#let's not talk about the lack of npc relationship system

[serpensortiamaxima]

Not to be like "HL would have been better if..." again but I really wish they had kept the Summoner's Court as a relatable mini-game with the option to choose your opponent. Would have been wonderful in end game to be able to play with the NPCs you're supposed to have befriended.

[sol-consort]

Okay, me again. I was watching more of those modded gameplays again this time it was Tali's and OMG SHE TAKES OFF HER MASK?!?!?!?! That's so crazy!

(P.S. Also idk if this is true or not and I'm too lazy to check rn but I saw in the comments of that video that the game was gonna allow more same sex relationships but then Fox News threatened to get the game banned and also the whole commotion about femshep and Liara? Like, I'm sorry?? Can queer people have one fucking thing, please?)

(P.P.S. I think Tali was gonna be one of the characters that both male and female shep were allowed to romance, and that's why I think there's like romantic dialog left over even as femshep)

Sadly the Fox News controversy is true

ME1 released in 2007 and this segment aired in 2008, it contained a lot of false information about how explicit the sex scenes were, causing a massive backlash from the general public. Liara's romance was especially demonised.

Bioware had done queer characters and romance before, but it was more on the subtle side with games that never got much publicity to begin with. So to put a lesbian romance on the same level and seriousness as the other two straight romance options was blasphemous in people's eyes at the time.

There were rumours about ME1 Kaidan being bi but then scrapped because of maleshep romance dialogue lines people found in the gamefiles, but bioware claims that it wasn't cut content, just a mixed up script that got sent to his voice actor.

Notably, in ME2, there is a huge lack of main queer relationships. Liara wasn't added until the DLC, Kelly is an npc that doesn't have a route. Sleeping with Mornith causes a game over screen and she is an optional recruit that you've very discouraged to pick by the game.

All the main relationships were gutted and scrubbed from any hint of queerness. Thanks to Fox News, Jack, Tali, Thane, Miranda, and Jacob had dialogue lines and romance flags for same-gender Shep.

Jack took the biggest hit, however, as she was meant to be THE bi rep, but the fox news segment made Bioware pull the plug and turn her straight last minute. Her femshep romance was practically done.

In ME3, they did listen to the community, and Kaidan was turned bi thanks to the mix-up lines accidentally recorded in ME1. Plus getting an exclusively gay/lesbian romance option.

Steve and Samantha are more well-rounded characters than Kelly, they contain more depth and actual personality...but, they do fall short in comparison to the rest of the romance-able characters. The game considered their romance a main route unlike Kelly who still let you go have other relationships, you could "Lock in" with both of them.

A huge part of why they don't feel as important is because you can't take them on missions with you, they're stationary set pieces almost. The crew fighting alongside you helps create a special bond, why even EDI feels closer to the player than both of them despite her being in a relationship with Joker.

So besides Steve and Samantha, Liara and Kaidan remain the only gay romance options in the Mass Effect Trilogy.

-

Final note: I really like how Thane—a deeply spiritual and religious character—was supposed to be queer without it creating conflict within his belief system. It helps resonate how different the aliens' culture is, how homophobia could be a man–human–made concept in the Mass Effect world. How it's only us who used religion as an excuse way to shun queer people, while the rest of the galaxy didn't even consider it.

In ME3, there is an overhead dialogue about a human soldier talking to the asari embassy about finding refugee for her asari daughter, maybe send her back home. She mentions how all her human family basically abandoned her the day she married her asari wife, homophobia heavily implied.

You don't hear a story like that from any other alien who married an asari, I really think homophobia is exclusive to humans. It's both shameful but also a relief that at least the rest of the galaxy have their priorities sorted right. We could learn a thing or two.

[glacierbash]

I am SO curious about #3 - how does Iverelle feel about Duskwight culture and Gelmorra? How did growing up there affect that? What's their relationship like to other varieties of Elezen?

Breakin’ this down but by bit, Iverelle is in fact very proud of being a Duskwight. There are small things about who she is she’d simply never give up—from superior hearing, to the practice she has navigating the underground systems that she called home, Iverelle is happy with being a Duskwight, and considers herself no different than any other out there. Unfortunately, compared to other races… Duskwights kind of lack in written culture, except “oh they’re bandits sometimes and can be rowdy” (Pointing at the dancer quest line, and msq). There isn’t much to go off of, unfortunately, but I do believe she’s proud of her heritage. One of her favorite hobbies, as well as being one of her biggest ways of showing affection, is taking people to some of the old ruins she grew up in, which were built to be self sufficient compared to the massive city that was Gelmorra itself. She adores taking said people on tours, and letting them try and follow the same paths she grew up following. She’s proud of how she grew up, she’s proud of being a Duskwight, and even if she DOES need glasses extremely badly (and will never admit it), she’s certainly not going to gripe about that aspect of growing up.

Of course, being a Duskwight in a family of Duskwights means she has some. Opinions. I’m going to expand a bit in the last little question, and go beyond just other types of Elezen—but, starting with that, her interactions with others are really… non-hostile until made that way. She doesn’t view Wildwoods any differently than she views Duskwights, despite growing up hearing a LOT of “it’s their fault our city fell” from her dad. Ishgardian Elezen are on a WHOLE different playing field in her eyes, she has no clue how to really… interact on the topic of being Elezen. Like, with a Wildwood there is the whole “we both are from Gelmorra, your great great great… grandparents just left when ours didn’t,” but Ishgard? Who different ballpark. This extends to Elezen who aren’t from Gridania at all. Of course, she’s always happy to see and interact with other Elezen, but it’s less important to her than the connection she’d get from another Duskwight who may also have grown up in old ruins.

Now. You did mention how growing up in Gelmorra impacted her views on the old city and Duskwight culture, but I wanna elaborate on something that has been in my head a lot: Iverelle. Does NOT. Like the Shroud. It does not help that she lives there with her wife. She doesn’t like the Elementals at all, and that spreads into a general wariness and a sense of unease whenever she’s in the shroud and Gridania especially. There are… worse places to be, yes, but all in all, she doesn’t quite love it. Yes she spent a lot of time there growing up whenever she explored beyond the ruins. Yes she detests it at times. Complex woman.

SO! Tl;dr: she’s proud to be a Duskwight and to have grown up in Gelmorran ruins, and despite how odd her early years might of been, from a lack of any real education to spending time playing in rather… dangerous areas, that’s one part of her past she’d never change for the world. One of her childhood wishes was always to learn more about Gelmorra, actually! Things like Palace of the Dead were always a treat for her for that reason—Issom-Har, in particular, is one place she’s always wanted to delve into (meaning she’s most definitely quite friendly with Rolandaix, that one npc that wants to restore Gelmorra lol). In regards to other Elezen, she’s more than happy to talk about things like Gelmorran history, and Duskwight culture, with Wildwoods—but this eagerness to discuss falters a bit with other Elezen with whom she feels she has no common ground. She just wants people to know about her home! She wants to learn more about her home! She also kind of wants more of Gelmorra to be explored than just wannabe treasure hunters going through the Palace of the Dead. Yes, she loves it, yes, she wants other people to take a bit more care. Come on. If the place is cursed and haunted by ghosts, maybe it's a good idea to. Dunno. Leave it be. Or at least be a bit more conscientious.

[agentravensong]

Since you're asking about the Beginner's Guide...

How do you interpret the House level (the one with the housekeeper and the repetitive chores)?

I find it interesting that this is the first level Davey specifically mentions that Coda "called him up to see," which Davey interprets as Coda simply being proud of that level and wanting to share it. However, it's a bit of a theme that Coda's work is frequently misinterpreted by Davey, and it seems to me that this Coda is commenting on their relationship as friends through the chat system and (would be) endless chores.

Additionally, what do you make of the opening to Mobius, the game where it tells you to keep your eyes closed, when doing so makes it nigh impossible to win? That's one of the ones I think about the most when this game comes up - leaving the player in ignorance of their impending demise, surrounded by a few horrified mute NPCs who've gone blind, everyone about to be killed, the whole thing stuck in a loop. It's all very interesting, though I'm not sure if it's a simple comment on how Davey ought to respect Coda's work despite what he might miss or if there's something deeper there.

(I'll be honest and say that this game makes me feel bad for asking about interpretation considering that it's partly about an artist asking you NOT to overanalyze their work/themselves - makes it very hard to talk about).

Oh, and happy birthday!

Thank you anon! Sorry for getting to this late, it's been a busy week and I wanted to make sure I gave myself enough time to think through my response, because I just love this game that much.

As a bit of a disclaimer, I tend to be of the opinion that Coda didn't start making their games to be about Davey and their relationship until The Machine (which in my mind Coda undoubtedly made after Davey shared their games, not before), or maybe Island. Like, Machine and Tower are so clearly messages to Davey, obvious in their intent in a way most of the rest of Coda's games really aren't, and so between that and Coda's whole point at the end being that they wish Davey could just "let [the games] be what they are", I prefer to just take the rest of the games at face value in terms of Coda's intent (or, more aptly, lack thereof).

That being said, I definitely think the real-life Davey Wreden intended the games to reflect all the stuff going on in the narrative between Davey and Coda, so we can look at both of these games through that angle. And I'd encourage you not to feel bad about reading into the game and "overanalzying" it, or asking others' readings. Wreden himself has said he didn't want the game to make people feel that way. It's about being careful and consientious when drawing conclusions, minding the separation between the work and the author, and recognizing the difference between what's in the game and what you bring to do it.

With all that out of the way...

House

I partly agree with the idea that the player and the cleaner NPC reflect the Davey - Coda relationship. The cleaner reflects Coda in how they find joy from this activity that, through its looping, seems to have no clear purpose. And I think it's worth noting that these endless chores are portrayed as something earnestly enjoyable, not a burden - after all, this game was made in the period where Coda was, to quote Davey, "grossly happy".

On the other hand, if you ask the cleaner how they got into this job, they talk about how a friend dragged them into it and then say,

Never did like cleaning my own home. I might've got some demons I ain't ready to face yet.

If you combine this quote with the cleaner's later suggestion that "one's house is a lot like one's soul", then we see the cleaner as someone who tries to fix other people's problems because they don't know how to deal with their own. Aka, game Davey to a T.

This is the one game Coda called Davey up and asked him to come look at, and I think that's because it made Coda happy, and they thought it might make Davey happy too. But right as Davey cuts the game off, the cleaner shows a bit of awareness and asks the player, "Do you enjoy this?" Coda is not so naive not to realize that their games aren't for everyone. (I mean, in a literal sense, they're not meant to be for anyone but themself.)

And clearly Davey didn't really get the point of this game. For one, there's the way he describes Coda's happiness in this period of time as "gross", and how most of his praise for this game is phrased more as "I'm happy Coda liked it" than "I liked this one". Has a "I don't get it but you do you" type of energy. And then there's the fact that he bases his interpretation of the game entirely on a change he made. He cuts off the game and says the point, of both this and the puzzle doors, is that "you can't stay in the dark space for too long ... sooner or later you have to pick up and move", knowing full well that Coda made the game to loop forever. To Davey, they are just chores.

(We'll get back to why he didn't get it at the end of this post.)

Mobius

The framing of this game is certainly interesting, though I'm not sure I have a distinct Take on it. I def think your idea about how "Davey ought to respect Coda's work despite what he might miss" makes sense. It reminds me of Davey's last line of narration in Ready, Set, Fish, the game that introduces the puzzle doors and then has all the hidden hallways floating in space:

Most of the time you don’t get to know what you’re missing, or that you’re missing anything. That’s not your role as a player. So if your role here is not to understand, then what is it?

The puzzle doors themselves can be vaguely tied back to the idea of blindness, with how the way to get through to them is to lock yourself in the dark space between with the blind faith that a new solution will become apparent. Maybe that's why the threat in Mobius is the puzzle door, something Davey notably does not comment on at all.

Blind faith as an idea also appears in the final prison game, where the past you just has to trust that talking and being sincere will help them escape. And that ending parallels Mobius, where the solution is also telling the truth. The motif of sincerity and truth, as a subset of the game's themes of communication and perspective, really is very prominent in the second half of the game, starting with Lecture... but that's a whole other discussion.

The idea that you're not supposed to be able to "win" Mobius while abiding by its rules is certainly not a new thing for Coda's games either. It's famously one of the things he and Davey most disagreed on. You can even see it in House, where Davey forces an end condition, a win state. Davey is all about solutions, about moving towards a goal, about progress, whereas Coda is more than willing to stay in place, to just be, with no rush toward any destination.

Coda enjoys the dark spaces. Davey puts lampposts in them.

[mesquitecandle]

So I managed to play the Harvestella demo. Not too impressed with the gameplay and despite the stellar graphics, Lethe feels, for lack of a better word, empty. This reminds me of how rough Rune Factory 1 played, except worse if you're only here for fantasy farming.

I hate to say it, but Harvestella's a regular jrpg trying to dress itself up as a fantasy farming sim.

Personally, I hope I get to eat my words later, but with what the demo shows, there's nothing to look forward to beyond story beats.

I get what they're trying to do: flesh out an overarching story across several towns. But, so far, this doesn't translate well into a farming genre. Rant under cut:

It gets even more stark when there's a decent chance the romance mechanic is gone. That's only part of what makes a farming sim a farming sim. Once you take out marrying a villager, how do you keep a player invested in a town?

Flesh it out of course. For anyone pondering what that means, try looking up Majora's Mask. Heck, previous Harvest Moon/Story of Seasons games do it too. Rune Factory 4's also a good comparison due to town events between story beats.

Notice how most of the characters have names, schedules, relationships with one another, and random events scattered throughout the days for players to run into?

Majora's Mask for example made me care about a mail man scared about the moon crushing him. Out of the many town NPCs it made me care about a man delivering my mail. All in three repeatable days.

Add to that seasonal festivals and item gifting with unique dialogue. Not to mention birthdays, gathering places, and little touches where you can slip into thinking this could be a believable living, breathing person rather than an NPC that greets you with a "Welcome to Cornea!" that never ever changes beyond story beats.

Damn you. Where's a mailman to greet each day? A person to come fetch your items to ship each evening? I feel isolated Square Enix. I'm gonna go mad and talk to my livestock. Give me a milkman if you can spare, I'm desperate here.

Lethe is covered in NPCs - from the shops to the random villagers. How are you going to convince me to stay here when the only folks I could care about are the town doctor, her brother, and the mayor?

Is Middle-Aged Woman going to spout different dialogue throughout the year rather than wax poetic about being infatuated about a guy from the next town over every day? Make me care, Square Enix!

Where's the calendar? What do these people like? Do they randomly give me trinkets too? Do they have birthdays? Do they celebrate anything? What hobbies do they indulge in?

Can I run into them in town just going around socializing with other people? Do they travel to other towns? Do all these towns have a meeting place where they can gather and intermingle with one another? Any unique minigames I can play with them?

No. Instead, let's superglue NPCs in the same place all day every day. End me.

You have to have more than just a friendship system in place to flesh out your villagers! Let them live - let them wander onto my farm, walk into my house, join a tavern and drink their little hearts out, run into the dungeons to, I don't know, grow mushrooms in the little corner of the map and shoo me away if I approach them.

Stop only letting them express themselves during the story! Allow me to talk to them as they go about their business tending to their work.

You could have tried that with our little house guest at night by scheduling when they come back to the farmhouse at say: 11:00pm.

Also, add some weather beyond Quietus: let the villagers scold me for going out and speaking to them during a storm. Change their schedules up to react to rain or a windy day. Add some dynamics to the seasons.

I can already tell once the story's over I will have no hook to keep playing. At all. That's a poor mark if you're trying to convince farming sim fans to play your game. Heck, at least try to have some characters marry off or pass away in later years so the NPCs still have free gossip outside of the story.

World build. Make use of the living, breathing town aspect to tell all sorts of little stories disconnected from the main plot. Hell, have them tangent to the plot yet remain optional for people to discover. Make use of the medium whenever you can, because lord help me, I'm stuck in Cornea here.

Where's my funny dialogue for offering people one really offensive item, like say, a love potion or a lit bomb? A full event where townsfolk shit talk me one by one for building a gold fence around my farm? Make me laugh Square Enix!

And don't get me started on the frequent load times; nor about how rushed the farming aspect is.

Why should I care about farming when I can grow carrots in 1 day?! All these crops take less than a week to grow. There's no care taken into animating harvesting either. No sprouts, only 1 crop per what appears to be 4 seeds, no quality level or hybridization, even absolute laziness when it comes to fetching items in the field dungeons (is this a farming sim or an MMOrpg crafting guild?).

I'm gonna be swimming in grilla without much satisfaction in the process. How sad.

TL;DR GET ME TO CARE ABOUT THE VILLAGERS. MAKE THE FARMING ASPECT FUN AND REWARDING.

Otherwise I can only take Harvestella as nothing more than another jrpg attempting to fool people into thinking it's a farming sim.

I'll save my breath when it comes to combat, because the demo only goes to chapter 2, which is early level and often bare bones as a result. That rant only comes with the full release.

As it is, if the story doesn't hook you, save your cash for when it goes on sale.

Especially if you wanted to play a farming sim.

[lochnessies]

I guess my discomfort with the AM route could actually be summed up as

“I went straight from playing The Gayest House to the Most Heteronormative and Patriarchal House and even though it makes sense from a worldbuilding and storytelling standpoint, it still made for a very uncomfortable experience for me, the player.”

i’m not here to say what can and cannot make a person uncomfortable since that’s so heavily subjective and i personally also don’t like patriarchal undertones as well so i completely get it. however, i have always found it weird when people refer to the black eagles as the ‘gay house’ and act like that makes it superior to the others. i mean… i like edel, dorothea, and linhardt but their sexualities don’t make or break them for me as characters. and the ‘gayness’ of these characters only happen if you happen to s-rank them as the same sex and has no impact on the story. plus you can recruit 2/3 of them out of house and marry them there so it’s kinda irrelevant. the only house that doesn’t have canonically lgbt characters is golden deer and i’ve never seen people use that as a reason as to why they don’t like them. hell, i’ve seen people call them the ‘gayest house’ before. also blue lions does have a canon bisexual… mercedes. plus a lot of endings for the characters have a lot of homoerotic subtext… mercedes/annie, dedue/dimitri, dimitri/felix, sylvain/felix, dedue/ashe. opening an inn together, living together, being buried together, dying on the same day, loving a man more than his wife…. last i checked these are not very heteronormative things. quite the opposite actually lol

as for patriarchal…. are you sure you wanna say that about the kingdom rather than the empire? what makes the kingdom more patriarchal than the place that has a man drill into his daughter how to be the perfect wife, the emperor has lots of concubines, daughters are thrown to the streets, women are desperate for husbands bc it’s the only ways to gain stability, a woman used as a broodmare till it kills her, a noble woman with a crest can’t inherit her house and her daughter is almost forcibly married and raped to have children by her step father.

is it because a lot of the main characters for the plot are male rather than female? that’s not patriarchal it’s just slightly lazy bc patriarchy is systemic not a a problem of plot structure. once again, the golden deer only has judith as a female general/essential npc and the rest are men but i don’t see people get upset about that.

Imagine if I only played AM and I came away thinking this was a typical medieval fantasy where the men are all in leadership roles,

not all the men are leaders and some women are too. such as cornelia and edelgard and they hold a lot of it.

the women are all relegated to support roles and struggling against forced marriages,

no they are not. once again, edel and cornelia are major characters and definitely not supporting roles. also, nobody is being forced into marriage in the blue lions. ingrid’s father suggests suitors but she has complete control over saying yes or no. and in her endings she gets to be a knight. however, we do know forced marriages are a thing in the empire.

men act out their feelings with violence,

yeah, dimitri does get violent but it’s seen as extremely negative and as a sign of his poor mental health and lack of ability to rule at the moment. if this was a typical fantasy game then his violence would be praised and a sign of a warrior and king. dimitri has to let go of his violent impulses in order to become a good kings and as shown in ss/vw he will die if he continues down his self destructive path.

in azure moon byleth and everybody else is constantly telling dimitri to get his shit together where as cf everybody just vapidity nods along to edelgard’s violent impulses.

women in power are inherently suspect,

women are not inherently suspect due to their sex. they are suspect bc the main female characters are suspicious and they do shitty things that hurt the other characters and they are rightfully angry. hell, even male characters are suspect. for example thales and even dimitri himself is seen as suspicious during the academy arc.

hints of flirtation between women are aggressively shot down,

i assume this is about ingrid? i hate to tell you but rejecting somebody’s romantic advances isn’t homophobic and if you don’t respect people’s boundaries then i don’t want to be around you. all other female relationships are treated very well and the female characters admire and respect each other.

hints of feelings between men are treated awkwardly and uncomfortably.

once again, with feeling this time, opening an inn together, living together, being buried together, dying on the same day, loving a man more than his wife are not examples of feelings between men being treated awkwardly. hell, most of the deep and loving relationships are between men. some are strictly platonic (rodrigue/dimitri & gilbert/dimitri) and other are much more 👀. dimitri was even critiqued by some straight men bc he was so open about his feelings with bylad and many people read him as bisexual (my sister even hcs him as completely gay). he literally calls another man ‘irreplaceable’ and ‘cherished’ while he’s apparently shirtless.

Not knowing there’s a whole other route where multiple women are in charge,

just because a woman is in charge doesn’t mean she’s good at it and we know edelgard isn’t a good leader and is willing to stoop to the lowest of the lows. just bc she’s a lady doesn’t make her horrific actions suddenly #girlboss and #feminism

men pay women respect and never degrade them,

women are not above critique. and men don’t violent degrade women for no reason on blue lions (you could say felix and his ingrid supports but he’s a dick to everyone and sylvain whos a rampant misogynist regardless of route and the same could be said for lorenz on golden deer). also hubert does degrade petra and that’s a cf exclusive.

nobody ever suggests that there are inappropriate roles for any gender,

and i have good news! neither do blue lions! ingrid is wholeheartedly supported by her male peers and dimitri (by op’s definition a violent man) even wants her to be his knight and serve in his guard.

men are allowed to be soft,

dimitri, dedue, and ashe??? hello?!??

women are allowed to be aggressive,

ingrid and catherine??? hello????

everybody has at least one potential gay ending and it’s not treated as a shameful secret. 

i hate to be the one to tell you but none of the characters from any routes have explicate gay endings outside of the few with byleth. you can read into something all you want and make headcanons but that doesn’t change what is provided in canon. i find all the same sex endings in azure moon to have romantic undertones (outside of gilbert of course go home to your wife dude). and NONE of the endings are treated as a shameful secret. homosexuality is never talked about as being shameful in the game and that sounds like you projecting.

[usagi-mitsu]

Werlyt & Gaius - a bunch of thoughts.

I am a little late to the party. I know. But I just finished the Emerald weapon and before I go to try out the „not Zenos“ weapon as in „Diamond“, I need to get my thoughts on the story straight.

Perhaps I have been spoiled by 5.0s brilliant MSQ and cannot appreciate the inherent beauty of at least decent writing any longer. But this felt so wrong and out of tune with the rest of the game. I started writing this 2 hours ago! I wanted to one in bed by now! XD But I had to get it out of my system… so….

Spoilers for the MSQ and Werlyt incoming??? And no I did not re-read this so not just spoilers but also writing errors incoming. -.-

The good

These fights are epic! I have only ever cleared the normal versions, but I loved those. They are amazing. The callbacks to Eula (her being a woman here! When did they discover that???), Regula (may he rest in peace) and Gaius himself in his prime were delightful. But I could do with a little less rotating, ok? A dragoon has positional, you know? And being allowed to pilot my very own mecha was like *chefs kiss*. On that front? Well done Square Enix!

I am also glad they were able to get another use out of Porta Praetora! That place looks amazing with the wide open field and the lake – and Ala Mhigo across it. It was one of my favourite Stormblood areas and I am always glad to return there. And of course… being able to visit the allied camp again… And Werlyt itself. It’s simply a beautiful place. It reminds me very much of southern Greece. If you’ve watched the movie Mamma Mia you know what I mean.

The music too was really nice. But I don’t think I’ll… you know… listen to it on repeat as I am doing with other parts of the soundtrack.

I’ve also loved how much amazing lore we got about Garlemald and especially the garlean military. And the military abroad. The way soldiers not from the mainland get treated. I love learning about these things.

Gaius

The man. The legend. The guy yelling in Prae.

He’s so very boring here. He has so much potential as a character and maybe I’m missing something, but all throughout this story he has been nothing but passive. He’s a reactive character in this storyline. You know. The guy who made deals with Lahabread (the d is intended), tried to take over Eorzea, lead a whole army, stood idly by as the moon dropped, almost died but then decided just not to die and then though „hm… I’ve got so much freetime now. How about I go and hunt some ascians?“ That guy is NOT a reactive character. He is active. He goes out of his way to make shit he wants happen. And in here? He seems too starstruck and devastated by his adopted kids actions to actually have one clear thought.

The only explanation I have is that he might have gotten hit in the head by something on his way to the ruby weapon. I get why he would rely on Cid for help, but the WoL??? The alliance? If you wish to be an ally and help or something, fucking act like it. You were a former legatus and I expect you to live up to your name – even after retiring.

And yeah.. I guess it’s hard having to watch your kids willingly, knowingly dying. But you fucking raised them. You are a big part of the reason to why they are in that predicament. So like… Aside from that I don’t even get why you are in this story at all.

And for the record: I’m not sorry for him. I’m just flabbergasted by all the bullshit we’ve been learning about him.

To be quite honest, I think this story could have worked just as well or maybe even better, if we got another man as the „hero“ of the story. I am talking about none other than our engineering, hammer-swinging, ex-enemy - of course talking about Nero!

The MSQ has long established that his research into the Ultimate Weapon had been taken, twisted and turned – Estinien had to experience this first-hand. I’m not saying that Nero was in need of a redemption arc and I cannot remember if these weapons were of his creation or even stem from anything he did, but it would make so much more sense for me, to have him confront his past in the garlean military like this and be responsible for the death of his former colleagues. Soldiers that he served with, whom he faught with. Give me Nero and them working together to get the weapons going and him bonding with them as his pilots to a degree. Comrades. Not that strange familiar bond that Gaius appareantly has with them. … Scratch that: Let Gaius be the father figure. Him being that wouldn’t change Nero’s relationship with them, but maybe his with Gaius as his superior.

The story wouldn’t even need to try and redeem Nero: He has already gone through major character development with the MSQ and the Omega raid tier. It would simply be Nero, confronted with the things he created, hopefully instilling more morals and a sense of responsibility for his creations. Heck: Let Cid yell at the guy! Seriously! Cid sticking around to help out would make so much more sense if it was Nero instead of freaking Gaius! Cid hated the guy! He might be a professional, but he is not one to torture himself by staying around a guy he (as far as I know) detests.

Make Nero the central figure and give Cid and Gaius the roles of „angel and demon“: One desperately trying to reach out to his old friend, reminding him why they became engineers and trying to make him realise that he can’t just run around designing weapons and leaving the scematics for everyone to read; while the other has trouble letting go of his imperial past and is struggling to see the errors of his ways – if Nero was wrong, than he (Gaius) was wrong too -and of course they did all of this for their home, to further their cause, and to bring peace to the savage lands of Eorzea, who had been fighting amongst themselves for so long… You get the point.

And you could still have these gundam themed fights. But I think everything would make so much more sense in general.

But speaking of which-

The children

I do not truly care for any of them. And that is a shame: I do think there are great characters and dynamics hidden behind these very few cutscenes. When they were first introduced I was wondering why I was suddenly watching „heartwarming“ cutscenes of my foes as children – until I realised that I was supposed to care and that they were supposed to make me feel pity for Gaius. I was supposed to feel bad for him, because they died and he blames himself. But while their fates so far have been gruesome, I cannot say that I am sad they died. They chose to die as they did. There were a myriad more options. And they chose that.

Actually. Their whole story makes me feel like they were huge masochist from the very beginning. They could have just run away and gotten help from someone more competent than them, but they stayed in an abusive military arrangement just so nobody else got hurt?? Please. Use your brains next time. And for the Berserk-like torture scene? I mean. I get what was implied here. But was it necessary? As a writer myself I follow the rule that torture and sexual violence should never be used in a story, unless it must be in there for the story to work or to bring across a vital point important to the story or it’s moral (or if you are writing porn and you are into it – but we are talking official in-game content here). But the violence towards these „children“ seems unnecessary for the plot and the violence of their deaths by piloting the weapons is already gruesome enough. Sometimes it’s better to leave things like this out – the emotional torture of feeling stuck and having a martyrs complex would have been enough here, I think. If the rest of the story had been well written at least.

(I believe my utter lack of sympathy shows how little character developement they had. I love tragic characters, who choose to suffer for the good of other people – even better if those people don’t even like them. It’s just my thing. And those kids are just… well.)

Their reasons and especially why they were making Allie out as the one who would need to survive was also just… weird. Like. I feel like 75% of what happened would not have happened, if they actually talked to each other, used their brains and had done something about their problems. But no…

These characters are also so exchangeable with basic anime/j-RPG character tropes… I only remember Alfonse, Rex and Allie – because I just did the Emerald weapon. And right afterwards I thought, „huh. So… Fullmetal Alchemist?“ Which brings me to my third point …

…the story at large.

„Pacing is a virtue“ or was it patience..? Anyhow: The author of this story should have had more patience with his story and characters and taken a bloody break! And I am not talking about the obvious blunder of „How is Allie feeling?“, „she is in shock and you cannot talk to her“ turning to „oh yeah if you are careful you can talk to her now“. I mean. WTF. That was MAYBE 10-20 in-game minutes of dialogue.

But everything was moving so very fast – and not even in a good way. There are few things better than a fast paced, action rich story about a group of young people trying to safe (their) world. But if you try to cram in two expansions worth of character development and story telling into about two hours of content each patch.. Well, then you get whatever the hell this is.

Gaius is a very interesting character and while I did not understand why they needed to bring him back in 4.4 (?), I do see how he could be a good asset for endwalker. And his involvement in 5.0 with Estinien was just a dear delight. So I am not opposed to learning more about him, to watching his character grow and changed with time. But I am not ready for badly written content of which 50% get told by suddenly induced echo-sequences. I mean – weren’t there rules for the echo at some point???

I’m not sure which one of the devs said it, but the feature that let’s you play an NPC is super convenient for them to tell the story, because before they could only show what happened where the WoL was.

And that’s just it. Rule number 1 in writing anything is „Show don’t tell“. It feels like they literally turned this one around for these cutscenes. While Valens torture and diet-Fandaniel-routine were very much „show“, the rest of the story was one long cutscene of exposition: We get exposition by Cid, by Gaius, by echo, by Gaius and his crew again, then by Allie. Before having to watch scenes we are not there for.

BTW. Dear square Enix: Your writers are capable of writing amazing villains, antagonist and despicable assholes. You don’t have to write „asshole, must die“ on Valens name card. And I also think the „WoL, strike here“ sign above his head was a tad bit too much. Nuance, dear writers. Nuance. Or perhaps I just got spoiled by these last few foes in the MSQ.

When I said I wanted to just be able to punch a bad guy for once and not feel bad about it, I did not mean this! I meant that I just wanted to play training dummy with Danny-Boy.

(Oh! And as far as I’m concerned you can just… sideline Gaius … „would be killer“ and the lady? Make them targetable NPCs with Dialoge to read. Let them stand somewhere accessible and comment on the latest developement. But ffs don’t give me hour long speeches about how you are going to kill Gaius if he does something you don’t like. The guy could and would wipe the floor with you if he felt like it. -.- So. Please. Shut up.)

Conclusion

Basically. I have to finish the Diamond weapon. But I doubt it will change my perception of this story line even in the slightest.

To be perfectly honest though … bringing Gaius back, having this story with and about him, forcing a sort of redemption ark here. It feels like they are really „grooming“ him to be a morally grey ally in Endwalker, with perhaps a big part to play in the endgame. At this point I wouldn’t even be surprised if they pulled a GoT and made him „King in the North“. Or if they had him die a heroic death to save the world, but especially his country. And to do so they need us to think his sacrifice means something. Or that he is the right person to lead Garlemald into a new future (I don’t think he is). But: For one, neither we (the players) nor the characters need to find him worthy of throne or death by heroism for his sacrifice/ascension to work. To be a useful tool for the story, only the other garleans who might oppose the alliance and scions need to deem him or his sacrifice „worthy“. And only they. And Ishikawa-san has all of 6.0 to accomplish whatever the hell she needs him for. He did not need to be the center of his own botched redemption ark. If that’s what they wanted to do. Or maybe I’m looking at this all wrong and all they wanted was to give the writes in training some literal training grounds to test their abilities.

But! On a positive note: I have yet to be told that raids and other side content are canon to any degree. So when playing the next story quests I’ll blissfully ignore all that happened in Werlyt and if it get’s mentioned (because they do that sometimes when you’ve done certain content) I’ll just ignore it.

Happy ignoring! Also: GIVE ME MORE NERO CONTENT!

[prokopetz]

If you're doing game recs, do you have any low stakes adventure/puzzle games, preferably without combat? Like Stardew Valley (without the mines), Grow Home, or the Witness. I don't mind if the rules aren't explained in game, as long as I can look them up somewhere else (clearly :P). Being able to drop everything and go somewhere else when I'm stuck is also good, if you can manage that. Thank!

That’s a tricky question – you said puzzle adventure games, but your first example is a title that isn’t an adventure game and has no puzzles. I’m going to treat this as two separate requests, then: for low-stakes life sims, and for puzzle adventure games where you don’t fight anything.

The first one leaves you with somewhat slim pickings, at least if you don’t want a bunch of Stardew Valley clones: non-violent life sims are almost entirely dominated by farming if you want the dialogue to be in English, and I’d rather not rec a bunch of games that are largely identical to what you’ve already played. Still, I have a few titles in my collection that might suit:

Corinne Cross’s Dead and Breakfast - A short-form life sim where you play as a young woman who’s been roped into house-sitting a bed and breakfast establishment during the off season, and ends up playing life coach to the various ghosts haunting it. Includes light gardening and crafting elements to complement visual novel style relationship building.

Eastshade - Here you play as an itinerant painter exploring a remote (but inhabited) island. This one’s at least half a walking sim, with the challenges of gameplay mostly revolving around figuring out what paintings will make people happy. As above, the major emphasis is on relationship building.

Yonder: The Cloud Catcher Chronicles - Probably the closest thing to a farming sim on this list, albeit a much less in depth one than Stardew Valley. Gameplay is mostly exploration based, with several opportunities to set up small farms throughout the world and hire NPCs to tend them for you, among other resource-gathering minigames.

The picture for forthcoming life sims gives you a little more variety; you might keep an eye on any of Hermina Lumen is Only Human (a sequel to the preceding Corinne Cross, if the title didn’t tip you off!), Mineko’s Night Market, Potionomics, or Summer in Mara.

As for puzzle adventure games with no fighting or high-stakes save the world stuff, in keeping with your “[b]eing able to drop everything and go somewhere else when I’m stuck“ criterion, I’m going to try and stick to non-linear or open-world titles. I’m also going to construe “without combat” broadly and stick to titles where there are no hostile NPCs at all; just let me know if those are bad assumptions. So:

A Short Hike - An exploration-based walking sim where you play as a young woman trying to hike to the top of a mountain in order to get a cell phone signal, which is about as low-stakes as it gets! The puzzles are mostly about routing, with a simple stamina-meter-based powerup mechanic that progressively opens up more of the map to you.

Heaven’s Vault - A piece of non-linear interactive fiction where you’re a planet-hopping archaeologist tracing a vanished colleague’s footsteps. The puzzles try to emulate the actual process of deciphering an unknown language, and while it’s necessarily a very simple language to give non-linguists a sporting chance, it definitely gets the idea across.

Hiiro - This one’s a bit like a Metroidvania, albeit without a formal upgrade system. There’s not much in the way of failure states, beyond the usual risk of falling off of stuff. Owing to the lack of upgrades, the entire world is theoretically open to you right from the start, though getting to certain places straight off will take some doing.

The Moonstone Equation - A side-scrolling puzzle platformer about investigating mysterious rocks. You can actually die in this game, unlike most other entries on this list, though you usually have to really work at it. Note: this one syncs the in-game time with your PC’s clock, so if you always play late at night, the NPCs you need to talk to will be asleep.

Submerged - A casual climbing game about exploring a flooded city looking for medical supplies for the protagonist’s sick brother. The challenges are entirely about finding the right route, to the point that it won’t even let you fall out of stuff. It gets pretty vertiginous, though, so may be not the best choice if you have a thing about heights!

TIMEframe - This one’s not really a puzzle game, but I’m throwing it in for general interest. Here, you experience the last ten seconds of a doomed world. You can’t affect anything; your only role is to bear witness. Time is stretched 60:1, so those ten seconds take ten minutes of real time to play out – multiple runs are needed to see everything.

I’m going to throw in an off-the-main-list plug for AER: Memories of Old, which is both non-linear and non-violent, but story-wise you’re playing for some pretty high stakes, so it’s missing one of your big three criteria; and another for Memorrha, which looks like what you’re after, but it came out yesterday and I’m only a little ways into it at the time of this posting, so I can’t promise it’ll stay that way. As for upcoming games, you might watch out for Manifold Garden, Omno and Sable,

[argentdandelion]

That One Sad Fic Where Noelle’s Dad Dies

“Noelle.” “Wha—? Kris, it’s 3:00 AM….” Noelle said, squinting at her bedazzled cell phone in the darkness. (Ever since it assassinated her actual clock, she had to adapt.) “Skip school today. Go to your dad.” “…what? Why?” “Choose a game,” Kris said, with all the concision and emotion of a very ticked-off grandma.

“Alright, Kris! I got it!” Noelle turned on a lamp and hurriedly scanned through the video game titles.

Mario Kart, Professor Layton, Grand Theft Auto…

Noelle smiled and pulled out a title. “Ah, the perfect one! Silent Hill!”

“And for the love of Dog, do not bring Cooking Mama. Sweet Angel, that will only make him die faster!”

“Oh. Right. Shouldn’t bring anything too relaxing.” Noelle put down Silent Hill and chose Dragon Blazers III.

Noelle’s ears perked up. “Did…you just say ‘die faster’?”

But Kris had abruptly hung up, like clothes in a closet.

—–

“Dad? Dad?” Noelle gently shook her father from his sleep. The lamp was on, beaming light onto his face.

Rudy blinked blearily into the intense light. “Oh dear…now I’m getting medical care from aliens.”

Noelle frowned. “Come on, Dad! You said it yourself, we’re deer monsters.”

Dimly, Rudy noticed the furniture setup was different from what he remembered. He glanced across the room: the flowers in the glass cover had been put on the small counter by the sink, leaving the angel doll dethroned and emanating an aura of rage. The Nontondo console, sitting on a bedside table, was hooked up to the hospital TV and trying to keep its relationship discreet.

Emblazoned on the TV screen were the words “Dragon Blazers III”. It was drawn in fire-coated letters, as if overcompensating for a lack of innate coolness.

Rudy yawned and looked outside. The sky was still dark. “Noelle, why are you waking me up in the middle of the night?”

“It’s not the middle of the night, Dad.” Noelle said sheepishly.

“Oh, good.”

“It’s 3:20 AM.”

Just then Rudy noticed the bags under his daughter’s eyes, her messy hair, and the few crumbs stuck to the fuzz of her lips.

“Noelle.”

“Yes, Dad?”

“Lick those lips of yours.”

Noelle stared at him awkwardly.

“You got crumbs stuck to your fuzzy lips, and I don’t think you’re going for a flavor saver.”

“Dad, a flavor savor is a soul patch, not a mustache!”

“We’re covered in fur. It’s kind of hard to tell the difference!”

Rudy laughed, before pausing thoughtfully. “Eh, it doesn’t matter much. It’s not realistic for society to expect women to constantly shave.”

“I mean, of course,” Noelle wrinkled her brow. “There’s no way anyone has the time for full body shampooing and hair removal.”

Noelle moved a tacky little chair closer to the bed (clearly intended for smaller visitors), and cringed at the squeak. Noelle smiled, and handed her father the other controller.

She yelped.“Oh! Darn! It’s a single-player game!”

“Ah, good. It’d be messy to be a player and also married.” Rudy winked.

“How’d you know it has a marriage option?” Noelle asked, befuddled. “….Never mind.”

Rudy slowly leaned over, looking at the item Noelle held. “You only got one controller? Oh, it’s fine. I can always watch. You’re much better than me at these games anyway.”

—-

“Gosh darn it, Shella.”

“Come on, Noelle! You can swear harder than that.”

Noelle blushed.

“This is the last time I’ll ever be able to see my little girl swear a blue streak.” Rudy said solemnly.

“It’s the wish of a dying man, Noelle. Now let it rip!”

“Fu–”

—-

Noelle painted the room blue as the ocean with the intensity and number of her swears…including two Rudy had never even heard before.

Noelle hunched over with an exhausted look, panting. Suddenly her cheeks bulged, and she spat out one little swear lingering in her throat.

Rudy sat in his bed, stunned at the depths of foulness to tumble out of the mouth of a sweet-natured teenage girl. “Wow, Nolle…

I am so proud of you.”

Noelle beamed, still flushed with the exhaustion of releasing sixteen years’ worth of repressed cussing. Noelle’s cheeks bulged again….only to erupt into laughter. Soon, Rudy, too, was laughing, and the room itself was filled with laughter (and swear residue).

Rudy’s ears flailed out, and with a bug-eyed look Rudy coughed out some dust.

Noelle stared at the dust smeared on her father’s hand. Rudy looked solemn. “Noelle, I think it’s time I told you the truth…”

“I’m part vacuum cleaner.”

—-

They had traveled deep into the dungeon in the bowels of the earth. Suddenly, the claustrophobic halls expanded into a greater room….

“A cutscene!”

Noelle perked her ears up and forward, leaning closer to the TV with a gamer’s hunch. She sat there for a few seconds, straining her ears, but the sound had been turned too low for that sweet, sweet cutscene music.

“Oh, darn. Wish I could hear the music.”

“Oh, Noelle, you can turn it up. The only other guy is the Warrior, and he’s delusional. Guy thinks he’s a NPC spouting foreshadowing for an incomplete game.”

Noelle adjusted the hospital TV’s buttons the old-fashioned way, as the remote was on paternity leave after irresponsibly siring tiny music players.

Atmospheric music ran through that quiet hospital room.

“You dense son of a submariner! Wither away!”

Smiles filled their vision as they enjoyed the scene together, as they witnessed the bizarre scene of characters innocently smiling while delivering scathing dialogue. Ill-advised ‘cultural translations’ for a tougher audience, Noelle thought. But I love it.

A room away, a patient quietly fumed and flailed his limbs, ranting again. Muffled as it was through the sounds of battle, and laughter, and conversation, none heard him. He shed a single manly tear through his costume.

—-

Swarms of Modiglettes tread towards them in the darkness.

Noelle tensed up with a little “eep”, and Rudy turned to his daughter’s terrified face. “What are you waitin’ for? Flare ‘em!”

Noelle shook off her fear…and decided to upgrade the spell to ZettaFlare, for good measure. The vastly over-levelled scale of the spell wrecked the swarm of Modiglettes…and the entire dungeon. The enemies soundly defeated (as well as most of the party), the scorched, half-dead remainder of the party weakly cheered.

"Creepy! Just like that angel doll!”

“Heh, you think so?” Rudy said with relief. “That thing’s a nightmarish abomination!” Rudy glanced toward that faceless angel doll on the counter top, still a little askew after all those hours beside the flowers. He felt it glaring at him judgmentally…as if wishing for his death.

Rudy noticed, just then, the petals falling from the wilting bouquet…onto that letter enclosed within.

"Kris…they’re a good kid.”

“Earlier, they told me to come visit you.” Noelle replied offhand.

Noelle had never seen her father’s brows rise higher. “Huh. That’s awfully out-of-character for them. I sure hope that isn’t a clue they know something we don’t.”

Noelle laughed nervously. “Yeah, I sure hope so! It’s….probably a sign of some turmoil or trauma that occurred off-screen. That totally happens in RPGs, so it’s not that weird.”

—-

As Noelle defeated foe after foe, progressing on her journey, she spoke less and less. The same went for her father. He reclined in his bed, his head heavy.

Noelle said nothing: not of her anxiety, not of her sadness, not of her ever-growing desire for soda and cheese chips.

“Dad? You haven’t said anything in a while. It’s getting kind of awkward. ‘Companionable silence’ is, uh…not something I’m very good at.”

“Oh, you don’t have to narrate everything,” her father said. “It’s not like you’re playing it for an Internet audience.”

“After all, video games can be…” Her father looked down before looking back at her. “an activity well-suited for urban hermits.”

—-

“THE END”, it said.

Noelle stared at the screen. “What happens next?” Noelle asked, her voice laden with tension.

“The credits screen, of course!” Rudy replied.

“No, no…I mean…what happens to the characters?” Noelle said, glancing towards the window. Her hands still clenched the controller.

“…Y’know…I like to think they all went home after beating the final boss, and had that long-awaited cake.”

“I don’t think they’ll ever get the cake,” Noelle said quietly, looking down. “They always thought they could, but then things happened no one could predict, and now they have to live a cake-free life.”

“You’re right. Come to think of it…a lot of games have cake you can’t get…” Rudy looked out into the distance, up towards the ceiling. “I suppose all they can hope for is finding joy in cupcakes, muffins and brownies. After all, it’s not like having a cake-free life stops them from finding happiness. There are a lot of caloric baked goods in the world.”

Noelle stared at her father, her eyes wet. “Are we…are we even talking about cake anymore?”

Rudy lifted an eyebrow. “It’s good advice, literal or not, and it’s straight from my supply of fatherly wisdom.”

Then, suddenly, there was a weight on Noelle’s hands, and Noelle’s eyes went wide open. Her father weakly squeezed Noelle’s hand, looking straight at her with a wan smile.

“Noelle, dear. Life stinks. But video games make life stink less. When I’m gone, game so much the WHO gives you a disorder.”

“I promise, Dad.”

Her father laid back on the bed, staring up towards the ceiling again.

“DAD OUT!” He shouted. His tongue stuck out and his eyes turned to X’s.

Tears bubbled in Noelle’s eyes. “His eyes turned to X’s…just like the video games…”

—-

It was a beautiful day outside. Birds were singing, flowers were blooming. On days like these, kids like Kris should be inside playing Nontondo games, but no, Kris had to go be all nice-like and visit someone whose dad had died.

Kris found Noelle standing by the window, light streaming past her silhouette in the early morning light. Kris stared at Noelle’s back in a way that definitely wasn’t creepy.

The two of them stood like two islands in a quiet ocean…but for the malfunctioning air conditioning system, which was quite terrible at imitating calming ocean waves.

Kris observed a massive snarl in Noelle’s hair. It was so big it looked like her hair had gotten pregnant. Dear sweet angel mother of Dog could she not have combed her hair a little before visiting her dying father at 3:30 AM?! Kris thought. But Kris kept quiet.

“Yo, Noelle, your hair is awful,” Kris said. Kris cringed, hurriedly adding: “Also, sorry ‘bout your dad. Obvious foreshadowed deaths are still super sad.”

Noelle spoke in a voice drained of tears, due to a quick surgery she had to improve tear evacuation in her face. Thankfully, Kris wasn’t looking at Noelle’s face.

“I suppose so,” Noelle said quietly. “But if it means I got to spend time with my dad, one last time…then it was worth it for my hair to look like it got goshdarn pregnant.”

Oh thank Dog we agree, Kris thought. Would have been awkward if I brought it up.

“I don’t know what I’m gonna do next,” Noelle said, almost to herself. “Life’s…never going to go back to normal, with my dad being all corpsey.”

Kris looked at the bed. It felt empty. “It’s kind of ambiguous whether he’s a corpse or dust.”

“You don’t know…maybe we scheduled a cremation service ahead of time, ‘cause he was on his way out anyway.”

The room was quiet again, but for the annoying creak of the malfunctioning air conditioning. It sounded like a wooden ship breaking apart in a storm-tossed…No, no. Make for a more subtle metaphor, Kris told their own brain.

The moment carried on, stretching out like a lazy morning. In that unhurried moment, where a person could simply be alive, Kris lost track of time. It didn’t matter: it was either 9:27 AM or croissant o’clock.

What did Noelle see, in one of the best views in all of Hometown? The houses below? The woods beyond? Undyne arresting Snowdrake for streaking?

“Thank you, Kris,” Noelle said quietly. “Thank you for somehow knowing roughly when my dad was going to die, despite having zero medical knowledge.”

Noelle’s ears floated up. A few seconds passed. Noelle turned around, exposing her hideously enlarged tear ducts.

“OH MY DOG KRIS DO YOU HAVE TIME TRAVEL POWERS?!”

But Kris had long since bounced the joint.

—-

Everyone knew it was coming. The foreshadowing was very obvious.

Kris stood stiffly in the doorway, a sense of unease building in their various body parts.

At first, the room seemed unoccupied. Then, Kris caught a soft, high-pitched noise. Kris caught Noelle sobbing, her face concealed under a waterfall of hair. (Much like a waterfall was wet, it was also wet. But with tears.) A thought occurred to Kris, unbidden, that her hair was beautiful: long, and blond, and finely combed, and increasingly stained with tears and snot. Her arms wrapped her arms around her body.

Kris did a double-take.

“Noelle…why are you brandishing a disembodied pair of your own arms?”

Noelle coughed out her sobs and swallowed.

“These are my sorrow arms, Kris….I grow them whenever I am enduring the crushing pain of existence.”

Kris’s blank face somehow looked hesitant.

“I doubt that. I’ve never grown any sorrow arms.”

“…oh. I’m sorry, Kris,” Noelle said, a little subdued. “Growing a second pair of arms under overwhelming sorrow must be a monster-only thing.”

“I only wish…I could have played Dragon Blazers III with him.”

Kris paused, tilting their head just a fraction of an inch. “How long would it take to finish Dragon Blazers III?” It was a mundane inquiry, very similar to “Do you have croissants?” in how mundane it was.

Noelle sniffed. In a brittle voice, like a piece of plastic (the brittle kind), she said: “It’s pretty big. About eight hours, I-I think.”

“If you could finish the game with your father, would you?”

“I’d do anything for it.”

“Would you give me hair-care tips?”

“…what?”

“’Cause I couldn’t help but notice how beautiful your hair was, despite the fact it’s increasingly stained with tears and snot.”

“Kris, I am mourning my dead dad. Please read the room before asking for hair care tips.” Noelle’s arms tightened around herself. “But, yes…theoretically, I would provide hair care tips.”

“Despite that unwanted tone of voice, I’m gonna be the better person and rewind time so you can play a video game with your dad, all good Samaritan-like.” Kris said.

“…what? Rewind time?”

—-

“Yo. Red SOUL.” Kris said blankly, sashaying towards a SOUL in a birdcage.

“I need you all up inside me.” Kris said, as seductively as a teenager of unclear age could while still being legal. Kris opened up the cage and their SOUL eagerly jumped into their chest cavity.

“PSYCHE!” Kris exclaimed. “I knew you’d automatically rewind time, sucka! And I’m gonna make Noelle slightly less sad!”

[daisy--sorbet]

heyyy, hope you’re having a good night!! if you have the energy and feel okay answering, what’s up w taz graduation? i haven’t checked it out yet but i was thinking ab it. just asking bc you’re the first person i saw talk ab the show having serious issues, but also feel free to not answer this!! hope you have a good week!

i took a nice hot bath, had a strawberry kiwi capri-sun, and did a nice face mask and i’m feeling pretty good - so, y’know what anon? let’s talk about it. 

for anyone who likes taz grad who sees this post: it’ll be tagged with “taz grad hate” (although i feel hate is definitely a very strong word - it’s for the simplicity of tagging it) - so please block the tag if you don’t want to see this post (especially because i put a readmore on a post before and it didn’t show up on mobile and instead gave the full post). mobile tumblr has a tag blocking system, so please feel free to use it! i don’t mind haha

anyway, so this is... probably going to be a lost post, and i wanna go ahead and preface it: this absolutely isn’t any hate on the mcelroys themselves. i love the brothers and their dad a lot, and while i doubt any of them would ever see this (or have it sent to them, or shown to them, because im pretty sure they try to distance themselves from this sort of thing), i just want to make it clear that criticizing a product is different than bashing a person. which brings me to the point of if i do end up sounding as if im bashing someone - please call me out on it! it’s not my intention to target anyone.

with that said, let’s talk about this campaign.

so my problems are as thus: the railroading, the shipping (a fandom problem, but it’s present in the podcast), the NPCs, and some misc problems others have addressed better than i have.

which. i know. that’s basically the entire podcast. (i promise i’ll bring up some positive points to balance it all out). keep in mind i’ve only personally listened to... what, six episodes? and it was enough for me to drop it. some people dropped it first ep, some dropped it ep four, and others are still forcing themselves to listen.

the railroading

there was a time i could handle travis and his railroading [making sure the story goes exactly the way he has planned], because it was the very beginning of the podcast and that’s what you can kind of expect from a plot-heavy podcast. hell, i wouldn’t mind it if the interactions and goofs weren’t a huge part of why i listen to TAZ in particular (which, by the way, is why amnesty still stuck out to me - even if there was a direction griffin wanted to push them towards, the interactions between the players (or players and npcs) made up for any railroading). it’s kind of hard to not railroad a little when it’s story-heavy and you’re trying to built up a world that you’ve put a lot of thought into. however, a huge part of d&d is the spontaneity. 

it’s kind of why i think balance was so popular. while there was railroading towards the end, there was the presence of improv that made it all good. most mcelroy content is enjoyed because of the goofs. the magic brian moment is memorable. the jenkin’s fight still stands out because it was funny (albeit a result of some bad rolls). the boys teasing angus sticks out because the four would play well off of each other. even without that - griffin had talked about how he had to roll with things (the fact he had planned for a fight atop the train, but ditched the idea for what his family members came up with instead). even in amnesty, a couple moments that stick out to me still are ned with the jetpack taking out a pizza hut sign, and the scene with the water where jake was trapped inside. they aren’t as fun, but they still stand out as “things i didnt expect to really end the way they did.”

with grad, it’s just. one after another. the thundermen want to subpoena a xorn? cool, let’s run with that until actually the xorn gets fed rocks and goes home and who cares about the subpoena now. fitzroy wants to keep his cloak? lets talk about it for a while and you also get no rolls to even try to keep it. fitzroy goes to meet higglemas in his office? oh, why are you here fitzroy? im going to keep asking you until you answer fitzroy? you arent getting out of this scene until you answer me, fitzroy, so just tell me why you’re here already, alright, fitzroy? 

and even later in a episode i read a transcript of: hey argo, remember how you have this whole secret motivation? fuck you, im gonna talk about it here in your dream and reveal it to listeners and remove any tension you had building up, and you dont get a choice to talk about it because this all-knowing villain knows all about it :)

and even NOW in the latest episode, there’s a comment that “we should cap argo’s skills here” instead of just... making the checks higher. rogues are good at certain things and usually arent the best in battles. better hope argo never makes it to level 11, because who knows how people are gonna handle the fact that he gets a skill that’ll make it so certain skills can’t have a roll below 10 (reliable talent). 

(griffin, thankfully, calls travis out for that, but still - travis, why would you even imply that, considering you should be aware of how rogues work considering magnus multiclassed into rogue and you played one on tiny heist?)

and in the newest episode, their Big Bad chaos (which, god, i personally hate that name) straight-out says “dont do this” to the thundermen. travis tries to say, on twitter, “a character saying “dont do this” is different than me saying it” but i need to point out that it’s one thing if you’ve said “no” in character but worked with the PCs doing otherwise, but the railroading says differently.

the shipping

ill try to make this quick, because it’s nothing to do with the fandom (ship however you want, man) - but i really feel the need to draw attention to this.

fitzroy, as confirmed by griffin in a ttazz episode, is asexual. not aroace, but ace nonetheless. and i find it... troublesome that the idea of rainer and fitzroy having a relationship is still pushed nonetheless, despite the fact that fitzroy (to my knowledge) was never once shown to reciprocate any feelings. not to be that person, but i really hope that grad doesnt have any sort of romantic relationships in it (at least - not between NPCs and PCs unless they’re actually like... warranted?). 

i dont know, man. one of my closest friends is ace, and i know she wants a relationship, but i think it would reassure her a lot to see an ace character who isn’t pushed into one in case she ever changes her mind. someone once mentioned that they hope fi/tz/ra/in doesnt happen because theres relationships that have that “oh, you can just date” and it goes upwards there to “oh, you can have sex just to please them <3″  (which, to be honest, is kind of a gross mindset - if someone isnt interested, they arent interested).

also, uh, the TTAZZ where griffin states this, there’s kind of the mention tht the whole sexuality question was posed in relation to the episode “creative thinking” (the dream one i mentioned earlier) - which. uh. i don’t know if anyone caught this, but... rainer straight-up wrote fitzroy a letter in the dream like “are you going to accept my proposal? a girl doesn’t like to be left waiting” which. leaves me with some gross feelings because uh.

if... if the whole thing about fitzroys sexual orientation was addressed here, then why would you push your ship anyway? feels kinda iffy, man.

to which i want to say: fitzroy can date. he’s allowed to date. griffins allowed to do whatever he wants with his character. but when a lot of the flirting is met with nothing, i’m not gonna see the chemistry there. just because travis ships it doesn’t mean it’s canon.

the npcs

ah yes. lets talk about the npcs.

there’s... a lot. a lot a lot. i think travis trimmed down how many were present in a scene, but uh. there’s still a lot. and... uh... i kinda wish there wasn’t?

look, i know im going back to balance/amnesty, but just. hang in there for a moment. chill with me. vibe. 

balance didnt have too many NPCs present at all times in each mini-arc. gerblins had some big names like barry, klarg, gundren, killian, yeemick, and magic brian. rockport limited had angus, jess, graham the juicy wizard jenkins, and all of the tom bodetts mentioned. 

amnestys first arc had mama, barclay, jake, dani, pigeon, kirby, minerva, and that was about it for like. big names? and not all of them were present in each scene. 

in the first episode of grad alone: gary, hernandez, jimson, rolandus, zana, rhodes, buckminster eden, rainer, leon, tomas, hieronymous, higglemas, stuart, jackle, bartholomeus, mulligan, groundsy, germaine/victoria/rattles (the skeleton crew). and those are the ones i wrote down (minus groundsy, who i just. ignores. idk him).

like holy shit, my english prof got onto me for having too many characters in my first chapter and i didnt even have half the amount listed there! 

it’s just a huge cast. does this take place in a school? yes! theres bound to be a lot of students present - but you don’t have to name every single one of them, at least not in the first episode!

the miscellaneous

i don’t know if travis ever actually addressed it, but wheelchair users have actually like... said that rainer’s introduction bothered them, because she was like “please ask me abt my wheelchair :)” when travis saying she was in an ornate chair would have sufficed. 

uh. the colonization vibes people have discussed within the centaur arc. mentioned here, the replies here, and this post (and its replies) here as well.

the overall lack of d&d when the campaign was kind of advertised as a return to d&d if i remember correctly

also no one seems to be taking literally any criticism at all which like. ignoring the petty shit, sure, but people have stopped donating to taz and their listener-ship must have dropped some during this entire time - you’d think that maybe someone could say “we need to find out why people dont like the thing and fix the thing” consider this is. yknow. their livelihood.

anyway uhhh 

tl;dr: travis railroads way too much (even now), the shipping in-game has become pushy and gross (especially bc its shoving a relationship onto an asexual character), theres too many npcs that dont stand out well enough, and no ones taking any criticism about the major issues with grad. 

[ganymedesclock]

Something I think is a really interesting exercise is that player-controlled characters that don’t speak up much / at all (e.g. Chell from Portal) still actually have what constitutes a canon personality. They’re often perceived as blank slates, but they’re really not.

There are several things that, in a meta sense, will tell you about a character you’re controlling. 

1. The hard parameters of the game.

Have you ever noticed, in Zelda games, there are a bunch of characters you’re incapable of attacking? No matter what lethal implements you flail in their vicinity, Link will never launch a damaging or killing strike on them. There are also some regions in-game where you, the player, are unable to make Link draw his sword.

Thing is, the guards do not corner Link upon entering a town and confiscate his sword. His equipment is not explicitly magic and only able to harm monsters. In fact, the divide between “enemy species” and “friendly species” is basically arbitrary- in Twilight Princess, for example, you can attack gorons with impunity right up until they become allies.

This makes it clear that Link is consciously staying his hand. While it’s a very simple statement to make about a character- Link will not consider attacking those he perceives as civilians or allies- it’s still a clear statement. Link might be a punk sometimes (the game does gleefully give you options to mess with people, such as parading around near-naked or standing on tables in Breath of the Wild or specifically taking out your lantern in Barnes’ bomb shop in Twilight Princess) but he is driven by a hard line of ethics. Furthermore, IIRC only a handful of games will allow you to steal and then, at specific opportunities. In Skyward Sword, an entire sidequest is started because, upon breaking someone’s chandelier, the plot-furthering thing to do is to go talk to the owner directly, suggesting a Link who isn’t morally opposed to cutting and running when someone’s justifiably mad at him, but who is more likely to (the reward and emphasis is heavier on) own up and apologize.

Out-of-universe, we can’t do these things because they’re not programmed into the game. In-universe, though, there’s actually nothing stopping them, making it a deliberate action on their part. This also will involve things like how the story progresses- to use Twilight Princess again as an example, while Link needs Rutela’s blessing to get the third fused shadow, and thus pragmatically needs to save her son, he also refuses to talk to Ilia about her memory or try to get her to come with him back to Ordon before saving Ralis. This suggests that his motivation is in part personal compassion. 

Later events in the story also would suggest Link has a lingering grudge towards both the doctor and the knights that refused to help in the situation- advancing the plot requires you to threaten the doctor with his tab and then search his house behind his back and if you’re in wolf form in Castle Town- only available after getting Ralis to Kakariko- Link isn’t afraid to snap at the knights, though he doesn’t bite or kill them. He’s more willing to get rude with someone who offends his personal sense of ethics.

Furthermore, there’s a matter of how obstacles are presented to you, and what you’re encouraged to do in response. Zelda is a series that focuses on personal adventure, a great deal of travelling long-distance, puzzle-solving and dungeon-crawling. You’re rewarded for being inquisitive, clever, helping others, and poking around. While the sidequests aren’t mandatory, you will only get Link at his absolute best and brightest when he’s been roaming the wilderness and doing favors for people. And you also virtually never have a consistent home base to return to- most games make it clear you’re basically leaving home and staying away for a good period of time when you revisit. So an interpretation on Link that reads him as someone who lingers at home heavily and doesn’t want to leave, ever, is unsupported by canon.

This can even be sneakier than something tacitly unavailable to the player- consider an NPC or party member talking at great length in a somewhat uninteresting manner. Does the dialogue go all the way with perfect legibility? Does it scroll onward into the background, or get interrupted? Any of those options tell us something about the character and their relationship to the speech. Are they listening? Are they zoning out? Are they expressing active contempt or implicitly cutting off the speaker with a gesture or expression?

2. Superfluous Actions

This is technically under the umbrella of game parameters, but I wanted to give this some special attention. Unfailingly, there are things a player character will do either without the player’s input, or that the player can direct them to do with no obvious merit to them.

Abzu, as a game, has a large number of basically superfluous controls. The “interact” button, while useful, also lets out a chirp, and not only does this have a neat visual effect in other areas, if you have a drone accompanying you (as you do several times throughout the game) making the Diver chirp with nothing to interact with prompts the drone to chirp right back, even varying how many times they chirp in a way that seems to respond to how many you gave them, albeit not on a one-to-one ratio. Which is absolutely adorable.

Another button lets you do flips; a third allows you to ‘boost’, which can be used to jump out of the water. You can ride on the back of larger sea creatures. Pretty much none of these are actually required for the advancement of the game. You don’t have to sing to the drones, you certainly don’t have to repair all of them you find. Riding a creature is never necessary but in the steam version of the game you get multiple achievements for doing so. You can sit and meditate and watch the fish as long as you want.

All of this creates a very playful, compassionate, and inquisitive personality for your player character, the Diver. What’s more, encountering a dying shark at one point in the game, Diver, unprompted, will come over to rest their hand on the creature until it passes, and then bow their head and move on.

In Hollow Knight, at several points you’re able to sit beside someone; one of which is the last time, in-game, you’ll be able to see a character who is implied to either die, or simply abandon his weapon and wander off alone afterwards. Like the Abzu example, you’re given an achievement for sharing this moment with him. There’s no tangible in-game reward. And yet the game gives you the option to do so, when that option is not normally present. It tells us, whether we as players take or leave that option, Ghost- the character- considers this moment and this person special enough to at least consider something they don’t normally do.

Some superfluous actions can be very subtle. Things like a camera moving on its own, implying the character’s attention is pulled to something the player didn’t actively choose to look at. In several games in the Zelda series, Link will turn his eyes and head towards certain things of notice, which can tell us, if we’re stumped on a puzzle or how to proceed, that Link may have quietly figured it out faster than we did.

3. Flavor text

Unless the text is actively being provided by another party in-game, it’s fair to assume any way something is described reflects how a character feels about it. For example, in Hollow Knight, the in-game bestiary has comments added by several other parties, but it also has succinct explanations at the top of what the creature is. These comments seem to lack much personality compared to the deeper elements in the journal, but on one particular entry, the Sibling, the Hunter’s comments on the bottom make it clear he has never actually seen this creature before- while the top entry not only describes it, but conveys rather intimate knowledge about its origin.

This stands out, because the player character, Ghost, is familiar with the Siblings- they are basically the lingering spirits of dead vessels in the location Ghost was raised and abandoned. Since, again, the Hunter implies he’s never been to the bottom of the Abyss, it’s likely Ghost is even the one who specifically labeled that particular entry the “Sibling”.

In Breath Of The Wild, food is a major game mechanic as the primary healing and stat-buffing item, but, we are also given lavish and detailed descriptions of the flavor profile of each. There’s basically no two ways about the obvious evidence that this particular incarnation of Link, at least, is a very dedicated and educated foodie- though, apparently, not someone with such a sophisticated palate that he won’t scarf down something “so gross you can’t even look at it” or made with inedible ingredients.

This can even tie into the game parameters thing- given the simplicity of the cooking system in the game, it’s clear that Link’s experienced hands are guiding the player- we might pick a handful of ingredients and toss them into a pot, for example, but, for Link, it’s clear that he’s going through a lot of trouble to cut, pare, fricassee, saute, garnish, and plate his dishes appealingly, even with limited equipment. You can interpret that a lot of ways- are we assuming Link is the type who lovingly handcrafts tools from the materials he finds to take his cooking to the next level and carries a cooking kit with him regularly, or is he more the type who waited until he made it to a town to get distracted by a pretty knife set? 

While I just finished talking up the game parameters as a form of characterization, you do have to make some accommodations for what makes a fun and streamlined game experience. The creators of Breath of the Wild didn’t feel the need to complicate the cooking system with other tools besides a big metal pot- but in-universe, we can enrich our read on the character because Link is clearly not just stewing, but cooking a bunch of different ways that would call for specialty tools, so, how and where is he getting them? That’s more of an interesting subject for personal interpretation, but, that’s one of my favorite parts of this- what canon gives us virtually never creates a complete picture, but it will virtually always point us in an entertaining and interesting direction. Perceiving Breath of the Wild’s Link as a blank slate, I might not think about his relationship with cooking tools, but looking at canon and that very few of the created meals look like campfire food- many of the dishes are on plates. Which raises the obvious implication Link is going out of his way to acquire dishware, carry it around with him, and clean and reuse it. (Even if, in a more realistic setting without a vast, inter-spatial inventory, that dishware would probably look more like travel carry containers, like cheesecloth packages tied with twine, jugs and flasks for elixirs, beverages and soups, wooden and metal boxes)

And that can be super useful for a fanfiction, roleplay, or other writing scenario- it implies something about Link’s daily routine. I could write a scenario with him carefully whittling a skewer, or scrubbing dishes in a bubbling stream. And that he’s so interested and motivated by food, he probably does carry soap or something else to keep his hands and plates clean, given Hyrule’s level of technology he probably knows what germs are, and someone so proud of their cooking wouldn’t sicken themselves or potential dinner guests by using unclean containers. It becomes a springing ground for a lot of other headcanons.

4. Tone of the game

Every game has certain attitudes and worldviews that emanate through the setting, as well as a sort of overarching atmosphere that presides over the story. While it can be funny to imagine the protagonist of a moody, atmospheric piece as jarringly contrasting it, unless given evidence to point to that, it’s not going to be canon-supported.

Chell, from Portal, is resistant to many of these forms of characterization. She provides no flavor text, she doesn’t have a lot of superfluous actions besides tacitly refusing to catch Wheatley in early Portal 2, and while we do have the benefit of a bonus comic, Lab Rat, that gives some insight into her behavior, as well as the questionably accurate portraits that suggest how Rattman, at least, sees her, there’s not a lot.

However, it’s pretty much fair to assume that she’s a smart aleck- not just because the game gives you plenty of opportunities to, and in some situations, runs on the premise that you will try to spite and disobey the various people controlling Chell’s situation at the time*- but because the entire tone of both games is primarily snarky. Everyone you run into is some flavor of wise guy. Everybody’s a little/lot sarcastic, everybody’s a little/lot eccentric.

The one way that Chell obviously breaks from the mold is she’s not highly talkative- and this is impossible to miss because her refusal to talk is called out canonically all the time.

So we can guess that Chell being a wise guy- reinforced by her other actions- is per setting standard, and she’s probably a little weird, because everybody here is, we can tell that she doesn’t love to hear herself talk or is especially prone to monologuing like many of the other characters in her setting, because this contrast is actively called out, and makes her noteworthy and interesting as the protagonist.

Comparatively, Ghost from Hollow Knight is characterized as a very willful and brash creature through their environment- many of the areas in the game are pointed to as appealing to those that seek glory and aren’t afraid to put their life on the line to get it. While challenging the Mantis Lords is essential to proceed into Deepnest, that is not made apparent anywhere besides the Lords’ throne room themselves; while talking to Quirrel outside the village gates has him muse that Ghost probably intends to challenge the Lords.

* while you do get achievements- something I pointed to earlier in the Abzu example as an inclination something is more in line with their personality- for listening to GLaDOS and Wheatley to a fault, those actions end in Chell’s immediate death- since in-universe she is mortal and has no means of respawning, it’s fair to assume those are dead ends and thus, not actions she takes, just something the writers threw in because they thought it would be funny. 

Basically a good rule of thumb for all of this is evaluate how its framed and the context- there is no one gospel of characterization here and especially in more meta frameworks like Undertale, characterizing Frisk requires building a comprehensive read on how to separate Frisk as their own person from you, the Player, and your will- since you have an acknowledged in-universe presence and the ability to override Frisk’s inclinations.

[sinmenon]

I have a series of commentaries/complaints about Caligula Effect Overodose's gameplay systems.

Before starting: I don't think it is fair to compare this game to AAA titles, like Persona (despite its pedigree). It was a game made by a smaller team in a smaller company, with a limited budget and time constraints. But it doesn't excuse design flaws. This game exudes ambitions and very good ideas, but the implementation was less than ideal.

While I enjoy the big map overlay (I'm bad at directions), this feels more like something in place to alleviate a problem: the uninspired maps. They are a series of narrow corridors, and it is easy to get disoriented, and the larger areas lack any landmarks. I think it could have been interesting if they didn't restrain themselves so much: for example, if half of the map looks like a normal place, but the latter half is twisted, distorted by the Musician's traumas and the musical style they represent. The first Silent Hill had a small team and worked on a very limited hardware and they did wonders with the regular world and the Otherworld --- something like that could easily be implemented, only a different set of textures, maybe some different objects and interesting overlays. Something that looks familiar, but it is corrupted.

About the new maps: I did enjoy the Hot Springs, it was rather cool visual-wise and in concept. The Sun Temple, however, I was less than impressed.

This game also suffers from some bad coding: the clipping isn't so good at times, and sometimes when the allies are too far behind they just show up. This, along with the bad maps just scream “Made in Unity” – a game being made in Unity isn't a problem, but glaring issues in a remake made by a professional studio looks egregious.

The Entrance areas.... I understand it being a static image with a pseudo plane in the Vita version, but there is no reason why they couldn't have made full-blown maps for them. They look jarring compared to the rest of the areas, and they also may have some bad cluster issues like this:

Speaking about the bad cluster, let's talk about the Causality Links. The NPC hunting is bad, very bad. I can see what they are trying to accomplish: a JRPG set in a high school in which each class has its own story-arc and every NPC got their own backstory. 524 is a staggering amount of content, it is a lot of ambition and lore poured into the world. However, getting to these NPCs is hard. Maybe they could have implemented more sorting options, like alphabetical order, or filter by known trauma. Another problem is finding/getting to know new NPCs – perhaps a system in which you have a full relationship with a NPC you could ask them for adjacent contacts in the character map ...As long they aren't contaminated or in an area you can't access yet. If any of these situations happen, there would be a denial like “I don't think you hang out in the same places” or, if contaminated, “they are in their own little world” or “they are in a μ concert and they won't pick up their phones”. It would be so much easier than just going to an area and wander around until meeting everybody – it is so annoying.

I'm saying all that because I honestly enjoy the game, and some easy to implement suggestions would make it so much better. The story is fantastic, the lore is impressive, but the systems need refinement.

[fireflysummers]

Delta Rune

Long story short?

I didn’t like it.

I like segments of it. 

But as a whole, I didn’t really like it. It felt empty. 

Game Meta

So before I get into any meta here about the story, I want to first focus on the story structure and its relation to Undertale. 

The Dark World phase of Delta Rune was probably the strongest. There were very few visual ties to Undertale, and I was allowed to experience it without my own preconceptions getting in the way. 

Plot wise? It was just a condensed replica of the orginal game. Zones, a mechanic for getting between them, puzzles, etc.... Which, for me, made it...boring, before long. 

The new battle mechanics were...bad. I liked the ability to interact with and take damage from the environment, but really disliked the unnecessary levels of complexity added to the battles. It was distracting and reduced the entire thing to feeling just like a GBA era game. On top of that, the ‘ACT’ options were just....dull. And bad. 

One of the strengths of Undertale was the fact that the battle system wasn’t a battle system, it was a mechanism for fleshing out and making real the NPCs within the world. Most of the NPCs of Undertale were unique in their backstory and problems, and even those with multiples of the same species (like moldsmal) were still limited in number, giving a sense of community. By making the battle system more complex, and making it easy to pacify enemies, the entire thing just got steamrolled into a lifeless version of its predecessor.

There was no weight to the actions, no sense of agency or choice. And while I acknowledge that that was by design (something I’ll touch on below when I talk about the story), it also made the Dark World segment....ultimately boring, and lacking any and all emotional punch.

It was harmless, though, and if it had just been the Dark World segment I’d have just kind of...shrugged it off as a cute little fangame made by the creator.

But. It wasn’t. 

I did not like the Light World segment.

The entire scene was antithetical to Undertale as a whole, in a way that left me deeply, deeply unsettled.

The biggest issue was this pervasive sense of...meanness in the world of light. Kris is implied to be a not great person on most days--having to be forced into visiting hospitalized long-time family friends, refusing to talk and interact with the people around them, etc... And the rest of the town mostly just tolerates them, for the sake of their parents.

But on top of that, NPCs are unkind to each other. Alphys throws away Asgore’s flowers, and is regularly mocked and ostracized by her students. Catty and Bratty speak poorly of each other for their shared interests. Characters actively seek to exclude Kris, and are eager to gossip and spread rumors. The one kind classmate in class literally implies that her mother doesn’t have time for her. Kris rejects Asgore’s hugs, and seems totally indifferent to their dad literally sleeping in dirt. Toriel is portrayed as some kind of religious extremist who is crueler to her ex-husband than in canon, where he literally resorted to murdering children. 

Contrast that with Undertale where people...cared. Admittedly, circumstances were different and a lot more extreme, but there was a deep sense of love. Catty and Bratty adore Alphys, who consider her their older sister. Asgore’s kindness makes him beloved in the community as a friend and father figure. 

On top of that, all the major characters were entirely scrubbed of any meaningful relationships. Undyne’s an excellent example here, since she’s one of the most difficult ones to befriend in the original game. What endears us to her isn’t her goofy screaming and love of violence--it’s her romantic admiration of Alphys, her familial love of Asgore, and her protectiveness of Papyrus. Scrubbed of all that and she’s just...Not Undyne.

Even among the smaller NPCs, you get that same sense of love and care, like there is a community here, and you are lucky enough to be brought into it. To be told that they care, and you matter, and in turn you want to reciprocate that kindness.

And...again, I understand that a lot of this is probably by design, but in general it just left me...unsettled, but not in a way that makes me want to know more about the current situation.  The world feels empty and cold, and overly-reliant on nostalgia to give anybody any kind of meaningful characterization.

In this world...I feel unwelcome. 

And I don’t like it.

Plot Meta

The main redeeming part of this, for me, is that general feeling that all the unsettling wrongness is by design. If we’re operating on that premise, then I submit the current theory:

This entire game is a simulation created by Chara and Gaster using the human soul (your soul) from the genocide run.

Chara Points:

The emphasis that your choices do not matter, which echoes Chara’s lines at the end of the genocide route (since when were you the one in control?)

This world seems to fit Chara’s idea of an ideal world (the monsters are free, Asriel is alive, and humanity as a whole does not exist)

Chara seems to think the world presented in Undertale is wrong and should be erased (Let us erase this pointless world and move on to the next), a sentiment that makes a lot more sense if they are actively trying to shape a new world to their own happy ending.

The feeling of wrongness makes more sense if you’re imagining a world reshaped by a child to get their ideal happy ending, only for it to go wrong and everybody to be miserable instead.

Oh yeah that...ending is a thing that happened, huh? It’s got a Thing. (I literally don’t care about the ending, it was like...weird baiting)

Gaster Points

The style of speech present on the twitter, as well as the opening screen and the game over screen fits what we know of Gaster

Weird teleportation doors and empty spaces 

That general sense that Sans seems to be calling you out on reacting too quickly/too familiarly

Calling your phone in the dark world produces that screech we associate with Gaster

Based on this, it feels like there’s a larger meta-narrative going on, but as a whole it completely failed to actually interest me. 

Conclusion

So, I’ll be frank with you.

I’m tired. I don’t have the energy to do this whole, “secret fourth episode of Sherlock” nonsense.

Which is why I’m unwilling to just blindly trust that things will improve. 

On top of that, I don’t need an improvement. Undertale was perfect the way it was, and while the world currently presented may feel more human and ‘realistic’ for being colder and less caring, but...I don’t need that. I have too much reality to feel that way about.

And maybe I’ll be pleasantly surprised. But I’m afraid to hope for that, especially based on this game...

In the end I was just left...unsettled.

I hope you know what you’re doing Toby.

[ofseymour]

𝖈𝖍𝖆𝖗𝖆𝖈𝖙𝖊𝖗 𝖈𝖍𝖆𝖑𝖑𝖊𝖓𝖌𝖊 * / 𝖎𝖘𝖔𝖑𝖉𝖊

001.  describe  your  characters’  relationship  with  their  mother  or  father,  or  both.  minimum  word  count:  150.

tba.

002. what  are  your  characters’  most  prominent  physical  features?   what  is  a  feature  that  they  are  most  insecure  about?  what  are  they  proudest  of?

it’s been long since isolde has regarded her body as something to revel ( or agonize over ). she likes the ambiguity of her features, how it tricks the general molding of the english, and ventures into marginal territories, burgundian, southern, traitorous. not insecure per se, since she inhabits all aspects of womanhood with ease, all but one: childbearing. she struggles against fertility, rather than towards it: the idea of giving birth has discomfited and unnerved her ever since she was young. it only increases tenfold with age, and so the duchess longs for the time when such worries will be rendered moot by nature’s course.

003.  how  vain  is  your   character?  do  they  find  themselves  attractive?  what  is  their   worst  flaw,  and  are  they  aware  of  it?

she might have grown to be vain if she did not have isabel as a childhood companion. the other woman’s beauty was so stark, so undeniable, and it embodied so many characteristics of desire as well as distant grace, that isolde found herself to be a lukewarm contrast. it was not a comparison that bothered her in the least: isabel’s beauty was a thing to be mirrored at times, but not held over your entire life. it was, like all heavenly boon, a burden. to carry that beauty would’ve required a strength and a determination she did not possess.

004.  what  is  your  character’s  ranking  on  the  kinsey  scale?

a three before her marriage with charles, as emotional bonds were always more readily established with women. she was very fond of all her fellow ladies in waiting when she belonged to the retinue of the old queen, and now she is even more invested in the lives of the younger women she must govern. after her union, it veers towards a two; the idea of becoming involved with someone who would serve no purpose to either isabel or to their duchy seems rather absurd.

005.  describe  your  character’s  happiest  memory.  minimum  word  count:  150.

tbd. ( i sense a pattern )

006. is  there  one  event  in  your  characters’  life  that  they  would   like  to  erase  from  their  past?  why?  minimum  word  count:  200.

tbd.

007. let’s  talk  favourites!  what  is  their  favourite  colour,  food,   and  season?   what,  in  a  modern  setting,  would  be  your   character’s  favourite  song? 

she is very fond of cream-white, the nuance you would see, for example, on lacework embroidery and church veils, as opposed to the glacial white of gauze and diamond.

as anyone who spent their childhood winters at court, she is fond of all tastes that forged an unwitting association with the feast days: sweetmeats, sugared almonds, poached fruit.

anything by soccer mommy but with a tad less nostalgia.

008.  can  you  define  a  turning  point  in  your  character’s  life?

the first time she understood that it wasn’t only the king’s heart isabel wanted, but also the certainty such a love could secure. the risks she evaluated (and of which she’d been warned by members of their circle) and still deciding to help nonetheless. the acknowledgement that nothing can compare with proximity to a world on the bring of change, except perhaps the sworn devotion to what has still stayed the same. 

009. is  your  character  an  early  morning  bird  or  a  night  owl?  at   what  time  do  they  get  most  of  their  work  done?

devotedly a morning bird. even when she had to stay awake through the late, informal parties tat took place in the private quarters of richmond palace, observing and tailing the ends of conversations like licks of flame, she was still adamant on getting up as early as possible.

010 a.  what  other  character,  a  npc  or  someone  apart  of  the  rp,   is  your  character  completely  real  with?  who  knows  them  best,   has  seen  them  at  their  most  vulnerable,  knows  their  innermost   and  basest  fears?  (b.  if  your  character  does  not  have  this  person,  why?  do  they  long  for  one?)

charles in recent years, but overall isabel. while her own brother kept to the sidelines and permitted isolde to associate with whoever she pleased, it was out of a lack of true understanding rather than a surplus of it. the older seymour never really did comprehend her; not that it would’ve been possible, when isabel had already taken that role for herself.

011.  is  your  character  a  neat  or  messy  person?

organized from the standpoint of mental information and daily responsibilities, and certainly preaching tidiness to the ladies she has under her wing, but sometimes erratic with trivial belongings (sheaves of materials, ribbons, letter kits). 

012.  does  your  character  have  any  irrational  fears  or  phobias?

nothing other than the common ladylike train of vermin, seasonal diseases creeping into the palace, statute ruin. unless you count childbirth as an irrational fear, in which case, yes.

013.  does  your  character  have  an  underlying  passion  or  trait  that  influences  all  aspects  of  their  life?

her need to preserve the status and privileges of those around her. they are inextricably linked with her own: there is no place where charles ends and she begins, no choices isabel makes that does not tug at her own strings. it is not sacrifice, it is not martyrdom. it the mutual egotism that sustains their love, separate and colluded, carnal and platonic.

014.  what  might  your  character’s  ideal  romantic  person  be?

certainly not charles lmao but she has stopped thinking about that ideal for so long that she no longer has any reliable memories. it might have been anyone: the isolde that concocted it, that breathed lifelikeness into its specter with her own desire, no longer exists. not because of some loss, of an identity shaken by something so great that it has no choice but to shift, but due to the normal workings of the world. the choices she made for herself (was allowed to make for herself) as a woman changed the wishes she’s safeguarded as a girl.

015. describe  your  character’s  hands.  are  they  small,  long,   calloused,  smooth,  stubby,  dexterous  or  clumsy?  do  they  wear   any  jewelry  and  would  they  wear  polish  in  a  modern  setting?

in a modern setting they would wear clear nail polish with a top coat. the sort that almost escapes their glance and certainly the sort that’s easily maintained. as it is, her nails are cut short and kept clean, and her hands are small, powdered, entirely within the confines of the ordinary. they work mediocre well with tasks such as embroidery and are far more suited for cerebral purposes like signatures and different calligraphy styles.

016.  how  does  your  character  smell?  what  is  their  favourite  scent?

she is fond of heady, earthly smells, like wood and incense; fragrances that are strong but flowing, associated with the things around them rather than drawing attention for themselves.

017.  how  would  your  muse  describe  their  religious  beliefs?

pragmatic with a twist (some would call that consciousness, others weakness. she loves people from both those sides.)

018.  what  rules  does  your  muse  live  by,  if  any?

see 013. and like half my bio lol (unbelievable i cbf to reiterate even for my own sake)

019.  does  your  muse  overshare,  or  are  they  more  private?

she can easily give the impression of oversharing when she congresses with the ladies of the queen’s household. however, it rarely happens on its own, or with people from which she expects no reciprocating information. she made that mistake several times in the past with her own brother, and as endearing as the duke of somerset was, he was not one of them.

020. is  your  muse  a  gossiper?  are  they  more  likely  to  argue  with their  fists  or  tongue?  what  does  their  voice  sound  like?

gossiper druid class, rolls 20 on tongue attack.

021. is  your  muse  a …  pessimist  or  optimist …  lover  or  fighter … believer  in  happy  endings …  believer  in  love  at  first  sight?

she believes in people designing the type of love that’s easiest for them to bear. those who need the comfort of destiny, divinity, external pillars to lay their heads against, rely on love at first sight. some rely on the sanctity of marriage - undeceivable, unyielding. other find comfort in opposite corners: in the absence of love, the impermanence of happiness, the war waged against all things everlasting. she no longer concerns herself with which is true. perhaps she never had: charles and isabel have long settled such dilemmas for her.

022.  what  sense  of  humour  does  your  character  have?

optimal according to situation. she is not a great wit (think og anne boleyn) but nor is she ignorant to the subtrends and styles in courtly conversation. she is usually most comfortable when throwing back-and-forth remarks with charles or witnessing his sparring matches with isabel, and more often than not she finds things to contribute herself. but she would never try to replicate that sense of humor and intellectual acumen with most members of court.

023.  what  bad  habits  does  your  character  have?

complacency, egotism, lack of desire to change perspective, often false certainty, duplicity, drawing out private information, outright lying, us against them mentality.

024.  how  does  your  character  feel  about  growing  old?

see 002. though she is plagued by conventional concerns such as her husband’s interest in her over the years (at no point in her life did isolde think her unorthodoxy exempts her from the woes of regular women) she finds the scales to be rather in her favor. the idea that she will not risk pregnancy, or an untimely death, is far more appealing than the risk of charles taking up five times more mistresses than decency allows. if she finds she has lost more than she has gained with old age, she will cross that bridge when it shows. she just usually doubts it will.

025.  does  your  character  prefer  adventure  to  safety  and  security?

she married a man that wants to restructure at least 4 governing systems in europe and is mortally devoted to a woman that’s literally just been poisoned..... choose for yourself

[programaticallydelicious]

What’s the opposite of a hardcore game?

So I’m sure you can think of a couple of “hardcore” games off the top of your head. Dark Souls and Bloodborne are probably near the top for a lot of you. What defines those is an argument for someone else, and has been made a multitude of times.

I’m here to talk about their opposite. A lot of people, when asked what the opposite of a “hardcore” game is, would immediately jump to “Casual”. Something like Bejeweled, or Angry Birds. That...isn’t exactly correct. Casual games are targeted at people who can’t sink a great deal of time into a game in one sitting, A few minutes here, a few there, maybe an entire hour sometime. And with how the “casual” market is mixing in paid mechanics on mobile, there’s an argument to be had for them being an entirely different form of hardcore.

But I digress.

What is the opposite of a “hardcore” game? Is it an easy game? Maybe, maybe not. Is it a simple one? Not necessarily. Is it forgiving? Potentially. The opposite of a hardcore game is one that gives the reins to the player, and lets them control their own experience. I, personally, have never been one for hardcore games in the way the term gets bandied about. I don’t like games punishing me for my poor reaction time and variable coordination.

I like games that let me choose how to proceed. And to give a good idea of what I mean, I’m going to go through my steam library (not all 800+ games of it, just the ones with at least 60hrs of playtime), and explain exactly what they did that ensured they weren’t hardcore.

1. The Elder Scrolls V: Skyrim (751 hrs)

Unsurprising, and easy to explain. Bethesda games, in general, give the player as much control as possible. Want to do the main quest? Have at it, nothing can stop you and if something does, just pull up the console and nuke it to death with the kill or disable commands. Don’t like something? Modding can fix it. Want something you don’t or can’t have? Modding can fix it. Want to shoot something? You can! Stab them? Sure! Want to pretend quests don’t exist and live as a hermit in the woods? I’ve done it!

I think you get the picture.

2. Fallout 4 (663 hrs)

Do you need to ask? Look above, I explained it there. Also, the VATS system is actually surprisingly cool to play with, and I really, really enjoy waltzing around overleveled in tricked out power armor as everything the bad guys throw at me winds up just plinking off and maybe killing them for me.

3. EVE Online (500 hrs (logged on Steam, at any rate))

This can’t be right, can it? The MMO known mostly for having a learning curve so steep it‘s a cliff with an overhang? Not hardcore? I’ve gotta be high!

No, it isn’t hardcore. EVE gives the player a fantastic amount of control over their experience. You can pick what skills to learn, what kinds of ships to fly, whether to produce, raid, lead, gather, trade, or mission run. Personally, I racked up most of these hours about ten years ago when I was doing a lot of asteroid mining on a second screen while working on stuff in college. It was slow, relaxing, and impressively predictable overall.

4. Starbound (214 hrs)

I have a love-hate relationship with this one. I racked up most of that playtime in the early beta, when the mechanics were wonky and unbalanced and the playstyle was still being worked on. I can’t enjoy this game anymore, because all I want to do is find a pretty planet and build a base I like on it. But the prettiest planets are pretty good at killing you, and the best materials to build with are rare, in places good at killing you, or incredibly expensive. I could build safely on a barren world, but...it’s a barren world.

5. Terraria (166 hrs)

I love this game, I really do. But I can’t play it with other people. I like having a safe home, and while you can make safe homes in hardcore mode, they’re a pain in the butt to design properly and the allowances you need to make to keep things out are less than appealing to me. Meaning I end up running two worlds with my character as a raider, and that gets...tedious after a while.

I once built an entire village for all of the NPCs in the game (there were fewer at the time), only to watch them die over and over because someone went to hell and killed the wall of flesh.

6. Space Engineers (143 hrs)

Do I really need to explain this one? I made a bunch of voxel spaceships, in space. Was fun, and neat, but last time I poked my head in it was still lacking in things to do long-term. Too much control, not enough content, basically.

7. NieR:Automata™ (126 hrs)

This can’t be right, can it? After all, it’s a twitchy action-RPG with a philosophical bent that feels like the illegitimate bastard lovechild that Nietzsche and Goethe abandoned in the dark forest at midnight on a new moon. (In short, it’s that impossible thing known as an object made purely of edge)

But it is. The game has a massive variety of potential play-styles and difficulties, from “all but literally does everything for you” to, well, bullet hell. And the chip system lets you suit all sorts of preferences (the taunt/crit build is OP as all hell, but I ran with a berserker build that boosted speed and healed me on damaging or killing enemies). The game is as punishing as you allow it to be, and Platinum Games did a fantastic job of that.

8. Subnautica (110 hrs)

I’ve beaten this one multiple times. It actually gives you a lot of control in terms of where and how to build, and how you go about progressing. But the truly great bit of control the game gives you is that it never forces you to progress. You move through it exactly as far as you want to, and it does a great job of getting you to want to.

Sadly, it has two things that really break that. Two enemies, specifically. Warpers, and crabsquids. Warpers can be avoided, are localized, and can become a non-issue by progressing far enough.

Crabsquids are seething gelatinous bundles of undiluted killjoy who prevent me from safely building in my favorite biomes.

9. Stardew Valley (94 hrs)

I really think this one is self explanatory. If it isn’t, it will be as soon as you play it.

10. ARK: Survival Evolved (93 hrs)

This game doesn’t belong on this list. Too much of the time listed was spent fighting the mechanics/trying to get things to work, as opposed to playing the game. It’s neither hardcore nor its opposite.

11. Plague Inc: Evolved (63 hrs)

My favorite thing to do in this game is running the neurax worm. The Christmas scenario in particular is great. This game is an RTS with short playtimes, immediate feedback on choices, and fantastic levels of replayability. Combine that with their scenario editor, difficulty settings, and the huge variety of things you can play as, it makes it as my favorite non-RPG on Steam.

Some non-Steam mentions that are self-explanatory: Pokémon, The Legend of Zelda: BotW (I enjoy the other games too, but they don’t qualify for this), Age of Empires II (I abused the shit out of a bug in the scenario editor), Pharaoh/Caesar III, and the number one timesink of any game I’ve ever played: Minecraft.

In summary: The opposite of a hardcore game is one that gives the player enough leeway to make their own decisions. Not necessarily by giving them multiple choices or paths, but allowing them to proceed at their own pace, potentially with their own choices of mechanics and/or difficulty. And most importantly, it doesn’t punish the player for those choices.

[ingloriousbi]

Long, drawn-out 80-hour experiences aren’t always a good thing. They can be incredibly frustrating.

Side quests become tedious, with no real rewards. They become fetch quests or grind quests or inconsequential rp quests. 100% requires all these little collectibles – like the ac feathers or solas’ orbs or what have you. Travel between locations can be difficult or stunted, and gameplay can become tedious – the fighting takes too long, or the cutscenes take too long, or the dialogue is unending. I usually find myself skipping through long dialogue when I can read the text, I don’t usually read everything on terminals, and I usually only ever 100% things out of compulsion.

For reference: my first dark souls 3 playthrough was 50 hours, but my second was less than 20. Even going by just the second play through I would consider dark souls 3 worth 60 bucks.

Because it isn’t *just* about hours. An 80 hour, long-ass drawn out low quality shit show isn’t better than a high-quality, well polished 20 hour game. But those 20 hours need to be *polished* and they need to serve the game. In a game like dark souls 3, that meant the atmosphere, combat, boss fights and environment needed to be polished and interesting. And they were! The atmosphere was amazing, there was good enemy variety, the boss fights were awesome, the lore was interesting enough to keep me on my toes, and the combat system had good depth to it.

But RPGs need roleplaying elements. Shooters need engaging gameplay. For 60 bucks, the outer worlds should have offered more time with its existing system or greatly enhance it.

The armor and weapons easily capped their max armor/damage, and with the tinkering ability and unending trash a-la fallout, I had a better weapon than any drop or quest item ever gave me. Instead, the constant armor and weapon drops exclusively became a means to money, and this translates into insane inventory management, because of course it does. I can’t speak too much to weapon/attack variety, because once I’ve got a gun I like I usually do a full playthrough with it (although the distinct lack of snipers annoyed me, especially for places like roseway and tartarus), but armor variety was shit. Armor offered little balance, bad mods, shitty stats, and all looked ugly as hell. I never used any medical items except for the standard heal, and never felt the need to (I was playing on regular difficulty). The difficulty curve was really weird; I struggled the first hour or so and soon after I was completely overpowered; but manti-queens were still always a tedious, semi-difficult bore, even when I one-shotted everything else.

The roleplaying elements started off really strong. Back in Edgewater, way at the start, someone even commented on my wearing marauder armor – which just happened to be the first thing I looted from some enemy. There was a lot of humor to balance how genuinely overwhelmed I felt with this new world (in a good way) that slowly gave way to more serious narrative, while never taking away your options for fun. As I found my bearings in the world, the narrative offered good themes and such (obviously; fuck capitalism!) but also had a good balance of “large save the colony!” vs “Im just a dude in space” and you can roleplay for either or in the middle of those two. There was never really a moment I felt it was weird that I was putting the main quest on “hold” to do side quests (with the exception of the fucking tailoring quest line which was really jarring lmao).

Questlines typically offered a healthy balance of options; it really allowed for different outcomes, different character motivations, etc. I didn’t feel shoe-horned into certain dialogue options in order to complete quests the way I wanted to complete them. There was nuance to your choices/dialogue options with characters and in questlines. Persuade, lie, or intimidate weren’t always a different button to the same outcome; oftentimes they actually led to different things happening in the quest. There were also different ways to complete your goals in-game, with different kinds of stealth, to murder or not to murder, talk your way through, guns-blazing, etc. Usually quests gave options I wasn’t really expecting and had a pretty good amount of interactivity between them (think the strike quest on Monarch, or the Sublight quests on Monarch). The only time I felt really shoe-horned was at the end of Lily Hagen’s questline and during the ending quest. Lily Hagen’s last quest is also the only time I felt like I got a significant choice where the consequences didn’t actually matter, which was really frustrating considering the ending of the fucking game.

The way skill points allowed for both in and out of dialogue improvements was really cool (e.g. persuasion isn’t just new dialogue options but affects enemy’s statuses, etc) and the combination of skills required during roleplay elements (i.e. you need persuasion AND science points to convince a scientist of X) felt really strong and did really well for my immersion. In the last mission this all went to shit though.

I liked a lot of the individual characters (I fucking love Phineas and ADA, Zora and Sanjar and even the Van Noys were really fun, a lot of characters were really sympathetic like Reed and Graham) and most of the companions have interesting enough personalities, but there’s a definite problem with the crew members and their implementation.

There was a huge difference in character quality between them; Felix has significantly less character depth to him than any of the other companions, even though his questline felt like it should have had a significantly larger impact on a person. Ellie and Nyoka are super interesting characters, but neither really allow for significant character growth after their respective missions or during companion dialogue.

Parvati and Max have significantly more depth than anyone else on the ship, and these are characters with the most growth and arguably most impactful side quests (measured by impact on the characters). They also have way more, and more in depth, companion dialogue. And still I’d argue the growth is too little. You run out of dialogue with your companions super quickly and they rarely have anything to say about your choices or whatever. Only Ellie really spoke up about some stuff I did/had questions for me about Phineas and even then it didn’t actually matter. Ellie’s lack of character growth was probably the most jarring, because she actively starts conversations that would/should lead to it but she remains unchanged until the epilogue informs you You Did Change Her Mind After All. Felix’s lack of anything was really disappointing especially since I didn’t really care for him, but he was really sympathetic to the captain and to the unification of the crew, especially near the end (his joining the crew was also the most random). I loved Nyoka but her alcoholism is a little much and casually overplayed for no reason, and it actively inhibits what could/should have been character development after her mission. I actually kind of feel like non-companion NPCS like Catherine Malin or Zora had more character development and relationship development with the captain than some of my companions. Parvati got the most personal and had the most growth, but it was *all* in relation to her dating life lmao.

This lack of depth or use for the companions is really bad when you think about the way they are positioned in relation to the factions and again, this is made worse during the last mission. I was kind of happy there were no romances when that was announced, because I thought it would allow for more independent character growth instead of development based on whether or not you’re fucking the player character, but what it really lead to was static characters and static interaction with them. The interactions between them are fun at the start but there aren’t many of them and they quickly end up repeating themselves. I wasn’t expecting fucking Mass effect or Dragon age companions, but I was expecting better than the fallout 4 fare.

The gameplay, skill division and choices/quest options really allow for interesting replayability for both different options/character motivations within an ending but even more so when you consider the fully pro-board playthrough (idk if I could stomach it though). But even with another playthrough I’d be looking at just 40 hours of gameplay (if I 100% it again, and I could probably do it in less than 20 now that I know where/what/how and how useless most loot is) and the companions would remain disappointing.

And the ending just throws it all in my face, especially the skill/stat division is just… terrible. I was level 30 and all side quests were done; I couldn’t milk more levels/exp if I WANTED to, and it was still bad. But I did get to walk back to my ship, re-spec my stats, and then walk all the way back to the end of the mission I’d already played which was super fucking funny.

It was a good game, and most of the game was genuinely good, but the things that let me down were the things that I really wanted, or are really impactful (IT’S A SHOOTER RPG, WHY DOES YOUR COMBAT SUCK). And it was so short. It was a eally well polished, quality experience, and I wouldn’t have liked to see it stretched out to 50 hours because it would have ultimately done it a disservice (and the story WAS genuinely really good and well-done, the world was well-crafted, and I would have hated to see it drone on and one when it’s better than that) , but I WOULD have liked to see an hour or two extra per companion and a price reduction to 40 bucks at launch.

Theme: 10/10 Narrative: 10/10 Atmosphere: 10/10 Environments: 9/10 Shooter-gameplay: 5/10 Character creation: 7/10 (shitty physical creator 3/10, very good stat creator 8/10) RPG Dialogue/Quest Gameplay: 8/10 Companions: 4/10 Inventory management: 1/10