon Reinhardt brawled fist-to-fist with some kind of black and neon green robot. Cartoon Morrison jumped a motorcycle off of an aircraft carrier with cartoon Reyes wielding a missile launcher in the sidecar. Torbjörn and Liao were working side by side in a lab before the camera panned out to reveal they were in a bright blue tank-like vehicle Genji safely assumed was entirely made up to sell toys, firing off RPG’s with even more explosions. Sojourn chuckled watching her cartoon self fire two submachine guns at black and neon green helicopters while parachuting out of an exploding jet. There was, all in all, a frankly ridiculous amount of explosions. It finally ended with one last massive explosion and fanfare and cartoon versions of Sojourn and the entire original strike team all pumping their fists in the air with Morrison in the center. 

Sojourn hit another button on her remote, the wall screen blipped off, the venetian blinds opened and the lights came on, leaving everyone sitting at the conference table blankly.

“Ahh! Still just as good as when I was a kid!” said Tracer, excitedly.

“Now, I know what you’re going to say--” Morrison started.

“Propaganda,” said Mercy, “You want to put us in propaganda.”

“You’re already in propaganda,” said Sojourn, flatly.

“This is propaganda aimed at children!” said Mercy.

“Do you know how young Talon is recruiting?” said Sojourn.

“That doesn’t mean we should stoop to their level!” said Mercy.

“Wars aren’t just won by strategy and firepower, they’re also won by ideology, by public support,” Winston suggested.

Mercy remembered something Moira said and it sent a shiver down her spine. 

The true struggle is for the superiority of ideas.

“Thank you, Winston,” said Jack, “It’s not necessarily about convincing them to join, it’s about convincing people that we have their best interests in mind. Which...” Jack gestured, “We do.”

“Those bad guys didn’t look like Talon,” said Genji.

“Oh, it wasn’t Talon!” said Tracer excitedly, before dropping into a dramatic narrator voice, “Underhand is a Ruthless Criminal Organization determined to rule the world!”

“Uh--Underhand?” said Winston. Jack said nothing but somehow managed to look more dead inside.

“...Overwatch and Underhand...” Mercy repeated incredulously.

“So--we’re going to be in a cartoon?” said Genji. For some reason, his armor seemed to feel tighter, pinching, constricting around him.

“Well, we did some polling after the Doomfist fight and ran some algorithms through a handful of popular forums and social media,” Sojourn explained, “It turns out you’re all very popular with the younger crowd. Winston and Tracer pull the biggest numbers, but you, Genji, are incredibly popular with boys aged 6 to 14.”

“I...I am?” said Genji.

“Shining armor,” said Mercy, smiling at him, and steam vented from his shoulders.

“And Mercy has a death-grip on the ‘Girls aged 3 to 11′ demographic,” said Sojourn.

“So... more girls are getting into STEM?” said Mercy.

“I’m.. not sure about that, but they seem to really like the fact that you’re pretty and you can fly,” said Sojourn, flipping through the report on her own tablet. 

Mercy’s face dropped and she shook her head. She pursed her lips and thought for a few moments. “I’m not sure about this...”

“If we’re all over the news already, it could help to put stuff out there that gives us more control over our image,” said Winston, he scratched the side of his head, “It... would be nice to show people I’m more than just a gorilla...”

“Genji?” said Mercy, looking over at him. Genji was running his thumb over the knuckles of his prosthetic hand and he seemed to snap out of some particularly stressful train of thought.

“Oh...um... well... it would give you a chance to talk more about Overwatch as a peacekeeping organization?” said Genji, “And if you’re talking about it to children...” 

“They might be less inclined to carry on the conflicts of previous generations!” said Mercy, her eyes brightening.

“Like we said, ideologies,” said Jack.

Mercy inhaled thoughtfully. “If--if we’re going to do this, I want my likeness used responsibly. I don’t want to advocate for violence in any form.”

“...yeah I figured you’d say that,” said Jack.

“And, even if we’re going through fictional conflicts, I don’t want it... glamorized and sensationalized like the old cartoon. We don’t need all those explosions---”

“You did pull Genji out of that explosion a few weeks ago though,” said Tracer.

“Well that’s different--! That’s--!” Mercy huffed, “I think we should push more of Overwatch’s scientific and humanitarian efforts. Show that making the world a better place is more complicated than just.. shooting at bad guys.”

“We could have a science corner!” Winston chimed in, “’Winston’s Science Corner!’”

“Ooh! And maybe I should say something about friendship and teamwork at the end!” said Tracer.

Genji was shrinking a little where he was sitting, unconsciously sliding his wrist plate back and forth.

“What do you think? Edu-tainment?” said Sojourn, glancing back at Jack.

“Could go over easier than a purely fictionalized narrative,” murmured Jack.

“Aw, I wanna fight Underhand, though!” said Tracer.

“Well in any case, you can expect more correspondence from our PR department as we move forward in this project,” said Sojourn. 

“You might not be fighting Talon in some far-flung corner of the world, but make no mistake: this is an important part of the fight,” said Jack.

“And who knows,” said Sojourn as an assistant hurried in with a cardboard box and set it on the conference table, “You could end up some kid’s best friend.”

Tracer and her strike team all stood up from their seats to look into the box.

“Oh commander...!” Tracer looked about to burst with excitement as she reached into the box and pulled out an action figure of herself, “I love it!” She turned over the action figure in her hands and saw a button on the back. She pressed it.

“Cheers love! The Cavalry’s here!” said the Tracer action figure.

“That’s my line!” said Tracer, delighted.

“It’s quite a stunning likeness,” said Winston, taking his own action figure out of the box. He pressed a button on the back of his action figure. 

“Primal Punch!” declared the Winston action figure and Winston chuckled.

Mercy took both the Genji and the Mercy action figures out of the box and chuckled a little. 

“Yours is so pretty, Doc! They even got the wings!” said Tracer as Mercy fiddled around with the action figure’s wings.

“Yes, ‘pretty and flies’ indeed.’ I might be more inclined if she comes with a lab coat accessory,” said Mercy, giving a skeptical glance to her action figure’s bust size. She pressed a button between her action figure’s wings and scoffed a little as the action figure said, “Heroes never die!” 

She held Genji’s action figure out to him and he hesitantly took it. “What do you think?”

Genji turned the action figure over in his hand and looked at the button on the back. He pressed it, but the figure said nothing.

“Oh we um... didn’t really have a ‘catchphrase’ for you yet,” said Sojourn as Genji gingerly ran the finger of his prosthetic hand up the blade of the action figure’s sword clasped in his little plastic hand, “We were hoping you could put in a word for it. These are just mock-ups, really.” 

You’re incredibly popular with boys age 6 to 14...

Genji moved the arm of the action figure up and down, the figure striking downward with its sword, and he thought of young boys playing with this miniature him. Running with the action figure clutched in little hands with white knuckles, playing out battles, having the action figure swing its sword at all those foes, imitating his own swordsmanship, fighting their brothers with sticks, punching each other, kicking each other---

“No,” Genji said on reflex.

“What?” said Sojourn, glancing up from Tracer chattering about her own action figure.

“I--I said no. I shouldn’t have an action figure. I shouldn’t be in the show,” said Genji. His voice was tight.

“Genji...” Mercy started.

“...is it about how you look?” said Sojourn, “Because Genji, I can tell you, seeing people like us on the screen means the world to kids with prosthetics---”

“No--” Genji was stammering, “It’s not about that, it’s--”

“Genji, you’re a part of the team,” Tracer tried to reassure him, “It wouldn’t be the same without you--”

“Children shouldn’t want to be like me!” Genji blurted out, and there was a small plasticky snap. Genji glanced down and saw that he had unthinkingly broken the arm off of his own action figure. The entire room had gone silent, staring at him. He set both the action figure and its broken-off arm on the table and exhaled. “I’m-- I need to think about it,” he said, pushing up from the table and walking briskly out of the room.

“Genji, wait--” said Mercy, standing up. Her eyes flicked to the broken Genji action figure on the table and she picked it up, tucking both the figure and the broken off arm in the pocket of her lab coat. The door slid shut behind Genji but she quickly walked after him, leaving Morrison, Sojourn, Tracer, and Winston alone in the room. A long quiet pause passed between the four of them.

“Maybe just web shorts?” said Winston, “Just.. um... just the science corner?”

“Winston--” Tracer huffed.

“Right--sorry,” said Winston.

“...well, they did keep an open mind,” said Jack, “Mostly.”

“Don’t make me break out your action figure, Jack,” said Sojourn.

----

It was a known fact that if you broke visual contact on Genji, you had a pretty low probability of finding him again unless he wanted to be found. Still Mercy spent more of the remainder of the afternoon looking for him than she was readily willing to admit. The fact that he was able to disappear from the hallway that quickly made her assume he had taken the window (very mature, by the way, Genji, she thought with an eye roll) but she checked all of his usual spots and even went to his room before finally huffing and returning to her lab.

It was about 11 at night when the door slid open.

“Genji, we’re beholden to the UN. I know that was an uncomfortable situation, but... there are still protocols,” said Mercy, not even looking up from her screen.

“I know,” his cybernetically reverberative voice hummed from the other side of the room.

“I don’t know how... informally Reyes maintained his meetings, but we can’t--” Mercy looked up from her screen and read his posture and expression. Her shoulders slumped. She pushed up from her desk and walked across the lab over to him.

“I’m sorry, I know. I just shut down,” said Genji as she closed the distance between them, “I don’t even know where it came from, ever since I joined Tracer’s strike team, I thought I’ve been getting better but--” he cut himself off as she hugged him. He stood there for a few seconds before returning the embrace. A part of him wanted to take his faceplate off, breathe in the smell of her hair and the smell of coffee on her, but he tamped that down. They had embraced before, after Gérard Lacroix’s death, and had broken out of it, both of them muttering about it being inappropriate and messy, but after missions together on Tracer’s strike team, there was no such shame in taking comfort in each other like this. She loosened the hug slightly to look at him.

“What you said... about you and children...”  she trailed off.

“I...” Genji sighed, “I’m an assassin.”

“You’re an agent,” said Mercy.

“Whose skills all come from the fact that he was raised to be an assassin,” said Genji, “What I went through as a child---I don’t want another child to go through it. And I don’t want children to think that’s what they want because it’s not.”

“They won’t have to,” said Mercy, putting her hands on his shoulders, “The Shimada Clan’s practically collapsed! You get to decide who you are, not them! You get to choose what you do with your skills,” one of her hands trailed down his arm and clasped his organic hand, “And you choose good. You’ve been choosing to do good.”

“...kids shouldn’t want to be like me when I don’t even know what the hell I am,” muttered Genji.

Mercy gave a helpless chuckle, “Join the club. ‘Mercy’ is easier to be than Angela. People listen to ‘Mercy,’ except not really, because she’s just pretty and she flies and at the end of the day, she’s just a bloody idea, so no one actually listens to her because she’s not real---”  she caught herself, “God, they’re really going to turn us into cartoon characters, aren’t they?” she said, pushing her bangs back from her face, “As if things weren’t already weird enough.”

“Cyborg ninja. Angel doctor. Time traveler. Gorilla from the moon. It really makes no difference at this point,” said Genji with a shrug, looking over her shoulder, he noticed a small figure on her desk. “Is that---?” he broke out of the embrace and walked over to the desk to see his action figure standing there. The arm had been glued back on, the seam of the break barely visible. He picked up the action figure. “You fixed me? It--It-- I mean it. You fixed it?” he said glancing over his shoulder at her.

“Well I couldn’t just leave you like that,” said Mercy, chuckling a little. 

“’You’ve rescued me again, Doctor Ziegler!’” said Genji, making the action figure bob with his words. They both snickered. “Maybe that can be my catchphrase,” said Genji, a smirk in his voice.

“Absolutely not,” said Mercy, giggling.

[destiny-smasher]

My personal 2020 GOTYs

1) Hades

This game, dudes. THIS GAME. A fraction of the budget, a fraction of the dev team size, reportedly HEALTHY development schedule and management...and imo it offers at least some of everything I want out of a single player video game. I have poured over 60 hours into this and I see myself putting in some more over time and ALL of the time I have spent has felt rewarding and edifying. Clever design, smart writing, organic voice acting, sharp gameplay, and all done at a fraction of the resources of these big budget, bloated games. You love to see it.

2) Final Fantasy 7 Remake (Part 1?)

I went into this year not caring much about this game at all. FF7 was a game I played as a teen, enjoyed, respected, and moved on from pretty easily. This Remake, so far, has done more than I could’ve expected in terms of actually REMAKING a game. It’s literally a new adaptation, and I as pleasantly surprised at just how hard it went. From realizing the world of Midgar into something so full of detail and plausibility, to reiterating and doubling down on its postmodern anti-corporation themes, to making Barret the character I loved the MOST somehow?? Combining everything I love about real-time RPG action with a tactical strategy element long missing from the genre, reimagining and fleshing out characters and concepts into something deeper and more meaningful...I’ve never considered myself a huge FF7 fan but this game was really something, and I absolutely cannot wait for more (and praying they do my girl Yuffie justice). I’ve been super skeptical of Nomura as a director given...the mess that has become Kingdom Hearts, but as it turns out, when he has others to reign things in, some surprisingly nuanced stuff for an anime game can come out of it. It has its flaws, to be sure, but it’s still the most enjoyable experience I had with a big budget game this year.

3) The Last of Us Part 2

I feel conflicted over this one in particular - I feel Neil is not longer a director I respect the way I did back with the first game. I feel Naughty Dog is falling victim to all of the late capitalist issues plaguing big budget game dev. But I also love this game. It’s much more flawed than the first, but that’s mainly because it’s more ambitious and complicated. It’s THE most flawed game on this game, honestly, but overall as a game I am compelled to respect its writing, its gutsier decisions, its art direction, acting, presentation, etc. It’s an impressive game and the most technically impressive game I played all year if not all generation. Props where they’re due, but at the same time, I think this game was poorly directed and I love it in spite of issues with its production, rather than because of some strong vision. That’s the big Sony bucks, I suppose, matched with a dev team willing and apparently somehow able to fulfil what they want to create. I still get the impression there was a bit of ‘design by committee for a mainstream audience’ kind of shit going on - how could there not with something this big? - and as a result I think the game is a bit bloated. Shave off about 3-5 hours from a few spots and it’d be a more focused game, and maybe I’d feel more edified and satisfied rather than weirdly conflicted. Even so, a huge accomplishment and I hope to see more games tackle premises as ambitious as this down the road.

4) Bug Fables

This game technically launched last year but it debuted on console in 2020, and I didn’t play it until then. This is as close to a follow-up to old school Paper Mario as it gets, while simultaneously doing a lot to forge its own identity and even improve on the formula presented in the previous games. Its rough around the edges but that’s mainly because it’s an independent game, and it’s amazing just how well the dev team was able to reproduce the scope and details of this specific subgenre of RPG, all while continuously implementing new game design elements and multiple features that make it feel more modern in its direction. Fantastic stuff, I’m still not even finished with it because I’ve been taking my sweet time, though I intend to finally finish it this month, and I have to say, it’s quite a special game in my opinion.

5) Fall Guys: Ultimate Knockout

Absolute banger of a multiplayer game, really love the presentation, the concept, the overall execution, the way the team has been updating the game every month or so in response to feedback and implementing new content. So good to see the battle royale genre FINALLY pushed beyond just...arena shooting. Can’t wait to see where else this game can go over time.

6) Animal Crossing: New Horizons

Somehow this one slipped my mind when I first wrote this up, despite having poured well over 100 hours into it this year. I think part of it is that New Horizons did a lot of things I’ve wanted the series to do for so long, and yet is still far behind in terms of so many other things I wish they would do. Quality of life things prevent me from really re-investing into it, and yet despite that I have to admit it REALLY sucked me in for a solid few weeks and I continued to play off and on for months. It was the perfect game we collectively needed right when it came out and graphically I can’t think of how to really improve on that style. A really relaxing getaway I needed earlier this year, though like with previous AC games, I don’t find myself going back to it as much as I’d think I would.

7) Going Under

A surprise hit for me, this rogue-like swooped in from ‘heh that looks amusing’ to ‘oh wow this is legit just a great game.’ Its weird visuals, funky 3D gameplay, and surprisingly sharp storytelling make for a rogue-like unlike any other and one totally near the top for me.

8) Marvel’s Spider-Man: Miles Morales

Squeezed this in just this past week or so, and this one also satisfied me greatly. I wish we’d see more big budget open-world games like this -- laser focused, not wasting any time, and not being repetitious aside for completionists. So cool to see another team’s take on Miles after how much I fell for Into the Spider-verse, and very glad the team both homages that movie while subverting some expectations fans of the film might have, all while continuing to adapt Insomniac’s take on Spider-Man from a couple years ago.

9) Demon’s Souls (Remake)

As a big fan of FromSoft who never got too far into this one originally, it’s been great to visit it as if it’s a new Souls game with an alternate art style. And a very clean art style it has. This was a good pick to be remastered because many, even FromSoft fans like myself, missed out on it, and it feels unique from its predecessors while still showing a solid foundation they’d go on to build from.

10) Crash Bandicoot 4

An amazingly well done follow-up to the original trilogy, this game GETS what makes old school Crash games good, and it improves upon things in a number of ways, from making Coco the alternate hero, bringing back old faces in new lights, going ham with the visuals both in raw art and unique filters when replaying stages, and giving incentive for completion with so many great costumes. Well done, great old school platforming with modern design sensibilities. 

Honorable Mentions:

CrossCode

This also technically launched before 2020 but I didn’t play it until this year, and I don’t think it hit consoles until this year. I wasn’t exactly sure what to expect going in, just remembering that I had enjoyed the demo well enough. This game delivers in most ways you could want from an indie game, with an expansive world of sidequests and RPG growth, a flexible combat system that can be nailbiting and engaging, and old-school dungeon designs with lots of environmental and elemental puzzles that really ask a lot of you. All of this capped with a surprisingly great narrative with characters I grew to love, including a much needed protagonist with a unique identity unlike any in games that I’ve played, as well as extra bits of detail and production values invested at JUST the right moments where the story needs it the most. It feels a bit tedious at times and part of me wishes more of the sidequest content involved direct interactions with the named, recurring characters, but it’s still one of the most impressive and well-done indie games I’ve ever played.

Katana ZERO

Razor-sharp game design, this one. It’s a brief but intensely focused experience that feels like the video game equivalent of a slick, experimental indie film. Could do with some more replayablity for those who want it but what’s here is just damn good and I gobbled this game down like a fantastic, hand-cooked meal at an atmospheric dive bar barely anyone knows about.

Necrobarista

Haven’t quite finished it yet but this is definitely one of the best visual novels I’ve ever experienced just due to how hard it goes on presentation and pushing for a more cinematic and thoughtful vibe than any other VN I’ve ever experienced. The characters and writing feel ripped out of an early 2000′s webcomic, for better and for worse, but all the same, it’s some fantastic stuff and it’s so refreshing to see a game set in Australia tackling a well-worn genre by giving it a new spin.

Slay the Spire

Another personal pick since this released in 2019, and I’m not quite sure which consoles it hit or when, but I didn’t get into it until early this year, and was totally hooked. Fantastically addictive, probably the most well-design deck-building rogue-like I’ve seen, certainly one of my favorite deck-building games in general. Apparently I’ve sunk 50 hours into it this year, more than most on this list, and I wouldn’t be surprised if that number spikes up again at some point.

[egoat]

disco elysium thoughts

he he

i think, overall, it’s great of course; not only is disco the rare example of really smart, leftist art, as well as the even rarer example of dense, literary-bent video game, but it has the greatest trait of media; an intensely detailed, practically overwrought with detail fictional universe that seems to sprawl outwards in every direction, the kind of thing you can get lost in. i’m very interested in this quality of worldbuilding - it’s the thing media now practically revolves around, the capacity of provoking imagination, fandom, interpretation, speculation. a great work can create a world that generates this sort of fascination from as little as two hours of movie runtime, like in the case of the people that became obsessed with having blue alien-sonas after watching avatar. disco has less of a hill to climb because a lot of its lore is pretty clearly spelled out in the over-a-million lines of dialogue it has to offer.

i think there’s sort of a problem here with the presentation, though. the world is, yes, gorgeous and mind-boggling and extremely interesting to speculate about, but i only came to that conclusion probably over halfway through the game. the setup of this suffers from a few things - primarily, the game lacks real focus. the major motif is of course the failed revolution in revachol and the aftermath of that. the game has some real material to cover in the union debacle, and it sort of gives the impression that the game might involve actually getting involved in and resolving the conflict between the union and wild pines, but then that turns out to be a feint and the investigation gets buried down different paths. then the game introduces you to the characters that only want to talk about race, which are amusing enough, but unfortunately unload so many lore terms on you that even the simple joke commentary is rendered indecipherable. the real stumbling block for me was the trope of “fantasy countries that are basically analogous to real countries” - revachol being france, mesque being mexico, etc - which is the sort of thing that always turns out to be so boring it instantly makes you tune out. except things are immediately more complicated than that - “mesque”, for instance, is mentioned as losing international favor as it turned sharply to the far-right, the events of the revolution which would seem to be analagous to the french revolution are actually far more analogous to the russian one and then, what is the state of this world, anyway? why are there certain features of modernity and not others? what’s with “radiocomputers”? once you get to tunneling down these strands, learning about the religion and ancient history and occult elements of the world, namely the “pale”, things come into far better focus and seem way more interesting.

the plot itself doesn’t have quite as much magic as the setting, unfortunately. perhaps it was just how my particular story worked out, but i didn’t end up getting nearly as much resolution out of the main mystery part of the game as i had hoped for, with two main characters disappearing from the map inconveniently before i had the chance to fill out the gaps in the noir timeline. ultimately, the way the actual mystery shakes out ends up being basically two deus ex machinas, which i feel is sort of flawed. a great mystery should give you enough clues to unravel it - and there are a lot of subtleties and second-glance sort of things in the building action of the story, just enough suspicion scattered carefully on the right characters, that it seems committed to this model, but at the very end, the game produces a character completely unconnected to the rest as if to hurriedly wrap things up (and then another character, right behind them, that you also never would have guessed, but that one’s quite a bit more funny, at least). ultimately, the noir aspect of the game doesn’t matter too much - it’s the overall tone, the flavor, the prose, the dialogue, and the side content that more than make up for it, but it ends up being a bit disappointing all the same.

i think this gameplay system, such as it is, is interesting, but leaves something to be desired. you’re running all these checks, and there’s a basic sort of rpg input-feedback logic to it, but i think the reality of play is that there’s no benefit to “builds” and no real method to the madness of these skill checks. by the end of the game, i had pretty much discovered that i wanted every of the 20 skills because there was no rhyme or reason as to which one you’d be tested on, and i would have to obsessively shuffle my clothes and available skill points and saves to pass the check to progress. it’s not too cumbersome, but given that it’s practically all there is to the gameplay, it could have used a bit of paring down and simplification, and probably could have taken randomization out of the equation completely.

the other ways the game “gamifies” the dialog tree are quite interesting in places. because you have to be actually concerned about the consequences of dialogue, it isn’t as simple as clearing out every option - there are real choices, which will have consequences on sometimes your health or morale meters or a check later on in the tree, which makes you be a lot more conscientious in engaging with how you talk to people. unfortunately, this made me very paranoid and avoid picking a lot of the joke options in the game, which are ever-present and sometimes very funny. probably the best example of this is the conversations with klaasje, which feature your skill checks contradicting each other, and you having to choose between them, rather than them giving you the right answer, or the set piece of the mercenaries, which is a bit obtuse, but fascinating in how many ways it can play out.

genuinely, though, it’s such a well-written piece of work, and i’d love for more from its creators. i saw in its wikipedia page tho that they had greenlit a tv show based on disco elysium, which, lol

[eljackinton]

Jack's End of Year Video Game Round-up.

There were many things I couldn't do this year, being in lockdown and all, which in turn meant I played a hell of a lot more video games than I normally do. Here's a quick rundown of what I thought of them.

Hitman 2

IO have sort of perfected the Hitman formula now, so future entries in the series simply have to ask the question of what new directions you can take that formula. In that regard Hitman 2 is a resounding success, setting sneaking and assassination in scenarios around the world from race tracks to holiday resorts, and thus making it the best entry yet. It's possible one day the Hitman conceit will wear thin, but today is not that day.

Thronebreaker

Most people will go into Thronebreaker just wanting a stand-alone version of the Gwent we played during Witcher 3. Thronebreaker is not that. Indeed, even beyond the changes to the mechanics brought in by the online version, Thronebreaker is more of a puzzle game which uses the mechanics of Gwent to concoct unique scenarios. Still, the story is pretty good and it is fun overall, even if it didn't end up scratching the itch left by Gwent.

Black Mesa (Xen)

I returned to Black Mesa after Xen was finally added, eager to see what the team had come up with. My feelings are complicated. The Xen portions of the game are really well designed, great to play and visually beautiful. However the levels hew so far from the Half-Life originals that it kind of stops feeling like Half-Life. I would have like to have seen a more faithful recreation to be honest.

Neon Struct

If you've been wanting a spiritual sequel to Thief that actually used the mechanics of Thief, here you go. Though low budget, and therefore having somewhat uninspiring visuals based on reused assets, it's still a really impressive game from what the team had to work with, and it's short enough that it doesn't outstay it's welcome.

Acid Spy

I'm generally usually okay at stealth games but this one was well beyond my skill level. Got through the tutorial but just got frustrated and quit on the first mission.

Salting the Earth

A wonderfully put together visual novel about the legacy of war and the nature of national identities. Also you date buff orc women. One of the best VNs I've played, but it does have some pretty bleak potential endings that clash somewhat with the rest of the story's tone.

Hedon

Speaking of buff orc women, Hedon is a vivid, perfectly designed retro-shooter that really uses the most of it's engine to bring it's world to life, with shades of Thief and Strife thrown in there. Wears its hornieness on it's sleeve, but if you can roll with that you'll have nothing but a good time.

The Painscreek Killings

I really really loved this immersive narrative game, where you explore an abandoned town to piece together a series of suspicious deaths. My only gripes are the town looks very British despite being set in the US, and the final confrontation adding a chase scene felt a little over dramatic.

Deus Ex Mankind Divided

There are many problems with Mankind Divided. Trying to find another story to do with Adam Jensen. Making the game more of an open world by taking away the usual Deus Ex globe-trotting. The clumsy use of racial metaphor being applied to cyborgs. All in all the game just didn't really come together, which is a shame, because the DLC showed such promise, and hinted at the real Deus Ex game we could have had.

Warhammer Armageddon DLC

I managed to complete the Salamanders DLC and got stuck near the end of the Blood Angels one. All in all it's simply 'more' of what the base game offered, and I'm not sure it really needed it.

Unavowed

Easily one of the most interesting games I played this year. So good It inspired me to write a cheesy fanfic. Sure the mechanics of applying squad mechanics to a point and click are interesting, but it's the world, the art and the characters themselves that really make this game. Highly recommended.

Devil Daggers

The ultimate distillation of classic shooter mechanics. One platform, one weapon, endless enemies. I didn't get all that far into it and I think most people won't, but I'm not going to complain for the price. Overdue a revisit.

Dream Daddy

A fun and fluffy dating game that actually does a good job of putting you into the mindset of a recently bereaved bisexual dad. Come for the hunks, stay for the really affecting story of a strained relationship between father and daughter.

Greedfall

Greedfall falls short of the mark in most aspects, but I have to give it credit for being one of the few games to give us a Bioware companion-centric adventure during this drought of Bioware games. It lacks the zing of something like Dragon Age, and handles the subject of colonialism really problematically, but if you can get past those issues, it's a fun ride, and a world I'd like to revisit.

Endless Legend

I've been wanting a game to scratch the Alpha Centauri itch for decades now and Endless Legend finally did it. There is a risk of being overwhelmed by the sheer number of unique factions to play, and I know I still haven't really scratched the surface even after 4 full campaigns. Is that a criticism? I suppose it depends if you think you can have too much of a good thing.

Space Hulk Deathwing Enhanced Edition

A valiant effort was put in to make a faithful FPS of the Space Hulk experience, but ultimately it falls far too short. The visuals look great and the game-feel of stomping around as a Space Marine really works, but the game lacks charm and character. Up against Vermintide, there's no comparison.

Sunless Sea

This is a game that feels like a bottomless abyss of secrets and mysteries tied up in a very brutal one-life-only system. I really enjoyed my time with Sunless Seas, with the music calling me like a wailing siren every now and again, yet in many ways I did find it a bit too unforgiving, and it could have benefited from having a bit more of a progression between lives than the almost solid reset it leaves you with.

Age of Empires / 2 / 3 Definitive Editions

The first Age of Empires has an important place in history, but is borderline unplayable by today's standards. Almost every aspect was improved in 2 and going back now feels like trading a car for a horse and cart. It's clear that the game was intending your slow crawl out of the stone age through hunting and gathering to be part of the game in its own right, but today it's just tedious, and the rest of the game is just so slow.

There isn't much to say about Age of Empire 2 that I haven't already said, but I will point out that multiplayer AOE2 has kept me sane over the course of the lockdown, and I'm glad the Definitive Edition enhanced that experience.

Age of Empire 3 tried too hard to reinvent the wheel. Instead of taking 2 and building on it, it instead contorted it around a colonisation theme, and it didn't really work. On top of that, the mechanics really felt they were built more for single-player story missions. The maps are too small, and the expansion factions clash with the rules badly. Still, there is fun to be had, and I'll be checking out the campaigns next year.

Hand of Fate 2

This game takes the original Hand of Fate and adds way, way too much into it. While I appreciate the addition of companions, a longer story mode, and optional side missions, the game is far too experimental with it's formula, and leaves me struggling with complex missions around being lost in a desert or evading barbarian hordes, when all I wanted was a straight forward dungeon crawl. I tapped out two thirds of the way through the campaign.

Wild Guns Reloaded

I love the style and aesthetic, but I just don't have the reflexes (or the gamepad) for these fast paced arcade games.

Vermintide 2 Drakenfels

Fatshark gave us an entire Vermintide campaign for free this year, at the cost of having to be subjected to obnoxious cosmetic micro-tranactions. Hard to say it was worth the price, but Fatshark really do continue to improve, bringing new scope and ideas to every new mission. As good as it gets.

Pendula Swing

A fun little game that apes the visuals of a Baldur's Gate style RPG but the mechanics of a point and click adventure game set in a fantasy version of the roaring twenties. A strong introduction to it's setting but definitely needs building on if we're to see a continuation. A lot of the world-building feels too simple and half-baked at times, and the gameplay feels like too much is going on too fast. Still, a charming story though.

The Shiva / The Blackwell Series

At first I had no idea that Unavowed was connected to a host of other Wadget Eye adventure games, so naturally I had to check them out. I'd known about The Shiva and the Blackwell games for years, but never actually thought about picking them up. Playing them all back to back was a great experience, and almost felt like a prototype to the episodic storytelling many games do today.

Lara Croft and the Guardian of Light/Temple of Osiris

Guardian of Light is a fun, inventive co-op game for killing some time with a friend. The puzzles are often unique and interesting and get you thinking, and the story, while nothing fantastic, is fun enough to keep you interested and have a laugh about with your co-op partner in a B-Movie kind of way. Temple of Osiris adds way too much to the formula, with more characters, mechanics and more open exploration and it absolutely loses the charm of the first game, and even then it's buggy as hell. Skip the second one.

Command and Conquer Remastered

Big chunks of my childhood are taken up with memories of playing Command and Conquer and Red Alert, so it's difficult to really gauge my thoughts on the remaster. On the one hand the art direction looks great and preserves the feel of the original, and the quality of life improvements to the gameplay help make it more playable. The nostalgia hit is also palpable. That being said, the mechanics have not aged all that well, with much of the game being far, far too hard. Probably the best way to experience the genesis of the RTS genre but just know what you're getting in for.

Superhot Mind Control Delete

I wrote a lot at length about how unsure I was about Mind Control Delete at the time, and that's because it does feel a little unsure about itself. Is it a continuation of the first game? A fun bonus mode? A mediation on the nature of addiction? A critique of video game content? A joke on the player? I don't know, but I do know one thing, and that is that Superhot is still as addictive as hell.

Opus Magnum

Zachtronic's steampunk alchemy game requires far too much maths brain than I am capable of , and so I had to rely on guides a lot of the time, but that being said, it's still amazingly put together and vividly presented. Really feels like a game that could be used in schools.

Necromunda Underhive Wars (Story Mode)

I'll be checking out Underhive's Campaign mode in the new year, but for now I just want to talk about the story mode. Much like Mordheim, this is a game that's not going to work for everyone, but I really dug it and like it's unique take on a squad based TBS. However, in many respects the game does feel like a missed opportunity. The storyline is fun enough, and the arsenal robust, but much of the character of the tabletop game, the weird, chaotic, and sometimes comical things that can happen over the course of a battle seems to have been lost in translation, as has the quirky character to a lot of the gangs.  

Outer Wilds

There is little I can say about Outer Wilds that hasn't already been said by others, particularly that one should go into the game as blind as possible. A beautiful piece of interactive art, words would fail me in describing it anyway.

Life is Strange 2

Fantastically written, amazingly animated, wonderfully acted, and grim and depressing as all hell. I really love Life is Strange 2, but it it a tough game to bare witness to, especially in 2020. It treats it's subject matter with great maturity, but is so dark it's hard to motivate yourself to continue each gruelling episode. Also, I really think it would have fared better if it had not named itself Life is Strange 2, as not following Max and Chloe turned a lot of people away from a game I think they'd have otherwise enjoyed if they'd named it Wolf Brothers or something.

Half Life 2 / Episodes / Portal / 2/ Mel

After playing Black Mesa earlier this year I decided to revisit the entire Half Life 2 and Portal series. What I concluded is that Half Life 2 is not really all that good. A well told story wrapped around weak combat and average encounter design. This much improves across the episodes of course, but in the end I rather feel Half Life 2 is pretty overrated.

Portal, on the other hand, still feels fresh, though I was surprised I'd forgotten just how much was added in Portal 2, to the point Portal feels more like a game demo. That being said, I think the slowly growing mystery and menace of Portal has aged a lot better than the gagfest the series became with 2. Mel, a stand-alone mod that feels like could be a Portal 3 in it's own right, returns to a more serious tone, and feels all the stronger because of it.

Control

Control has gone from a game I didn't really care about all that much to one of my favourites of the year, if not the decade. Sure there are criticisms I could make, but the world has so much depth, the characters so much potential, and the gameplay such perfectly designed chaos, that it wouldn't really matter. A great time was had.

Icewind Dale 2

Finishing Icewind Dale 2 was the final banishing of the old ghosts of Infinity Engine games I never finished as a kid. Sure there was the nostalgia, but Icewind Dale 2 also feels prefect for the Baldurs Gate era's swan song. Beautiful environments, a well written story and great interface and design, only pulled down due to some overly long busywork at various points and the plot being dragged on a little too long. Still, sad to know I have no further Infinity Engine games left to conquer.

Elsinore

The first half of Elsinore is an absolutely great time-loop mystery, which seems to be an interesting interrogation of Shakespearian tropes and asks the question of how much of a Shakespearian tragedy remains the more you change it. The second half, however, quickly devolves into a cosmic horror story that feels a poor fit for the genre and far too grim for the art style, and that's even before it basically devolves into trying to do the same thing Undertale did but worse. A well put together game whose ending did not sit well with me.

Gwent: The Witcher Card Game

Since Thronebreaker didn't sate my appetite I started playing competitive Gwent. It is a wholly different game than the one that appears in The Wither 3, but is certainly fascinating in it's own right. After 200 hours I am officially addicted, somebody please send help.

And that's that. Not doing a top 5 games of the year because I played too many this year and I've spent too much time thinking about them already. Here's hoping I play less in 2021 and can get back to a more normal life.

[baconpal]

Bravely Default and BD2

Here it is, the partially prompted bravely default rant/retrospective/whatever the fuck!

With the announcement and demo of bravely default 2 out now for a bigger market than the original game ever had, I feel that as a massive fan of the original I should put some amount of effort into explaining what the appeal of the original is, why bravely second missed a lot of the appeal, and why bravely default 2 has been very, very worrying so far.

If you care about any of that, come on in and I'll try to actually avoid spoilers this time and make this a more legitimate recommendation of a game than usual.

THE APPEAL OF BRAVELY DEFAULT The games obviously have a beautiful art style, especially when it comes to the backgrounds. Every city is like a painting, a beautifully composed shot that you see from just one direction to give you one very strong impression. While the overworld and dungeons are fully 3d and do not have as strong of an artistic impact, they are still very competent and have good colors and cohesive elements. The character design, including the job outfits, the monsters, and all the villains are just top notch. Simple, evocative designs that make the most of the 3DS' limited hardware and build upon the teams skill in making handheld games look good. (its the same team that did the ff3 remake and 4 heroes of light, which looks absolutely kino on original DS) The music is also consistently excellent, with great use of motifing, a full and varied orchestra, and many good slow paced tracks for most of the non-combat segments. Shit like "Conflict's Chime" being the main battle theme, "Infiltrating Hostile Territory" being a common dungeon theme, and "That person's name is" as the rival boss themes makes even the seemingly repetitive songs a constant joy to listen to.

The story is pretty decent, it's not the best part of the game, and there are definitely some aspects of the story some people loathe, but the characters (specifically ringabel fuckin love him) are pretty good and the make for an enjoyable experience. The side material like D's journal are really well done and integrate into the main narrative well for how tucked away and ignored it is.

The gameplay and systems are also some of the best of any RPG I've played, and I've played far too many. The job system from ff3 and 5 is brought to an even greater depth with the addition of universal job abilities, allowing any character of any job make use of another jobs features to create an endless depth to strategy. The way various jobs can mingle together, and how no job is completely perfect on its own makes for very compelling team composition and unit design. The extensive amount of jobs helps as well for replay value and for assuring that no easy winning strategy is found by all players.

The BP system makes battles take on a very unique pacing as the player and enemies can choose to save up turns or blow them all at once to make more complicated strategies possible, or to make the most of an enemies vulnerabilities. This powerful option gives the player a meaningful way to capitalize on their knowledge of the game, while also allowing them to make truly detrimental mistakes. That may sound not good if you're a fucking baby, but nobody wants an RPG you cant lose, but losing because you fucked up is much better than losing because the enemies are just stronger than you or anything to that effect.

But the single greatest part of bravely defaults, which creates the games wonderful balance and unique design philosophy, is that the player is expected to hit the level cap long before finishing the game. Reaching level 99 should occur somewhere just after the middle of the game, at the point where the player has access to almost every job and has encountered almost every type of threat. Reaching level 99 brings with it a certain security, the implication that from then on, all enemies will also be level 99, and that any failure to defeat an enemy will be a result of a bad strategy or the players own mistakes. The game is not easy, and is certainly intended for veteran final fantasy players used to the games with job systems and changing up your entire party to combat a single encounter. Leveling up is not a slow grind part of the game, as you have a lot of control over the speed and frequency of battles, and it is not difficult to keep up with the games level curve.

The other layer to this unique design is that the game expects you to "cheat", or use strategies that would be overpowered and frowned upon in most other games. Bravely default easily expects you to know or discover strategies such as: applying a status to all enemies and killing every enemy with that status using another spell, cycling a counter move over and over to have a nearly invincible party member, applying a healing attribute to a self-damaging character to get huge damage at little cost, casting reflect and dangerous spells on your own party to bounce them at the enemy, or duplicating a move that does maximum damage 15 times in a row. The game builds all of its encounters with the knowledge that your team will be the maximum level and that you will be using the most vile tactics you can come up with, and the game will do the same. Bosses and even common enemies will employ equally vile tactics using the exact same moves that you have access to, meaning you can learn from your enemies or quickly grasp the enemies strategy through your own experiences. One of the late game dungeons is entirely optional, but involves several fights against parties of 4 just like your, using the same jobs and skills you have gained during the game as a perfect test of your ability to develop counter-strategies, instead of relying on your own overpowered tactics. This type of design is really not something you find in many games due to the prominence of grinding or the lack testing strategies, and it is the most true appeal of bravely default to me.

BRAVELY SECOND EXISTS I GUESS So bravely second, a direct sequel to bravely default, definitely is a video game. It uses the original game as a base to generate more content, but completely misses the appeal of the original, and the new content added makes the experience even less focused. Overall, it's still a fairly alright RPG, but it fails to follow up on bravely default in a meaningful way or to provide as compelling of a gameplay experience. Here's some of the things it fucked up.

The game reuses almost everything the original game had, including the same music, world map, and most of the original's towns and dungeons, while adding a few of it's own. Going through areas you've been before never feels good, and the new areas lack the quality or brevity of the original game, leading to uninteresting areas that overstay their welcome, despite being the only break from repetitively reused content.

This extends to the classes but in an even worse sense. One important trait of the original jobs is that they were not perfect by themselves. While every job provided some useful abilities to be shared with other classes, or provided a good base with which to make a character, no class was without flaws. The new classes in bravely second are a lot of the opposite, they are closed loops that think of everything they could have to make a good standalone character. The 4 starter classes you get in bravely second are all brand new, and there's almost no reason to use any class besides those 4 as they are just insanely good. The priest and magician specifically augment magic in a way that makes spells infinity scalable into the end game, completely trampling on any other magic classes territory without needing the extra effort of grinding a new class out. Many of the new job concepts are actually really interesting, like going back in time to return to a healthier state, or a class that changes the stats and attributes of all units in a battle, allowing for all new kinds of strategies; but these classes lack any opportunity to be used to their full potential since they don't mesh well with other jobs and are limited by their self-centered design.

Another completely missed aspect of the original is the level curve discussed before. Bravely second only really requires you get somewhere in the ballpark of level 60-70 to comfortably beat the final boss, and getting too leveled up is really hard to avoid if you are plan to try out various jobs.

Second also fails to account for how many incredibly strong strategies the player can come up with, and even introduces some of its own strategies that it has no way to counteract, such as halfsies (the first skill the first class gets) pretty much splitting the game in two by tripling the value of items like phoenix downs, and allowing for fool-proof strategies by making 1 character focus entirely on defense, effectively making the party unkillable. Essentially, if you play second after having played the original (like any sane person would) then you will absolutely destroy the game with no sense of satisfaction.

The story is also a large step down, enough to become an annoyance, as the writing style changes to a strange romantic comedy situation with, for lack of a better term please forgive my sin, anime writing, but like bad anime writing, ya know the kind of shit that makes people write off all anime cus a lot of it is awkward and unpleasant to listen to. The story tries to mess with some big concepts like "what if new game + was a real thing???" and time travel and shit like that but it doesn't mesh with the tone the rest of the game has and that tone doesn't mesh with the world or art style and it's just a mess.

BRAVELY DEFAULT 2 SEEMS KINDA POOPIE SO FAR So unfortunately, the big appeal of bravely default being part of it's end game makes it hard to judge how 2 is gonna go given we only have a demo of the beginning, but given that the original team behind bravely default has slowly been stripped out of the series as it goes on, the outlook is bleek.

Most immediately obvious is that the artstyle has made a horrible transition from handheld to console, somehow even worse than pokemon. The areas are all fully 3d and lack the style or compositional excellence of bravely default, and the outside environment look like asset store products. The small proportioned characters with simple features to be readable on a small screen have been replaced with identically proportioned characters with excessive detail and ugly features, and look horrible up close on a big screen. Only the negatives of the art style have made it over, and everything good has been made unsavory. The character and enemy design overall is much worse as a result, everything is messy, unclear, and clashes with everything else. It's an absolutely shocking downgrade.

The characters themselves are overly hammy and feel like shallow attempts to have a similar party dynamic to the original without having identical character types, and the writing as a whole doesn't seem to have improved from second, which was already quite a step down from the original.

The gameplay also has not done anything different or interesting yet, and seems to be selling itself to people haven't heard of or gotten enough of the BP system. Enemies being on the overworld as opposed to random encounters shows they have dropped the player agency over encounter frequency, which is dumb. The battles lack any of the flow the original had, especially when using the battle speed option, as the camera does not present everything very well and changes position often as a result. Overall, I have not enjoyed the bravely default 2 demo and feel it shows nothing but a continued decline in the series that likely should have just been a single game. With the release date being set for sometime this year, I feel there is no chance any amount of player feedback could save the game or even begin to pull it in the right direction, as it seems to be fundamentally flawed with an inescapable feeling of shovelware.

SO WHAT? Basically, all I wanted to say here is that the original bravely default is a very unique experience I think every RPG fan should give a good chance (and just do all the optional stuff during the "repetitive" part of the game, it's where all the best content is you bozo) and that the sequels are NOT the same experience. I guess it's kind of mean to just say "hey don't buy or like this new thing cus its not like the old thing" but people should know why there's a bravely default 2 in the first place, and should fight for what made the original great. I worry that BD goes down the same sad path that FF did, becoming a completely hollow, middling series that strayed so far from it's home that a whole new series had to be made to give the fans of the old style a place to go.

Thanks for reading, and hope you got something out of it.

[queenlua]

pen & paper game review: Mars Colony

Mars Colony is a pen & paper RPG for two people.  It is mostly about failure, politics, and your own inadequacies :P

The schtick: it’s the future, and Mars has been colonized by a coalition of earth governments / corporations, but... it turns out the colony has all kinds of horrible problems & is tearing itself apart.  One player is Kelly Perkins, the Savior of Mars, who’s been sent from earth to mediate between all the factions on Mars and actually solve some damn problems.  The other player represents, well, everyone else: the head of the Mars news network, the members of the colony’s governing council, various disenfranchised and/or terroristic workers, whistleblowers, members of Mars’s various political parties (which you make up: i played a game with Liberal/Anarchist/Techno-libertarian parties, and another game with Labor/Pirate/Communist parties), Mars’s governor, and so on.

Play is just structured enough so that you’re never at loss for “what to do”, while providing reasonably fun opportunities for roleplay / collaborative storytelling.  Generally, Kelly and the “everyone else” player alternate leading scenes.  “Everyone else” scenes will highlight or intensify one of Mars’s core problems (maybe the radiation shielding is due for repairs but the workers are striking; maybe the colony is struggling to source needed raw materials from earth, etc), while Kelly will try to propose solutions to these problems.  Then, Kelly rolls some dice to see how successful their solution is.

The dice rolls are set up such that that Kelly will fail very often.  Kelly can, if they choose, cover up their failures with deceptions... but an unlucky roll later in the game will reveal the truth behind all such deceptions.

So, e.g., my first go-round at this game, I was Kelly, and the people of Mars were upset because of a lack of social mobility / path to better jobs.  I tried about every damn trick in the book for fixing this: I instituted civil service exams (which ended in disaster, once the news leaked a story about how the rich were just cheating on their exams), I tried out an anarcho-syndicate “everyone has to take a turn doing the shit jobs” thing (also a disaster; it ended in a combination of riots + people just refusing to do stuff), I tried out just making education programs cheaper...  That, plus my failure to prevent the libertarians from stealing a bunch of shit to try and build their own Mars-seasteaders-separate-colony, pretty much sealed my fate, and I was pushed off of Mars in disgrace.  I very much felt like a beleaguered tryhard politician by the end of it, which was an amusing feeling.

But do note that failing a lot is totally the point, and also way more fun.  The second time I played, Kelly just got a ton of insanely lucky rolls and never suffered a major major public humiliation.  So, uh, they just cruised onto Mars, fixed everything, did one or two deceptions that never got uncovered, and rolled out wreathed in glory.  So lame, amirite?  (Admittedly, we had an elaborate subplot with Kelly’s illegitimate lovechild that kept us pretty entertained regardless, so :p)

The game took about 1.5-2hrs start-to-finish the two times I played it.

I think its schtick would wear thin over more plays, but I greatly enjoyed my first game & had fun enough the second go-round.  Works well over Zoom & isn’t too long or complicated; take a peek if that’s your jam.

[rpgmgames]

August’s Featured Game: Marinette

DEVELOPER(S): Teal Crown ENGINE: RPG Maker MV GENRE: Horror, Puzzle, Adventure WARNINGS: Sensitive Themes, Blood/Light Gore SUMMARY: A little girl named Marinette, in the wake of a splitting family and a change of homes, is having a birthday. But this, her eleventh birthday, will present a deadly opportunity to fulfill a special promise. On the night before her birthday, she is drawn into a strange realm; an unnatural dollhouse, populated with dolls who are not quite what they seem. A web of strings lying in wait, and threatening to ensnare the poor marionette; warping her perception, and twisting her every move. Will the strings attach, and force her to become an unwilling puppet, or will she escape this surreal web of strings? What will she have to do to avoid the dangers of the dollhouse, and set herself free?

Our Interview With The Dev Team Below The Cut!

Introduce yourself! *Mitty: "Hello, I'm Mitty! Thank you so much for the opportunity to participate in this interview. I'm the main developer of the game and I'm working with a team of friends to make this game a reality. I work mainly on the visuals and programming, and I'll be representing the team, alongside Third! I've been on the community for around two years, even though I tend to not be active very often." *Third: "Hoi, I’m Third! I appreciate you reaching out to interview us. I’m the main composer and writer of Marinette, and I work under Mitty to make the story and soundtrack what we want it to be. I’ve been in the community for little less than Mitt but am even less active in most of my developer discords."

What is your project about? What inspired you to create this game initially? *Mitty: "The game is essentially about a girl that gets trapped inside a dollhouse. A simple concept really can go far ahaha I've always loved themes related to creepy dolls so I wanted to create something related to that. What pushed me initially to start were obviously the inspiration of seeing other devs creating, seeing how far you could go with these engines and create amazing interactive stories, however the huge support from a friend was what made me actually start past the planning and dreaming!" *Third: "Marinette is a story about a little girl becoming entangled in the complicated family and supernatural landscape she finds herself in on her birthday. I enjoy writing short stories about this kind of thing so it’s fantastic to work on a larger project about one of my favorite subjects. My primary inspiration and introduction to this kind of game in general was Pocket Mirror, and I use it the most as a model for how to do certain things. However, I also draw a lot of inspiration from masterpieces like Aria’s Story, Ib, Witch’s House, and Alice Mare."

How long have you been working on your project? *Mitty: "The project has been in the works for around two years now! The first year was mostly planning and right now we are on the right track with the programming and asset creation for the demo, as well as music and sound design for later development. Planning isn't over yet though, especially for the final game." *Third: "I’ve been working on this for almost two years. The soundtrack possessed most of my earlier attention, but now it’s taken a backseat to writing, now that I’m actively writing the scripts for the game now. "

Did any other games or media influence aspects of your project? *Mitty: "Yes! The game has inspirations from plenty of sources, not only strictly RPG Maker Horror games, or games in general for that matter. If I were to mention those, of course games like Ib, The witch's house, Alice Mare, Pocket Mirror, Yume Nikki & .flow, Stray Cat Crossing, Mogeko's games...etc quickly come to mind. When it comes to the aesthetics and visuals, the inspirations come from several different places, including games like Alice Madness Returns, Dofus, Yomawari, The Legend of Mana, Little Nightmares...the list goes on; or other media, like Inu Curry's animation style or video creator nana825763, as well as some anime and music videos. Silent hill is also a huge inspiration for the atmosphere, and hopefully we can pull it off well!" *Third: "My primary inspiration, as I’ve said earlier, is Pocket Mirror, both for its masterful writing and soundtrack. The game’s soundtrack is the main reason I still play piano. Whenever I’m feeling musical, my fingers always hunt out the same kind of haunting, mysterious, and sometimes peaceful and playful melodies that Pocket Mirror is rife with. In the end, our soundtrack is probably going to sound like Pocket Mirror and Aria’s Story’s soundtracks were meshed together. Story wise, commonplace elements in this genre like demons, monsters, mean parents and puzzles that tell the story are commonplace for a reason, and certainly find their way into this one, in their own special way. Every other game I’ve mentioned involves them in some form or another. And young, curious protagonists are also a blast to write and do evil things to and put in difficult, dangerous situations. "

Have you come across any challenges during development? How have you overcome or worked around them? *Mitty: "We surely have! Many of them in different areas ahaha Taking away bug hunting, I am primarily an artist, so programming for me is a secondary thing. Because of this it's easy to get carried away and hard to realise what can and can't be done. I don't want the game to be visually boring if I can make things move and seem alive! The way I'm handling it is programming like an artist: I think in my head what cool things I can do with my art by not having it completely still, and then it's a matter of executing it on the engine. However this comes with a downside. I tend to tweak things a lot, and that takes quite some time, but I honestly think it's worth it ahaha Also I find it hard to start writing, but when I do, I can't stop orz. Other challenges are also finding plot holes. This is fixed with a lot of studying the story, gathering inspiration and talking with the team. I also struggle a bit with communicating with the team, but thankfully they are all very nice and understanding." *Third: "Main challenge is overcoming the sheer weight of how much I have to learn about music and writing in order for this game to be what I want it to be. I’m a perfectionist, and when I care about something, I can’t tolerate it being worse than it could’ve been. Also, writing is getting more and more complicated and there’s more things and details to keep track of so as not to create inconsistencies or plot holes, especially as we try to revise it and make major changes to the story (Mitt will know what I’m talking about). "

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Mitty: "It changed a lot, not only in terms of the story and writing, but visually too. The basic concept is close to being the same, though. You can check out old posts in the blog where I consider different styles of mapping and such. Actually, don't, please. It's too old...and my writing...oh god." *Third: "The writing has come a long way, but now that we’ve fleshed out and written down much of the backstory, it’s a much more complicated story than what Mitt first showed me when I joined."

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *Mitty: "Initially it was just me, occasionally having Mia to talk about the story and help develop it. Rindre joined as a voice actress very early on and also helped in other aspects of the game. Then I also talked about it with two friends I know in real life, one helped with organization and the other with some concept art, but they aren't that active anymore, even though I still count them as part of the team (Thank you guys btw if you're reading this). Eventually I met Third, an amazing composer and writer, and I asked him to join in! He brought along a friend who is also an amazing composer and writer, Code, and these two are complete madmen of music and writing and I'm super glad to be working with them, as they are super passionate and it makes me really happy ahaha. Bruno is also a really dedicated composer that is helping with a few tracks as well! Miku and Luccinia are two super talented and kind artists that have also been helping a ton with concept art, and their ideas have certainly improved the game as well. We are welcome to more concept artists, though! More heads, more ideas ahaha Recently we got the voice actresses for a few characters in the game, when we did the auditions, and hopefully soon another friend will jump aboard and help with organization and writing! We are a relatively small team, and sometimes progress goes a bit slowly since we can get busy, but we are all doing our best! I’m glad that I’m not alone. Links for their pages and such can be found on the team section on the blog, go support them if you can!"

What is the best part of developing a game? *Mitty: "For me, personally, I love seeing what my team mates come up with, whether it is music or concept art. I also enjoy the love and support we get, and it makes me excited in the development. As for the creation part, I like programming challenging cutscenes and doing cool things with the assets. Progress updates can also be fun to make when I have the time." *Third: "My favorite part is showing Mitt what I’ve written and composed. Making her happy and excited with my work is extremely fulfilling. "

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *Mitty: "Oh, yes! Besides being a cool break from programming hell, it helps me make it less of a hell ahaha I like improvising, though, so I think I play RPG Maker games because I enjoy them for the most part." *Third: "Occasionally, not really. I don’t play many games and I’ve played the heck out of the ones I have."

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Mitty: "Ah I don't know, honestly. I think I can relate to every character in one way or another, and it's hard picking one, especially since the game isn't out yet and I'd like to keep most characters hidden until the demo. Marinette is definitely one of my favourites, though, I just love how innocent and cute she is. Her cheekiness can be made super interesting ahaha" *Third: "My favorite character is definitely Pierre. He’s a complete blast to write, and gives me lots of cool things to describe and say through him, from his magic tricks to his killer lines and quotes."

Looking back now, is there anything that regret/wish you had done differently? *Mitty: "Hm...Having organized things better in the beginning would have saved a lot of time now, but I don't think it's been that big of a deal anymore. I don't have any regrets that I'm aware of at the moment since everything until this point was necessary to learn and get to where we are now."

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *Mitty: "I'm not sure yet, it depends on the reception and how willing I'll be to continue the story. Even though I would find it fun to make comics, another game or a different midia, realistically I can't tell how willing I'll be to continue developing content about it after the game is finished. Honestly, I hope I can develop more projects on Marinette, we do have content for that, and I absolutely love it with my heart! But it's also equally important to move on to another story. Only time will tell!" Third: "I hope to, but that day is very far away for me. I’ll be gone for quite some time after Marinette is finished, and I hope I’m not forgotten by the time I return. Perhaps I’ll entertain myself with additional short stories exploring the various aftermaths of the game."

What do you most look forward to upon/after the release of a project? *Mitty: "I honestly just want to get the story out there. I'm hoping people will enjoy it if they play the game, and will have a special place in their hearts to keep it on. This project means a lot to me, and having it making people feel things is what I'm looking forward to. I'd love to see other people playing it, definitely. I imagine I'll eventually be relieved to have finally completed it, it'll be a big moment for me to sigh be proud of creating. I'll be able to move on to work on other fun things while I see how this little child of a game is going to do out there in the wild, and that's always nice!" *Third: "Fan reaction, 100%. Having people ask me questions about my work and telling me how much they enjoyed it is my favorite part of writing."

Is there something you’re afraid of concerning the development or the release of your game? *Mitty: "Yes, I don't want to feel empty with nothing to do when I finish the game. I know it will be great and all, but I've been working on it for so long that it's hard to imagine not working on it ahaha! It's a really fun hobby, but it's also engraved in my heart. I want it to be the best it can be, of course, so I'm scared of bugs, inconsistencies and overall it being clearly a bad game. I'm hoping that people will help with critiques on the demo, so I have a better outside perspective of where we are going. I don't want to drop the game, so I'm scared of having to take a long break from it during the development. I'm worried of being a terrible team leader as well." *Third: "I dread plot holes more than anything, and I dread a dull and overall unimpactful story. I want a tale that will punch the viewer in the gut, hard. I want to make them cry. I want to make them laugh. I want them to draw what I wrote, and explore it further in hopefully-not-too-sexual fanfiction."

Do you have any advice for upcoming devs? *Mitty: "Don't be scared to start. You're going to suffer mid-way if it's a long term project, but keep pushing through, you'll learn a lot and it becomes easier with time. Take breaks and take it easy, step by step. LIST STUFF AND MAKE BACKUPS. Learn with short projects first. Ask for advice from people you admire, but never hold them on a pedestal. It’s always helpful to be a jack of all trades! Try to think from an outsider perspective if you're not sure of how it's going, and if you can, tell people you trust about the game and ask for opinions. Always take criticism well, but don't stress too much over harsher or even meaner comments. Have fun and never forget your starts, the people you meet and the reason you're doing the project for. If you're also an artist, writer, musician, remember this is a great opportunity to add something interesting to your portfolio. Cool visuals attract people, but they are not everything that will keep them hooked." *Third: "The best part of making a game is the people you make it with. The story is the most important ingredient of your game. Prioritize it first, and everything else will fall into place around it. Otherwise, everything will serve some other aspect of your game, and that’s rarely a good thing. Always speak your mind; do not every not say something just because it’ll hurt someone’s feelings. Obviously don’t be a tool, but if you ever have to choose between hurting the game and someone’s pride, pick someone’s pride. It’s much kinder in the long run."

Question from last month's featured dev Froach Club: Have you ever had a moment where you got completely stuck or became intensely frustrated while using RPG Maker? *Mitty: "Yes I have, I think everyone has QwQ Despite silly mistakes, I've gotten stuck several times, but honestly it's usually either us doing something stupidly hard that can be done another way, or we are just not skilled enough yet, and it's better to come back later. You can usually do most things you wanna do if you have the advantage of knowing the programming language your RPG Maker Engine uses I think. Google is your friend always, and sleeping about it also helps. I once dreamt of a whole sequence to fix a problem, and it worked! ahaha Always take it easy and don't give up, but know your limits and the limits of the engine!"

We mods would like to thank Teal Crown for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Marinette if you haven’t already! See you next month! 

- Mods Gold & Platinum