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genshin-impact-fics · 3 years

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Streamer!Genshin Meeting Character!(Y/n) for the First Time

Characters: Scaramouche, Childe, Albedo, Kaeya, Venti

Scaramouche:

His viewers were constantly requesting that he play this game that’s been out for a little while now that was called Genshin Impact. So he finally gave in to see what all the talk was about

Getting through the tutorial and the first part of the chapter felt so long; visually it was beautiful as the story was pretty decent so far.

It wasn’t until he got to Liyue in the archon quest that things seemed to pick up for him. The character who saved him from almost getting arrested kind of irked him; it reminded him of his one roommate who was a rich kid type.

It wasn’t till the release of the event Unreconciled Stars that once again many of his followers flooded his messages telling him he needed to play the event during his streams so they could see his reaction to meeting a new character.

Curiosity peaked after hearing a bit that the character would be an electro catalyst. Which he started to play it instead of holding off for a few days; honestly he really wasn’t expecting much

It was until he finally saw you appear; he was a bit surprised as you weren’t exactly how he pictured you yet you looked cute but in a cool way? A little more of the interaction he’s a little on the fence on how he feels about you but he was interested in where this event was going, there was something just a little bit… off

Progressing he was a little bit bummed since he thought there would have been a bit more interaction with you. That was until he was back in Mondstadt with Mona who was helping solve this mystery when pleasantly surprised that you’ve showed up. Until Mona seemed to have some sort of revelation that caused her to teleport them all out of there

Needless to say he wasn’t happy that he was taken away from seeing you. “Excuse me you bring me back,” was his initial reaction but continued to watch when it was more clear that you were there to kill him. You were that other harbinger; number six of the fatui harbingers and the moment you snapped at one of the agents, you had instantly become one of his absolute favorites.

Childe:

Though his viewers have been requesting to play the soon released game Genshin Impact he has actually been long awaiting for this game.

To celebrate the release it was going to be a long stream as he’s stocked up on water and energy drinks and snacks. He’s definitely planning to do a giveaway for his viewers (though he won’t bring it up until he finally unlocks the wishing feature)

He enjoyed the plot so far as the conflict with Dvalin has been resolved but now the ameno archon’s gnosis was stolen by some woman who appeared out of nowhere. Soon to learn about the fatui group and their eleven harbingers

Off to Liyue at long last! There’s been chatter of one character that shows up fairly early in the quest and he is very curious to encounter whoever this character was

He was finally at the part where Rex Lapis came crashing down from the sky dead and now was sneaking to get to the exit. Definitely took him a couple of times and in the process of it all he was certainly singing the whole “Don’t be suspicious, don’t be suspicious” song

Finally getting the cutscene where his character gets chased after unfortunately making sound. When things looked like it was going to turn into a fight he was surprised when hearing a new voice say “I got this one sweetie”. His mouth has dropped in pure awe of watching your character flip from above appearing out of thin air as you handled the Millelith with ease

Hearing you say follow me he had such a grin on his face; “Don’t gotta ask me twice I’ll follow you anywhere”. Of course his viewers in chat were raving and just spamming the laughing emote as the cutscene continued in a safe place

Looking at your character model admiring you as the reveal that you were a part of the harbingers but seemed to be rather friendly. “You guys I’m in love. (Y/n) better be a playable character at some point… I’ll be sad if I don’t get to travel the world with them” he says as when he finds out you're rich his initial thought was “So are they going to spoil me or do I get to spoil them? Cuz I really want it to be the second one” He hadn’t known you for long but he already wants to give you the world

Venti:

He was mainly known for his streams where he’ll sing or perform some of the instruments he enjoys and many of the games he’d play were a lot of rhythm games or one of the hilarious simulator games; so for him to pick up Genshin Impact it’s a little outside of the typical games he’ll usually play

He really loves the music so far, if the music wasn’t to his liking he’d probably drop it. Will probably take a moment to just listen to it and talk about what possible instruments used to compose it

After running around the world and looking for chests and whatever materials he saw along the way. He suddenly saw the big dragon fly over head and now making his way to the whispering woods to look for the feathered looking dragon

The cut scene started and there was the dragon on a rock but then he saw you; he doesn’t know anything about you but having seen you in some of the images that the company released he’s been interested in your character!

During your moment with your old friend had was making this face 🥺 but then that was when the snapping sound echoed causing the dragon to freak out and leave in a gust of wind. “Noooo I’m so sorry” he’s shouting at the screen when he watched the expression on your face turn sad before you seemed to just vanish

Has been bummed out since he hadn’t seen your character in a while until he saw you running with a lyre in your hand, he only fell in more love with you as he was running around with you trying to get the holy lyre from the church

Albedo:

It had been a while since more of the story was out but of course he’d play to do his commissions and gather materials he needed, but when his viewers showed him the announcement of the newest section of the map will be released; oh there was a new temperature mechanic that if it was too cold that his characters could freeze to death

Generally that would be fine… but he enjoys stopping and admiring the scenery which he easily gets distracted so he’s probably going to keep forgetting to stand by fire a lot

But the best part of all: they were introducing you, the chief alchemist of the Knights of Favonius. The one that was talked about by so many characters in their voice lines he finally was going to get a face to the name

He was already not liking that the so called ‘nun’ was insinuating that you weren’t trustworthy; the AUDACITY! Sure he hadn’t known your character long but he will defend you wholeheartedly, you have this charismatic to you that he’s just smitten

“If one day, I lose control… Destroy Mondstadt… Destroy everything… Can I rely on you to stop me?” After hearing that last line he needs a minute to take a double take to make sure he heard that correctly. “I swear if this is some sort of indication of something bad happening and I have to fight (y/n) I will not be happy,” he’s saying of course looking to his camera

Kaeya:

So many of his viewers were requesting that he play Genshin Impact as of course it would be a little different from the games he’s played in the past (Ya can’t tell me he wouldn’t have played Huniepop and doki doki literature club), but the idea of attractive characters in the game? He’s sold as the few characters he saw pictures of it seemed promising.

So he starts streaming it and all is going smoothly so far… Until it was time to learn about gliding right before Stormterror attacks and the mini flying fight happened

Once the cutscene starts he’s watching leaning back in his chair a bit until a clapping sound starts and that’s when everyone in chat was losing it and spamming the heart eyes emotes. Seeing you come into the shot he’s got a small little smirk; you were hot. He only seemed to love your character even more after hearing that you were the cavalry captain

When it came time to do your trail quest (which of course was the first one he went to do) he’s very much looking at your design and admiring your charming features. He asks his viewers if he leaves the domain if he gets to keep you or if you were one of the five stars that he’d have to wish for, spoilers don’t really bother him if he really wants to know what happens.

Seeing your summon art once he left he’s ecstatic that you will be forever in his team and once he’s able to he’s going farming so he can build you up

#genshin impact #streamer au #genshin impact fanfic #genshin kaeya #genshin venti #venti the bard #genshin scaramouche #genshin impact x reader #genshin albedo #genshin childe #tartagilla #reader impact

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townofcrosshollow · 4 years

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Twine Sugarcube 101

AKA, all you need to make a Twine game (I swear to god)

I’ve seen a lot of people go “Twine is too complicated for me :(” and give up before they’ve even started. And that makes me sad, partly because they’re giving up on a really cool hobby, and also because that’s false! It’s absolutely not too complicated for you!

I think the problem is that people look up Twine, see the documentation, and go “There’s way too much there! I can’t learn all that!” Well guess what- you shouldn’t learn all that, at least not yet. As a beginner you can skip pretty much all of this:

(Ignore <<linkappend>> too, forgot to crop that one out)

That’s a lot more manageable, right? Below the cut, I’ll let you know how to use all those remaining important things to make your story! Warning- it’s quite long! You might want to read it in sections! And while I’ll try to keep it entertaining, it’s also a coding tutorial, so... y’know. Might not be the most exciting read if you aren’t trying to learn Twine.

Welcome to below the cut!

First off, make sure your story format is set to Sugarcube 2. On the right side of the home screen (with all your stories), click format and choose the one labeled “Sugarcube 2.x.x” then open a new story with the green button! Here’s what you’ll see and what it all means:

Passages are all like individual web pages that you navigate between to play the game. When they’re linked together they’ll be shown like this:

Anything you write in a passage will just be shown on screen as plain text, no code required! But if you want to make anything more than just one passage with a bunch of text, you’ll have to link passages together with...

Links!

A link is composed of two parts- the text you see on screen, and the name of the passage you’re attaching it to. These are enclosed in [[double square brackets]], with a vertical bar | or a little arrow -> between them. If you want to show the passage name instead of alternative text, you can just put the passage name in square brackets alone! So this in the editor:

[[Visible text|Passage name]]

[[Visible text->Passage name]]

[[Passage name]]

Will look like this in the story:

Visible text

Passage name

And all of them will lead to the passage labeled “Passage name.” You don’t even need to create the passage- when Twine sees that you’ve linked to a passage that doesn’t exist, it’ll add that passage for you.

That’s all you need to know! Technically, all you need to do to make a Twine story is add those fancy links between passages. If you add your awesome writing skills, that story will be super cool!

...but you want to do some fancy shit, right? Well let me introduce you to the next step up in complexity,

Variables!

“Variable” is a fun, code-y way to say “a bit of information that can change.” You could say they... vary.

Variables are useful for keeping track of information. If the player chooses to be blonde instead of a redhead, you might want to bring that up again- but you probably don’t want to write an entirely separate story based on that choice, right? So instead you save that information as a variable.

In Twine, variables are written as words with a $ in front of them. So my hair colour variable might be “$hairColour.” If you just write the variable out without any code, Twine will print the information you put into the variable. So if $hairColour is set to “blonde,” this...

She had $hairColour hair.

Will become...

She had blonde hair.

The value in a variable can be a boolean (ie. true or false), a number, or a string (like “blonde” or “any other string of characters”). They can also be fancy stuff like arrays, but we won’t be touching on that.

You can use variables to keep track of a lot of things! For instance...

How much money the player has

Whether a player has a key

What the player’s name is

I keep mentioning the value of a variable or “setting” it, but how do you do that? Well, one way is to add it to a link. If you want a link to set hair colour to blonde, for instance, you could write [[Blonde|Next passage][$hairColour to “blonde”]]. Clicking on that link would forward the player to “Next passage” and set the value of $hairColour to “blonde.”

There is a better way of doing it, however, but we’ll need to talk about...

Macros!

A macro is a snippet of code that runs when you put a special code word inside these <<spiky boys>>. You can write your own macros with JavaScript if you’re smart, find them on the internet if you’re even more smart, or just use the ones that come built in with Sugarcube.

The ones we’ll be talking about, and the ones that are the most important for most Twine games, are <<set>>, <<if>>, and <<link>>.

<<set>>

The <<set>> macro allows you to, you guessed it, assign a value to a variable. For instance, if you want to set $hairColour to blonde... well, that’s all you need to do! It’s just:

<<set $hairColour to “blonde”>>

It’s important to remember with the <<set>> macro that strings (collections of different characters) require quotation marks around them to show the code that it isn’t a number or a true/false value. If you put quotes around a number and try to do math with that variable, you’ll get a big ol’ error message.

If you’re using numbers, you can also use JavaScript operators in place of “to.” Each one will perform a calculation on the variable if that variable is a number, and then replace the variable with the result. If you want to add $5 to the player’s $money, you could use this:

<<set $money += 5>>

The “+=“ will add the number on the right to the variable on the left. “-=“ will do the same for subtraction, “*=“ for multiplication, and “/=“ for division. Easy enough, just don’t forget the = sign after the usual symbol!

By default, the <<set>> macro will be executed as soon as the page it’s on loads. Sometimes that’s useful, but sometimes you would rather the player click a link that sets a variable- like if they choose a hair colour. You might also want the same link to set multiple variables, like subtracting money and giving them an item when they use a shop. How do we do that?

<<link>>

The <<link>> macro is also pretty simple. All it does is create a link, and when that link it pressed it executes whatever is inside of it. Here we’ll be using it with <<set>>, but you can use it with all kinds of different macros and even nest some of them to do really complicated stuff!

As an example, we want the player to click “buy key,” give the player the key, and subtract $5 from their money. Here’s how we do it:

<<link “Buy key”>>

<<set $key to true>>

<<set $money -= 5>>

<</link>>

The text the player will click is in quotation marks, and after all of the macros we need to execute we have to close off the code by adding <</link>>. Easy, right?

But other than printing them on the screen, what can you actually use those variables for? Well, for that we’ll be using...

<<if>>

The <<if>> macro is my favourite, hands down, because it’s an easy way of accomplishing hard stuff. Simply put, <<if>> will check if the thing you asked about is true, and if it is, it will do whatever you put inside of it.

Here’s a simple example:

<<if $key is true>>

[[Use the key|Progress]]

<</if>>

Whatever is inside the <<if>> macro will be executed if the “if” statement is true. In this case, the link “Use the key” will be printed on the screen only if the player has the key. This also applies to code- if you put a <<set>> macro inside, that macro would only set a variable if the player has the key.

Now here’s a more complicated example, to show everything the <<if>> macro is capable of. Here we also want to check if they’ve already opened the door, and display alternate text if they have no key and the door is locked.

<<if $key is true>>

[[Use the key|Progress]]

<<elseif $doorOpen is true>>

[[Walk through|Progress]]

<<else>>

You need to find a key.

<</if>>

I’ll break it down line by line to tell you what each thing does.

<<if $key is true>>

This line is the only necessary one- it checks whether $key has been set to true. You can check for any value that a variable can be, like a number, true/false, or a string. You can also check for other things with this macro- for instance, “isnot” will check that the variable isn’t equal to the value on the right. “gt” or “lt” will check if the variable is greater/lesser than the value on the right, and “gte” or “lte” will check if it is greater than or equal to the value.

<<elseif $doorOpen is true>>

This line allows us to check for something else within the same <<if>> macro. Once the game has checked the original <<if>> and found that it is false, it will move on to checking each <<elseif>> until it finds one that is true. You can have as many <<elseif>>s as you need, and they can check the same variable or different variables, but only the first true one will be executed! And, of course, you can’t use <<elseif>> on its own- it’s stuck to the <<if>> macro!

<<else>>

This line is the last resort- if the original <<if>> and any <<elseif>>s have all been false, the game will execute whatever is after <<else>>. Because of this, there can only be one <<else>> line within any <<if>> macro! If you don’t have an <<else>>, nothing at all will be executed, so whether you include one depends on the situation.

<</if>>

This closes off the <<if>> macro. Nothing special, but very important! Put it after the last piece of code or bit of text you want the macro to control.

Phew. That’s it! That’s all I wanted to show you!

Now, HOMEWORK!

Okay, not homework, just practice. Here are some things you can try building to practice all these tools and get comfortable with how they work!

A store system with different items for different amounts of money

A character creation screen, followed by a description of your character (with variables!)

A puzzle that requires you to choose the right answer to proceed

If you have any trouble, need to ask any questions, or if something in this tutorial wasn’t clear to you, please let me know- you can DM me or send me an ask anytime and I’m happy to answer any Twine questions you have. I hope this was of use to you, and have fun making games <3

#told you i was making a tutorial!#not crosshollow #tutorial #game dev #twine game #twine #interactive fiction #gamedev

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mexicancat-girl · 4 years

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Miraculous Ladybug Sugar Prompts

Because there’s enough hate and salt in this fandom, might as well lighten things up with some positivity.

Marinette brings in leftovers from her parent’s bakery to class so they don’t go to waste, an overflowing box of pastries and breads, before class starts. Everyone in class smiles and thanks her profusely for her kindness, the dreary Monday made a little sweeter by her. Adrien is particularly happy at snagging a croissant, and Nathaniel quietly thanks her for keeping his Kosher diet in mind.

Adrien always makes sure to say hello to all his classmates in the morning, because he knows how it feels like to be ignored and alone in the mornings in his home. He’s like a bright ball of sunshine. Everyone in class feels a little more willing to face the day with his genuine smile and goodwill to start them off.

Alya gets an excited fan running up to her, realizing she’s the runner of the Ladyblog, and asking for her autograph. The fan thanks her for being so brave and amazing, running around to show Paris what the heroes are doing. Alya recognizes how important her sacrifices mean to the people of Paris, even when she’s not a superhero.

Nino is well-known in his community as being the local DJ for hire. After DJing for someone’s birthday, the family that hired him praise him for being so talented and hardworking, such a young enterpreneur! The others at the party also praise and compliment him, and Nino’s left with a plate of leftovers, a check, and his heart full of pride and happiness that his efforts are paying off in these small ways. He might not be famous yet, or anytime soon, but people enjoying his music and his DJing is still great.

Nathaniel is working on sketches with Marc in the park, when a little girl excitedly runs up to them and asks Nathaniel if he can draw her. The girl’s father catches up and apologizes for his daughter’s rudeness. Nathaniel gives a shocked look over at a smiling Marc, before assuring that it’s fine, he can draw the man’s daughter ‘as practice’. After gifting the girl the drawing, the little girl squeals and hugs him, thanking him profusely. Nathaniel is flustered, especially when the father slips him a bill as a thank you, leaving with his daughter before the artist can stutter out a refusal. Marc giggles and congratulates him on the commission, and Nathaniel laughs helplessly, feeling happy he could make that little girl’s day brighter.

Kim has a swim meet he’s been practicing for weeks. His entire class shows up to cheer him on, and he feels happy and grateful for the support. He ends up coming in at second place, glad he placed, but internally disappointed he didn’t end up getting first. All his classmates cheer for him and assure him that he’s amazing, starting up a chant of “Kim! Kim! Kim!”. The athlete ends up smiling wide and laughing, buoeyed by his friends’ support. He realizes that he might not have gotten first, but he still accomplished something great.

Alix is doing skate tricks in the park, gathering a bit of an audience cheering her on. She smiles and waves at them, going about her laps, before doing an impressive crazy stunt. Everyone has their phones out recording her, cheering loudly and going wild. Alix grins and pants for breath as people start coming up to pat her on the back or congratulate her on the amazing move. She feels proud that people acknowledge her skills

Max and Markov are going to have a presentation with a technology company, which Max is nervous about. He keeps making calculations on how well the meeting will go versus it ending up in disaster. His friends talk him through his anxieties, trying to tell him that he doesn’t need to constantly calculate the possibilities. He just has to go into the meeting and do the best he can. He’s smart, and he knows his stuff. And if it doesn’t work out this time, there’s always next time. Max calms down, bolstered by the support of his friends, and gains a bit of hope and confidence. He takes the advice to heart.

Sabrina spends a weekend with her father doing everything she wants to do, because Roger wants to treat his daughter and catch up with her. He’s been so busy with Akuma, he feels like he hasn’t been there enough for her. So Sabrina and her father sit down to eat pizza and watch one of Sabrina’s favorite shows. The girl gushes about the show and explains the characters to her attentive listener. Her and her dad make ice cream sundaes and eat those as well. Sabrina turns her phone off for the entire weekend, so she won’t worry about anything except taking a relaxing weekend off.

Ivan is working on a new love song for Mylene. He gets the help from his friends in Kitty Section. Rose and Juleka are happy to help, and Luka is there to lend an ear as well and help calm them all down from overwhelming Ivan with nerves. They end up having a casual jam session, laughing and joking and eating snacks Anarka gives them. Ivan is glad he has such cool friends and band mates willing to help him. He’d thought he would be wasting their time with his problems, but they end up spending the time well by goofing off and bonding.

Mylene is excited to plant a new set of herbs for her herb garden. Her boyfriend Ivan is more than happy to help her with the task. And for once, her father has the day off, and helps as well. Mylene gets to spend the day with her two favorite and most important people in her life, helping her and supporting her interests and hobbies. After they’re done, the three attempt to make dinner together. Mylene keeps getting shooed off to do the easier tasks, because her father and boyfriend want her to not have to worry and do the bulk of the cooking. The food ends up looking a little messy and gets toastier than they wanted, but Mylene just laughs happily and thanks her papa and Ivan with kisses on the cheek.

Juleka is trying out new hairstyles one week. Luka helps her brush her hair and style it, the two using tons of bobby pins and looking up tutorials on their phones. She wants to try to see what looks good and what she feels good with, to branch out and be more fashionable. It’ll help her feel more comfortable as well, since she wants to try modeling. Her classmates compliment her different hairstyles, Rose gushing over Juleka the most. Getting constantly peppered in compliments makes Juleka flustered and blush, but she’s also enjoying the support and attention, happy that no matter what she looks like, people still like her.

Rose writes a song to perform for the school’s talent show. Everyone expects a cutesy love song, and are surprised when she starts a heavy rock song while screaming into the mic. Juleka and Ivan whoop and cheer for Kitty Section’s singer, and everyone realizes that Rose has more depth than her pretty in pink exterior shows. Her friends and classmates start rocking out to her song, cheering wildly when she finishes, the loudest group among the others cheering for her. Rose beams and bows, glad to see so much support for her singing.

Chloe has a hard time being nice to people or showing a soft side. So instead of using words, she starts giving people gifts instead. Is it bribery? Yeah. But getting gifts is what she’s used to, and she has tons of money, so why not use it? The class are surprised when she starts doing things like ordering catering for when they have class events, letting Sabrina borrow accessories from her, etc. She even wrinkles her nose and gifts Adrien a wheel of Camembert, telling him he needs to eat more, even if it is stinky cheese. The others in class slowly start to warm up to the queen bee.

Luka usually has a hard time asking for help. He’s used to being the older sibling, the one to take care of things. Used to taking care of the house when his mom’s out working. He’s trying to schedule school with Kitty Section practices and chores, and gets overwhelmed. Despite him trying to hide his stress, someone notices. One day, Juleka sits down with him, offering that she can be the one to shedule their practices for them, and organize their equipment. Luka already does a lot for their family and friends. Heart full and heart song singing, he hugs his little sister tightly and thanks her. It’s good to be reminded that he doesn’t have to be the one to support others, but that others can support him as well.

Kagami is still unfamiliar with social cues, especially as France’s customs are different than Japan’s. Much more familiar, might louder, than what she’s used to. Thankfully, through Adrien and Marinette’s help, Kagami gets slowly more accustomed. She goes to get ice cream with them, picks up on slang, is comfortable enough to allow for casual touches. She’s not sure if Paris will ever be her home, but with the help and support of her slowly growing list of friends, she believes that Paris will no longer feel like enemy territory. Possibly even a home away from home.

Lila sits in her room, alone, and doesn’t plan. Doesn’t scheme. Doesn’t worry about pretenses or spinning a web of lies. Her ailing grandmother calls her, voice kind, Nonna asking her if she’s read any new books or tried any new foods in France. And Lila allows herself an hour of telling her Nonna all the little things about Paris, the tastes and smells and sounds. Of the park near her school, the vendors on the street, the cafe she found and likes to sit and drink a coffee in. Nonna tells her kindly, “I’m glad you’re doing well in Paris. I’m sure your friends are helping you adjust.” Lila thanks her, giving her well-wishes, and hangs up. She wipes away the silent tears on her face. The hour of peace was nice, while it lasted.

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inspector-montoya-fox · 3 years

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so... why did Honor Among Thieves disappoint?

and i’m talking about the episode, not the game. as usual, i’m popping off on something based on my opinion, because i’m aware a lot of you like that episode. but i feel like conclusion levels aren’t SP’s forte ? let’s take a look:

Setting: if you’re gonna base an entire game on breaking into an island fortress, you better let us play in that island fortress. and that’s not the case. the setup was perfect: an evil island citadel, kinda paying homage to Clockwerk’s lair, heavily guarded by mutated animal hybrids, but inside, the entire Cooper legacy. so why did it end up being a pool of acid? and why do most preparatory missions take place around the island instead of on it? circling back to the Clockwerk level similarities, i really like the linear structure for final episodes, i think it ups the ante and the tension. the sense of choice and safety granted by optional mission order or the safehouse is stripped and with each level we get closer to the main baddie. but here, the missions feel detached because of the gang being all over the place. Sly first loses his cane and is unconscious and then the original gang disbands before entering the vault. i didn’t appreciate SP’s choice to sacrifice platforming for other modes of gameplay. i know that when game devs introduce new gameplay, they’re usually really proud of it (Arkham Knight’s over-dependence on the batmobile...) but giving us a single platforming mission in the entire final level was kinda sacrilegious, imo. i’ll touch upon the reason behind this in the next section, but this was supposed to be Sly’s level, maybe even the gang’s. but, until we get to the vault, there’s Carmelita shooting, Penelope RC, Guru brainwashing, Dimitri diving, plane fight, Murray brawling and Bentley grapple cam. i think that simply diluted the importance of this episode, and made it lacklustre. i’d rather play as Sly breaking into the island 100%. if you follow me, you probably know how i feel about TiT, but i want to reference the Feudal Japan map here: it really conveyed the sense of a palace fortress. yeah, it was a village, but throughout its circumference there were imperial structures to remind us that we were actually surrounded by the stronghold. i think it would be much more effective to have Kaine Island be some kind of military base or evil tech lab instead of a vat of acid. the game’s tutorial mission was loads of fun and very intriguing because we got to enter the island and look at its interior. that should have been maintained for the final episode. and even if SP didn’t have this vision for the island, dumping neon green liquid mass everywhere seemed lazy. if they wanted it to be desolate, they should have emulated Clockwer’s volcano exterior which was full of lava but had clear characteristics.

Themes: the reason behind the various modes of gameplay was probably to express the theme of camaraderie and show that even if this is Sly’s legacy, all thieves are honourable. everyone gets to help out in some way, and that help is elevated further when Sly, the gang’s supposedly best asset, is benched. i really admire this, i think it’s a nice concluding message to a game which focuses on teamwork and how everyone is a unique individual, despite belonging on a team. that being said, the gameplay came across as repetitive, like Penelope and the Guru’s sections, or abysmal, like the underwater bossfight. i feel like they could have showed that message in a better way, one which wouldn’t require an entire gameplay section. although it was quite “silly”, having the Panda King transport the RC car and the van was an efficient way to show how he helped out without having us endure more firework gameplay. this way, there’d be more room for, again, platforming, which is much needed in this episode. at least the theme is explored well this way, like no one would doubt that the team cares for each other now. the other major theme is, obviously, legacy. unlike the camaraderie theme, this was explicitly presented. you literally go through your dead ancestors belongings. the mission is pretty cool too, i don’t have many complaints. i like how Sly has to channel each ancestor and their signature move in order to get through the obstacles they’ve set. and when the time came to go through Conner’s section, and Sly asked him what to do because he genuinely didn’t know... i lowkey kinda felt so emotional. the theme shows how Sly has come full circle, despite his minimal character development. we start off the series by collecting Thievius Racconus entries from ancestors he only heard about when he was a child, to coursing through what they left behind for us specifically. it’s really nice, and i think it’s what prevents this episode from being a complete disaster, like it’s the highlight of the whole thing.

Plot: my main beef with this episode was Bentley and Murray not entering the vault, despite SP putting in so much some work to portray them as equals. i’ve said time and time again that i absolutely love the Bentley x Dr Matt conversation because it hinted at an older version of the gang, and that Watchmen dynamic is so powerful, especially when the predecessor reaches out to their successor in a messiah kind of way (long sentence, sorry if i’m not making any sense). point is: why would they have this conversation if Bentley and Murray ultimately ended up staying behind? i get that Bentley inherits the Thievius Raccoonus at the end, but that’s a whole different discussions. like, they should have gone into the vault to show how they are as much a part of the Cooper legacy as Sly. i’m not sure how the gameplay would be, like maybe they’d get separated and meet up at the end, but i seriously wish they had followed Sly. but anyway, they didn’t, and then the amnesia thing happens... the perfect way to describe that is ‘bittersweet’. on the one hand, the entire vault and legacy come crushing down; on the other hand, Sly gets with Carmelita. this is perhaps the most development he gets throughout the course of three games. the Coopers are obviously obsessed with maintaining traditions and the lineage (which is weird when you consider all of them dropped like flies at the sight of Clockwerk, like you’d think after a few generations the fuckers would have some sort of back-up) so it’s interesting to think that Sly is the anomaly. he doesn’t have his own cane, he’s in love with a cop, he never introduced his own move to the book, and he ultimately decided he didn’t want to upkeep the Cooper legacy but reinvent it and start anew. so yeah, like that was a nice touch but everything happens so quickly and it’s a lot to take in

i don’t want to say that Honor Among Thieves is a bad case, but i think it doesn’t live up to the build-up of the entire game. one of the reasons why Sly 2′s ending was better was because the game went out of its way to establish a specific course the events would supposedly follow by telling us ‘here are the villains’ at Rajan’s ball. and then, as a direct result, Arpeggio’s death and ClockLa’s genesis came as such a big surprise. but here, we were promised a vault so difficult to get in that we needed to recruit outcasts from all over the globe, and at the end there wasn’t a twist. that’s just literally what happened. holy hell that was blunt.

#the remnants of The Episode Project are somewhere echoing in the background #spent my entire morning thinking about how Gen 9's starters should be fairy/ dark/ normal to play on morality instead of water/ fire/ grass #and then have three legendaries and make them water/ fire/ grass #or remove starters altogether? not sure about how that would work though #lots of thoughts head empty #and they have lots of time to actually implement change (not that they necessarily will) because of the Gen 4 remakes and Legends: Arceus #Legends: Arceus doesn't look promising i'm sorry babes... with that 1 FPS !? no no absolutely not #i showed my friend the trailer and i noticed that when a ball is thrown at the Shinx the one next to it doesn't even flinch...#unconventional opinion: pokemon should react like animals in the wild? interacting with each other and their surroundings? insane right?#sly cooper #lol i'm such a clown sometimes

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senotsuri · 3 years

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Way back when, I posted an image of an OC, who fairly recently got a full name (she only had a surname back then.) So, with Eliza’s name finally figured out, I realised I hadn’t actually given my overview of the game that spawned her; Champions of Vestroia.

Time to lose my mind, I guess.

Some fore-knowledge before we get into this.

I am, by all means, a legacy bakugan fan, not a reboot fan. I’ve only seen one double episode (the become-smaller-child episode, which was cute, and Outer Demons, which has a super good premise, but the execution is. something.) By all accounts, CoV is essentially my introduction to the world of the reboot, and I’ll come to this later.

I played both the first game (Bakugan Battle Brawlers, specifically the Wii edition), and the... third game (Defenders of the Core, shortened to DOTC, also for the Wii. The second game, for anyone curious, is Battle Trainer, a DS exclusive.) This will come up later, of course, but I want to point out these two as they’re basically my control group for the quality here (not for the battles though; different battle system and all.)

I am incredibly stay-at-home. A lot of people I know irl I don’t have contact with, and most of them don’t live in my city. This is only important when it comes to the protagonist and literally no one else in the game, but I thought I’d mention it anyway.

So the game begins with the character creator. This is pretty standard stuff, honestly. My one issue with it is just-- this is probably my fashion sense speaking, but the fashion in the game is very... for lack of a better term, naff. There aren’t many options that look good, personally speaking. This is ignoring the issues where the protagonist loses their name, mid conversation, or is referred to as if I chose the male option instead of the female option. These issues are likely just oversights, by all accounts, but talk about jarring.

The first time you see your character is where 3. comes in. The protagonist, no matter what you chose (I have two save files, in case there was a difference. There isn’t), will always be a football/soccer player. Are you one of many, many people who isn’t sporty, who is trying to play as themselves? Sorry, your character is sporty, and you can’t do anything about it.

In the legacy games, this was never really a problem; your character was never seen doing anything other than brawling and interacting with other characters. Whether they played sports, or stayed indoors and wrote fanfic, the game let you decide on that for your character, by not having them do either of those things: your character only battled, or snuck around in DOTC’s case.

Once you stop playing football, you get to run to your best friends, and I guarantee you, you won’t immediately guess who they are unless you somehow already knew.

I mentioned BBB and DOTC being my control group on quality. Bringing the character creator back into this, the NPCs are laughable in quality. Any character who has the same model as you (older child. There are only two other model types: adult, and younger child) will look like a remixed version of your character. Had it not been for some characters having special eye shapes, you could practically cosplay any character in the game, because they were made the same way you made your character.

This includes your two best friends.

You could easily make the same character (minus clothes) as one of your best friend characters, without knowing it until you saw them.

While, yes, BBB and DOTC had the characters from the legacy anime in them, the fact that your best friends are nigh indistinguishable from any other character in the area, because you could easily make any of them in the character creator, isn’t... great.

Speaking of that. Characterisation is questionable, to say the least. Whatever bakugan you have in your first slot will answer to you the same as any other bakugan you have in your first slot. If you started off with Howlkor in the front of your party, and you replaced him with, say, Barbetra, Barbetra will act the exact same as Howlkor did, and it’s really something.

There’s only (?) Armoured Alliance bakugan in the game, other than Dragonoid, Pegatrix, Trox, Hydorous, Nillious, and the afforementioned Howlkor. That’s a small roster, by all accounts, so having varied dialogue depending on the bakugan would make sense.

The characterisation of the other characters is also a little funky in places. Your best friends don’t brawl, and I honestly forgot about them for a portion of the game. The tournament brawlers are practically as faceless as the villain minions, and the villains- oh the villains...

Preston. I don’t like Preston, at all. He’s a villain from the moment you see him, and the whole “try to find Preston” section in Helena Heights makes me want to punch someone. When you fight him in the Parasol HQ, his dad being the CEO, it’s fairly clear that Preston is little more than a tool for him. Sometime later, you fight Preston again, this time as the final tournament’s final battle, and he’s laughably weak compared to the other challengers. Remember, this kid fights you with Leonidas.

You’d think Leo would be good, but I’ll get into the butchering that happened to my death dragon later.

Anyhow, he fights you, assuming his dad will enjoy him defeating you. With the power of you’re the player character, you beat him, he hands all of his bakugan to you, and gives up on brawling for good. Kinda.

The next time you see him... hoo boy. In Old Town, on the way to defeat dear detestable dad, you come across Preston. He offers you help, and when player character is understandably suspicious, Preston complains that... one of his toys was taken away because you beat him, and now he wants Revenge On Dad.

I wish I was joking. His revenge, by helping you defeat his dad, isn’t because he’s obviously neglected by his dad (company taking priority over him, the CEO’s son), and then is used as a minion to try and get rid of you. It’s not out of bitter feelings because his dad doesn’t care about him, no, it’s because his dad took his ball away.

What’s worse is how player character reacts: “Oh! :) You’ve learned that bakugan aren’t just tools! :) Yes you can help me, despite the fact that you learning this sounds less than genuine and definitely not last minute! :)”

This is a level of stupidity I’ve only seen in DOTC Mira when Spectra tricks her into giving him Drago. He’s literally sulking and moping about over his ball, and then he sees the player character, immediately being manipulative so that player character can take down his dad for him.

Leonidas also forgives him, and has the same reaction as the player character.

Speaking of Leonidas! I think everyone’s been excited for Leonidas in general - we all love a shark headed death dragon, and we wanted one in the reboot for ages.

I refuse to call reboot Leonidas Leonidas. This is like the Shun Kazami debacle, but one I’m substantially more angry about.

Leonidas, in BBB, was untrusting of everything, wanted to throw down with everything in sight, had no fear of anything because “I don’t fear weak [humans]”, and literally came from hell. He eventually grew to trust you and others, to calm down and enjoy himself at his own pace, and was willing to have help from others, showing anyone around him that his origins aren’t the be all and end all about him.

Leonidas, in CoV, is immediately trusting of the first human who showed a hint of kindness, has a weakness to all attacks in the game, comes from Vestroia (not the Doom Dimension), and forgives the human who threw him away when he didn’t win the battle against you for him.

Ignoring the fact that Leonidas just doesn’t look good in CoV, I’d say he got bastardised. That’s not Leonidas, it’s just a dragon with the same name.

The main villain is the CEO of Parasol, an energy company that, assumedly, used to use solar power. Upon finding out that bakugan battles give off incredible levels of power, they turned to using bakugan, forced to battle, to generate power. These guys literally dug into someone’s house to try and get Leonidas. They’re evil.

On the topic of the battling for power generation; this has a decay effect on Vestroia, as it happens, as battling energy would usually go back into Vestroia, which would be recycled and reused.

The CEO doesn’t bend the knee to you until you break him, which is undoubtedly nice for a villain; I was honestly expecting him to give up, but he doesn’t. You beat him into a corner.

But as my introduction to the world of BP, through CoV, is lackluster at best. Obviously the game is meant for those who have seen the reboot, and don’t mind being completely disconnected from the story, because CoV is self contained, and Dan only shows up to be the tutorial giver (as a jpg, no less).

From what the game tells me about the setting; bakugan are often exploited by adults, bakugan do not like adults because of this, but can’t tell when a human child is manipulating them, unless another child removes them from that situation (the lack of agency here is somehow worse than in the legacy series, who knew).

Despite bakugan being around for 18 years in the setting, no one seems to be aware that they’re living beings, other than the main charcter, as if BP humans are equivalent to Legacy’s Vestals. I was already aware of Vestroia and Earth sharing a location in space, but the fact that drilling deep enough causes bakugan to appear on Earth seems... really weird? Schrödinger’s Bakugan Summoning Pit, but they exist on every digging site possible. Bonus points to all bakugan being able to speak, and they do speak a lot, but only to the player and whoever is around the player in a cutscene.

I’m missing a lot of things, such as battle items being the worst sometimes, I’m aware, but at this point I’m tired of rambling, so let me end off in a comparison.

CoV has, in my opinion, the same replayability levels as Pokemon Shield; I couldn’t replay either game to the end, and I wouldn’t recommend either to anyone unless they were desperate for a new game to play, and had nothing else to chose.

#Bakugan #CoV #Bakugan Champions of vestroia #I had Feelings today #I give CoV a 4/10. personally #I think me being a legacy fan doesn't help it. but I don't think any of those biases actually held the game back?#Shoutout to the one kid in Oldtown who says something about the state of the economy. and makes the player character enter a mild panic #the kid is like. 6. the player character is maybe twice their age #The kid says it with a smug face too I wish I was making this up #I think his name is Rusty? I could be wrong #Bonus: I don't think Player Character has a house #There isn't a single house you can enter. not even one labelled as yours. all you have is your hideout. which has a clothes rack??#I'm almost convinced that's exactly where they live and that's it #Extra bonus to the ventus centipod you find when picking a flower. a flower that gets a guy to quit his job on the spot without a care.#sir. sir where is your sense of responsibility. sir--#Also it's like. half one in the morning--

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sazorak · 4 years

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Every Game I Played in 2020, Ranked

2020. Boy, what a garbo year huh? Didn't actually play that many games this year all-in-all. Happens! My backlog is getting pretty big, but I just find it hard to focus on games when I could be working on something. Or put off working on something, as it may happen to be at times.

My arbitrary decision from years ago to only attach a numbered ranking to same-year releases is getting increasingly silly, especially given my propensity to wait on playing games until I’m in the right mood, but whatever. That order matters than the dumb numerical numbering anyway.

2015 | 2016 | 2017 | 2018 | 2019

Later Alligator – 2019 – Steam – ★★

The style of this game is very cute, and the jokes are funny enough. But… ok, look, I’m not one to be precious about what is or isn’t a game. But this really isn’t a game. It’s a series of disconnected, unrelated challenges clipped from Atari Free Mini Game Collection 100, wrapped in a very non-interactive adventure-game. It’s cute, it’s kind of sweet, but it’s dull. Dull dull dull. There’s a pointless, mandatory sliding block puzzle early on that infuriated me by its mere existence. Them giving the ability to skip it because “wow you’re bad at this huh”, which, while accurate, also just sold the whole point meaningless of the “““interactive experience”””.

Also: when a huge part of your game is WOW WE ANIMATED EVERYONE REALLY GOOD, text boxes that reveal word-by-word, far away from the animations that occur when said characters talk? Kind of stinks!

8. Carrion – 2020 – Steam – ★★

What Carrion does well— the whole “You’re controlling The Thing and just rippin’ people apart!” shtick— is really neat. They made that bootleg The Thing animate real-ass good.

The actual game as a whole though? Kind of garbage. Imagine a Metroidvania with zero actual exploration, where every opportunity you have to venture off the path instead results in immediate railroading with constant, utterly inexplicable one-way pipes. It’s not that it’s linear, it’s that it actively slaps you when you attempt to explore. It’s very frustrating! Add the fact that the tentacle-monster-shtick makes challenging to actually, y’know, move around and control all your bits… the only reason I finished the game was due to foreknowledge of its extreme brevity.

I think if the game were more open and less obsessed with constantly handing out upgrades, as well as having less of a focus on pure combat, I think I’d have enjoyed it more.

SD Gundam G Generation Cross Rays – 2019 – Steam – ★★

It is well documented at this point that I am both an active Gundam fan, and as well as an on-again-off-again tactical RPG aficionado. A SD Gundam game appearing on Steam with a good English translation and localization is… exciting, to say the least. That said, I have never had much context for this game series beyond the basic facts that the combat tended to be pretty well animated CG, and that it’s vaguely similar to Super Robot Wars. Turns out… it’s really different from SRW? I dunno how the rest of the series fairs, but Cross Rays is weird as hell.

For one, there’s zero tutorialization at all. None. Almost all of what I’m going to explain here is me figuring stuff out by trial and error, or by reading junk online. Gundam is insanely popular, you’d think they’d be interested in explaining how it all works, but… nope. Even Super Robot Wars has multi-level introductory bits for new folks to show them the rope these days.

So: Cross Rays is a tactical RPG where you can playthrough the storyline of various Gundam AUs. You can play through them in any order. These playthroughs are fairly literal translations of the stories. You take control of the lead mecha from those series, fight enemy mobile suits that show up in SRW-like tactical RPG combat, until all reinforcements cease. Pretty straight forward. There are occasionally mission variants like “prevent enemies from reaching X” or “prevent enemies from destroying Y”, but even those can be just reduced to “kill everything very quickly please.”

But here’s the thing: while there is a story progression, the characters in the story itself actually have no character progression. These characters and mecha are actually considered guests, despite it being ostensibly their story. Instead, you are able to field “permanent” mecha and pilots of your own choosing, which do have progressions. There is no plot justification for this or anything like it. The game does not recognize that it’s weird that during Iron-Blooded Orphans intro where nobody knows what a Gundam even is, you can have 25 Gundams show up at once and just fire lasers at everything. That’s because this game is actually about repeatedly grinding the same set of missions over and over.

Pilots are recruited by completing certain in-mission requirements. Mecha are acquired by either by getting enough kills with the progression-less “guest” mecha, combining mecha you already have gashopon-style, completing certain quests, or by leveling up mecha and then “evolving them”. This is the actual core of the game.

SD Gundam G Generation Cross Rays is basically Disgaea, it turns out? You’re grinding story missions at various difficulty levels in order to complete missions, try to recruit specific pilots, equip them with stats and levels to make them stronger, and then hitting mecha together in a sort of quasi-SMT fusion system until you get all the powerful mobile suits you desire.

The combat itself is kind of… bland? There’s a lot of systems, but they mostly seem in service of making an already easy game easier, or burning through tedium. There are four different difficulty modes, because there’s not actually that many different missions you can play through. The expectation is you’ll just work your way through every story beat while ramping the difficulty up over time to where the “guest” mecha would not be able to handle on their own. In fact, letting the story mecha act out the story beats is actually bad after a point, unless you’re still trying to get those lead mobile suits, or if you’re trying to complete some mission requirement in order to recruit Named Wing Grunt Pilot #246.

There is something to the notion of “I want to get N and N and N and N on a team, piloting weird but powerful mobile suits, and just solo every Gundam AU in a row,” but the whole premise seems kind of against purpose. Why bother recreating story beats at all, then? It’s not like the game even acknowledges any of that going on.

If the point is that I’m supposed to be, like in other grind-heavy tactical RPGs, breaking the systems to my own end in order to proceed… why not make the missions you play challenges focused towards that? The story progression literally only exists to facilitate the mission-based unlock conditions, which makes all the energy put into making them JUST LIKE THE ANIME really damn pointless.

I like tactical RPGs, I like breaking RPG systems so as to beat hard challenges (I beat all the insanely hard extra bosses in FFXII for crying out loud), I looooove Gundam. I should like this. But I don’t really have the “god, I NEED TO FILL THIS LIST” gene that some folks have… except as an excuse to continue to engage in gameplay I enjoy. The gameplay here seems in service of the collection, rather than the way around.

7. Pokemon Sword: The Isle of Armor – 2020 – ★★★

Pokemon’s first foray into actually doing DLC is… a mixed bag. As a positive, they’ve improved the Wild Area concept I liked from the main game, and even brought back buddy Pokemon walking behind you. That’s neat. On the other hand: the actual progression in it is completable in like an hour, it doesn’t scale with you, so you’re bound to be over leveled for it, and all the raid stuff, while still conceptually neat, is just as flawed as in the base game. And so, you’re just left with even more new Pokemon to RNG grind on to continue to catch-them-all. Nah, I’m good.

Astral Chain – 2019 – Switch – ★★★

Platinum knows how to make good character action games. They’ve made a bunch of them. Bayonetta, Nier: Automata, Metal Gear Rising: Revengeance. They also know how to make some kind of mediocre character action games. Transformers: Devastation, Wonderful 101, their various shovelware character action games like Korra. Astral Chain falls somewhere in the middle, I guess?

Astral Chain has all the production of their good games. It has some stylish, cool action. It has a neat core mechanical idea, in that it’s essentially a two-character action game where you control both characters at once. It has a lot of the old mechanics from some of their best games brought in; witch-time last second dodging from Bayonetta, Nier’s shooting-and-slashing combination, the Zandatsu mechanic from Metal Gear Rising, even Wonderful 101’s multi-unit shenanigans. The setting is different, and there’s some neat world flavor all in all.

But, of all games I’ve played over the past few years, Astral Chain made me more vividly angry than any other. It’s not that it’s too hard— far from it, really, I found its combat incredibly mashy. No, the problem is that it has so many shitty mechanics slathered on that it become a chore to get to the “good bits”.

Why would you put forced stealth sequences in your character action game, especially when your movement controls are not suited for it?

Why the HELL would you put platforming sections in your character action game, constantly, especially when your stupid ghost buddy can accidentally yank you off the edge, your auto-combos can just throw you off the edge, or literally anything can knock you off the edge and make you lose life?

Why would you put so many constant excuses into the world to force me use the digital sensor in the game, that also makes it miserable to walk around while using it?

WHO THE LIVING FUCK THINKS THESE SHITTY BOX BALANCING MINI-GAMES ARE FUN???

These games are supposed to encourage me to perfect everything, right? Why keep putting fucking fights you need to complete in order to get an S rank behind backtracking, or Legions I don’t have yet? That isn’t adding replayability, that’s just wasting my time. There are even in-level missions that have fail conditions that you never even know about. Surprise!!! A lot of them involve chasing after guys and catching them with your chain, which is really obnoxious to do!!!! SURPRISE!!!!!!!!!!!!!!

The story is just Bad Evangelion, straight up. Every story beat from Evangelion is here, executed worse. They also make your character have a twin just so they can have a character who can talk and feel emotions, because your boring-ass protagonist is stuck being an emotionless audience cipher. Cool!!!

Tetris Effect – 2018 – Origin – ★★★

It’s drugs Tetris. I personally don’t use, or have synesthesia for that matter. I imagine this game is better if you do. It’s an enjoyable enough experience but it feels incredibly slight for what I was expecting from it, or even compared to something like Lumines, which has tons of replayability by way of its difficulty. Tetris just isn’t that hard, unless you’re forcing yourself to do weird shit to get points. I WILL NEVER LEARN HOW TO T-SPIN. Never.

Castlevania Anniversary Collection – 2019 – Steam – ★★★

Kind of an unremarkable Castlevania collection. Neat that it has an official translation of Kid Dracula in there, but also… look, I prefer Metroidvania Castlevanias, OK?

6. Spelunky 2 – 2020 – Steam – ★★★

I’m not entirely sure why this doesn’t click for me where Spelunky 1 did. More annoying intro levels? Too many fiddly requirements for different ending-progression? Gameplay additions that just make things more annoying? Spelunky 1 was hard, but there was a kind straight-forwardness to it, even with its weird secrets, that made it much easier to grok and continue banging your head against. I’m just not having as much fun with this. Difficulty should be challenging, not a hassle.

5. Stellaris: Federations – 2020 – Steam – ★★★

This is the year that Stellaris just broke for me.

Federations itself is a good DLC; it adds some really interesting mechanics tied to various types of multi-national unions (the titular federations, as well as the Space UN), as well as the addition of unique “origins” that allow you to further specialize your gameplay. The origins in particular are a great addition that allows more specialization and roleplay.

I’m just tired of the sheer amount of busywork Stellaris forces you to do. Every DLC adds more junk you need to keep an eye on, and the fact that the AI doesn’t even bother with it (compensating with copious economy boosts in order to keep up) makes the whole thing frustrating. It’s like playing fetch with yourself; you just get tired of chasing after your own ball after a point.

I have to wonder if they’re pivoting towards a notional Stellaris 2 at this point? Might not be a bad idea for them, though it is weird with all they talked up adding more origins when Federations came out.

4. GranBlue Fantasy Versus – 2020 – Steam – ★★★★

This is probably the fighting game I got most into over the past few years. There’s just this nice, almost Street Fighter-esque ease of execution to the controls, and that Arc Systems Works 3D-as-2D style continues to just do work. I don’t give a single shit about GranBlue Fantasy (frankly, I think I’d enjoy this game more if it wasn’t attached to a property) but the characters are fun enough to play and look at.

The big problem here is two things: no crossplay, and no rollback netcode. In the span of a month, this game became a total ghost town on PC, and it doesn’t sound like PS4 faired that much better.

Ring Fit Adventure – 2019 – Switch – ★★★★

I’ve fallen on-and-off this game all year. At its heart: it works, it’s a fun exercise game. I don’t think it really feels like a “game” (in the sense that I’m not really coming to it for riveting gameplay or anything) as much as just a guided exercise experience, but… that’s fine? The in-game story is kind of flat, but funny in the fact of it existing at all. Buff Nicol Bolas and all.

XCOM 2: War of the Chosen – 2017 – Steam – ★★★★

XCOM2: War of the Chosen is a great answer to what XCOM2 struggled with. As I discussed back in 2016 (Jesus Christ), XCOM2 tried to push against player’s worst instincts by incentivizing them to keep being aggressive through a whole bunch of timers— which, kind of just weren’t fun given how much accidentally walking into an ambush could “ruin” dozens of hours of play. War of the Chosen dials that back in some intelligent ways, by instead making the encounter designs themselves, as well as much more grab-and-bail mission types, encourage players to push ahead instead. Smart!

The addition of the Chosen makes the game feel more alive, and they really do make missions harder— particularly early on. But they’ve somehow accidentally fell into the hole, where XCOM just… isn’t that hard? Early on it’s challenging, particularly with the resource restrictions and all. But they keep giving you more and more options (that aren’t especially meaningful choices) that make your team more and more powerful, without increasing the strength of the enemy as time goes on. By the five-hour mark, you basically know if you’re going to steam roll the game or not.

The amount of additional character and variety in the gameplay is great, I just wish it had a more challenging difficulty curve. Maybe make the meta-layer of when enemies show up more targeted to where players are at. If a player is doing well, ramp up the difficulty, if they’re struggling, pull it back a bit. I should always feel like I’m just barely keeping ahead with XCOM, not like I’m bored. And by the end of War of the Chosen, I was kind of getting bored, really. Oh well.

3. Animal Crossing: New Horizons – 2020 – Switch – ★★★★

This is probably the video game that I spent the most time with hours-wise this year. I’m not entirely sure why? It’s a nice evolution of New Leaf, in that the crafting, environment shaping, and general quality-of-life improvements made are quite nice. There’s clearly been some thought on how people play these games, and ways to make the experience less frustrating.

… and yet, they kept so much tedium in the game. Like yes, the schedule stretching is the point, I get it. As someone who for some reason decided not to play with the clock, I only just recently finished the fish, fossils, and insects for the museum. But there’s just so many weird, little things that just make it hard to keep coming back to it. It’s like… to what end? When I’ve unlocked everything, and basically seen the entirety of the item list at this point, and the holiday events all being the game meaningless collectathons…. Why? I’m not going to try completing the collection; the museum stuff is about my limit, really (and even the paintings I can probably pass on).

I guess even an idealized, digital representation of a quasi-domestic life has the spiritual emptiness of consumerism-for-consumerism sake. Thanks???

Hypnospace Outlaw – 2019 – Steam – ★★★★

I grew up on the internet of the early 00s. I had an AngelFire website, mostly consisting of shitty sprite webcomics and hosted Gundam pics. I remember when Google wasn’t really a thing and you would heavily rely on website compilation sites like the Anime Web Turnpike in order to find anything of value online. It was weird, it was wild. It was exciting!

The internet seemed so different back then. There was a ton of garbage online, but also, like… there was a sense of optimism to it. Folks were shitty, there was plenty of bad stuff online, but it felt so disconnected from the fabric of the physicality of real-life that it was at the same time a perfect escape.

I was young when I first got “online”, something like 12. I remember having this notion that the internet was going to be this great equalizer, that it had infinite potential to change how people behave and interact. Boy, huh.

Hypnospace Outlaw is essentially a splendid alternate universe GeoCities recreation, where you’re a volunteer moderator of a grouping of websites on HypnOS, an internet-analog you access while you are sleep. At the surface level, it’s mostly about poking around the weird alternate-historical version of the internet they created, full of kids feuding, bizarre historical divergences, and plenty of amazing bespoke weirdness. All of this is great; there’s an incredible amount of content that’s just great to poke at, listen to, and explore.

Below the surface, there’s also a rolling plotline about the ethics of this industry-owned platform, those who run it, and the way corporations handle new technology, new platforms, and emerging digital societies. There’s a late game turn that’s pretty damn affecting. And as someone who has moderator his share of internet forums in his time, trying to balance ‘do it for the community’ and what your ostensible ‘bosses’ require of you, it was kind of a weird throwback in more ways than one.

Minecraft – 2011 – PC – ★★★★★

Turns out, Minecraft is really as good still who knew??? Started playing a bunch more of it this year due to Giant Bomb deciding to do so, and yeah: still good!

2. Hades – 2020 – Steam – ★★★★★

I’ve said it before, and I’ll say it again— Supergiant makes damn good games. I’d been holding off on checking out Hades until its full release due to my tendency to burn out on games easily, and I’m glad I waited. Hades is a fantastic rogue-lite experience. The way it makes narrative progression part of the reiterative, randomized rogue-lite structure is just perfect.

It’s got all the usual Supergiant bullet points. Great characters, voice acting, narration, and music. In terms of gameplay, it’s probably their least ambitious game— playing something like a cousin to their original game, Bastion— but it’s also been polished to a mirror sheen. It just feels really damn good to play, over and over and over.

That being said, the second (final?) ending feels kind of…. Tacked on? It’s fine as a goal to go for while continuing to do the game’s relationship mechanics for additional story bits, but it ends up feeling kind of unfulfilling compared to the payoff of the first one.

1. Crusader Kings III – 2020 – Steam – ★★★★★

I never could get into Crusader Kings II. Despite my interest, the sheer mechanical heft and unintuitive interface made the game a wall that I just couldn’t get over. I’m sure if I’d dedicated myself I probably could have learned it, but… ehhhhhh.

Crusader Kings III, on the other hand, has a good tutorial, a cleaned-up UI, and a very helpful highlight and tooltip system that make it much easier to understand how to actually play the game through resources inside the game itself. And, as it turns out: I rather love this game.

I mean, conceptually it’s an easy sell, isn’t it? Historical politics is something I enjoy broadly. I liked Stellaris but wish it had more narrative, roleplaying elements. They outright say that “winning” isn’t really the point of the game. Instead, it’s more about emergent storytelling and playing with the different systems and seeing what you can do with it.

My current game has had me taking the Haesteinn dynasty from its Viking origins into England, forming a London-seated Northern Sea Empire that encompasses all of Britannia, Iceland, Holland, Norway, and Denmark. I am currently working on hegemonizing Norse religious control over enough Asatru holy sites to finally reform the religion, such that more unified feudalization can occur. To that end, my current ruler’s predecessor invaded West Francia and conquered the whole of its territory, substantially reducing the foothold of Catholicism in mainland Europe… which seems to have kicked the hornet’s nest, given the Crusade I’m going to need to contend with next time I boot up the game.

Of course, a complicating matter is that my current ruler— the Emperor of the North Sea, King of Ireland and the Danelaw, liege of the King of Denmark, was elected from the extended Haesteinn family via Thing, the Scandinavian council of his erstwhile vassals. Where the previous emperor, the one who manufactured the invasion of Francia, was quite religious and beloved for his adherence to the old ways, I discovered as I took over as his successor that he really, really is into just boning down across Europe. We’re talking constantly attempting to seduce neighboring Queens and Princesses. His vassals are not thrilled with this. They also don’t care for his propensity for torturing people to death, constantly.

I had no real say in this; attempting to stay on top of a dynasty is kind of like riding a bucking-bronco, so many things are only tenuously under your control that some weird shit can happen. This is especially true when you use the systems that make it easier to maintain the coherency of your domain. The Norse religion encouraging concubinage results in you having a lot of kids, which means there’s a lot of domain partition going on (someday, primogeniture, someday). Naturally, using Thing election reduces that, but also makes you sometimes end up having to play Emperor Stabbo-Fucko because they thought he was the best candidate at the time. Hell, I thought he was the best candidate at the time until I discovered just how many people he’d be laying with on the low. But you just have to roll with it.

The way the game forces you to play ball with character traits is great. Doing things that match with the character’s traits makes them lose stress. Doing things against their character increases stress. Too much stress can force you to make the character take up vices (which can make them suffer health or opinion maluses, as well as altering their aptitudes), or even die outright. And sometimes those vices and attitudes can be boons, given they open up opportunities for different character interactions.

Emperor Stab-and-Fuck-Kingdom is perhaps the most relaxed person alive, it turns out, because his sadism makes him really enjoy sacrificing infidels, which makes the gods happy. It also freaks the fuck out of all of his vassals, so they’re a good supplicant mix of both appreciative of my religious sentiments and also utterly terrified of my skull piles. Some especially brave vassals occasionally try to assassinate me, but my lovers keep jumping in front of the knife and saving my life mid-coitus. Iiiiiit happens! :D

The game can be incredibly fun to just watch, as it becomes emergently weird. Georgia right now is incredibly Jewish in game. I’m not sure how that happened; I guess someone made a random Jewish guy into a vassal, who somehow moved up enough in the world to make it a movement? The Byzantine princes elected a Coptic as Emperor, which over the course of the decade resulted in very accelerated balkanization as Byzantium just lost its shit. The Middle East and notional HRE haven’t really unified in a meaningful way, so I’m curious how things are going to go if/when the Mongols unify and roll-on in.

It’s one of those “Just one more thing” games that can completely devour time. I have more than a few times checked the clock mid-game to see that it’s 4AM and that I’ve totally ruined my sleep schedule in the process of play. Oooooops.

I highly recommend checking it out if you’re curious; the introductory, pre-release video series Paradox put out showing off the game does a pretty good job of showing the core gameplay loop and also how weird it can get.

#GAME OF THE YEAR #GOTY #nonfiction #thinkpiece #2020 #Crusader Kings 3 #Hades #SD Gundam #Animal Crossing

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onceuponakdrama · 4 years

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True Beauty KDrama Review

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Bingo Card For True Beauty

Synopsis: Im Joo Kyung is a high schooler who is upbeat and positive about most things, except for her appearance! She hates the idea of being seen in public without makeup, but fortunately has become a self-taught makeup expert, with a little help from a plethora of internet video tutorials. What she has learned online has transformed her life. At school, she is known as one of the prettiest girls in class, although she secretly lives in fear of her schoolmates discovering what she looks like behind the makeup. In fact, there is only one person from school who has ever seen her minus her “mask” – Lee Su Ho. He is a top-grade student with impressive basketball skills. He is also dashingly handsome, and many of his female classmates have a crush on him. However, Lee Su Ho harbors a few dark secrets from his past, and shuns attention in class. Slowly, these two individuals become drawn together and learn more about one another’s secrets.

Overall Main Plot: Rating - 8 out of 10

Personally speaking, I really like dramas that center on the conception of beauty (although it is problematic because she IS pretty and it’s seen without her makeup, but like whatever I guess). I think the main thing that drew me to this point was the fact that insecurity is a big thing in this drama and watching the main lead (Ju Kyung) progress over time and grow more confident with her bare face, along with making real friends who don’t judge her from her face alone. Since that’s the main plot that drives the story, there were a couple of points that threw me off.

High School Dramatics - maybe it’s because I’m older, but there were so many high school antics that were happening. I understand that, in Korea especially, there’s the issue of high school bullying but it was just so... dramatic. Especially with how Ju Kyung was being discovered as... ugly? I don’t even know if that’s how I would describe it. Although, I do understand that these characters are young, but the dramatics of it all in high school was more funny than annoying for me.

Trauma - one thing that I felt needed to be addressed more was the trauma, especially Suho’s because homeboy has been through a lot. What I appreciated was the representation of him having a panic attack, but that was the only time it was addressed that he’s developed a lot of psychological issues. Obviously, Ju Kyung also has psychological issues due to her insecurity and her mother (until the end-ish when her mom found out that Ju Kyung was getting bullied, but again, a WHOLE different story). I just felt like there was less closure about these things and I really hoped that Suho would get the help he needed after everything he’s been through.

Characters: Rating - 9 out of 10

↣ Lim Ju Kyung [played Moon Gayoung] - wowowowow. I absolutely loved her character and her character development. She was the stereotypical female lead, but she’s absolutely precious and watching her grow as a person was so satisfying. I felt for her so much because she’s gone through so much and that’s impacted the way she’s viewed life and I just wanted her to be happy. I ultimately give her a lot of credit for trying to move on from Suho though and knowing where she wants to take her life (especially after dealing with all the heartbreak). The only real problem I had with her was her center on romance even though she couldn’t even get her grades up, but also like... it’s a romance drama, what was I supposed to expect? But she did have her own interests (make-up, horror comics, etc.) and her own personality to things. Overall, I thought she’s a great female lead and she’s absolutely precious.

↣ Lee Suho [played by Cha Eunwoo] - okay, he’s also precious. It took a bit for me to warm up to him, but after seeing what he’s been through, I get why he would keep his distance from others. What I didn’t like was the fact that he broke up with her and then comes out of nowhere, which then he proceeds to take a longer time to apologize to her for even though he could have just... texted her, called her, something. He acted like nothing happened when he was the one who broke up with her (for a good reason, but it was still stupid to have a break up sequence that felt unnecessary). Anyways, I did like his development and how he came to mend things with Seojoon and it didn’t ruin their friendship. I also liked how he grew to have an interest towards creating music, especially after what happened with Seyeon. There was also his relationship with his father, but it was still unclear as to what happened after his mother died. But yeah, he’s also another precious bean and Suho and Ju Kyung are a great couple.

↣ Han Seojoon [played by Hwang Inyup] - second lead syndrome hit real hard here. His character is so great, probably because he’s the soft bad boy that everyone dreams of having. I didn’t like him at first because he pushed all his anger and frustration onto Suho and tried to use Ju Kyung as a way to hurt Suho. However, he grew to understand what actually happened and also, the way he cares for his family is super cute. His friend group is also super cute because they look like a bunch of gangsters when they’re just a bunch of idiots.Again, I noted this with Suho, but when the two made up and became friends again, even though they liked the same girl... Love, love, love. Obviously, he’s also super handsome and had so many chaotic, but iconic, scenes. His character is just so great. He was casted so well and your heart hurts when you look at him.

↣ Kang Soojin [played by Park Yoona] - okay, Soojin [episodes 1 to 9] is the best. She was so iconic and such a girl crush. After that? So far downhill that she doesn’t get recovered until the last episode. The writers did her so dirty and that’s a hill I will die on. Lowkey, Soojin and Ju Kyung should’ve gotten together but they didn’t because this is not a girl love drama and that was a major missed opportunity. Anyways, while I hated her as a second female lead, I understood her motives, in the sense of the household she was growing up in. This was important because of her character development when she apologized to Ju Kyung and realized her mistakes. It also wasn’t just out of the blue; it was a slow progression that built up to the climax and it was absolutely heartbreaking to watch because Ju Kyung and Soojin lost a best friend. But yeah, the writers did her dirty and I was crying on the inside when they made her a second female lead, when they could’ve just made Ju Kyung fall for her instead.

Personal Notes: A major strength of this drama is the character development, for all of them. Watching them grow from their problems was so satisfying and the only reason it got docked off a point is the fact that the writers did Kang Soojin so goddamned dirty and her redemption was saved for episode 16 and I will always be angry about it. They also made Seojoon to be a more sad character who didn’t get the girl, but notes about the drama compared to the webtoon will be made in a later section.

Romance: Rating - 9 out of 10

I actually really liked the main couple. It was clear there was chemistry and, while I didn’t really like Suho trying to blackmail her, it was also kind of sweet because he just wanted to spend more time with her and she was just.... so dense. While Seojoon provided hard SLS, I liked Suho with Ju Kyung better because he’s seen her at a low point and so has she and they both try to support each other. They were really cute together too, especially since they spent a lot of time at the comic shop because of their aligned interest of horror comics and then they would go to the movies too to watch, even though Suho is scared. I think my favorite scene is when he took her to see Selena and she visibly brightened up. The only reason it isn’t 10 out of 10 is the one scene where Suho was jealous about Seojoon and was super possessive, but he also apologized and admitted his mistake. There was that and also the break-up, which, again, wasn’t really necessary but for the sake of the drama, it had to be there.

Second Plot/B-Plot and Secondary Characters: Rating - 10 out of 10

Okay, first things first: Hee Kyung and Mr. Han are the cutest couple in this drama. I looked forward to seeing their romance progress more compared the main couple, primarily because they were not the standard couple we see in kdramas. The traditional gender roles were switched with Hee Kyung pursuing Mr. Han and I ate it all up because they are just super cute. Anyways, I think the secondary characters really did a great job of amping up the main plot and the romance, which is the whole point of these characters. I really didn’t like the mom, but it did transition to a better mother-daughter relationship (even though it happened near towards the end). The villainous characters got what was coming to them; the actors made me hate their characters really easily and it was amazing how upset I got at the bullies and when they got beat up, I was laughing on the floor. Again, the secondary characters really complemented the main characters and overall plot line.

Additional Notes:

Comparisons to the Webtoon - they really did manage to make this a kdrama. If you’re a fan of the webtoon, there are clear differences that make this a stereotypical kdrama, but (personally) I think it worked fairly well. This also meant major changes to a lot of what happened in the webtoon, so it felt so... interesting. The drama and the webtoon each have their strong points, so, while they stem from the same plot line, it was interesting to see the different routes it took.

Bromance - Jesus Christ, I LOVED the Suho x Seojoon bromance. It was so nice to see their friendship mended and how they didn’t let romance break their bond. A lot of people talk about the bromance in this drama and it’s actually worth it. There wasn’t just the bromance between those two, but also Seojoon’s friend group, there was also Taejoon and Suho, and there was also Ju Kyung’s younger brother and Suho. It was all so great.

The Conception of Beauty - okay, this is a major problem in a lot of Korean beauty standards, but like.... Ju Kyung isn’t ugly. I think a lot of people can agree that the whole, pimple face + glasses combo is kind of old. Compared to My ID is Gangnam Beauty (completely different dramas, but still centered on the theme of conceptualized beauty), they didn’t show the face of the “ugly” main character and I really appreciated that because it meant that the main lead perceived it as ugly rather than putting the face of “ugliness” on her. But, I really do like that the drama itself is centered on self-confidence of her bare-face, but... everyone was making it seem like she was really ugly, but like.... come on.

Overall Rating: 8 out of 10

Recommended?

↣ Yes: it’s a youth/school drama (most of the time), so if you’re into that, I would recommend it. Again, one of the strengths of the drama is character development and growth. Another reason to recommend this drama is that the main female lead is very lovable and you always root for her and for things to go well for her because of all the shit she’s been through. There’s also the whole concept of self-confidence, which she gains, and it’s an overall satisfying drama to watch.

↣ No: if you’re a webtoon fan, I wouldn’t necessarily recommend it because it definitely strays from the original idea and that’s a bit off-putting to some people. This drama also has hard SLS, so if you don’t wanna have your heart broken, not recommended. They also talk about suicide and if the topic is triggering, you shouldn’t watch it. There’s also the annoying beauty standard that makes the main lead ugly and, if you’re the type to be annoyed at that, this isn’t a drama for you.

#true beauty #kdrama review #kdrama recs #spoilers #mine

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nicolewrites · 4 years

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We Stand, Fate-Tested: Final Thoughts

You thought you’d seen the last of that title? Never! I may have been distracted by Sylvgrid Week for a while, but I finally got this cleaned up enough to post.

So, to those of you who haven’t read We Stand, Fate-Tested, this post is going to spoil practically the entire fic, so do yourself a favour and read the fic HERE. This post is also very, very long, so I apologize if you read the whole thing aha.

Anyways, continuing on, I wrote over 70 000 words for this story and this was after two solid weeks of story editing to get the fic not to come across as incredibly clunky. I want to use this post to discuss my favourite and least favourite things about writing the story and to talk about some of the things I had planned that never made it into the final draft or things that were changed to fit the flow of the story better.

Let’s start with my favourite and least favourite things!

Favourite Chapter: VII - What’s A Little Fear (I loved this chapter. It was a blast to write, creating the duality of the attacks as well as finally tapping into the mystery genre I stubbornly tagged this fic with. It’s also one of my favourites to reread). Favourite Present Scene: Either Byleth/Claude in the coffeeshop (Chapter III), the car crash scene (Chapter VII) or the Byleth/Claude scene in the bathroom (Chapter VIII) Favourite Past Scene: Either Byleth/Dimitri’s first reunion (Chapter II), the Sreng fight scene (Chapter IX), or Dimitri’s death scene (Chapter X) Favourite Character to write: Past!Dimitri, Present!Edelgard, Present!Claude (probably no surprises there haha) Favourite Plot Detail: Byleth having a flashback in the tomb and then going to the lab and having that scene play out later, in Chapter XI, in the past.

Least Favourite Chapter: XI - No Rest For the Weary (Don’t get me wrong, I like how it turned out. I just had so many things that were scrapped for this part and something about it still doesn’t sit with me as well as I wanted it to. It was hard to write a past section without the anchor for the past: Dimitri) Least Favourite Present Scene: Probably the lab scene with Byleth (Chapter I) where she looks up Claude because it was written so early and it still feels a bit info-dump-esque to me. Least Favourite Past Scene: Hands down Byleth’s final scene (Chapter XI). I do feel like it came out alright, but I really struggled with this scene. It was tricky to highlight everything I needed to in that scene without removing all the development Byleth had gone through. Least Favourite Character to write: Many of the undergraduates in the present. It’s not that I didn’t like them, I was just frustrated because the future was focused so heavily on a few key characters that none of the background characters had the voices I wanted to give them. Least Favourite Plot Detail: The Scorch and the Riots. I specifically crafted them so that there would be a plausible excuse for the physical records to have been destroyed and yet I feel like I relied too much on them in some cases.

Now let me talk about plot details that almost appeared!

Starting with some general facts:

The Golden Deer were supposed to be MUCH bigger characters in the present. I had programs, relationships, interactions and plot points hinged on their interactions with Byleth and Claude, but I ended up scrapping a lot of it when I moved forward with the undergrad dig team plot and decided to bring in Edelgard and Dimitri more.

They were supposed to go to Shambhala. Instead of at Garreg Mach, the final attack was actually supposed to take place while at a dig site in Shambhala. After research into archaeology more as a whole, I realized this didn’t fit, so I removed it.

I considered having Jeralt be alive in the present.

I was going to write more dreams for Byleth and actually have them as independent scenes.

Byleth was supposed to make two separate trips to Almyra in the past.

The fic was originally only 10 chapters and would have ended abruptly in the past.

Rhea was supposed to make an appearance in the present.

Chapter Specifics:

Chapter I

Ironically, the only real trick with this is I considered renaming the university, but ended up leaving it.

This chapter was actually mostly written before much of the plot was hammered out so it can read a tiny bit inconsistently to me now, but there’s not much I left out of it.

Chapter II

Initially, I had all three of the reincarnated lords in Byleth’s tutorial, but then I remember that that never happens in university courses so I fixed it. I hadn’t planned on introducing the Guardian’s Sword here, but I did accidentally and then just rolled with it.

Byleth and Dimitri’s Chapter IV argument was originally in this chapter. They were also originally married in between Chapters I and II, something which changed to between III and IV once I changed this chapter.

Chapter III

Dimitri was supposed to tell Byleth that he was having odd dreams before he found out about the dig project in the present. This chapter also would have had a vivid dream scene before Claude and Byleth’s tea conversation lasted 3000 words.

Claude was supposed to be a cause of strife in Byleth and Dimitri’s relationship in the past, but then I decided that was stupid and changed him to play the voice of reason. Additionally, this chapter changed a lot as a result of the moving of the wedding.

Chapter IV

This chapter was, again, supposed to feature a Byleth-brand dream, but I changed it to the scene in her office with Claude to set up the Almyra trip. This was the moment in the story where I had decided to make Claude the Almyran Prince. Before this, he was just an ambassador’s son.

Claude in the past was supposed to give a wedding gift to Byleth and Dimitri, but this was changed when I had him attend the wedding. Byleth and Dimitri were supposed to argue about Byleth and Claude’s friendship, but as I already said, I didn’t want Claude to be a source of jealousy.

Chapter V

This chapter actually stuck fairly close to the points of the outline I made. The only point I struggled with was having the tapestries be mostly ruined or preserved and I eventually landed on preserved.

The council meeting was an addendum to the chapter written after the heavier scene at the end. I added it to give a bit more background to Byleth being in Fhirdiad and the way that her relationship with Seteth and their friends would become a bit more strained in the future.

Chapter VI

This chapter was supposed to highlight the argument alluded to in the chapter between Dimitri, Edelgard, and Claude. There was supposed to be a little bit about how the tomb seemed to be dragging up animosity that didn’t previously exist. I removed it because I wanted more space to discuss the dream and the scene with the TV.

The past section was supposed to feature more political drama. There was supposed to be a cabinet meeting that showed the progress of divorcing church and state and siphoning the power away from the nobility, but I came up with the idea for the Rhea scene which I ended up liking a lot more, so I rewrote the chapter, almost completely removing the politics.

Chapter VII

This chapter actually almost exactly follows its outline. The four go to Fhirdiad and deal with their pursuers and end in a car crash.

The only change in the past was that it originally ended with the infirmary scene from chapter 8, but I changed it to create a stronger parallel between the past and the present by ending both on relative cliffhangers.

Chapter VIII

The present section of this chapter was actually one of the first scenes I ever outlined for this fic. Naturally, there wasn’t much that was left out. I scrapped a few interactions with people including Dorothea, Sylvain, and Mercedes in order to give Byleth and Claude more time to chat in the bathroom. Basically, the point of the party was to really highlight the fact that while reincarnation had occurred, everyone had ended up in different situations with different people.

Originally, Byleth was supposed to have recovered well from the assassination attempt and it was supposed to be Dimitri who took longer to heal. Because I was already leaning into the dying-goddess idea though, I swapped them to make it more impactful when Byleth still tries to go against all of her advisors to get Claude to take her to the Slithers.

Chapter IX

Byleth, here, was only supposed to begin to suspect Flayn. I considered having her not even speak to Seteth and Flayn, but I changed that because I think I wanted her to know at this point. However, it was only when I began writing the chapter that I realized that Seteth would know the Archbishop’s full name, so that tidbit was actually the very last thing added to this chapter.

I wrote the past section of this chapter first. It was fairly cut and copy from the outline so not much was left out here, just one small scene where Byleth and Dimitri saw Claude off when they were still mad at each other and they would have been awkward.

Chapter X

Originally, Leonie was going to be the one to find Claude and Byleth in the alley, but I liked Edelgard and Hubert for it better. This is where Rhea would have appeared in the Modern section. She would have come looking for Seteth before the send-off party started and would have had a crypt conversation with Byleth, but instead, I changed her simply to be the mysterious benefactor that funded the original expedition and removed her physical appearance for flow purposes.

The only big change seen in the past section here, was that Claude and Byleth were supposed to bring Dimitri outside of Shambhala before he died and he would have died seeing the rising or setting sun. When I wrote the cave-in this was changed to match that.

Chapter XI

Since Byleth was originally supposed to have had a different conversation with Seteth in chapter 9, when the four of them were running for the gunman, they would have revealed their ancestry and connections to the past lords which would have been the point that Byleth actually connected all the dots.

Byleth and Claude were supposed to be en route to Almyra after dissolving the monarchy when she started to die, causing him to take her back. I changed this because it didn’t fit with the futility of so many of the actions that Byleth had taken after Dimitri’s passing. I also just really wanted her to have the ‘I never intended to return to the Monastery’ and the ‘I hadn’t planned on living this long’ lines.

Chapter XII

Claude was supposed to be with Dimitri and Edelgard when they said goodbye. There was supposed to be strange tension between them, but it didn’t fit with their interactions inside the tomb, so I just sent him back to Almyra to coordinate his abdication instead. Originally, there would have been a shootout in the tomb as well, resulting in Byleth actually killing the gunman, but instead I used their escape to give Seteth and Flayn a reason to disappear. This is one of the points I was most tentative about changing and is one of my least favourite things that I changed in the whole story.

The past section was originally just supposed to have been Claude admiring his commissioned tapestries, but I couldn’t resist adding a Hilda in because I love her.

That’s pretty much it for all the plot details and changes. And that’s pretty much everything I have to say about the story. This fic was a labour of absolute love and it has given me an incredible appreciation for the writers in fandoms who can continue stories into the tens of chapters because I found my plot tied up in a neat little bow at 12 chapters.

If you have any more questions, please shoot them to me on Tumblr, in the AO3 comments, or even on Twitter (@nicolewrites37) and I’ll be happy to answer them.

Thank you so much to everyone who read, commented, and left kudos on the fic because knowing that there were people waiting to see more was the reason I was able to continue writing and finish the fic. I hope you enjoyed the story overall and that you might find something else you like amidst my other Three Houses works.

- Nicole

#the writing section #we stand fate tested #fic: we stand fate-tested #fe3h #fire emblem three houses #author's thoughts #claudeleth #dimileth #tumblr #ao3 #long fic

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fuse2dx · 4 years

Text

July ‘20

Final Fantasy 7: Remake

Straight to it: this game is gorgeous. It’s the closest thing to playing a CG movie that I think I’ve ever experienced. Heck, it sounds great too - not that everything is perfect, but it’s clear that the sound team have been given a pretty wide remit to try new, weird, and wonderful ideas out with the original’s motifs and themes - which I have a lot of time for. Split out almost any given moment from its 40-hour runtime, and it’s really something to behold.

Where it all gets a bit more mixed for me is in how much it’s weighed down by its own ambitions, and the trappings of AAA game design. Intentionally slow walk-and-talk sections, shimmying through narrow gaps, climbing ladders, and balancing across long beams all do their best to stifle your momentum and mask the load times for the grand scenes they usher in. Rather than the varied and open world of the FF7 you remember, this is an exhaustive deep dive into the tiniest part of that world, creating new stories out of it, but ultimately prompting a constant re-treading of environments in the process, ones that are already pretty repetitive in their look and feel. That big wide world you want to explore is tantalisingly out of reach, instead holding you to a linear run of cut scenes and set piece battles with the occasional hub for side quests. Having the entire game voiced means that for every scene that’s enhanced with by a particularly powerful performance, there’s a multitude more that are bogged down in daft, over-egged nonsense.

The change from traditional JRPG battles to more action-based combat is a bit more subjective; characters control in pleasingly different ways, there’s clearly some depth to how party and materia configurations influence your outcomes, and it certainly helps demonstrate this heightened level of visual flair - but it’s got plenty of room for improvement. The camera clings far too closely to your character, and when locked on, really struggles to keep up in a lot of instances. While some enemy attacks are telegraphed, they’re easily missed from as a result of these failings. Sufficiently rough beat-downs can prove difficult to recover from too, in light of its rather restrictive re-imagining of what the ATB system should mean in a real-time situation.

It all feels very elaborate and self-celebratory, and not surprisingly so given how rabid the demand for its existence was in the first place. I’m all for a bit of change, and while I enjoyed a lot of it, so much of it hangs on what comes next - and I can’t help but worry that this project as a whole is an over-commitment.

Streets of Rage 4

Given the first three games in the series released within a 3 year window, and it’s now been over 25 years since, it’s perhaps not the most surprising revelation to find this newest title heralds the biggest changes that the series has seen to date. Love it or hate it, there’s a very distinct, very modern visual style, and no amount of ‘Retro CRT’ filter is going to bring back your beloved pixels as you remember them. That’s not to say the visuals won’t create a similar impression on you, but as it happens, I’ve seen enough to know there’s a pretty broad church of opinion on what a modern Streets of Rage game should look like. It’s a similar tale with the audio; the original games are often held up as the pinnacle of what was possible with the Megadrive’s sound chip, and while plenty of inspiration has been taken from these cuts, there’s a much wider range of instrumentation and sequencing complexity that’s become possible with modern sound processing. Some tracks stand out, whereas others blend more into the background, but in general it fits well. Is it as bleeding-edge cool as the originals sounded at the time? Perhaps not. Does it still capture that Streets of Rage magic? It’s a damn good shot.

Aesthetics aside, characters stomp about with good weight, feel delightfully unique in how they are best played, and both giving and taking hits feels really chunky and convincing. Moves chain into one another nicely, and juggling works well; there’s plenty of opportunity to showboat with good usage of situational specials and environmental features without too much opportunity for thing to become silly. There’s a nice range of stages, and a complete run poses a well balanced challenge. A good range of modes and features make this stand out as a generous blend of old and new, and in total you end up with a pretty great product overall. I like it a lot.

Bloodstained: Curse of the Moon 2

Supposedly put together on a pretty tight schedule, it’s no surprise that we found out about this only about a month before it launched. Unsurprising too, that it’s not much evolved from the first title. Zangetsu returns as lead, but supported by a new cast of companions, and eventually, in worst-kept-secret style, the rest of the first game’s cast too (they’re in the trailer, for heaven’s sake). The game’s eight levels are set out with multiple paths, designed intentionally to let different groups of these characters use their unique traversal powers to steer you down different routes - and while preferable to a totally linear setup, that’s not to say it changes things up enough to not get a little tiresome, either. Bosses do have harder variations in some modes but are not always the most fun to re-visit in the first place, given they vary wildly in challenge stakes, and are often best handled by experimenting with different character’s sub weapons until you find the one that’s exploitable. Chances are, turning on Hachi’s invincibility and just tanking your way through everything will do just that.

Moment to moment things are still fun enough - particularly when you get in the spirit of things and experiment with different characters, rather than brute forcing your way through every scenario with the same one. The soundtrack isn’t quite as memorable, but is still plenty enjoyable. Despite the feeling that little’s new, it’s still a worthy release, and a good way to keep Bloodstained relevant in lieu of what’s likely to be a much longer development cycle before we see a proper follow-up to Ritual of the Night.

Mother Russia Bleeds

A scrolling brawler it may be, but after the gloss Streets of Rage 4, it’s clear the two couldn’t be any further out of step tonally. The plot sits on top of an alt-1980s Russia, and revolves around a group of Romani street fighters out for revenge after being taken forcibly from their camp to be used as guinea pigs for a highly addictive, hallucinogenic drug... that just happens to grant them super-human strength. Smooth and sanitised this is not; the pixels are out in full force, and gritty, needle-fuelled ultra-violent thuggery is the order of the day. The tutorial running you through its range of moves is a succinct highlighting of this, where the first time you kneel in front of and pummel a blood-soaked opponent to death is handled in a way that’s genuinely quite striking, and yet is but is utterly inconsequential as you move on to fight your next. Weapons just crank this up tenfold, with chainsaws, grenades, rifles and the like having results akin to their real-world equivalents - with environments often left as a bloody mess of corpses, rather than a pretty picture with the aftermath faded from view.

The action is fast, almost frantic at first impression, but after some time adjusting, it begins to feel much more by intention, and manageable too. There’s a few options to mix up your combo endings - like pushing people back, or launching for a few more hits, but make no mistake that you’ll be focused more on crowd control by numbers rather than finesse. There’s a few neat ideas coming out of some of the game’s set pieces, and bosses are typically less dependent on your typical straight-up fighting skill, instead relying on your ability to determine the mechanical gimmicks needed to beat them - and this leads to them breaking things up nicely. The lack of one-on-one finesse might have been an initial detractor, but as the battles became bigger, and the stages became more interesting, I felt like the game came far more into its own. The game’s hard cocktail of downtrodden types pushed through a backdrop of sex, drugs, and violence feels a little too try-hard in places - and one does wonder how closely the team involved had been looking at Devolver’s other output before pursuing the theme - but it doesn’t take too much away from what’s actually a pretty refreshing example of this type of game.

#final fantasy 7 remake #streets of rage 4 #bloodstained curse of the moon 2 #mother russia bleeds

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queenofcats17 · 5 years

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Suppose Cuphead was the horror game instead of Bendy and the Ink Machine. What do you think BATIM would be like?

Okay, I got way too into this idea. So I’m going to write out what I think a Cuphead style BATIM would be like. I want to say that it would be sort of like Cuphead, but there aren’t enough bosses for it to be only a boss rush game. So I imagine it would be a mix of fighting bosses and running errands for people you find throughout the game.

The game would take place both in the studio and probably the area around it.

Anyway, here’s the plot I’d do.

Bendy and Boris are tasked with looking after the Ink Machine by their father Henry while he goes to take care of something. But Bendy and Boris decide to goof off, allowing Joey Drew to sneak in and steal the Ink Machine for himself! Henry kicked Joey out of the studio and now Joey wants to take over the studio for himself once more. And once he’s taken over the studio, he’s going to set his sights on the world!

When Henry returns from whatever it is he was doing, he scolds the boys for neglecting their duties, but he also gives them some weapons and magic in order to combat Joey and whoever he’s roped into helping him. The tutorial area would be fighting some Searchers in order to get the player used to the controls and fighting style.

Bendy’s fighting isn’t very hands-on. He’ll throw ink orbs or pull things out from hammerspace to throw at the enemy. His strongest attack is summoning a giant wave of ink to crash onto whoever he’s fighting. He’s sort of a magic type fighter. He also has a move where he puts on a tutu and gets the enemy to dance along with him, briefly stunning them.

Boris is the brute force type. He fights with his fists, a pipe, or occasionally a picnic basket. He has a special attack where he can pull out a clarinet and summon a bunch of sheep to stampede the enemy.

Once Bendy and Boris are ready, they set out for the studio. Only to find it locked. In order to get in, they need to find the janitor, Wally Franks. He can be found looking in the bushes near the studio. When asked by Bendy and Boris if he can let them in, he explains that he’d like to but he lost his keys. He promises to let them in if they can help him find his keys. The keys can be found with Thomas Connor at his repair shop. He says Wally left them at the shop the last time he dropped by and says Wally needs a better keyring.

Upon giving the keys to Wally, he lets Bendy and Boris into the studio. They look around for a bit before discovering Joey with the Ink Machine. He gives the usual villain monologue before turning on the machine and sending a deformed version of Bendy on the boys. They try to fight it, but they quickly lose and chased out of the studio.

Ink pours out from the studio, covering the island. From here on out, the monsters from the studio are in the outside world. I think the Searchers could be like roaming enemies. You just have to dispatch them when you see them or they’ll keep following you, doing minimal damage. If you leave them long enough they can kill you.

Bendy and Boris run back to Henry in tears. Henry tells them that they now need to repair the damage Joey’s ink has done to the outside world before they can take him down. To repair the damage, a boss has to be defeated in each area of the map. Each area has a boss infused with a very special ink heart that must be destroyed for the damage to be undone.

The first area they go to is the music hall, which they are called to by a frantic Sammy Lawrence. He explains over the phone that he, Susie, Alice, and Allison were practicing for an upcoming concert when the ink flooded the music hall. He and Allison were able to avoid it for the most part, but Alice and Susie got caught in it. Somehow they’ve fused into a twisted version of Alice and Sammy’s stuck in a closet while Allison fights the Searchers that have popped up.

Allison fights with the player once they reach the music hall and her help is optional in the fight against Malice.

I’m not sure what the fight against Malice would be comparable to. She’d definitely have a lot of music-based attacks, I know that for sure. She’d probably also send deformed Butcher Gang Clones at the player and throw ink hearts at them. Once defeated, Alice and Susie will separate and the ink will disappear. Susie will cry and apologize to Allison and Sammy while Alice chews out Bendy and Boris for causing this whole mess.

Alice now becomes a possible assist for future battles in the game. She can fly and her attacks involve a lot of light beam attacks and summoning little cherubs to attack. She can also heal her allies and charm the enemies with her singing.

After leaving the music hall, Bendy and Boris are found by a panicked Grant. He tells the boys that he was with Shawn, talking about possible changes to the plush designs, when the ink appeared and the plushes came to life. Shawn’s hiding from them at the moment, but Grant’s not sure how long he can last. Bendy and Boris head to the toy factory to save Shawn. The enemies in this section are the plushes, not the Searchers. They’re smaller and easier to kill, but they tend to come in large groups.

The boss in this section is a giant Bendy plush that controls other smaller plushes. Its attacks involve stomping around, sending waves of plushes, and making parts of the factory fall on Boris and Bendy. Once the giant plush is dealt with, the other smaller ones stop attacking and Shawn is able to come out and thank them. Maybe he gives them an item to protect them or raise their health.

After defeating the giant plush, Bendy and Boris exit the toy factory to discover Edgar crying on the ground. After Bendy and Boris calm him down, he explains that he and the rest of the gang were bothering Norman over at the theater earlier when the whole place flooded. Norman turned into this weird projector headed monster and started chasing them around. Barley and Charley told him to go get help. Bendy and Boris must go to the flooded theater in order to save the other members of the Butcher Gang. Edgar serves as a helpful NPC, reaching levers and buttons for the player to allow them to progress through the theater.

Fighting the Projectionist is a bit more of a stealth battle than the other two battles. Bendy and Boris have to lure him into certain areas in order to drop anvils or stage lights on him. They also have to keep him away from Barley and Charley in order to allow them to escape. Once the Butcher Gang are out of harm’s way, the Projectionist can truly be taken out. I definitely think finishing him should involve some kind of cartoon gag. Once returned to normal, Norman should give Bendy and Boris some kind of power-up.

The Butcher Gang also become a possible assist after this. They operate as one unit, but each have something special that only they can do. Barley has a harpoon gun that can be used to pull enemies closer to attack better or just serve as a long-distance attack. Edgar can wrap the enemy in a spiderweb, briefly detaining them. Charley has something involving explosive and/or moonshine. I’m not sure. Maybe Molotov cocktails?

Lacie approaches Bendy and Boris after they leave the theater. She says she hasn’t heard from Bertram in a little bit and with all the ink about she’s worried something might have happened to him. She broke her leg, so she can’t really help him if he is in trouble. Bendy and Boris head to the amusement park area to find it overrun with Searchers and Bertram fused to his ride.

The first thing I thought of when thinking about a Cuphead style battle against Bertram was Beppi the Clown’s battle. So sort of like that. I think there would also be a component of getting Bertram to hit something with his cars so it bounces back at him. Also possibly incorporating the other carnival games in somehow. Like using the shooting game or bottle toss to incapacitate or distract him. Once defeated, Bertram will grudgingly apologize, and upon being told Lacie sent them he’ll go to find her.

There’ll probably be side quests from past bosses you’ve defeated where they’ll ask you to get something for them or fighting something. Tom would definitely ask you to fight some robots of his. I imagine the Butcher Gang would have a bunch of bootlegging quests.

The final battle will be against Joey at the studio. You’ll have to fight through a few waves of Searchers, a Frankenstein version of Boris, and the twisted Ink Demon before you get to Joey. First, you’ll need to defeat his human form. He’ll definitely also be magic-based, using magic to attack. He’ll conjure smaller version of past bosses and send spells your way as well as controlling the ink around you.

After defeating his human form, he’ll fuse with the machine and the Ink Demon. The arena will fill up with ink, which forces you to hop from box to box in order to stay out of the ink. There are probably specific areas of the machine that you’ll need to attack in order to weaken Joey enough to separate him from the machine. You’ll need to call on all your assists in order to deal the final blow and defeat Joey for good.

With Joey defeated, Henry praises Bendy and Boris for fixing everything that happened. Joey is carted off to jail or something and everyone else has a picnic.

This was a really cool idea. I don’t know a lot about video games, but I would personally love to see this side to the characters and game. Maybe I’ll write it myself. Probably not…But I might draw it?

#bendy and the ink machine #batim au #story idea #this would be a fun game #it was fun to write at the very least #ask #batim genre swap

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townofcrosshollow · 3 years

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Twine Sugarcube 102: Stats n’ Stuff

Finally, the long awaited sequel to my original Twine tutorial! Long awaited by me, because I’ve been meaning to make another one but I just haven’t gotten around to it. If you need a refresher on what that tutorial covered, feel free to go check it out here. But now, it’s time to talk a little bit about stats!

As usual, the tutorial (below the cut) should be perfectly beginner friendly and explain everything you’ll need to know to implement this into your game, although it might be a bit long! It’ll also include a bit at the end telling you how to install and use custom macros. Enjoy!

In Twine, there’s no distinct thing called a ‘stat.’ You store stats the same way you’d store information about what the player chose to eat that morning or whether they picked up an item. Using variables. Variables, if you don’t recall, are little pieces of information that can vary over time. In Twine, they’re represented by a $ before the variable’s name- so $health might be how you track a player’s health, and $hasKey might be how you track whether a player has a key.

Setting Stats

So, let’s say we want to track a stat called.... $stat. Well, first, we’re going to have to set that stat. Sugarcube has a bunch of “special passages” that do special things in the game, such as adding text or links to the sidebar. In our case, we’re looking to name a passage “StoryInit.” Whatever code is contained in this passage will run silently in the background as soon as the player opens the game, which means it’s great for setting defaults.

This is where you’ll decide what numbers you want to use to track stats. You might go for something like numbers from 0 to 100, but personally I’m going to use numbers from 0 to 1 (for easier compatibility with the meter macro I’ll introduce later on!). We’re going to start halfway through, as a sort of “neutral” that the player starts with. So, in the StoryInit passage, we’ll add this:

<<set $stat to 0.5>>

Simple enough. But how do we edit that number? Let’s say we give the player two options to proceed, with the first increasing $stat and the second decreasing $stat. All we have to do is add a setter to our link. This is what normal links in Sugarcube look like:

[[Option 1|Passage1]] [[Option 2|Passage2]]

To add setters to those links, we just have to insert two square brackets between the last set and add what we might add to a <<set>> macro. So like this:

[[Option 1|Passage1][$stat += 0.1]] [[Option 2|Passage2][$stat -= 0.1]]

In case you don’t remember, the “+=“ means that the engine will add 0.1 to the current value of $stat, and then replace $stat with the result. So if a player chooses option 1, their value of $stat will now equal 0.6, and if they choose option 2, it’ll equal 0.4.

Using Stats

Now that we know how to change a player’s stats, though, how are we going to implement it? Well, of course, we can use the <<if>> macro to show different text to players with different stats. Let’s say we want a character to say two different lines of dialogue based on whether the player has 0.6 or more in a stat or if they have less than that. We might do something a bit like this:

<<if $stat gte 0.6>>\ “This is a line of dialogue!” <<else>>\ “This is another line of dialogue!” <</if>>\

“gte” means “greater than or equal to,” the same as >. If the stat is greater than or equal to 0.6, the game will display that line of dialogue. If not, the macro will continue down and display what’s under the “else” instead.

That’s all well and good, but if you’re including stats in your game, you probably want to implement more than just cosmetic changes. A common idea is to make certain options only available to players with high enough stats, or make an action’s success or failure depend on their stats. To achieve that, we’ll use a combination of links and the <<if>> macro.

First, here’s an example where the link will bring you to a different page depending on your speed stat. It will display the link “Run!” and the <<if>> macro will test whether the player has a speed of 0.6 or higher. If they do, they will be redirected to the passage “Escape.” If not, they will be redirected to the passage “Caught.”

<<link ‘Run!’>> <<if $speed gte 0.6>>\ <<goto ‘Escape’>>\ <<else>>\ <<goto ‘Caught’>>\ <</if>>\ <</link>>\

Here’s another example that uses similar methods to tell whether you’re good enough, but instead of redirecting to different pages, the option will only be available if you’ve got the right stats.

<<if $speed gte 0.6>>\ [[Run!|Escape]] <</if>>\

The problem with that sort of method is that if players don’t know they missed out on something, they can be less likely to replay the game. So instead, we can try putting grayed out text where the link would be, indicating to the player that they need better stats to proceed. Remember to add a class like “gray” or “grayed-out” to your stylesheet to change the colour of that text. We’ll also add a little indicator to the link to show them what stat they need to improve to proceed in this way.

<<if $speed gte 0.6>>\ [[Run! (Speed 60)|Escape]] <<else>>\ <span-class=‘grayed-out’>Run! (Speed 60)</span> <</if>>\

But how does a player know if they have a high enough stat to proceed? Well, you can always display it on the screen by just typing $stat. That will show the pure number, meaning “$stat%” would show “60%” if $stat were set to 60. But if you want something fancier, you can instead use a meter! And I’m going to use this as an opportunity to explain...

Installing and Using Custom Macros

If you want to do something cool that isn’t part of the basic Sugarcube format, chances are, somebody might have made a custom macro for it! In this case, we’ll be using the Meter Macro Set by ChapelR.

These custom macros are surprisingly easy to install. All you need to do is open your game’s Javascript (in the same menu as the stylesheet). In the case of this macro, we’ll click the “minified” option, copy it, and paste it all into our Javascript file. With some macros you’ll also need to add code to the stylesheet, but not this one. Installation done! Now Twine knows how to create meters!

Most custom macros are pretty easy to use and will list instructions below- typically you just have to add some variables in and it’ll work right out of the box. This one is a bit harder and requires some prep, so let’s go through it step-by-step.

Remember StoryInit? Open that back up again, cause we’ll need to use it. By running the <<newmeter>> macro in StoryInit, it’ll set up the meters we’ll be displaying on screen.

<<newmeter 'Stat' $stat>> <<colors 'gray' 'gray' 'white'>> <<sizing '50%' '2em'>> <<label Stat black center>> <</newmeter>>

So what we’ve created there is a meter that tracks the $stat variable. It is titled “Stat” so that we know how to reference it later. The colours section determines what parts of the meter are different colours, the sizing determines how wide and tall it is (50% wide, 2em tall), and the label section creates a red label in the center of the macro that says ‘Stat.’ All of those sub-sections are optional, so if you don’t need a label or you’re happy with the default size, feel free to leave them out.

Now whenever we want the player to see that meter, such as in a dedicated stats page, we’ll just have to type this:

<<showmeter ‘Stat’ $stat>>

And voila, we have a meter!

...admittedly, it’s not the nicest looking meter. But with these tools you can surely make something magnificent!

I hope this tutorial was helpful! This topic is the one I see asked about the most, so I figured I would step in and see if I could give people a hand with it. Of course, as always, if you have any questions about what I talked about here or about any other Twine-coding-related stuff, feel free to send me an ask and I’ll be happy to give you some pointers! Twine is a really fun program to code with, and I hope this inspires some folks out there to give it a shot as well :’)

#code help #twine #twine sugarcube #game dev #interactive fiction #coding

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lunarmoonflowyr · 5 years

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Because I’m bored I’m going to write down a bunch of my passive thoughts on a new game I started playing and because once I start making streaming/youtube content related to viddy game I might make a video on this

Vambrace: Cold Soul Initial Impressions

Vambrace: Cold Soul is a game by Devespresso Games, an independent game developer based out of Seoul, South Korea who’s other notable titles seem to be a series of horror adventure games titled “The Coma”.

Vambrace however, is a game far more akin to something like Darkest Dungeon in visual style and gameplay design however the Steam store page description has it claiming to be inspired by “the gothic fantasy of Castlevania, the deep lore of a series like The Elder Scrolls, the replayability of roguelites like FTL: Faster Than Light, and the sweeping, character-driven epics of our favorite JRPGs.”

This is going to be a small writeup of my initial impressions after 2 hours of the game.

THE STORY SO FAR

We are a woman named Evelia Lyric, although she just goes by Lyric most of the time so that’s what I’ll be referring to her as throughout the rest of this writeup. Lyric immediately begins showing tell-tale signs of “JRPG Protagonist Syndrome”, as she:

1. Survives being passed out in a freezing arctic-like environment while wearing what could maybe be called clothing for a slightly harsh winter in New England, and comes out of it with barely any complications to speak of

2. Has an (allegedly) famous father who leaves her a Mysterious Book That No One Can Read, and the titular Vambrace, which is now apparently fused to her arm, that lets her pass through what the game refers to as the “Frostfell”, a massive magical ice barrier surrounding the city of “Icenaire” that apparently kills anyone who touches it. Apparently she can also one-shot evil ghosts with it, but only in the narrative. She did it in a cutscene once, and so far that hasn’t translated to gameplay.

3. Has so-far-unmentioned heterochromia

4. Gets a high-ranking soldier to trust her almost immediately when only one brief conversation ago he had a suspicion that she was a spy for “The Green Flame”, apparently some rival faction that’s very, very Not Good.

Getting confused by all the random names yet? Trust me, it doesn’t really get much better. This game’s story shows a lot of the very painful signs of an over-written, over-developed fantasy world that someone very obviously put a lot of time and love into, but didn’t really know where to stop.

Names, places, and concepts are thrown at you non-stop with a new one being introduced almost every dialogue sequence if you spend time talking to the locals of Icenaire once you convince the guard captain to let you go wandering the streets. You can also find random lore pages strewn around the place that add even more lore on top of everything else.

It all gets to be so dense and confusing you almost completely lose track of what the actual, present-day story is. The game has no trouble throwing random scraps of lore at you, full of names that mean nothing, but when it comes to actually explaining what the hell is going on right now, it falls a bit short. Here’s my understanding so far.

Lyric’s father has either died or mysteriously disappeared, I can’t remember which, and she’s been left a letter, a book, and the titular Vambrace. The book is referred to in the game mechanics as “The Codex” and is referred to by NPCs as a “book that nobody can read”, because apparently foreign languages don’t exist in this world, yet so far I’ve counted 6 or 7 distinct fantasy races that apparently all speak the exact same language all the time.

The vambrace has fused itself to Lyrics arm, and her fathers letter tells her to go to Icenaire (I have no fucking clue what that name is supposed to mean by the way, and it sounds really fucking awkward to say so it has to mean -something-. The “ice” part is pretty self-explanatory if a little on the nose, the entire game takes place in what appears to be an apocalypse along the lines of if you took the events of “Frozen” and turned it up to 11, but the only insight I could get on the “naire” part is that it’s from the Irish Gaelic word “náire” which means something along the lines of “ashamed” or “to have shame”. So this city is basically named “ice-ashamed”, which I have no clue what that’s supposed to mean, and it’s bothering me enough that I’ve gone on an entire run-on paragraph to rant about it because it sounds stupid to say and exactly like a city name I would’ve come up with for my crappy fantasy stories that I wrote when I was fourteen.)

Where was I again?

Right, okay, so Lyrics father instructs her to go to Icenaire (blech) and find some dude named “Zaquard Ventrue”. That name also means nothing, except as far as I can tell, “Zaquard” is the pseudonym of one of the people at Devespresso, and the first thing that comes to mind for Ventrue is Vampire: The Masquerade, and I’m not sure it really means anything there either.

The naming system in this game seems really off, it has no consistency and a lot of it is really self-indulgent, because you find out that this Zaquard fellow (in the game) is the big head honcho of what apparently is some kind of resistance movement of the oppressive organization called “The Green Flame”.

So Lyric goes through the “Frostfell” (the magical ice barrier thing around the city that allegedly is the cause of this whole Frozenpocalypse deal) by using the power of the mysterious Vambrace, and...passes out because of it, only to be found by a scavenging party in a tutorial section where the game teaches you how to play it using said scavenging party.

More on that later.

Lyrics unconscious body is dragged back to the city, she somehow hasn’t contracted hypothermia, and the next scene we’re given is an interrogation from some guy who’s last name is Esquire.

I don’t think the writers of this game knew what the word “Esquire” meant, because despite traditionally appearing after a person’s name, it is not a surname, it is a title. So the strange and unconventional naming choices continue.

Anyway, Captain Generic Man, Esq., interrogates Lyric for all of five minutes before believing her at face value that she has a magical super-gauntlet that lets her pass through this extremely lethal magical barrier, when he has all the reason in the world to believe that she’s some kind of spy sent by the people his resistance faction is supposedly fighting against.

And instead of keeping her under close watch until she’s at least somewhat established some trust that she’s not a mole or a spy or an assassin, he just...lets her roam free, around the city. Completely by herself. With no supervision, whatsoever.

As you can probably tell, I already have several problems with this games pacing and general overall writing quality, and we’re not even past the prologue section yet.

Oh, yeah, and Captain Generic gives Lyric some free money for her troubles, because the player needs to know how the market system works and how to buy healing items, and we can’t be assed to have them come across money in a non-contrived manner.

And the currency is really weirdly specific? Its this stuff called “Hellion”, which in real-person-language is a word for a malicious troublemaker or nuisance. But in the same setting where a city is named “Ice Shame”, “Hellion” is apparently some kind of magical incense that the fox people burn to appease their gods.

Oh yeah there’s a race of fox people in this game. They run the markets. They’re less full on furries and more like regular humanoids, but with fox ears, a tail, and pointy teeth, so like that weird halfway “haha guys look I’m totally not a furry” deal thats basically just “catgirls but with a different animal”.

Anyway.

You’re given a fat stack of cash and told to go buy yourself some food from the market, because we need to give you a tutorial on how to buy shit.

So you go to the market and are taught by a smooth-talking fox-man-person-thing how to buy things at a market, after which you are immediately spotted by the only guard in the city with an ounce of sense who instantly goes “Hey holy shit isn’t that the person that literally nobody recognizes in this city that’s been cut off from the outside world for presumably several years at this point and the only other known faction that has the resources to keep a human alive is one we’re actively at war with?” and throws your ass right back in jail.

By the way, the things you can choose to buy at the market are all pretty typical JRPG items that heal stat debuffs, or are basically different flavors of health potion that restore different amounts of health, and for any seasoned JRPG veteran it’s pretty easy to guess what items do what and how they function (sort of) but there’s plenty of unique-to-this-game stat conditions and the way the health mechanic works is kinda wonky, and the game asks you to buy your healing items before it even explains to you how the hell that part of the game actually works.

I’ll go more in-depth to the gameplay once I finish this story synopsis but I just felt like pointing out that at this point you’ve been walked through some of the basic mechanics of the game and some of the combat, but the part of the game that deals with debuffs and HP and how you deal with those things hasn’t been explained yet.

This game is very weird.

Anyway, during the attempt to throw your ass back in jail, some shit is going down in the room that has the elevator to the surface (yeah apparently this city is like, underground. They don’t actually explain why, or how, or if it was like that before the Frozenpocalypse or if the Frozenpocalypse buried it, and if it was buried, how the hell did it get excavated so cleanly like this and why are all the buildings intact? Whatever, apparently the game doesn’t consider this important, which is weird considering all the random lore tidbits it does deem important, so we’re moving on now.)

OH hold on let me backtrack a bit. While you’re being let out of your jail cell because Captain Generic just felt like it apparently, you walk up to this other jail cell with a goth chick inside it and you’re told she’s an Extremely Powerful Bad Guy, Do Not Fuck With Her.

So, as you arrive at the elevator to the surface, guess who just made an escape and caused a spooky ghost person to invade the city and injure two people! That’s right, Spooky Not-So-Jailed-Anymore Goth Chick! Who’s name is Isabel Salazar, and it’s really saying something that that’s the most normal name we’ve encountered so far in this god forsaken game.

So you’re now face-to-face with a spooky ghost. You think you’re about to get into a combat section, you’ve been taught how to do combat, but nope! Lyric just waltzes up to the fucker and smacks him in the face with her Vambrace hand and it...melts...him? Just, with absolutely zero fanfare?

Uh. Sure. Alright. Weird, do we get some kind of special attack that hurts ghosts? Guess we’ll find out.

So the guard who was trying to arrest you, a redhead with pointy ears who’s very obviously an elf but hasn’t directly been called an elf in-game yet so I’m not sure if we’re using that word but fuck it she’s an elf, who’s name is Celest. That’s all, I don’t remember if she’s given a last name.

Celest is reprimanded by Captain Generic, Esq. for trying to re-arrest the possible spy who was let go with literally no actual forethought put into it, and she’s understandably miffed, and Captain Generic tells you to come meet him in the war room because “someone is very interested in meeting you.”

This leads nicely into the scene where our protagonist meets the leader of this massive underground (literally) resistance movement, who, upon hearing our surname and being told we’re the daughter of Some Random Guy, immediately trusts us to go after Isabel and lead an expedition all on our lonesome with a party of random soldiers we get to pick from a “help wanted” board instead of, I dunno, maybe sending some actual soldiers with us.

This leader is the previously mentioned Zaquard Vampire Clan Man, who looks exactly how you’d expect a self-insert resistance leader to look, a young white-haired anime boy looking dude who’s bangs cover his eyes and we can’t see them. And he has earrings.

Farquaad here apparently knew about our dad, and our dad was apparently the lead researcher about Archons (?) and the Vambrace is an Archonian (???) artifact (also they spell it “artefact” in the game and I hate it, they also say “magick” and it makes me want to find whoever was in charge of writing this and punch them) so that’s why he trusts us now, apparently.

We are then tasked with a mission to go retrieve Evil Goth Chick, who apparently is going to go tell these Green Flame fellows the location of our massive underground city secret base, which is somehow super duper secret despite being huge.

Keep in mind that this entire game’s setting is allegedly one massive city, it’s not like Eragon where the big inside-the-mountain Dwarf city was kept secret from Galbatorix, because that at least had the justification of being halfway across the entire fucking continent from the Empire as well as being on the other side of a massive fucking desert.

This is all apparently one huge city! And the “secret underground base” is kinda big itself! It doesn’t make sense that its some big secret!

Ugh, whatever, if I keep harping on about every bit of the narrative that doesn’t make any fucking sense when you think about it for more than ten seconds I’m going to give myself a stroke so now that I’ve caught you up to where I am in the story, let’s move onto the gameplay.

THE GAMEPLAY

If you’re at all familiar with Darkest Dungeon (a much better game) the gameplay is most similar in style to that. You have a party of 4 adventurers, you walk through room after room of a connected “dungeon” except in this case its neighborhood streets and buildings, find treasure, manage the balance of treasure in your inventory vs healing and utility items, and you have combat.

Let’s talk about the combat first, because its the part I like most about this game and the reason I’m probably going to keep playing it.

Vambrace takes a similar approach to Darkest Dungeon in that each character has a certain number of skills at their disposal, being limited in use by where the character is standing in the party order and what position slots in the opposing party they can target.

When you get into combat, the party orders will look like this, with your party on the left and the opposing party on the right.

4-3-2-1-1-2-3-4

The skills are divided into three range categories.

- Short or melee range skills can only be used in position 1 and 2 and can only target positions 1 and 2 on the opposing side unless those two positions are empty, in which case they can target 3 and 4.

- Medium range skills can be used from any position, but can only target positions 1 and 2.

- Long range skills can be used from any position and can target any position.

Some skills also take flourish points to use, and characters build up flourish points throughout encounters by using their basic skill.

Different characters have different classes, which determine different skills they’re able to use.

This is a basically solid combat system, as proven by Darkest Dungeon, however Vambrace falls short of DD in two ways:

The first is Darkest Dungeon’s position system, and its supplementary corpse system, work slightly differently. Position order is the same, however, there can be no empty spaces breaking the line. If the line would be broken, units that are furthest back move forward to close the line.

So say you encounter 4 enemies, so positions 1-2-3-4 are all fully occupied. If you kill the enemy in position 2, the enemies in positions 3 and 4 will move forward to fill in the blank space, so now only positions 1-2-3 are occupied.

This is mitigated in Darkest Dungeon by the corpse system, when you kill an enemy it leaves a corpse behind, which fills up the space and prevents the backline from moving forward. However there are several skills in DD that remove corpses as part of the effect.

This opens up different paths to take in terms of strategy. In both Vambrace and Darkest Dungeon, the 3 and 4 positions are usually filled by the more deadly foes, the enemies that take those positions usually cause debuffs to your party or have a higher damage output.

However, in Darkest Dungeon, you can either run a strong backline of your own and try to eliminate the opposing backline quickly, or you can run a strong frontline and a more supportive backline to try and take out the frontline, and then wipe out the corpses, pushing the backline units to the front and making all their skills basically useless, since most enemies that stick to the back in DD have maybe one attack that they can use in position 1 or 2, and it’s usually not a very good attack.

There are also attacks in DD that you can use to force the enemy to shuffle positions, bringing the backline to the front and crippling them without even touching the tanky frontline.

However, in Vambrace, positions are static on the enemy side. When you kill enemies in front, the backline enemies stay in the backline. This leads to a much more limited strategy, where you pretty much only want to focus the backline first, and the frontline afterwards.

There’s also the matter of turn order. Characters with a higher Awareness stat (more on stats in a second) get a bonus on their initiative and can go higher in the turn order, beyond that I’m not actually sure what factors are involved in determining this. However, the turn order itself is transparently displayed in the bottom center of the screen during combat, telling you very clearly which position on which side gets the next move, which helps out a lot with planning out your encounters.

Once you get the hang of it though, Vambrace’s combat is still enjoyable, and I’d say the aesthetic and environment around it makes it different enough from Darkest Dungeon that I can enjoy playing both for different reasons. Vambrace far more embraces certain JRPG aspects, for instance.

Speaking of which, lets talk stats.

Before I do though I want to talk about one of my biggest gripes with the game so far, and that’s the fact that its interface is terrible. This game doesn’t have a menu for keybinds, it doesn’t let you re-bind things, and its control scheme is a little awkward to say the least.

It also hides a lot of information to be only accessible in the tutorial pages, which you can access at any time in the pause menu, but it makes things tedious because this game has a lot of smaller things to keep track of.

Each character has 5 stats. Combat, Sleight, Merchantry, Awareness, and Overwatch, and each one has a different impact on the game.

Combat is fairly self explanatory, it determines how good your character is at fighting.

Sleight determines how good the character is at scavenging, and it affects the quality of loot you find in containers.

Merchantry affects buying and selling, the higher the merchantry, the cheaper stuff is to buy and the more people pay for your junk.

Awareness determines how well you can avoid traps

And Overwatch determines how good your character is at managing the party during camping.

Your stats can also affect the outcomes of certain random events that can trigger throughout the dungeons, although I’ve only encountered a handful of them so far.

Speaking of camping, one of the most under-explained mechanics in this game is the camping mechanic, and my first and only death so far has been because of a failure to properly explain said mechanic, causing me to fuck it up 3 times before I did it right, and because camping is actually extremely vital to success in this game, it caused me to die and fail the mission.

Any healing items in your inventory cannot be used on the fly, they are only usable during a camping session. You can initiate a camping session upon finding a suitable spot for one, which you can either randomly find in the generated rooms of a “dungeon”, or in between the “dungeons” on a mission in shelters where you get sort of a mini-camp session.

A full camping session involves you selecting the character with the highest Overwatch skill to manage said session. You need to do three specific things to maximize your sessions effectiveness, and these things are not properly tutorialized and are easy to misunderstand or miss out altogether. When the camping session starts, the character you’ve chosen to manage the whole thing starts out by standing in front of the campfire, with an “interact” icon hovering above it.

Do not interact with the campfire. It will end the camping session immediately and you cannot redo it, you will have to find a new campsite.

Instead, you need to find the interact icon for sleep and the icon for music. The first one will restore the HP of your whole party equal to your session leader’s Overwatch skill provided it goes without incident, and the second one will restore the Vigor of your whole party equal to the session leader’s Overwatch skill.

Oh. Right, Vigor.

Vambrace has 2 health bars essentially. There’s your Hit Points (HP), and then there’s Vigor. HP works how you think it does, you take damage in combat or from poison or traps and if you hit 0 you die.

Vigor is basically a worse version of the Stress mechanic from Darkest Dungeon, but instead of ticking up as your characters get more and more stressed out, their Vigor essentially goes down as you walk through the various dungeon rooms, and certain debuffs and traps can reduce it as well.

Once you’ve done both a sleep and a music session, you then need to open up your inventory and use the appropriate healing items to cover up whatever those two things didn’t get. If one character was particularly badly hurt and needs extra patching up after a nap, do it with healing items now. You cannot use healing items outside of a camping session, so do it now.

You can also only use status healing items here too, and status ailments don’t go away with a nap.

Only once you have done those three things should you interact with the campfire again, ending the camping session and continuing on with the dungeon.

The Other Stuff

The other reason besides the gameplay being interesting enough that I plan on continuing to play this game is that the art direction and the sound design are actually very, very well done, with a feeeeew small exceptions.

Let’s start with the art direction.

Visually, the game looks fantastic. It’s as if you took the visual style of Darkest Dungeon but made it more anime-esque and less horrifying, more pleasant to look at. It’s really pretty and well stylized, and is a style that will hold up visually even when graphical advancements outpace it.

The character designs are also all fairly unique, if a little over-designed sometimes. You can pick out all the named characters on sight alone, they’re all visually distinct from each other and are easily recognizable.

The sound design is also, for the most part, really really good. The ambient noise is a good quality, the audio is well balanced and none of it really grates on my ears, and some of it is actually pretty nice to listen to.

The music in the game so far is also good, and while I haven’t come across any tracks that made me want to just sit there and listen to it on loop for a few minutes, I also haven’t found any tracks that made me go “oh god oh god make it stop”

The only part of the audio I have a problem with is...the voice acting. It’s only shown up in a few very small cutscene bits so far, mostly the initial opening scene, but I can’t really put my finger on what’s wrong with it. The only character who’s spoken so far is Lyric, and I really am finding it hard to say exactly why her voice-acted dialogue bothers me, but it really grated on my ears and I was glad when the cutscene ended.

I think it was a mixture of the quality of the audio, it didn’t sound professionally recorded although I’ll grant it that it wasn’t “Skyrim mod voice acted by the modder” level of terrible, but it still left a lot to be desired. The other part that got to me was just the style with which the actress was talking, however I can’t really pinpoint if it was just the stilted dialogue she was stuck with, if the direction was bad, or if she just didn’t really have much of an idea what she was doing.

She had a very monotonous voice throughout, and while she wasn’t speaking flatly or like she was bored, it was moreso that kind of voice people give characters like Sasuke in fandubs, where they’re overly mopey and Serious™ which kinda takes the oomph out of lines that should have had the more somber tone.

Overall Thoughts and Opinions

Keep in mind this is all based on the first 2 hours of gameplay, and that I’ll probably post a more detailed version of this (or make a video) once I’m either a lot further into the game or I beat it.

I don’t hate the game. I think the writing is completely overdone and obnoxious, and has way, way too much lore and way too many things going on without focusing on the more narrow plotline, and I have a huge problem with the very very inconsistent naming scheme, but aside from those two specific criticisms, I’ve definitely seen worse writing.

And it’s not like the characters aren’t endearing in that “this character 1000% slots into a very specific JRPG trope but I’m here for it” sort of way. I did enjoy what I got to see of Lyric and the other named characters, even though they were completely stereotypical and Lyric comes off as a bit of a Mary Sue.

So far the writing is very flawed, but in a tolerable way. I’d much more rather play a game written with love and care and have the flaws come from human error rather than a game that was written by committee to be as bland and appealing to as wide an audience as possible without offending anyone.

The gameplay definitely isn’t as deep as it could be, but the out-of-combat mechanics actually do require a lot of forethought and planning once you actually understand them.

That’s probably my biggest criticism of the game outside of the writing, the game has a pretty decent tutorial that tries to explain everything, but the UI design and how the game presents its information outside of the tutorial works against that and forces you to memorize things and constantly refer back to the tutorial pages.

There’s a lot of quality-of-life things that are missing that shouldn’t be. The ability to rebind keys, the ability to even check a simple menu solely dedicated to the keybinds instead of sifting back through the tutorials trying to figure out what fucking key you need to press for things is.

There’s no hover-over information, on anything. The mouse does literally nothing, you could control the whole game with the keyboard. This is especially problematic when dealing with stat buffs and debuffs, because while you can open up your character stat menu in combat to check exactly what their debuffs do, you can’t open up an enemy stat page and are completely reliant on having memorized what icon corresponds to what debuff and what that debuff actually does.

But if you can look past the cripplingly bad UI and inability to rebind keys, along with the weird writing, the game is actually fairly charming and does have a lot to offer, so I’d definitely recommend checking it out! I bought it on sale for about $16 USD, and if the game keeps up the current quality for a decent chunk of playtime, I’d say it’s worth it around that price. Probably not at full price though.

#moonspeak #Alyss plays games #idk #i was bored

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thomasroach · 5 years

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Outward Review – A Rough Adventure

The post Outward Review – A Rough Adventure appeared first on Fextralife.

The following post is this author’s opinion and does not reflect the thoughts and feelings of Fextralife as a whole nor the individual content creators associated with the site. Any link that goes outside of Fextralife are owned by their respective authors.

Can you defy the bitter cold, brutal heat, and ravenous monsters that all desire your death? Outward is an RPG that doesn’t hold your hand in the slightest, as you make your way through an open-world filled with adventure and death. Only with careful preparation will you survive the dangers of this world.

Outward Review – A Rough Adventure

Genre: Survival RPG Developed by: Nine Dots Studio Published by: Deep Silver Release date: 26 Mar 2019 Platforms: PC (Reviewed), XBOX One, PS4 Website: https://www.ninedotsstudio.com/outward Price at time of review: $39.99

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Outward Features

Play solo or coop in local or online modes

Dynamic defeat scenarios that react to your context

Constant auto-saving means there’s no turning back

Ritualistic, step-by-step approach to spellcasting

Constant auto-saving means you must live with your decisions

Encounter dynamic defeat scenarios

A unique experience with every playthrough

An immersive exploration experience

Creatures will be harder to beat in co-op mode

Single-player, online co-op and local co-op with split screen

Story and Setting

Outward starts you off indebted to your tribe, a debt in which you must try to repay. In an effort to clear the amount you owe, you embark on an ill-fated voyage to try and earn enough to pay it off. Of course the ship runs aground, leaving you with almost no money and a crowd of angry villagers demanding payment. From here on out, the game opens up into three distinct main quest lines, with a small variety of sidequests you can participate in. Sounds like a good setup, but it is not executed well in my opinion.

This is a good friend, or so I’m told

You are tossed into this town and told someone in your family did something bad, you’re again told this one person is a close friend, you’re told that you are a part of this tribe. Due to the way the story is told, none of this is given adequate time to develop. I’ve poked at one of the main quest lines out of a feeling of professional obligation and I still have no real drive to pursue it. This is fine though as Outward does not advertise itself as a game with an in-depth story, rather the focus is on the story that you make for yourself.

Even with that though, things fall a little flat as I can tell the devs put a fair amount of work into this world, but very little of it comes across to the player. Very few NPCs will talk with you, and many of them are just shopkeepers that have just add a little bit of flavored text. If there’s books or other written lore entries in this game, I haven’t found them yet. There are ruins scattered throughout the game, but so far I’ve not found much inside any of them so far. To be fair, this is a very slow paced game and I’ve not gotten too deep into the more dangerous ruins, so there might be more if you venture further in. That being said, it’s not very excusable that I’m still so clueless on the world given the amount of time I have spent playing.

And thus starts the legend of the Bird Lady

Gameplay

In my original draft, this section was turning into a small novel as there are a lot of mechanics in this game but two things made me stream-line this section. Firstly, if the mechanics of this game aren’t going to interest you, the Cliff Notes version is all you really need to read.

Secondly, if the mechanics of this are your cup of tea, then all you’ll want to read is the Cliff Notes version. See, a lot of this game is about exploration, discovery, and the story that you create. Going through the game and making decisions based on imperfect knowledge is a major part of what makes this game unique. There is a tutorial, and it is a must for this game, but you’ll really be short-changing yourself if you go in with a complete understanding of the mechanics. This is the same for most things in this title, for some this will sound like heaven and for some it will sound like a complete waste of time.

Avatar customization is limited, but it has a purple hair option so it’s all good.

At its core, this is an action-RPG, while there are plenty of side mechanics, the main thrust is exploring dungeons and beating down the bad guys and monsters. After administering the beat downs you will loot all of their stuff, maybe find an upgrade or two, sell the rest, and move onto the next group of walking loot.

Combat

This brings me to my major criticism of the game, and one that I think will be the proverbial straw for many gamers. The combat is not fun as it is clunky, unresponsive, and it is difficult to use the flashier more complex spells if you’re playing solo. After the most difficult fights have ended, I don’t feel like I achieved a victory, rather I just feel like I cheesed the AI. I honestly can’t tell if this is the result of inexperience or if it was a deliberate design choice. Either way, combat really needs to be better given how much of it you’ll be doing.

As for the rest of the mechanics I’ll just skim over them. Survival is a big aspect of this game, with hot and cold weather, hunger, thirst, and the need for sleep. It might sound like a bother, but the game does a good job of encouraging you naturally to keep track of all your bars. As long as you are mindful, you won’t get in trouble.

That being said, the UI to convey some of the information is lacking. For example as you take damage, you recive ‘burnt health’ which reduces your max HP until you either eat specific foods, drink a potion, or sleep. However, the UI really isn’t very clear on this and I died several times before I figured out what that slightly different color red meant on my health circle.

I mean it’s obvious in hindsight, but it did take a few deaths to figure it out

Death

Speaking of death, you don’t really ‘die’ in this game. If you lose all your health, you’ll pass-out instead. This will cost you one day (which can be a major problem for some quests) and you’ll wake up in a context sensitive situation. This can either be fun, an annoyance, or a really bad situation since the time might have caused some food to rot, which means you can’t eat to get rid of that hunger status, as well as your max HP and stamina is also now reduced. It is certainly an interesting way to handle death, I’ll give the developers that. Something to be aware of is that because you can’t ever die, the game does not allow you to save. There is only one auto-save for your character, and the game is saving almost constantly. Don’t count on ALT-F4 to bail you out of a bad choice either.

Character Progression

Character progression is mostly done by getting new gear, you don’t level up in this game, though you can gain new skills. Some skills are free, some cost silver, and a few require you to spend one of your three skill points to unlock. While skills help, your gear is everything here. Getting a new piece of armor or a better weapon drastically effects how well you do in combat. This also means in certain situations you can lose all your advancement because all your gear gets taken, needless to say that really stings. Though it is always possible to get your stuff back, however it might be pose a big challenge, but as far as I can tell nothing gets destroyed unless you sell it to a merchant and their inventory resets.

Multiplayer/Co-op

Multiplayer is potentially a big bonus here as not only does it have online drop-in drop-out gameplay, but it has split screen co-op as well. I didn’t get to test this feature a lot but from what little I did test out multiplayer worked well. It does seem to make the combat an order of magnitude easier though, which could be a concern. To me this is a non-feature since I don’t have anyone in my house I can play with and I’m not all that interested in playing with random people, but I can see how others would love the ability to play an RPG like this with a friend.

Crafting

Finally, there is quite the crafting system to explore here. There are no skill points here, you either have the materials to make something or you don’t. There are recipes but you don’t get to read them before crafting, If you look it up on a wiki (or in some cases just take an educated guess) you can craft the item and the recipe will be added to your journal. While you can craft weapons and armor, you’ll mostly be crafting adventuring supplies such as fire rags and potions. Cooking is a major crafting area as well and is very well integrated into the other systems. Different dishes have different bonuses, with more complex dishes providing additional bonuses.

Audio and Visual

There is honestly not much to say here, the visuals are to put it simply, functional. Occasionally you’ll come across some interesting monster designs and much of the gear you can equip is unique in design, but most of the terrain and architecture is very plain looking. There’s also tons of small, tiny errors in the terrain with the occasional prop that just looks out of place such as the giant rib cages that look like they’re made of plastic.

This does not look like weather-aged bone

Another thing about the visuals that ties in with gameplay is lighting. When it’s supposed to be dark, it is dark. Running out of light in a dungeon is not good situation to be in. While this sounds like an interesting mechanic, it really doesn’t work well when you are outside. If you’ve lived your life in the city, you really don’t realize how dark the great outdoors gets. As someone who does a significant amount of camping in his life trust me, this games gets moonless nights perfectly, which ultimately means you can’t see a darn thing. This makes outdoor navigation a massive pain, even if you have a lantern.

I did not doctor this screen shot at all

Audio is a bit of a mixed bag as the actual songs aren’t bad, and SFX are serviceable, but whatever system they are using for dynamic music is a bit wonky. I’ll be on my 17th trip back to town to sell off the two swords I looted and suddenly the music will swell into this epic score, usually spooking me a bit in the process. The voice acting is a bit off as well. It really does feel like they just went around the office and said “Hey, you’re not doing anything. Go get into the sound booth!” I really don’t think you’ll miss much by muting the sound and listening to your own stuff, but it won’t hurt the ears to leave their stuff on either.

Replayability

OK this might be a bit of a controversial view point, but I feel this game has very limited replayability. As I mentioned in the gameplay section, the vast majority of your adventuring effectiveness is in your gear. True, there is the choice of using magic or not, and which of the skill trees you wish to max out, but honestly you’ll probably have a favorite combat style that you’ll want to stick with. The only real reason to replay the game will be to experience all three faction story lines, since once you join a faction, you’re locked out of the others.

As I’ve already stated though, I don’t feel the main quest lines aren’t all that compelling. Certainly not enough for me to want to redo the game from the start. I really feel that whether or not you want to replay this game is going to hang on both how compelling you find the three factions vs how much the gameplay annoys you.

Pricepoint

So despite that fact that I just roasted Outward for a perceived lack of replayability, I still feel this game is a good buy. Assuming again, the mechanics sound like your cup of tea. Due to the pacing and the size of the world, this is going to take you a solid 30-40 hours to finish one of the main quest lines. It might take you a little less time for additional playthroughs, but not much so for a $40 game, that’s not bad at all. The devs give an estimate of 40-80 hours to fully experience the game, and I can see someone easily spending 60+ hours in this game if the mechanics happen to click with them. Toss in the fun you can have with a friend or random people on the internet, and Outward will really give you your money’s worth.

Final Thoughts

If I could give this game two scores I would. This game has a target audience and for them this is easily a 7.5, maybe even an eight. For the average gamer looking for a neat RPG experience to tide them over until Elder Scrolls 6 or Cyperpunk 2077 it would not even come close to that. Very slow pacing, unexplained mechanics, removal of modern systems, clunky combat, all of this adds up to an experience that the average gamer is probably not going to enjoy.

But if you are in that target group, those looking for an RPG that absolutely does not hold your hand and allows you to get hopelessly lost if you don’t pay attention, and will rip you a new one if you mess up, then this game is for you hands down. In the end though, I do need to choose a single score, and I’m going to go with the one I think will reflect the experience most people will have with this game.

If you enjoyed this review be sure to read more with our latest thoughts on action shinobi Sekiro Review: Shinobis Die Many Times. Or you can check out what we thought about CD Projekt Red’s upcoming sci-fi action RPG in Cyberpunk 2077 Preview: When Fallout Meets Blade Runner.

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