#rpg enemy types

[legionofmyth]

How to use Demons & Deevils in your Palladium Megaverse game

Ready to command the dark forces? Learn how to effectively use Demons & Deevils in your Palladium RPG sessions with our expert guide. Transform your game today! #PalladiumRPG #TabletopTactics #RPGTips

Palladium Fantasy RPG 2E Rifts Ultimate Edition Heroes Unlimited 2E Harness the Powers of the Netherworld: In this essential guide, learn how to adeptly summon and control Demons & Deevils within your Palladium Books Megaverse campaigns. This video reveals techniques passed down through ages, empowering you to turn potential threats into powerful allies. Mastery of these beings could be the key…

[arolesbianism]

Been working on some first run Chou sprites for funsies, here’s a handful of the ones I’ve done so far

[falloutsgraygarden]

The Mechanist's bots fucked around

Troubleshooting Missile Launcher said they need to find out

[stemmmm]

despite never actually playing ring of fates when I was younger, I did know what the ending was, and that it got pretty fucky with things. I also knew that it has a new game+ mode, so getting close to the end as I am with no clear indication that anything too weird is going to come up, I came to the conclusion of oh fuck... is the ending resolved through a new game+ timeloop?

the answer as far as I can find is no. but wouldn't that be cool? does anyone have an idea for a kind of mid rpg I can manipulate into becoming... kind of neat?

[cannedvampirejuice]

i still really want a digimon dusk-like fate game.

[castleinthemist]

the more i play harvestella the more i think 'this could've been a turn based battle system instead'

[observationcoffee]

this post made me remember this game, it's been so long that I almost forgot about it!

they should make spore again but an mmorpg this time. it would be a total fucking disaster but it would be so funny. i think I should be allowed to go to my friends planet and abduct them from creature stage.

[legionofmyth]

Palladium Books Megaverse: How do Demons & Deevils think?

Ever wondered how the minds of Demons & Deevils work in the Palladium Books Megaverse? Unlock the secrets of their thought processes in our new video. Enlighten your gameplay! #PalladiumRPG #RPGStrategy #FantasyGaming

Palladium Fantasy RPG 2E Rifts Ultimate Edition Heroes Unlimited 2E Understanding the Unseen Minds: Unveil the mysterious thought processes of Demons & Deevils in the Palladium Books Megaverse with this profound exploration. This video serves as a gateway to understanding the strategic and devious minds of these entities, offering you the wisdom needed to anticipate their moves. Only the wise can…

[arolesbianism]

Why would I draw or further flesh out the other members of Chou's party when I can instead think abt how all of them play in game and spiral out into making up a shit ton of other game mechanics that do not matter to the actual story

[loveandleases]

I NEED SPICE TOP FAVES OF YOURS GIMME!

Ask and you shall receive!!!! 🌶️🌶️🌶️ (Below the cut.)

Obviously any of @when-life-gives-you-lemons-if C.C.'s work, Pillow Talk, The Wedding, if you want a VN vibe. Then you have Lemon (Green and Monroe <3), Laws of Passion, Spices of The Heart. (I keep thinking of MC and the Sous Chef making an oyster dish for Valentines Day. iykyk.)

@prettyinkgames College Craze. (very 🌶️) Like so much. (I'm a Gabe/Jace/Jay simp... okay also the professor, the dean...)

@twincovesgame Twin Coves (currently just a demo, but I adore this. definite fav, and I'm ready to devour it upon release.)

@infinitestarsdev It's so good! Mass Effect vibes if you're into it.

@tosahobi-if (Yul has my heart)

@lilac-den The Sole Reminiscence and The Voice Of Silverking (Ally knows I simp.)

@tricitymonsters Tricity Monsters. (i'm weak for mori and his shrimp tattoo. and akello and amir, and rath oh god. and...ok obviously i'm weak for all of them ignore me.) OMFG new Akello chapter excuse me while I go for my man.

@steamberrystudio Gilded Shadows. (This is easily one of my favorite's. It's so well done. Also, keep an eye out on their upcoming VN, When Stars Collide. You can try the demo out on itch.)

@fir-fireweed Viatica! (I love Heron)

@doubledeadstudio Reanimated Heart. (Another fav)

@redspringstudio Touchstarved !!! (I'm feral for this one.)

@gbpatchupdates Our Life (This is my go to when I'm in my feels, Cove is <3)

Tailor Tales (I've followed Celianna since Tailor Tales started out as an rpg xp game, now it's VN, and there are a variety of characters.)

@openlategames Speakeasy (Milo <3)

@merrycrisis-if (Qiu my love my life!)

@bacchanal-if (thomas <3. I clearly have an enemies - to - lovers, friends - to - lovers thing)

@collegetennisoriginstory (sam!!!!!)

In Her Own Hands (itch.io) It is something else. Like this is... graphic okay, if that isn't your cup of tea. Don't touch it. (There is a dilf in it that I just... I mean I play it for him)

I'm typing this up medicated so I know there are some I've forgotten ( and some that are much darker that aren't everyones vibe so I've not listed those. )

[prokopetz]

On the origin of oozes:

When googling it seems that ooze type enemies came about with dnd.

Are you aware of earlier origins? It does not seem farfetched to assume that some fantasy book had them before that.

(also, best ooze in your opinion?)

It's broadly correct that the ooze monster in its modern form comes to us via Dungeons & Dragons (with considerable influence from D&D-inspired Japanese console RPGs like Dragon Quest). However, like many other classic D&D tropes, its antecedents were present in the sword and sorcery literature of the 20th Century – ooze monsters just seem like they sprung into existence fully formed in D&D's monster manuals because nobody reads sword and sorcery lit anymore.

While there are no doubt earlier precedents, I'd be inclined to point to early 20th Century cosmic horror fiction as the point where the modern giant-amoeba-like notion of the ooze monster really became a standard trope. We can see a clear prototype of the modern ooze monster in Lovecraft's shoggoths, first described in detail in At the Mountains of Madness (1931), for example; from there, the line to the sword and sorcery literature that would go on to form the basis of Dungeons & Dragons is a short one. This certainly isn't the first example of the type – I just don't have an earlier one at my fingertips.

As for my favourite ooze monster, I've gotta give it to the gelatinous cube, one of the few examples of the type which truly is original to Dungeons & Dragons – in fact, it could only have come from D&D, owing to the peculiarities of its creation. It started out as a sort of dungeon hazard, an "invisible" ooze which concealed itself by being completely transparent and conforming perfectly to the shape of any passage that it occupied; however, since old-school D&D expected players to produce their own dungeon maps as they went, and made their job easier by abstracting dungeon floorplans onto a grid of ten-foot squares, the idea of the gelatinous cube quickly shifted from "ooze which perfectly fills any passage it occupies" to "ooze which evolved to be a perfect ten-foot cube in order to block a standard ten-foot-by-ten-foot dungeon hallway". It's incredibly dumb, and I love it.

[revretch]

I've been thinking about if they released a Pokemon game themed around every type, and what they would be like.

Ghost: Most obvious, something like Luigi's Mansion. Very cute, spooky adventure in a big haunted house. Prominently features references to youkai and ghosts like Toilet Hanako.

Psychic: By contrast, the psychic game is actually sci-fi horror (as much as a Pokemon game could get by with it). Lavender Town vibes, would heavily feature Alakazam and Hypno.

Water: Epic underwater survival game like Subnautica.

Fighting: A martial arts story like a Jackie Chan movie, though probably more like Kung Fu Panda. All the characters are fighting-type Pokemon. Main character is a Mankey as a nod to Journey to the West.

Flying: Set on a flying island like The Legend of Zelda: Tears of the Kingdom.

Dark: Another horror game, with a darkness-based sanity mechanic like Darkest Dungeon or Amnesia: The Dark Descent. (Though, probably a stat other than sanity.)

Fairy: A medieval fantasy RPG with a story evocative of old stories dealing with the fae.

Ground: Set deep underground, a cave exploration game.

Rock: Set on another planet/dimension, about mining strange alien mineral formations. Your choice whether the Pokemon were brought along, or somehow already there.

Steel: Pokemon meets gundam!

Electric: Expanding on the teleporter incident with Bill in the first game, following a series of teleporter fusion mishaps and figuring out how to fix them. Gameplay in the form of engineering puzzles.

Normal: A medical game where you work in a Pokemon Center doing surgery on Pokemon. Obviously heavily featuring Chansey.

Fire: A traveling circus act with acrobatics using the elaborate fire displays that fire-type Pokemon can make. The gameplay mechanic is both navigating the fire-based obstacle courses, and designing them for maximum style to garner approval from the audience.

Ice: A platformer where you make ice to proceed, and can trap your enemies in ice.

Grass: A first-person RPG set in a jungle, Jumanji vibes. You play a botanist trying to find a rare flower.

Poison: A Thief-like game where you sneak around and poison assassination targets in the most kid-friendly way possible. Possibly you play as a member of Team Rocket.

Dragon: Another medieval fantasy RPG, fairly typical DnD fare.

Bug: Saving my favorite type for last! A species identification game, featuring real bugs as well as Pokemon.

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[felassan]

Dragon Age: The Veilguard class gameplay. Warrior Rook, mage Rook, rogue Rook. [source]

"BE WHO YOU WANT TO BE Select from different races and combat classes, customize your appearance, choose your character’s backstory and begin your journey as Rook, Dragon Age’s newest hero. CHOOSE YOUR WAY TO PLAY Select from three classes (Warrior, Mage, and Rogue), each with two distinct weapon types and unique abilities you can switch between mid-combat. Experience new strategic depth as you combine fast-paced attacks, parries, and dodges with the companion ability wheel to exploit enemy weaknesses and seize victory with devastating combat combos. DEEP RPG PROGRESSION Level up your Rook and companions with their own skill trees. Choose perks and combat abilities as you climb towards more powerful specializations."

--

"WARRIOR Warriors command the flow of the battlefield. Some lay waste with sword and shield, while others use a two handed weapon to send enemies flying. MAGE Mages rain down fury with spells that incinerate, freeze, electrocute and crush. Some cast from afar, while others prefer close quarters combat. ROGUE The rogue’s hallmarks are quick movement and reflexes. Whether wielding a bow or dual swords, they use powerful, precise strikes for lethal damage"

[project-lumen]

Have you ever wondered how the Life Series would look like as a videogame?

Then I bring to you…

Project LUMEN: APPLICATIONS OPEN!!

Ever wanted to relive the stories woven by the Watchers, exceeding the limits of what Minecraft is able to offer? How about venturing in a perilous journey full of twists and turns, and most importantly, loooooooooooore?

Well, why hello there! To kick off the start of 2025, Kori, Arto and Pinkie here, and we are proud to present “Project LUMEN”! Our newest scheme to conceptualize and develop a video game based off the traffic-colored hearts we are all so familiar with. An ambitious project, that’s for sure, and that is why we are opening applications to join our little team, right on time to welcome the new year! :]

(way more info under the cut, get ready)

Once a pile of jumbled, senseless ideas, Project LUMEN has evolved into a more fleshed-out collection of story beats and mechanics. An RPG-like game revolving around the tales within the Life Series, a collection of death games ran by the mysterious deities that call themselves Watchers. The player takes on the role of the Watcher Child (affectionately referred to as WC), following and guiding the Champions chosen by the Watchers themselves through challenges and enemies. Featuring unique leveling systems, DnD inspired classes, and, most importantly, the ability to impact the story with the choices you make… because, after experiencing all the Life Series seasons from both the Watcher and the Player side, maybe you’ll have a change of mind. After all is said and done and seen, the world is yours to shape, Watcher Child.

Right, so that’s a basic summary of the concept we have, now here’s a little preview of what we have written for the prologue :3

Chapter 0: ‘The Watcher’s Apprentice’

The player takes the form of a Watcher in training, an ageless child, the Watcher Child. The most powerful and ancient Watchers, unexplained cryptic creatures that live up to their name by watching all, talk about a new series of experiments they have been running, called “The Life Series”.

The only rundown that the WC was given was that a carefully selected group of talented players were asked to test their little Life game for them, where they each have only three lives. Whoever survives last, wins. There were no rules as to how they could play the games. The Watchers then add that they, along other WCs, will be observing from the viewpoint and thoughts of one of the players. This is so the WC can get an idea of the Watchers' work. Of course, our little WC was ecstatic and ever so curious about this new idea.

Fast-forward (and after a couple of tutorials showing off the bare basics of the battle mechanics in the actual game), now our WC was standing in a circle with other apprentices just like them. The Watchers then hold a deck of mystic cards in front of each of them, and everyone picks one. When the cards are revealed, our WC sees a glowing, red card with a person on it. The card simply said, "THE SUN".

Huh, I wonder who could that be…

Now, we get into the thick of it: who are we searching for to join our team? Well, there are some requirements that the potential members should fulfill, here’s a comprehensive list of key points:

We are mainly looking for artists to help us with designs, sprites, backgrounds and UI. Although, we also welcome any writers willing to help us with developing concepts and adding more ideas!

Every person who applies should be involved with the Life Series fandom, we want to build a team with people as passionate about this Minecraft series as we are!

When answering the Application Form, please type in your favorite type of flower (in case you do not have one, just write 'sunflower') in the "Anything else to add?" part, this is only to ensure you've read the announcement :]

Welp, glad you asked. The current plan is, while the applications go on for a week or two, constantly post pieces of concept art and just story bits on this blog, then all the people selected to join the team will be added to the blog as members. We plan to post updates, concept art, sprites and small lore drops periodically on that blog to hopefully garner an audience, and it will also be open for asks and suggestions so that, even if some users aren’t part of the team, they can still help bring this absolute beast of a game to life. Ideally we will work on a small demo experience first with placeholders and stuff to just get the mechanics right and get some testers, and after that, use all feedback, polish the art, deliver a beta version for playtesting, then fix the last details and then release the full version on itch.io, that’s our roadmap. :D (there's the possibility to also publish a browser version to Newgrounds with mobile compatibility tho, so mobile users do not fear!)

Well, Project LUMEN is a very, very hefty task, a big plan to undertake, and, in all honesty, too much work for only three people. Also, talking from experience, having other person involved in development has helped LUMEN to give gigantic steps, helping to ground ideas and give inspiration, now, imagine how far we could go if we had more people in this squad. We are not only looking for artists, we are looking for people whom we can brainstorm with and throw concepts around to polish them and grow the game even more. However, we also wish to keep the team directly working on the game fairly reduced, we are thinking 3–5 people more, but depending on the amount of responses we have, we might consider expanding that number.

The spirit of the game is to be made by the community for the community, we want to offer a quality game, and, by working together, we will be able to make Project LUMEN the best it can be. Though, you need to be aware that this project is solely fueled by the passion we have for the Life Series, and we will not profit off it at all. Please, take into account that this is likely going to be a months-long project, and only apply if you are willing to put in the effort in the long-run, that’s all we ask for.

On the bright side though, by joining in the developing of the game, you’ll be able to contribute to it as much as you’d like, change anything, add anything! You’ll have your rightful spot in the credits and probably a cameo in-game, the team may be small, but we know that, with the right people, we will be able to get it done (cleo is in the storyline too dw).

Application Form!