#some rely far more in things we don't yet know about the game and adding them to a fic would only really overcomplicate things

[trashcanwithsprinkles]

Ooooo if we’re talking Ashikai- what did you think of her Childe inspiration analysis? I’m not asking about how it may or may not apply to ur fic (though that sounds fun if your up for it!! I just love ur star foxes. Then again… not mutually exclusive ig) but what u thought of it!! I hardly get to talk to anyone about them and ooooough theyre such good videos and leave me reeling everytime.

her childe video was so fucking good holy shit. also i absolutely agree, her videos always leave me sitting there like 'holy fuck', even if sometimes i knew half the stuff she was bringing up, but the way she mixes it with the real-life research and stuff has me,,,,,,,, it's so good,,,

i think the only video that never like- surprised me? or told me something i didn't know or hadn't already like- figured out myself? was the latest one, the one about adepti and their visions. but that's bc i've uh. read xianxia before. so like. you read one xianxia, you know how it's going to go. when she said genshin was a xianxia i was like thank you, that's what i've been saying hahah,,, it was still such a good video, i really liked it;;

[miyakuli]

Pocket Mirror ~ GoldenerTraum

Mirror, Mirror on the wall

Pocket Mirror is a horrific game in which we follow a young girl with amnesia who is lost in a gloomy, absurd world and tries to escape through a series of puzzles. While the aesthetics and atmosphere of the universe won me over completely, I have more reservations about the writing and the emotions it seeks to convey.

❤ Let's start with the game's biggest strength: the atmosphere is insane (literally). The pixel art is highly detailed, the lighting effects are magnificent, the scenery can go from cute and neat to chaotic and sinister, and the light animations are dynamic and often bloodcurdling effective. I also loved the contrast between the horrific aspect of the scenes and the cute chara-design of the characters, a bit like Puella Magica for those in the know. There are also quite a few visual ideas that play on this contrast of tone to make you feel extremely uncomfortable, without resorting to easy jump scares or excess hemoglobin. ❤ The sound atmosphere is not to be outdone either. The music is memorable, adding a touch of mystery and disquiet to the exploration of the rooms. But the game also relies on scary sound elements (footsteps, evil laughter etc…) as well as moments of oppressive silence, which worked extremely well on me x) ❤ The gameplay is fairly varied overall, with exploration, puzzles, chases (I hated every second of it), mini-games, etc. I never felt redundant during my game.

+/- The game's puzzles take two forms: on the one hand, there's the rpg aspect, with objects to find to interact with elements of the setting; on the other, there are text-based riddles in the style of Sphynx. The difficulty can alternate between easy and a little more intermediate, which provides a bit of a challenge, but I found some of the titles very confusing and their solutions sometimes convoluted. +/- The story is captivating from the start. We face all these horrific events without understanding anything, totally perplexed like our MC who has lost her memory. But this confusion lasts right up to the end, in fact, because the scenario remains far too ambiguous, and even though the game hints at some answers here and there, it ends with a feeling of incompleteness. I did understand the underlying plot, but the way the game skims over the truth left me rather indifferent in the end. +/- The characters are excellent in their creepiness, but we don't get attached to them at all. And yet the game seems to want us to feel something, given certain scenes where the heroine sincerely tries to create a bond with them....but it just doesn't work. First of all, the main girl is just too bland and interacts with everyone in the same way (all sweet and naive) which, in my opinion, doesn't create any real chemistry with the other girls. But on top of that, these ones have very short "arcs" where we're more often dealing with their demonic character than their more human side, and as a result, I find myself rather indifferent to their fate. +/- There's a good amount of replayability given the various endings, but there's no quick skip for the dialogue and some of the cut scenes…and some of the endings are hard to reach without reading a guide, which is a shame.

✖ The game has a lot of game-overs, which isn't a bad thing in itself, but some of them occur after actions based on chance (for example, you take the wrong direction in a corridor and you die, or you make the wrong choice in a dialogue that didn't indicate any fatal fate). It wouldn't have bothered me so much if the save points weren't so far away from these events, as it often means having to take again a long path or even a cut scene that you can't always get past. It got very tiresome at times. ✖ I've got nothing against dubbing in onomatopoeia, but the little laughs and giggles from the damsels are far too frequent and almost annoying. ✖ I find the object interface a bit messy and not quickly accessible.

I was totally drawn into the world of this game, and it succeeds perfectly in its aim of making its audience both nervous and enchanted by this hellish wonderland. But it left me on the side of the road when it came to its story and its characters, who were a little too elusive for my taste.

➡ My Steam page

[the-s1lly-corner]

okay here we go (I added in images to characters you might not know)

Mild crushes:

Brassius (left) and Hassel (right)

Larry

Lord Milori (still kinda like him)

Sir Pentious and Lucifer

Used to take over my life:

Grillby

Gaster

Brett Hand

Lukas

Mordecai Heller

Kinger

Adam (most recent)

ALREADY HAS ME DEAD DJJSKX:

Clopin

I used to like him before back in January, but after listening to the soundtrack of this movie again, I frickin fell in LOVE

The obsession got so bad that I’m now researching Romani history and culture, watching those “the making of (movie name)” videos, interviews (which there are SO FEW OF) of the VAs or Alan Menken, the composer of the soundtrack

I want to know everything when I like a character lol

I actually have more, but it already feels weirdly personal to confess some of them so thank god that this is the silly corner :]

SCARED TO SEND IN BUT HERE WE GO

Mo need to fear this is a no judgement zone! Also I lost my right to judge people when I wrote mpreg a few weeks ago/lh

Rubs hands

The first two!! Obligatory "I've never gotten too deep into pokemon and the only game I've played start to finish is shield, and I'm like. Partway through brilliant diamond" soooooo! I know nothing about the personalities of these two so we're going off of looks!! And I say!

Valid!

Brassius gives off either old and exhausted punk or old exhausted gay artist but those two can overlap!

Hassel Looks yummy I love me a good longhaired blonde man AND he looks a little on the older side? YUMMY!!! He looks like he'd either he a grade A douchebag rich guy or a total sweetheart

Larry! Hey I know you I saw your dick on Twitter!!!/ref mo but real talk I can get the appeal! I already know that's hes a tired working man but that's about all I know!! Hes valid, I'd give him a big ol kith

Milori looks interesting! I don't know wheres hes from so once more we rely off of looks! He looks vaguely like a broken man . I can fix him. Valid!!!

Pentious is valid but I'm biased because I also had a crush on the character!! Pathetic men are just so silly!! Probably also has my favorite design of the entire show!!

Lucifer is also valid I can see the vision!! Caring but mentally I'll man who distances himself for one reason or another despite deeply wanting a connection my BELOVED

Grillby also had a choke hold on me when I was into undertale!! I'm so sad that there werent many grillby x reader fics out there- if I was still balls deep into undertale and deltarune like I used to be I'd 100% give writing the characters a shot but unfortunately I doubt I ever will <\3 unrelated theres a surprising amount of buff bara art of him

Gaster!! I can also get behind!! Mysterious creature that hardly has any lore iirc, fandom either portrayed him as a mad evil scientist or a loving father to sans and papyrus, at least with my experience with the fandom.. valid!!

I never watched inside job but I've heard good things about it! Brett looks like a sweetie, so I can understand the appeal! He looks so silly.. just a guy.. valid

Lukas!! It's been so long since I've heard someone talk about MCSM! Obligatory I dont remember much of Lukas, just that he was kind of an ass in the beginning I think.. but I can see the appeal! I was more of a ivor girlie

Surprisingly I have not seen lackadaisy yet! Surprising I know, since I'm huge fans of other indie animations on youtube!! Going off looks I can see the appeal, he gives old grumpy grandpa vibes but I could be totally off! I like his eyebrows :3

Kinger is another valid but again I might be biased because hes my baby girl- cant wait to see more of him in future episodes especially since hes hardly had any screen time so far <\3 he seems so sweet :(

Adam!! I can see the appeal again but his personality isnt really for me <\3 hes valid though!!

AND CLOPIN! It's been so so so long since I've seen the movies but omfg I remember I loved him a lot! Yummy design as well as a nice personality I wish we got more of him <\3 VALID VALID VALID

[hyena-frog]

I personally don't understand people who think that Virginia 'can't win on her own'. As if she has to prove herself or she is 'too nice' and has to learn 'how to violence'. Just because Sevro's solution for everything is cutting some fingers or worse, doesn't mean he is always right or that Mustang's work to keep that balance and play within the designated lines is not badass or interesting. She is the only demokratic ruler and her own people gave her absolute power of decision making to end the war at any cost. What's not great about that!?

If Virginia was indeed 'too nice', she would have perished long ago - last absolute cinnamon roll we saw was Julian and we all know what Society thinks about people like him. Just because she plays by the rules, doesn't mean she has no claws - she wiped a terrorist's memories away for fuck's sake. Now that the rules have been extended, you can bet your ass that she'll take more than one page out of Nero's playbook. After all, she said it herself, she tamed herself, but it's fun to let the lion out.

Agreed 110%! I don't understand people who give Virginia shit in general tbh. I mean, how do you not fall in love with her immediately? How are you not ride or die for her from the get-go? It boggles the mind.

Those arguments, being "too nice" or being unable to win on her own, are reaching and easily debunkable. The lack of reading comprehension. 😒 If you don't like her, then whatever. I may not understand how that’s possible, but it really isn’t necessary to make shit up, you know?

Virginia can't win on her own, huh. The nerve! Where would Darrow be without her? Dead. Many times over. He would have bled out after Cassius stabbed him if Virginia hadn't helped him. And it was Virginia who brought the Howlers back from the Rim weeks in advance of Darrow actually needing them, just in case. So many things would have gone wrong in Morning Star if she wasn't at Darrow's side (and if Ragnar hadn't gone out of his way to make sure she'd be there, the absolute legend).

Perhaps it's Darrow who can't win on his own? But that sounds ridiculous, doesn't it? All of his successes were achieved through teamwork. Darrow acknowledges this many times. It's the same for Virginia. While it's simply not true that she can't win on her own, it’s also untrue that the inability to win on your own is a bad thing. The whole argument doesn’t make any sense.

The idea Virginia still needs to “prove” herself despite doing so plenty of times already throughout the series is frustrating. The fact of the matter is, the success of the Rising relies just as heavily on Virginia's intelligence as it does Darrow's battle skills. The Solar Republic simply wouldn't exist without her. Fitchner never had a clear vision of what "after the Society" would look like and neither did Darrow for a long time. The war effort needs a conscience and a vision for the future, otherwise it's just endless bloodshed. Virginia helps Darrow see beyond the bloodshed. Plus, Darrow has no interest in politics. He'd be the first to admit he’s not good at the slow game of political maneuvering. But Virginia thrives in that environment. In Dark Age, Darrow even admits his current predicament is a consequence of not trusting his wife's way of running the Republic, and he vows never to do that again.

Sure, Virginia doesn't get into physical fights often, especially now that she is Sovereign. But politics is no less perilous a battlefield. I feel like because the political battlefield isn't as flashy and fast paced as a literal one, people forget the constant danger she is in, even before the Senate's betrayal. Silenius' Stiletto is a delicate tightrope act she has to perform every day to drag progress forward while keeping her opponents in check. This requires a level of self-restraint, clear-headedness, and badassery, that no other character can achieve.

Virginia is not "too nice." She is practical. And often, is it practical to play nice. Not every confrontation is best solved through violence Sevro. We all know the line: Virginia is the mustang that nuzzles the hand; people know they can work with her. That’s why the people chose her consistently for ten years, over literally everyone else in the solar system, to run this new government. And her steadfast resolve to gain Imperium legally, to not force her will on the people, proved to them again that she won’t abuse this ultimate power to end the war.

No, Virginia may be reasonable but that doesn't mean she is too nice. If she was too nice, she wouldn't have used her relationship with Cassius to protect her family. She wouldn't have shot Cassius in the throat with an arrow. She wouldn't have promised Ephraim he would "die shitting in a foreign bed" if he skipped about on their bargain to return the kids. She wouldn't have zapped the Duke of Hands' entire personality from his head. Like you said, she never would have made it this far if she was truly toothless. She's practical, and sometimes the practical solution doesn't require violence, but creative thinking.

Speaking of creative thinking, one thing Virginia doesn’t get nearly enough credit for is abolishing the death penalty immediately after Adrius was hanged. That wasn't her being "too nice" or too lenient on her caste. Yes, she feels life in prison is the moral option over the death penalty. But she knows her people. The punishment for the worst criminals in Deepgrave is a Gold's worst nightmare. Life in prison denies a Gold their desire for a glorious death, to be remembered through the ages for their deeds in battle. The Republic's justice system sends a clear message: "Mess with us, and you won't get your notoriety or fame, you'll only get obscurity and shame and sucking algae through a tube until you die naturally of old age." That to me is crueler than hanging.

Virginia’s mind is her greatest weapon, but more than that, her greatest strength is how she applies her intelligence. Her ability to read people, and to communicate, is greatly underappreciated imo. These skills require nonviolent interaction yet they yield great results. There are many examples of this. She used her natural charisma to gain Octavia's trust. She brokered an alliance with the Rim when she thought Darrow was dead. She held the Republic together for ten years despite constant, increasing animosity from the Vox. She refused to torture Lyria and was able to see she was not lying about being an unwitting pawn in the kidnapping scheme and was rewarded with information and a new ally. She figured out exactly what Sefi was planning for Cimmeria, even manipulating the situation to her advantage without Sefi realizing it. She knew Victra was going to bargain with Sefi for the kids, without being told. In her own words, this is simply what she does.

There is a quote in Iron Gold that caught my eye: "Communication is the soul of civilization." (532) Now, this line has nothing directly to do with Virginia. This is Ephraim trying to get a rise out of Gorgo. But it fits Virginia perfectly, doesn’t it? The Republic is able to exist as a civilization because it has such an amazing communicator at its center.

Virginia is such an excellent communicator that she is even able to get parties who refuse to communicate with her initially to reciprocate communication eventually. She convinces Sevro, Dancer, and even Victra to stop freezing her out and work together. She does this by speaking their "language." She knows exactly what to say or what to do to get them to finally listen to her. Revealing she already knows exactly what is going on works for Sevro, providing hard evidence of conspiracy works for Dancer, and proving her actions (showing her scars) works for Victra. This isn't to say she never makes mistakes. She shouldn't have called the Wardens on Darrow, for example, just as Darrow shouldn't have kept the meeting with the Society "diplomats" a secret from her and the Senate. But more often than not, her nonviolent communication skills yield valuable results.

As for Virginia apparently needing to learn how to use violence… While Victra and Sevro’s feelings were justified, their actions at the end of Iron Gold and the beginning of Dark Age were just wrong, wrong, wrong imo. Freezing out Virginia did nothing but delay the return of the kids. It's frustrating to think how much heartbreak could have been avoided if they'd just put their heads together from the moment the kids disappeared. And what exactly did Sevro's rampage through Luna's underground accomplish? Some dead Syndicate thorns, sure. But that tantrum put a huge target on Sevro's back. As Virginia said, one lucky sniper and boom, no more Sevro. What would Victra have done then?

While it may feel like Virginia would have achieved more if she just beheaded some people, she has a responsibility as Sovereign to consider the bigger picture. She has to consider the Stiletto. If the Vox saw her offing some fools it would have added credibility to their smear campaign. The people would have lost faith in her and think she turned into another Octavia. Whoever replaced her could use her actions to justify their own dictatorship. Violence was simply not practical for her until she legally gained Imperium. Now though… 😈

Virginia's over here playing 3D chess while everyone else is playing Connect Four, but this still isn’t enough for some people. After the clone gets the better of her, she gets flack for not being an omniscient god and just knowing her twin brother laid out a plan to clone himself ten years ago. Tut, tut, should have seen that one coming, despite the lack of evidence. If only she’d punched some people. (Can you see I hate this argument with every fiber of my being?)

In Dark Age, Ozgard says this about Electra and Pax: "She is better fighter. He is more dangerous human." (184) Well, Pax gets it from his momma. Pax and Virginia may not be able to throw devastating punches but in many ways, their intellect is what makes them the greater threat to their enemies.

Thank you for the ask!

[snowfianna]

Fable IV rant:

I'm so pumped up for the 23rd because everything has led me to believe that Fable 4 will be announced this year and the game's existence has been confirmed for a while anyway it's just a matter of time of when will Fable 4 show itself. It's a badly kept secret tbh.

So to those who don't mind a big rant or wish to add on to my rant- here we go!

Can you imagine how good the graphics would be for this game, we've all seen modern games, surely, and they're all bloody fantastic looking. Fable Legends is technically the most recent Fable game despite it being a free to play online game

and that it's cancelled

but it also had a gorgeous look to it all! And the character models did great justice to the concept art and honestly that has my hopes real high because I love the concept art of Fable, specifically from Mike McCarthy, so exaggerated and recognisable- yet in all the games I can confidently say they did not do justice to his character design, specifically for Reaver. Sure, he looks stunning in the third game, but not quite what he looks like in his concept art sadly.

But also, since Fable was made in Unreal Engine (I'm pretty sure at least) we've seen examples of what can be done in Unreal Engine now and it's absolutely breath taking!

If you haven't seen here are some examples and they're so life-like.

Moving on from graphics!

Since Playground Games is behind the development of Fable 4, they would be spectacular at an open spaced world, judging from the Forza games.

I always loved the open world feature added to Fable, it made things more adventurous and you could do so many things that weren't at all related to the main quest to progress the story and it was just thrilling to see there were other things going on! I'd love to just have my dog companion running through fields, fighting enemies left and right and finding buried treasure or forgotten chests.

Run into strangers who request aid in something silly or rather serious and it would be up to you with how you go about the quest or if you even accept it to get renown or gold. Cause a massacre in towns and villages, running off with low morality and plentiful loot- oh one could fantasise of this all day.

Story, characters, writing and voices.

Fable has always had a fun environment of fantasy and a rather good story (despite the curse of mundane or pathetic boss fights in which I hope Fable 4 breaks this cycle) but the one thing that's always kept me on my feet in the games is the writing and the characters. It always just tried not to take itself too seriously, throwing in absurd quests that probably requires cheese or a really weird-looking outfit. It always kept my attention rather than just pure edge and seriousness of life or death.

The characters are a given, the writing done for them all is perfect in my eyes, I love hearing the variations of how characters of NPCs interacted (enough so that I even bought two of the Fable books written by Peter David). Despite Fable 3 not being the greatest at it's time, I found myself absolutely enjoy the characters for how they were- I even cried over Walter's death because it genuinely felt like I lost somebody pretty close (RIP Walter🙏). The writing and the chosen voice actors were superb and I'd love more of it.

I hope this time we can receive a full story instead of how Fable 2 and 3 were where plenty of plot points and such were cut out due to time constraints- thanks Microsoft, very cool. I'm still in anguish when listening to the Developer's Diary 3 of Fable 3 hearing lines that were just never said in the final product and it was definitely not just additional lines that weren't required as it seemed to mention entirely different things that weren't in the game; i.e. Reaver talks about his pirates in Bloodstone and how he misses them- in the final product he never mentions it and it's even shown that he's tried to completely bury his pirate past for whatever reason.

The pacing in Fable 3 was rather strange too, it felt like the revolution should've lasted longer.

Another hope of mine is to have choices that aren't so painfully black-and-white because it's very obvious which is the good or bad option to a scenario- personally for me I'd like to be morally grey rather than pure good or pure evil.

They better have kept the mechanic of your actions affecting your appearance too to the point where you grow horns and get cracked magma-like skin or this slight glow and aura around you and this flawless skin. It kind of died down in Fable 3, only looking more tired or have completely black eyes and the good- eh yeah not much I can say for when you're good. Purity and corruption seemed to also vanish in Fable 3 (at least I think) since you couldn't really change prices of the homes you were renting out, unless I've been a big goof who didn't arrange the rent prices in the game because I didn't know how.

Combat

Combat in all the games was rather straight forward, especially in Fable 2 and 3 where everything was just easy to beat or you could get overpowered around the start of the game. I'd hope the combat improves greatly this time and even bring back real consequences to dying instead of immediate revival with some lost experience and a scar. We need more serious consequences to your actions (this can be applied to all decisions rather than just if you die in a battle) even if it's just having to reload the last checkpoint. Makes things more challenging this way.

Another thing is to make boss fights less repetitive and simple- sure I can forgive it if the boss is from around the start but if they had phases you had to keep ontop of and didn't rely on summoning a bajillion other enemies to strike you, I'd be ever so grateful.

And if there's other characters fighting along side you, I'd hope they'd genuinely be helpful and keep up to speed with the player. I'm sure the AI in the past was the problem for this as AI wasn't at its best during that time so characters fighting by you didn't do too much or just did whatever that wasn't helpful. Now though, AI has improved immensely (I mean look at The Last Of Us 2, the AI is👌) and due to this, I'm sure characters would make battles more fun and the characters be more involved with the fight and even story.

Mana should be brought back as well, in Fable 2 and 3 mana just ceased to exist so you could just endlessly and repeatedly use the same spells and it just gave you too much power and the enemies barely stood a chance.

We need challenges people- CHALLENGES!

Medieval times? Yes.

I love Medieval fantasy and as much as I like the Victorian era too, I didn't think it quite suited Fable, as fascinating as it was to see fantasy turn industrial, it kind of took away from the Fable feel that I so crave. If they have indeed brought the game back to medieval times it means more creatures and enemies are back rather than driven away or limited to the same handful of enemies.

We can all also agree the guns were overpowered, though I did like receiving the Red Dragon late in Fable 2 to absolutely mow down enemies, it was satisfying to say the least. However, guns were far too powerful for the game, so I demand the bows and crossbows back thank you very much- or even throwing knives- I'll take what I'm given.

I'd love to see more of the natural landscape rather than towns or buildings that took over once entirely natural areas (Millfields/Bowerlake). However, I won't object to ruins of old buildings taken over by nature.

Skeptical with Playground Games? Don't be.

Are you worried that Playground Games wouldn't do justice to Fable since it's not Lionhead Studios? Don't be, it's been noted that Playground Games has hired several ex-lionhead workers and plenty other skillful workers to ensure we get the best product. I have high hopes and expectations for Fable 4 even if it's developed under a different studio, I've seen great things from them and I will believe they'll deliver us only the best.

Side note to all this

I will crash and burn if I don't see a crumb of Reaver or Jack of Blades in Fable 4- I don't know how true any rumours are of Fable 4 with time travelling and Jack returning, but we'll just have to see. Reaver still remains as my absolute favourite character of all time and I'd love to see more of him, even see him before he was 'Reaver'.

Jack too, more of his lore is stated elsewhere rather than in the game itself and I'd love to see it all be brought into light and really expand on his lore and make it known- rather than have ever-loving Fable fans like me dig around for these rather delicious bits of canon information.

That's my big rant, feel free to share your thoughts and what you'd look forward to!

Have some accidental art leaks from a Playground Game concept artist- believed to be for Fable 4👀

[yuvon-writes-letters]

[The letter is written in a new, unknown handwriting, even though it resembles Jakes']

I kindly believe that is my cue to interfere. Thanks to 'Goldie' I got all of the letters now, too. I have much to say, but not that much time so let me get started.

Jake, I know I can easily say this right now, but please try and be as calm as possible. I agree with you, this entity doesn't want to see the both of you dead, but you still should try and take care of Yuvons temperature now. If she warms up, be careful that this process doesn't go too fast. We cannot be sure to what extent the entity tolerates injuries so you have to do the best you can so that every bodypart of Yuvon gets fine again. I know you can do that, you're a version of myself after all. And if you need to talk, as Liska already said, we can write, too if you like.

About what you're telling the group: I am sure you have some of the other chats left? It may be difficult, but my advise is to try and write messages in Yuvons name. If you need any help I am sure we are able to help a little bit.

Now my words to you, Jessica. I can tolerate much. But if you did not already read her letters: Liska already is blaming herself. She is a wonderful human being and would not have done anything that hurts Yuvon or any of my counterparts.

You will not make her blame herself anymore. Liska doesn't deserve that. Additionally, I am pretty sure that I know someone who does not like your conclusion jumping either. Beware of what you're saying, Jessica.

~ Lis' Jake

[Under the letter is a little bit of a beautiful golden writing added. The paper here also seems to shimmer a bit golden. It feels a bit warm]

Jake is right, I don't appreciate it. And if that means I have to stop your letters reaching my little girl then so be it. You won't make her suffer anymore.

As for you, Yuvons Jake, this entity won't be able to touch at least this universe as long as I am here. That does not mean I can exactly evaluate their strength.

~ Aur, since you DID figure out that much.

Jake,

It is admittedly difficult to remain calm, but as I am the only one here who would care to act in her benefit, I will do my best.

There is very little I can do to heat her up, so I would not worry about heating her too quickly. Something is very much wrong; she seems to simply not be generating as much body heat as she should, even not seeming to generate warmth from her involuntary motor movements, and thus the blankets have only limited use. I suspect it is either a medical issue I have no knowledge of, or that thing is not done with Yuvon.

I have taken to using my body heat to combat the cold; she is currently lying on top of me. I suspect she will be displeased, to say the least, when she wakes up, but there is little other choice.

Thank you for the offer. As I said to Lis, I do not wish to speak of it at the moment, but perhaps later I will.

As for the chats: I have been cross-referencing with other, older chats, and attempting to mimic (blacked out) Yuvon's writing style and persona in interacting with the others. Luckily, Yuvon does not use emojis, or else I would have been completely lost.

As it is, every single member of the group now suspects that something is wrong, but at least they do not suspect that it is not her writing the texts. Yet.

All I need to do is delay. Yuvon will know what to do about it when she wakes up.

I rely on Yuvon far too much, don't I.

I concur. This is the fault of no one but that thing. If we must engage in pointless blame games, please at least wait until Yuvon is conscious again. I do not wish to deal with more interpersonal drama than is absolutely necessary when I need to focus on Yuvon's health.

Thank you, Aur. That is a small comfort. Whenever Rai checks in again, however, I will warn them to be vigilant. For what it's worth. Jessica, you should be wary as well.

I will continue to monitor K Yuvon's health and the Duskwood group's suspicions. If there are any drastic changes to either, I will send another letter.

Wish me luck,

Jake

[punkscowardschampions]

Bea & Ro

Bea: What time were you planning to go to mass on your birthday? Ro: [a time that is ridiculously early af] Ro: You're going to be there to present me with my rosary right? Bea: I thought it was just before the party, when is that starting? Ro: Traditionally, yes, but I don't want to hurry through it as if it's not important Ro: [a time for when the party is starting] Bea: Right Bea: it's just that it was going to be a struggle to get back for the party as is Bea: That's essentially adding an extra day to my stay Ro: but you're the closest thing to a godparent I have, spiritually Ro: I don't know who else could do it Bea: and I know that you really want to do this Bea: I'm just not sure if I can make this happen, the schedule doesn't have much wriggle room Ro: okay, I suppose you can lead the last doll ceremony at the party instead Ro: I was intending to have Ali give it to me, since she made the outfits and everything but I'm sure she'll understand Bea: I don't mind if Ali does it Bea: it isn't as if this is actually traditional to us Ro: I'm trying to create my own traditions, it means something to me in that sense Bea: I'll try to make the party Bea: Yes, I know Bea: but I can't have my life revolve around it for a full calendar week Ro: I can't help when in the calendar my birthday falls in relation to your university terms Bea: Of course not but this is a lot, Ro Ro: No, it isn't Ro: it's a party that you'll try to attend Bea: I don't know of any other party you have to attend church to go to Bea: unless it's a wedding Ro: I haven't thrown any other parties prior to this Bea: You know what I mean Bea: this doesn't need to be such an event, does it Ro: It's my birthday, it's allowed to be whatever I want it to be Bea: Right Bea: well I don't know if I can come, alright Ro: well, if you want me to tell you that's fine, I won't, because it isn't Bea: What do you want me to do? Bea: The workload is insane Ro: if you are unable to cope with it approximately a month after Christmas break, what would you like me to say or do? Ro: *before Bea: Don't talk like you have any idea about the workload, firstly, that's what you can do Bea: You haven't even done your leavers yet Ro: You only just got back, that's common knowledge Ro: being snowed under is a poor excuse Bea: They set the assignments at the start of term Bea: even if I have all term to do it, would you suggest I leave it to the last minute? Ro: I would suggest you learn more effective time management some time before you graduate Ro: since you asked Bea: Please Bea: You're in a strop but don't be a brat about it Ro: you're well aware of when I was born, it's nobody's fault but your own if you can't handle your own schedule to coincide with long established party plans Bea: I'm aware it's in the middle of term, Ro Bea: and I go to school in another country and am living on student loans Bea: I'm not flying back for every little thing Ro: it's one of the shortest possible plane rides and you're more than happy to take advantage of that when it suits you Ro: or Fraze Bea: That's my business Bea: and I don't come back as much as you're trying to put on Ro: and I don't ask you to come back ever, or for anything Bea: It's clear you're only concerned about yourself Ro: for one day a year, why is that so uncalled for? Bea: Because, all this is just ridiculous Bea: you aren't Latina Ro: look for the ridiculous in anything and you will find it Ro: or if you prefer, all great deeds and all great thoughts have a ridiculous beginning Bea: You do it with Ali, as per Bea: you don't need me for any of this Ro: that's just as well since you can't be relied upon to take part in any of this Bea: If it was important, I'd be there Ro: it is important to me Bea: I can't say you've inspired me to make any greater attempts than I already have Ro: of course not, your mind was already made up when this conversation began Ro: however inspiring I am or am not is irrelevant because of your unwillingness to prioritise me regardless Bea: You seem pretty convinced of a few things yourself Bea: It isn't exactly the easiest time for me, regardless of my time management Ro: it's my 15th birthday that approaches, not my 5th, I'm utterly convinced that waiting at the window for you is an empty pursuit Bea: You're being dramatic Bea: and if you'd like to compare 5th birthdays with me, feel free Ro: and yet I'm the one who's supposedly being dramatic Ro: one great sacrifice and you're content to never consider making another in my honour, however big or small Ro: okay then Bea: I didn't sacrifice anything for you Bea: They died, there's no good behind us Bea: I got help, we got out of there, end of Ro: maybe that's the end of the story as far as you're concerned Ro: it's the beginning of mine Bea: We aren't even talking about that Bea: yet another topic you know nothing about and I'm not willing to endure lectures on Ro: they died on the same day, it's impossible to talk about one without the other Ro: if I were being dramatic, that would be cause enough Bea: What does it matter? Bea: Can you remember it? No Ro: that in itself matters, having nothing to remember them by except you and your memories which you're as unwilling to share with me as you are to make any time to celebrate with me now Bea: I was 4, I don't have any memories either Bea: That's how it is, there is nothing to celebrate there Ro: Fine Ro: I'll leave you to your assignments then Bea: I will send your present Ro: Thank you Bea: Right Bea: if anyone asks, tell them what you like Ro: it's unlikely anyone will given how selfish I'm apparently being and how air tight your reasons for not showing up supposedly are Ro: besides, I have enough to do without indulging in any games of chinese whispers as to your whereabouts Bea: Then you best get on with it Ro: I have my own schedule under control Bea: I've not got the time to have this petty back and forth with you and if you're as busy as you say, that shouldn't be a problem Ro: finally, something you're right about Ro: it isn't a problem Ro: continuing this conversation with you is a waste of my energy Bea: Off you go then Ro: See you at Christmas, assuming you decide that's worth returning for Bea: Either way, you won't be waiting at the window Ro: precisely Ro: and you'll have my present sent if you don't appear yourself, little else mattering at times like these anyway Bea: You aren't upset I'm not coming, you're only upset your plans are compromised Bea: because if you remotely gave a shit about me being there, you would've approached this whole conversation differently Ro: experience has taught me what you value and what you don't Ro: I'm not about to make any kind of impassioned plea in order to be a hastily added footnote Ro: particularly if it follows that I'm to be blamed for your ensuing university hardships should you dare to attend Bea: You know me so well Bea: wait, no, we both agree that is laughable Bea: so spare telling me what I will or won't do or say, my sides are splitting as is Ro: perhaps I will when you respond in kind and stop telling me how I feel or why Bea: Experience isn't something you are solely blessed/cursed with Bea: I can only react to what I'm presented with Ro: you don't want to come, of course you're reacting in line with that, that's what I'm being presented with Bea: Of course I don't, but it's about obligation regardless Ro: you've long been free from any and all obligation towards me Bea: Don't be delusional Ro: you should make time for church if you're going to make yourself such a martyr to my existence Bea: Guess what, we're not Catholic either Ro: There is no we, my faith is my own Bea: Nah Ro: you don't speak for me on any subject, especially my personal beliefs Bea: It's bullshit, Ro Bea: no one chooses to be a Catholic Ro: I have Bea: Yeah, well you would love to be special Ro: I'm so unsurprised that you manage to find enough time to be confrontational Bea: If I were to actually call you out on all your bullshit, we'd be here 'til your 18th Ro: feel free to write the most urgent of your grievances in the card you'll send Bea: You don't deserve a gift that good Ro: that much we can agree on Ro: I don't deserve any of this from you Bea: For god's sake Ro: Stay there, as we said, nobody but me thinks it's unfair that you aren't coming Bea: I'm sure they do Ro: Well, I have not and will not ever care what your boyfriend thinks Bea: As I understand, it's mutual Bea: and he's more than just my boyfriend to you Ro: no, he isn't Bea: How do you think you get to pick and choose? Bea: you can't claim Ali and ignore everyone else, they exist too, like it or not Ro: In much the same way you and he both did, I would imagine Ro: if I were to claim him as my brother, being your boyfriend would be abhorrent and it's obvious what you would both rather by now Bea: Your choice to not integrate and be part of this family has nothing to do with me Ro: Likewise Bea: Fuck you Bea: you had every chance, this is the only one you've ever known Ro: by your own admission you had all the same chances, no sacrifices made for me and no memories of the former Ro: you chose him and he chose you, you're the one being delusional if you think there was room for me and him to still play happy families afterwards Bea: Now you want to believe me, convenient isn't it Ro: and you want to have your cake and eat it, it's an appropriately timed idea, at least Bea: This isn't about me, it's about you being ungrateful Ro: No, it's about you attempting to tell me how to behave as if you reside in an ivory tower instead of a glass house Bea: You're having your teenage rebellion phase, fine Ro: again no, I'd be more than willing to listen to you had you actually said anything worth listening to Bea: Sure Ro: Undeniably so Bea: No, bullshit, again, Ro Bea: you don't listen to anything anyone has to say because you think you're right about everything despite the obvious Ro: you can't garner a receptive audience because you're just talking and talking without pausing for breath or to listen yourself Bea: This might be a big conversation for you, but that's only because you never talk to anyone but yourself either Bea: I'm actually busy, with things far more important than your tantrum Ro: Go and devote yourself fully to those things then, I already told you to do so Bea: You think you tell me what to do? Bea: No Bea: I'm not so single-minded Ro: If I had any desire to waste my breath I'd do so during a piano lesson with one of my more challenging students, when I'm paid to Bea: Yes, that about sums you up Ro: thus allowing you to draw a line under me Ro: and all of this Bea: No Bea: that's your move Bea: if you're going to be as callous as to want it, at least have the follow-through Bea: I'm not making this one easy for you, lest I be accused of martyrdom again Ro: I wouldn't dream of trying to compete with you in the stakes of who is the most callous Bea: I miss a birthday, how much have you skipped out on, Ro? Bea: When are you ever fucking here? Ro: such a convenient scapegoat for you when you no longer wish to be held to your own account Bea: If you want to be a ghost, you don't get to defend yourself Bea: dead people don't get to prove or deny any claims made about them Ro: the dead are far superior conversationalists than you, in my experience Bea: Your imagination, it'd have to be Ro: boundless though it is, no Bea: You don't know any dead people, and that's the truth of it Ro: I've met lots of them Bea: No, you haven't Bea: and how many people turn up to your party is going to reflect that Ro: yes I have, and how many people turn up to my party reflects how many people I chose to invite Ro: for all the things you deign to lecture me on, having a select social circle is perhaps one of the most hypocritical Bea: If there was any element of choice, it'd be you and Ali Bea: it's obligation and the guestlist of your not family reflects that both ways Ro: this repetition is neither effective nor amusing Bea: It's the sad fucking truth and someone needs to smash it through your thick skull Ro: a chore you'll never be too busy for when you take such delight in it Bea: I hate talking to you Bea: do you seriously not understand how much you make my skin crawl Ro: and yet here you still are Ro: how ghoulish Bea: because I am your sister Bea: your actual sister, and it isn't optional Ro: hardly, we both opt out regularly as previously highlighted Bea: No, I don't Ro: you currently are Ro: and you have on many other occasions Bea: Not being able to stomach a whole performance from you trying to be someone else is not opting out Bea: I wouldn't still be here if that were an option Ro: you'd have to know who I was in order to have the slightest indication of whether or not I was attempting to be someone different Bea: I know who you are Bea: but don't insult me by pretending you have the slightest inclination Ro: you insult me with such a barefaced lie Ro: you don't know me at all Bea: You wish Ro: I'm not in the habit of wasting wishes Bea: How's that working out for you? Ro: Perfectly Bea: Then that's really sad Ro: You're a very convincing adult Bea: That's allegedly what you're preparing yourself for Ro: sober disenchanted maturity, so Wuthering Heights asserts among many other turns of phrase Ro: you're more suited to it Bea: You know, drunken, enchanting or youthfulness aren't words anyone would apply to you Bea: so I'd be more careful with what I asserted if I were you, you aren't likely to be thrilled with what you get back Ro: I am content without the constant appraisal of others right now, perhaps when I find my own way to university we can swap places though Ro: if nothing else, it'll grant you a rest Bea: Of course you are Bea: you haven't spent this entire conversation doing just that Bea: at least package your delusions as somewhat believable to anyone else or you just look wholly derranged Ro: this entire conversation is centred around the disruption of my plans and thus my self discipline is the only thing seeking to be placated as you yourself commented Bea: You've sought out every opportunity to assert your appraisals of me, unprompted and unforgiving Bea: I wasn't going to come out of genuine lack of ability, but the poison of spite and bitterness was barely held back between your pursed lips, no need to push hard for all that to spill forth Ro: however you decide to excuse your absence makes no difference to me Bea: It makes no difference because nothing does with you Bea: you'd rather I wasn't there because at least then you have something to lament over Ro: I'd rather you weren't because you've made no secret of the fact you don't want to be, as always Bea: because it's fantasy, none of it is real Bea: what is the point of us going through the motions of pretending to have this life-affirming bonding experience when it'll be nothing close Bea: how easily I could be swapped out for any other bit player confirms that, it isn't true, and this all means fuck all to you Ro: you could be so easily swapped out because necessity has dictated it on more prior occasions than either of us have the time or inclination to call to mind Ro: you kept yourself at a distance long before you left for Cambridge, lecturing me about my lack of integration or whatever you called it doesn't change that Bea: Because it was not me you needed to intergrate with, is the point Ro: romantically aligning yourself with Fraze and babysitting Rocky on occasion doesn't mean you can point out my perceived failings as if you're an expert, moreso Bea: This constant comparison is pointless and not what I'm talking about Bea: you were meant to be a part of this family Bea: YOU, not me Ro: and I am Ro: if only because they're obligated to care for and about me as you're so quick to point out at every single opportunity Bea: if you think that's the only reason, legitimately, for them, then you're proving my point about how out of touch you are Ro: you're the one who keeps propping up this conversation with that as the reasoning Ro: whether or not it has ever crossed my mind hasn't been brought up for discussion Bea: No, it's you failing to do your part, that obligation is a two-way street Bea: you're the one giving it negative connotations Ro: being in someone's debt rarely has positive ones Bea: That's what family is Ro: and contrary to what you believe, I fulfil my responsibilities to this one Bea: If you say so Ro: I do Bea: Then that's all that matters Ro: I'm well aware of what does and doesn't matter Bea: Okay Bea: not me you need to convince Ro: I'm also well aware of where to place my conviction so that it isn't misplaced Bea: Seems like it Ro: Goodbye Bea

[differenttriumphdragon]

My Best Cookie Votes and Why: Round 1, Part 1

Mint Choco: While Orange is nice and all, she's ultimately a pretty flat character...and not just in the literal sense either. Minty, on the other hand, has an actual backstory, for starters, plus he's not an absolute dick to his closest friend like his opponent is. Plus, Mint's implied romance with Cocoa is infinitely more satisfying than the Citrus Love Triangle that they do absolutely nothing with. (As a side note, I find it hilarious that the very first matchup is literally just Orange Juice vs. Toothpaste.)

Sea Fairy: I like Tiger Lily and all, but literally her only purpose in canon seems to be to never get told what anything is, which is extremely frustrating on the part of the other Cookies and honestly hits way too close to home. That, and her major character arc with Princess is NEVER touched upon, while Sea Fairy presumably actually managed to reunite with Moonlight.

Pilot: This matchup was essentially Good, Loving (probably surrogate) Grandparent versus Awful, Neglectful, Irresponsible Grandparent who is confirmed to have attempted to alter her granddaughter's DNA in order to change her personality. So yeah.

Pink Choco: Neither of these Cookies really stand out at all. I am a fan of Pink's Magical Girl theming, though, and honestly I'd rather see her on stage than Carol. Also, Pink's design is leagues better.

Walnut: I'll admit, she's just more endearing to me for some reason. Her power is more interesting (and I actually understand how exactly it's supposed to work), and honestly the idea of a little detective with a teddy bear assistant is just adorable. I'm still mad about Angel, but that's not exactly HER fault, now is it?

Dark Choco: DC is a compelling fallen hero character who drives the entire story of Ovenbreak with his disappearance. White Choco Cookie is French, and that's about it. Also:

How can you not vote for him when he promises you such important lore? (Granted, he calls you out for being vain if you pick him. Hey, any lore is good lore, pal! Also, I have long hair I need to worry about too!)

Purple Yam: Honestly, the fact that he actually questions the bad writing sold me on voting for him. He's also a genuinely good character despite his only emotion being anger.

Firecracker: I absolutely love her 80s arcade aesthetic, even in spite of her being way too young to have ever been to an arcade in the 80s. She genuinely wants everyone to have fun, too. Also, Marshmallow got Flame Bat and Celestial Star locked up for her Trial.

Squid Ink: To be honest, this was one of the tougher choices. In the end, I decided that Inky needed more love after what they've been through, so they got the vote. Sorry, Fig.

Roguefort: Devsis has a really bad habit this list of putting far more interesting recent characters against old characters with nothing really to them. I mean, yeah, Ninja's mysterious and all, but you've done absolutely nothing with him since not even LINE, but the defunct game Ovenbreak 2! Other than maybe change his name from Ninjabread, anyway. Hell, Tiny Ghost is more interesting than him, but even then newer players wouldn't even know that, since the one throwaway line hinting at something more was in a Cookie Quest, which were removed from the game entirely over a year ago. Roguefort is more interesting by default.

Vampire: Can I be honest for a sec here? I hate Pancake with a passion. He deliberately makes himself seem cuter to get his way. Based on his interactions with Cream Puff, he's just as cruel as his big bro, if not as outwardly aggressive. No, Pancake relies on psychological manipulation to get everything he wants, and the worst part is IT'S FUCKING WORKING. As we speak, he's stealing a Magic Candy from Devil, from Kiwi...hell, he's even stealing it from Vampire! And now he's dominating the polls, adding insult to debilitating injury. He's not even fucking cute. Yeah, I said it.

Pistachio: Soda has absolutely no personality other than surfboard. Do I even need to say more?

Peppermint: DE could be SUCH a good villain if Devsis could decide what kind of villain she even is. Also if they remembered she was a major villain at all.

Lemon: I'll admit, I see a lot of myself in Lemon. Mostly in feeling artificial and having basically no friends, ever. I honestly think I'd be in a much worse place if I didn't have a brother. Whip could be great if they did anything with the White Swan/Black Swan dynamic he has with Skating Queen.

Pitaya: I've always had problems with the "You can only eat if you work for it" mentality. First of all, you need food to get energy to work, and if you aren't fed, then how are you going to work hard for food!? Second, what if you're disabled or otherwise can't work? Do you just starve to death, then? It just sounds awful!

Cream Puff: She's trying her best.

Kumiho: ...I honestly don't remember.

Pomegranate: A genuinely good villain who stole the show with her introduction. She could've easily been a Knight of Cerebus if the writers cared enough.

Cyborg: Blackberry abandoned a child relying on her protection to chase after a man who didn't remotely need her help. Also, she hates Devil. Also also, Cyborg is cool.

Hero: If you've read Hellfyre Speaks, you can probably guess why I personally picked Hero. I'm just surprised at the popular vote; it seemed to me like Herb was way more popular! But I guess not? Or at least not with early voters.

Werewolf: He's far more fleshed out than Gumball by far.

Devil: Have I ever actually explained why Devil is my favorite? Like, sure, he's an asshole, but he's the fun, ineffectual kind of asshole you actually wanna root for that you see in cartoons; like, in shows focused on a 'villain' character's scheming, usually with a naive idiot going along with it and a very-much-ignored voice of reason. Like in Ed, Edd, n' Eddy, or Evil Con Carne. Devil also has a flair for the dramatic, a knack for 'evil' schemes, and even the perfect foil to play off of! He'd be an absolute goldmine when it comes to the more lighthearted antics between acts, but Devsis is apparently content to just haul up gravel.

Knight: I'll be honest, I saw Alchemist and immediately clicked the other Cookie without looking who it was. But this isn't a post about her, so let's talk about Knight. First off, he'd be the perfect antagonist to Devil; Devil goes full ham when acting out an 'evil' plan, while Knight takes everything WAY too seriously. He adores Princess Cookie but doesn't know jack shit about her, which juxtaposed with Princess's nonchalant rebuttals of everything he claims about her makes it hilarious in a kind of pathetic way. (Ex. Knight claiming that Princess would probably never eat Jam again, then Princess replying she could totally go for some right now to the exact same question.) He's delusional in a way that you'd feel bad for him if he wasn't so over-the-top about it, and yet at the same time he does have skills that match up with his headcanon of how things work, just not the reputation.

Matcha: Seems like the person who'd play both sides for her amusement. I'd keep an eye on her.

[nadziejastar]

I think a big obstacle that I don't see acknowledged to Lea and Isa becoming romantically involved is that Japanese culture is even more conservative regarding LGBT issues than Western culture is. SE has only had a few LGBT characters in their entire history, and they're all relatively minor. I hope that Isa and Lea can break the mold and I think that them being both supporting characters and adults makes it more likely, but I'm not getting my hopes up.

I definitely don’t have my hopes up either. I think KH3 did everything it could to intentionally eliminate all the intimacy between Lea and Isa. Skuld seemed to be thrown into the mix for that purpose. Even if they hadn’t sabotaged it in KH3, I still think the relationship would have been more implied that outright stated. Because like you said, Japan is even more conservative than the West regarding such depictions. I can compare the situation with Lea and Isa to a few other pairings and how they were handled.

There’s Yosuke and the main character (Yu) from Persona 4. Yosuke was going to be a romance option. Voiced dialogue still exists in the files (including dubbed!), but the option was completely removed by the time of release. The fact that even a more niche series (well, at the time) like Persona felt too afraid to put an optional romance between two guys in, shows how taboo this topic is, especially in Japan. And KH3 was much higher profile and had a much bigger budget than P4. So, it was not that surprising to me to see how Lea and Isa got treated. It was like déjà vu. Doesn’t make me less annoyed by it, though.

I also think they heavily altered Yosuke’s personality in the final game to cover up any suggestion of same-sex attraction. In the final game he mostly acts like a frat boy stereotype. Constantly hitting on any girl, and making sexist and homophobic remarks. They were really overcompensating. It was very annoying actually. And it only made him seem more closeted. In his Social Link, the dialogue was incredibly well-written and I loved his personality. This pairing was handled so similarly to Lea and Isa. Here’s why I think so:

Yosuke: Oh yeah, I’m Yosuke Hanamura! I’m his friend. His partner, y'know.

Marie: …Partner? You mean like a close friend?

Yosuke: Heheh, that about sums it up. Er, what’s your name?

They’re very close. Yosuke constantly refers to himself as Yu’s “partner”.

Yosuke: I haven’t changed addresses since before we moved to Inaba.  I mean, I might get a text from someone. …It’s hard to call, y'know? If I called people just to tell them my number changed, they’d get annoyed. And some of them never planned to text me anyway…Oh but hey, don’t look at me like I don’t have any friends! ……Though to tell you the truth, I don’t remember what we all used to talk about. Can’t really call ‘em friends…

He did not feel close to any of his old friends.

Yosuke: It’s only with you guys that I talk seriously like this. I dunno why, but I feel like I don’t have to lie…Especially with you. You’ve already seen the worst of me and all. But well… thinking about it now, if someone had to see that, I’m glad it was you.

He opens up to you in a way he doesn’t with anyone else.

Yosuke: So, you ever invited a girl in here?

“I haven’t.”

Yosuke: Haha, maybe you’re more of a man’s man than I thought.

> Yosuke seems happy…

He’s happy that you are a “man’s man”.

“I will soon.”

Yosuke: Seriously!? That mean you’re working on someone!?

> Yosuke is keyed up…

He gets anxious if you say you’re bringing a girl over.

Yosuke: M-Man, kids sure are mature these days…Well, my first love was in first grade, too! I’ve always been ahead of my time. But, well… I don’t really need that in my life right now. It’s just not the time…I have something I need to do before that can happen…

He said that he was not interested in dating right now. He’s working on sorting out his feelings, since the girl he liked before was murdered. Yet in the rest of the game, they have him constantly hit on every girl and act desperate to get a girlfriend. It was so weird. It felt like deflection, in the same way Skuld was with Lea and Isa.

Yosuke: When the murders started, I got excited…I thought there was finally a point to me being in Inaba…I thought I could forget Senpai was gone… and the fact that I was such a loser…I jumped at the murders and never once thought about what I was doing…I… didn’t even take the first step…I’m sorry…Saki-senpai. I’m sorry… Yu.

He starts crying after opening up to you. There’s an option to hug him. Around the waist too. He says it’s for girls, but still accepts it. That was what he needed. You are the one who helps him sort out his feelings.

Yosuke: This town I hated so much? Now, I love it. There’s still nothing here, but I have family and friends… and you. The important things are never far off… They’re all around you.

He mentions family and friends, hesitates, then mentions you separately. Does that mean you’re more special to him than a friend?

I just did what I thought was the best thing at the time. For Roxas, for Xion, for the Organization—and for Isa. But most of all for me.

It reminded me of this. Axel mentions everyone else, hesitates, then mentions Isa separately. Not Saïx, Isa. Was Isa special to him?

Yosuke: I always wanted to be “special.” I thought my life’d finally have meaning if I was “special” to someone. That’s why I was really excited when got my Persona. But I really didn’t need it… It’s not what you have or what you can do…Just being born, living your life… Before you know it, you’re already special to someone.

“You’re right.”

Yosuke: Yeah… Like you… You’re special to me, you know?

Yep. Yosuke wants to be special to someone, and he says you’re special to him.

“That’s not true.”

Yosuke: You just don’t realize it yet. You’re already special… to Chie, Yukiko… and me.

When Yosuke said “special” it stood out to me. This was before I found out that the romance option was taken out. I don’t pick up romantic vibes between male characters that often. I don’t wear shipping goggles. Their relationship simply seemed romantic to me. “Special” is not a word guys will use with each other very often.

Because it is very intimate. If the writers have a character say that another character is “special” to them, it almost always will seem romantic. Especially between two guys. And I did get those vibes. When I found out he was supposed to be a romance option, I wasn’t surprised. So, after all this intimate bonding, how does their arc end?

Yosuke: I didn’t realize it…When I called you “special,” I thought some more about it. I think of everyone, I wanted to be acknowledged by you the most…So…I want you to hit me! Give me a good one. Knock out all this crap inside of me. I want to be equal with you. I want us to stand shoulder-to-shoulder. So c'mon…

By…getting in a fist fight? Two guys were getting just a bit too close and intimate with each other. Yosuke used a taboo word. “Special”. Now he has to be beaten up for it. Otherwise it’s just too GAY, ya know? And that’s NOT okay. The message is if a guy is too intimate with another guy, he needs to “man up” and get some sense knocked into him. Sad, really. In the deleted dialogue, there was a romantic confession. Yosuke says he likes you. The Japanese word for “like” is the one specifically used romantically. To me this is the ultimate display of the writers chickening out.

And that’s how Lea and Isa’s arc felt to me, too. There was all of this dialogue suggesting there was something very intimate and special between them. Then in KH3, we get a girl shoehorned in out of nowhere. Apparently Saïx was doing “everything for” her, despite having zero emotional capacity. And Lea also wants to “clobber” Isa now, not free his heart. It felt so contrived in order to create emotional distance between them, so any hints of romance would be gone, gone, gone. It felt like the writers were panicking and going “No Homo!” They were so desperate that they wouldn’t even let the real Isa get saved from being a vessel. That’s how afraid they were of Lea and Isa’s natural chemistry and special intimacy together. Pathetic.

Then there’s Ike and Soren from the Fire Emblem series. Lea and Isa reminded me of them. You have the more confident, “masculine” one in Ike and Lea. And then you have the calm, quiet, “feminine” one in Soren and Isa. They have a hard time opening up to anyone else. I think Isa even kinda looks like Soren. They both have that penetrating stare, indicating high intelligence. And they have soft, delicate features, indicating vulnerability underneath the surface.

They both act cold outwardly, but Soren is described as a very empathetic young man. And I think Isa was, too. I love this ship. I think this is the direction they were originally trying to take Lea and Isa’s relationship. This pairing is HEAVILY implied by the story. But it’s never made explicit. Why do I think it’s romantic?

Soren: Curse you! Why won’t you let it go?! I have no one to rely on but you! If I tell you and you turn on me… I… I… I could no longer live.

Ike: That’s why you have to tell me, Soren. You wouldn’t open your heart to anyone else. So if I didn’t so something about it, you’d probably be in pain forever.

Soren is totally emotionally dependent on Ike. And Ike is tender and soft with him in a way he isn’t with anybody else. There’s just a level of trust and intimacy that is unique to them.

Soren: When the sage died, no one would help me. I couldn’t speak. Couldn’t find food. I was dying. You were the only one who helped. You and your father. That’s why you’re my friend. My…only friend.

This is the localized text. Even in the first game, the they tried to remove any romantic intimations. They added a reference to Ike’s dad for no reason. And plenty of people still choose to see Soren and Ike as just friends. I think it’s more than obvious the writers intended for them to be more than that. But many people don’t want to see it. And it was kept ambiguous for that very reason.

Soren: When the sage died, no one would help me. I couldn’t speak. Couldn’t find food. I was dying. Only you held your hand out to me. That’s why…only you are special to me…

This is a translation of the original Japanese dialogue. There’s that word again. “Special”. This word cannot be overstated. It conveys a VERY different message than “friend”. That’s why they thought it needed to be changed.

Soren: “There’s only one place for me to be, Ike… and it’s by your side.”

Soren is described as “the boy always at Ike’s side” by other characters. The story demonstrates again and again that they are inseparable. If Ike and Soren achieve A-level support, there is a paired ending. Ike has this with no female character, and Soren has this with no other character.

Axel: I think you can be inseparable even if you’re apart. It’s like, if you feel really close to each other. Like best friends.

Lea and Isa were inseparable, too.

Ike: Listen, lady. This is a shop, and I’m a customer. What’s so sweet about that?

Aimee: Oh, such cold words… My hero plays hard to get! You’re only making me more interested.

Ike: Will you let go of my hand? Please?

There’s a running joke about Ike avoiding a persistent female admirer that Soren has to save him from.

Gatrie: Not those flowers… THOSE flowers!

Ike: …Gatrie, we’re inside. There’s nothing here but the temple handmaidens.

Gatrie: Exactly! It’s like a whole new species of girl lives in Begnion! Everyone in this palace is drop-dead gorgeous!

Ike: …

Gatrie: You know what I mean, Ike? Tee hee! Say, which one strikes your fancy? That buxom lass with the chestnut hair is… Hey, Ike? Ike?

He has no interest in admiring pretty women.

“Hey, Redhead over there!” Axel turned at the sound of the voice, scratching his head.

“What, Larxene. I’m Axel. Got it memorised?”

“I can’t just remember over ten names all of a sudden, can I?”

“Yeah, I guess not.” Axel watched as Larxene ran up to him.

“How is it? Does the coat suit me?” Larxene did a twirl in front of him. The coat always changed to fit the wearer. It was a perfect tight fit, as expected.

“It’s fine, I guess.”

This feels like it was put in for the same reason Ike’s scenes were. Sure, Aimee is clingy and obsessive. And Larxene is a bitch. It doesn’t prove they’re disinterested in women or that they’re in love with their best friend. But in addition to everything else, it presents a strong argument. Axel isn’t interested in admiring pretty women.

Soren—An officer in the Greil Mercenaries. A cool-headed realist who has deep trust in Ike, but will rarely open up to any other beorc or laguz.

Isa—A quiet and cool-headed youth. Though he does come out of his shell when talking to his best friend Lea, toward others he is distant and untalkative.

Like Soren, Isa is described in terms of his relationship to Lea. He only comes out of his shell for him. There’s a level of intensity to their friendship that is unique. I am sure Isa was dependent on Lea emotionally, like Soren was with Ike.

Soren: Ike? Ike! This can’t… It can’t… What am I… If you’re not here, what am I to do?

If Ike dies in the first game, Soren has a special reaction.

Soren: “Ike… Please live… Even if all the cities burn, and the seas swallow Tellius… You mustn’t die… Not you…”

And another in the second game. He cannot bear to lose Ike. Sounds like some Shakespearean sonnet, too. That just doesn’t sound like something you’d say about someone unless you were in love with them.

Micaiah: Your heart is frozen, but I feel a warm core trying to melt through that ice. I see… You have someone you cherish very much. Someone you rely on.

Soren: Do not presume to understand me, you ridiculous girl. You have no idea who I am and what I can do. None at all.

His heart was frozen, but Ike was able to melt through the ice. Soren cherishes him and relies on him. He doesn’t appreciate hearing it from others, because Ike is his weakness. Soren’s entire character arc revolved around Ike.

Saïx:Do you know what happens to those who lose their true purpose? Inevitably, they destroy themselves.

Much like how Saïx says he lost his true purpose as soon as Axel left Organization XIII.

Ike: Soren, don’t cry.

Soren: Cry…? I’m … crying?

Ike: You’re so smart, and yet you’re completely hopeless at normal stuff. Look, come here.

Soren: P-please don’t treat me like a child. I’m not that…

Ike: Come on.

Soren: …

Ike: Sheesh, you’re such a pain. I’ll come over there.

Soren: [breaks out crying]

Another scene that involves hugging a crying person. A very intimate act. Soren opens up about his dark past. He pushes Ike away when he tries to hug him, saying not to treat him like a child. But he accepts it, too. It’s exactly what he needed and wanted. This scene is referred to in the official fan book as “the moment where their two hearts become one”. I think a scene like this is what they were absolutely terrified of happening in KH3.

Axel: Hey, I’m not about to tell you ALL my dark secrets. Got it memorized?

It all comes down to the degree of intimacy. Axel doesn’t express his deepest feelings to Roxas, Xion, or anyone else. And he doesn’t want to. He’s more than happy to avoid heavy issues like his past. He’d prefer to keep things light and fun, just enjoying their company.

Axel: As long as we remember each other, we’ll never be apart.

Roxas: Ha ha, wow, Axel. That sounded ridiculous.

Axel: What? I thought it was pretty deep.

When Axel made his comment, the other two thought it was awkward. Roxas laughs and says he sounded he sounded ridiculous.

Xion: Don’t worry, Axel–we got your hokey speech memorized.

Axel: Just checking.

And Xion said his remark was hokey. And I don’t think either of them were out of line with their comments. I completely understand why they teased him. It was because his statement contained a lot of intimacy. It sounded like something you’d say to, well…a lover. To them Axel’s remark came out of nowhere. And it kind of did. Because for the most part, his comment wasn’t really directed at them. Sure, he never wants to forget them. But he had someone else on his mind before he said it. He only spoke his thoughts out loud to cheer them up. But even they could recognize that the comment didn’t feel appropriate for them.

Day 118: You Changed, Not Me

Talking to Roxas and Xion always brings back memories of my human life, back when I was a kid. It’s a weird sensation. I ought to be able to share all this with Saïx, but I just don’t feel like it anymore. It’s strange, but I’m content with just missing what’s gone. I’m not the one who changed. You did.

Roxas and Xion remind him of his past. But unlike with them, Axel DOES want to share his memories with Saïx. Badly. He wants to connect emotionally with him. But Saïx has no interest in having an emotional relationship. Because of this, interacting with him is incredibly painful for Axel. So painful that he’s more content with just missing what’s gone rather than subjecting himself to continual rejection. Saïx is the only character Axel acts like this towards.

Axel: So you don’t need a heart to have something that you can’t bear to lose then. If that’s true, then I guess the closest thing that we Nobodies have would be memories of our past. It’s the memories that create the things that we don’t want to lose.

Even though Saïx rejects him, Axel is always careful not to open up to anyone else about his past. He never does, even in KH3. And yet, memories of his past were the one thing he felt like he couldn’t bear to lose. The same memories that he longed to share with Saïx. Axel desires intimacy with Saïx and nobody else. He can’t bear to lose his memories of the past—of Isa.

Axel: Love is what happens if there’s something really special between two people.

Roxas: You mean, like, if they’re best friends? Inseparable?

Axel: Well, you can care about your friends, I guess, but that’s not what I’m talking about.

There’s that word again. “Special”. And again, it conveys a VERY different message than “friend”. It’s a very taboo word when used by men towards other men. If men can’t be special to each other in a video game about hearts, light, friendship, magic, love, and Disney Princesses, then they’re pretty much out of luck I guess.

[plasticnightmaredoll]

"Resident Evil 7: Biohazard" spoiler-filled review

Well, I went ahead and replayed "Resident Evil 7" after finishing "Resident Evil 8" twice. I wanted to see if the former was still as good as I remember it being when I first played it several years ago.

Sure enough, it is still my favorite RE game so far (I have only played 4, but still, I don't think any of the other games will beat RE7 in my eyes) and one of my favorite survival horror games (my favorite gaming genre).

RE7 is why I even got into the RE game franchise at all. I always (and still do) prefer "Silent Hill's" games, and never had a strong desire to play any of the RE games. I just...wasn't impressed, I suppose, with what I saw and knew.

RE7 changed that and now I have played three other games in the franchise and have the intention to play most of the others (the ones on PC only because I don't have, can't afford, and don't need a console right now).

I actually have less to say about RE7 than I do about RE8, but that isn't a bad thing, mind you.

Anyway, onto the review!

The Good

Setting/Locations

I liked the location the game took place in. It was a departure from what RE had offered so far, bringing us back to the roots of the series in a way. The original "Resident Evil" took place in a creepy mansion, and RE7 takes place in three creepy, rundown houses.

Horror games taking place in a city (which RE2 and RE3's remakes did) doesn't mean they're not capable of being intense horror experiences, but I just like the classic aesthetic and age-old trope of "haunted" houses. Also, by taking place in the woods and not in a city (nowhere near a city from what I could tell), RE7 increases the tension by making you feel completely isolated. There's nowhere to run, except the woods, and who knows if you'll find help in time.

I also loved the part where you play as Mia and you have to initially explore the wrecked ship without any weapons, thus causing you to have to be cautious around monsters while still trying to get things done. Even when you get ammo, it doesn't turn the segment into a walk in the park.

Plot

The story was good, starting off as a bunch of fucked up mysteries (What happened to this house? What happened to this family? Were they always crazy? What's with the ability to "glue" severed limbs back on? What's with the crazy regeneration ability for Jack? Why is Mia so crazy and violent? What's with the mold?) and does provide answers at a steady pace as you progress until all is revealed by the end.

Still, it's not like it makes things less disturbing. In some ways, it makes it even more so. I mean, we have a kid with special powers who actually just wants a family but seems to lack any sense of compassion or mercy, probably because she was kept in a lab all her life. We have a family she "corrupted" and led to the deaths of 3 of the 4. Then you have Mia, Ethan's wife, who has been forced to turn evil on occasion, even against her own husband, and she nearly died. And, well, we have Ethan who is stuck in the middle of this giant mess.

It's not an over-the-top horror story, and while it relies on some horror game tropes, it never gets stale. It uses the tropes wisely, creating an atmospheric survival horror experience.

First Person

I am not a big fan of the 3rd person perspective that the other RE games have (minus RE8). I'm not a fan of it in general, and it actually makes the game less scary. You know you're playing as a character because you can clearly see them, so it's more like watching a movie, I guess. It can still be scary just not as much, in my opinion.

The first-person perspective is perfect for horror games because they make you feel like you're there. You are seeing things from the character's own eyes, like you're in their place, so the danger feels much more real. I'm so glad RE7 seems to have broken this trend as is possibly steering the franchise towards first person.

Weapons

Now, I was debating whether to put this in "the good" or "mixed thoughts" section, but I'm keeping it here. RE8 does have the benefit of weapon customization, so you can give your weapons more firepower, decrease their reload time, have them carry more bullets before reloading...RE7 has none of this. What you see is what you get.

Now, I don't see this as an issue, in fact, it's kind of a good thing. Since the weapons you find are going to remain as they are for the whole game, including the shotgun which only holds 4(?) rounds, you have to be smart. I think there is less ammo in RE7 than in RE8, too, so you really have to be careful. If you're not implementing some sort of strategy in fights in RE7, you could find yourself running out of ammo or not switching between weapons fast enough. You can only hold 4 in the active slots, too, which limits you further because you may have to swap two weapons during a fight.

It's not annoying...it's horrifying in its own way! I mean, if you have a bunch of ammo laying around and you can make your weapons Doom-style in terms of power, then where is the fun? Where is the horror? You can just blast away all day at enemies. By limiting what you have like RE7 does, you feel like it's a much more intense gaming experience, not to mention a more realistic one. I mean, in reality, you wouldn't be able to even carry that many weapons at once, nor would you be able to easily craft lots of ammo, nor would you be able to upgrade your weapons on the fly.

Graphics & Soundtrack

The soundtrack was very fitting, adding additional chills to the already haunting atmosphere but never forcing the "mood," so to speak. Graphics still look fantastic even now after 4 years have passed. Sure, RE8 has more polished visuals, but RE7 still is a very attractive game in terms of graphics quality. Lots of great lighting effects, including a lot of shadows to build more suspense since you're not running around in broad daylight or in places that are fully lit (most of the time).

Characters

While there aren't any remarkable characters in the game, I think they're all still memorable.

Jack is an absolute psychopath who loves to stalk Ethan while taunting him. When you see what he used to be like later in the game, it's almost sad because you can tell how distraught he was at what b became of him and his family.

Marguerite is the crazy bug lady, trying to get you to eat her gross food.

Lucas is the wide-eyed, sadistic killer who likes to make his victims play morbid games.

Zoe is the only sane one in the family and provides Ethan with much-needed guidance.

Mia comes off as the typical "wifey" type but she can actually kick some ass and knows how to use guns.

Ethan is a very resilient and noble character who cares about his family and would do anything for them.

Eveline is a creepy, weird girl (a trope but it still works here), but her backstory is kind of sad when you think about it: She has been raised in a lab her whole life as an experiment and has no concept of what love and compassion are, and acts out like a disturbed child more than an evil monster.

Bosses

I thought the boss fights were all pretty challenging, especially your final encounter with Jack and the fight with Marguerite. Eveline was easier to deal with, but when you think about it, it was still messed up considering you had just killed her and now she was mutating into a horrifying monster in an attempt to get revenge.

Sure, there weren't many boss fights, but a game doesn't need to have a dozen of them to be good. As long as what you get is entertaining and challenging, then it's all good to me.

Mixed Thoughts

The gross (and sometimes goofy) mold monsters posed a significant threat, a lot of it because you have to deal with them in small areas. They're so weird-looking, so inhuman, yet they make up the majority of the enemies in the game. It's the mold monsters and Marguerite's evil bugs.

They served their purpose well and provided some decent jump scares, but I wish there had been a bit more variety. I'm not sure what considering the location but I feel like there could have been one or two more monster types (like the nasty spider babies from "Not a Hero"). Hell, even having some gators around for Ethan to deal with would have been fun.

The Bad

Nothing!

Final thoughts:

I really love "Resident Evil 7." It's fun to play and chilling all at once, which is what I want out of horror games. It's easily the best thing to happen to RE since probably RE2 or RE3 (the original versions), and gave the series a much-needed change in direction.

Grade: A

Resident Evil Village: B+

Resident Evil 2 (2019 remake): A-

Resident Evil 3 (2020 remake): B-

[symbianosgames]

Arkane Studios' Raphael Colantonio is probably best known among developers today for his work on Dishonored with fellow co-creative director Harvey Smith. 

But by the time Dishonored shipped in 2012 Colantonio had already been working at Arkane for over a decade, leading development of games like Arx Fatalis and Dark Messiah of Might & Magic. 

These games, made back before the French studio was acquired by Bethesda parent company ZeniMax and expanded with a sister studio in Austin, failed to achieve high-profile commercial success -- to this day, Colantonio is quick to acknowledge Arx was "full of bugs."

What they did achieve, though, was attracting communities of players passionate about the games' mechanics and systems-driven design.

As Colantonio now prepares to ship Arkane's latest project, Prey, Gamasutra sat down with him to briefly chat about the projects he's shaped over the years, and how they've in turn shaped his approach to making games. 

So you gave a presentation at the 2006 Montreal Game Summit -- this was ages ago -- and you talked about your experience building a small indie studio in a world of big-budget game companies.

Colantonio: Yeah, with Gamasutra, actually.

So it's been over a decade since then. Arkane is pretty big now, and split across continents. How does it feel?

  "We seem disorganized and like we don't know what we're doing, but I think it's part of a process and I really think that it's something that we now embrace and accept."

Feels like a different life. Well, it feels yet so far, and at the same time so recent. It's funny how time works in people's head; in many ways we still feel like this little unknown company that just started a few years ago. Even now, like people say, "So what are you working on?"

"Oh, Dishonored."

"Oh, yeah, I played that game!"

"Yeah, sure." That's how I feel. You're just saying that to be polite, you know?

But yeah, it took a while, but it's great. It shows that with determination and believing in what you do, eventually it works out.

How has the working environment changed? I think fellow devs would be curious to know what it was like, going from one studio to two, each with their own separate projects.

I think it works out for us because it was such a slow incremental process. It took us seventeen years to go from one game - one studio, to two games - two studios.

So it's been a very very meticulous adding one piece at a time. You look at how many people we add a year, it's really not much. So at the end now it's very different even though it felt natural, because Dishonored was made between Lyon and Austin; that was probably the weirdest move for us.

I can't remember exactly how many people we had in Austin and how many we had in Lyon, but it was like two teams -- slightly bigger in Lyon. That was a real weird move and then after that, once we were done just adding people on both ends started to almost feel like you were managing two different studios at that point.

But we're still sharing the same DNA for game design; it's like the cousin that went to a different country and evolved their own way. Because you can still recognize the styles in both games, right? In Dishonored 2 and Prey, even though they're not the same team behind it.

Do you miss having that small studio focus?

Sure, yeah. It's different; when you're ten in the same room and just yell across the room because you need some file or whatever, it's not the same thing as when you have to input it in some software that goes into a list of tasks that maybe one day will be read by someone on the other side of the building.

So I do miss it, but I think we still manage to maintain the same culture and passion because we -- I think we have a very strong culture and we know why we're doing what we do, so we hire people that embrace the same values and they hire people with the same passions. So if you ask anyone at Arcane, most of them know why they're doing what they're doing, even though it's a pretty big team now.

Do you have any specific techniques or processes that you put in place to maintain that sort of culture? 

Yeah, I can think of two things -- well three things. One, recruiting is very, very important. We are very, very picky.

I think the second thing is, we have a few values that are important to us. One of them is player choice, for example. So for each game that we do, Dishonored was the same and it's the same now with Prey, we have some little posters that we place everywhere in the office with the name of those values and an example and why it's important to us. Like mantras, almost. Then people wherever they go for a break or lunch or something they see this thing on the wall that would say "multi-solutions" or--

Motivational posters.

Yeah, motivational posters. That's two, and three I would say the leads, who you choose to represent what you want for the team and the game, making sure that they are really in alignment with you and they will perpetrate that culture.

Sure. I know some team leaders who do things like regular team lunches or dinners to help build studio cultures they can rely upon. But that's usually with teams of like ten or twelve people. If you have thirty or forty in your studio...

Yeah, you can't. And funnily enough we've never been so much into those things at Arkane. Like you know there are those big corporate companies that take everybody to Disney World or something. We're just, everybody does what they want to do. Some actually gather together because they want to play some RPG -- you know, Role-Playing --

Tabletop games, yeah.

But this is nothing we enforce. It's strange, we don't do the lunches and all this stuff.

Ahh, everybody's different. Do you yourself ever play tabletop role-playing games?

Not anymore. I used to play Cthulhu, actually, more than Dungeons and Dragons.

You played Call of Cthulhu?

Uh-huh, yeah.

I'm impressed. That's a rough game to play; everybody loses at the end.

Yeah, exactly. Maybe that's why I like it. The tensions between wanting to progress and not wanting to progress because you know that you are a cooler character now, but you're sooner to die.

Playing those games, did that inform your approach to videogame development at all? The way you run teams or the way you design levels or anything like that?

Probably, yeah. Yes, because, in fact, even to this day, if I design a piece of level because I want to highlight a situation that is important to me, I will actually use -- how do you say?

Graph paper.

Yeah, I will still use that with the same kind of iconography that you do on the Dungeon and Dragons.

I think that stuff's fascinating, but before we fall down that rabbit hole I should ask: now that you're wrapping up work on Prey, what have you learned from it that you'll take forward to other projects?

In the specific case of Prey? There's many lessons...on the positive side, I do think that it's really confirmed our approach to multilayered system development where we just develop a system out of context, just with the tools, and we drop it in the simulation and let it live and see what happens. Usually it spawns new ideas.

So you have an AI, for example, that you did not have before and you just give it a few rules and as it's in the game and starts to interact with the rest of the simulation and something weird happens. It pushes objects, for example -- you never thought of that. And because of that it creates some new gameplay, some new opportunities.

So we rely a lot on that and it's actually a really cool way to make games because it falls back to player expectations, I think, in the way that when these things happen, "Oh, you know what? Since this thing happens maybe we should support it and actually do this, this this." As opposed to having some sort of plan from the get-go and then just follow the plan.

So I think that's a technique that...we seem disorganized and like we don't know what we're doing, but I think it's part of a process and I really think that it's something that we now embrace and accept as mythology for us.

Yeah, like the Mimic enemies early on in Prey -- Is that an example of a thing you tested, a creature that can crawl and hide and transform into objects? Where did that even come from?

Initially, it was just we thought it would be cool to have a creature that actually turned into things to hide because we have full ecology for our aliens and how they work and each of them have a role. So the role of the Mimic was to be a scout: it scouts around to gather energy, hides, turns into things. Turning into things came as a later idea. Like, "It hides." 

"Okay, how does it hide?"

"Well, you know it goes into corners and it waits for you to show up and jumps you."

Okay, that's a cool idea. Then someone had an idea, I don't remember who. "What if it turned into objects? If it actually picked an object in that room and turned into the object?"

"Oh wow, that's awesome." So we did that. Then that led to another thing because as we were developing this game we also started to think, "How are we going to acquire the powers?"

"Well, what would be really awesome would be if you could steal the powers from the enemies." So we started down that route of, "You can steal this or that." And sometime in a meeting we said, "Hey, hold on. If we can steal the powers, really we should be able to turn into objects as well."

As we said that, half of the room was terrified by the idea because it means, "Oh god, this is going to be -- maybe ridiculous, maybe silly, maybe super-hard to implement," because now you are a small thing in the world and...how are the physics going to handle that? The other half was super-excited about that and people started to laugh about it. So that's what I mean by the game designed itself.

It's like a painting where you know where you're going more or less, but not exactly, and as you're painting and you realize that the blue of the sky over there should actually reflect on that corner over there. And so at the end the painting becomes really defined as you go.

So how do you balance the needs of that creative process with the demands of operating a business?

I think if you look at the leader, you will know what is the culture of the company. In our case it started with game design, game designers, so our very first game [Arx Fatalis] is very game design-oriented. Not very technological. It crashes all the time, is not very production-ready and full of bugs.

I remember thinking it was very neat, though, with stuff like the gesture commands for casting spells.

Right, right. It's neat, but it was not very marketable. It was not ready for the market, and I think as we grew we started to accept other disciplines a little better. So now I think we've reached a balance where we have strong production, strong art, strong tech, while at the same time still maintaining the strong design.

I still think design will always win at the end of the day if there's a conflict between, "Should this game be polished or should it be designed?" I'll still push for the fun thing, rather than the polish. And maybe it's a mistake. It did bite me in the ass a few times, but at some point as you grow you have to...well, now we are also part of Bethesda. So there's a lot of money involved in these games. We cannot just make games in a vacuum and not care about it. So I had to give more and more power to production and et cetera. But unfortunately for everyone I am also the president of the company, so.....

It's tricky. It means that I will always have a personal push for creativity over any of the other disciplines. But I also try to be mindful about it and not run the company against the wall.

I think a lot of devs face the same problem. I should ask also, I notice it's not the same engine as Dishonored 2. You went with CryEngine, right?

Yeah.

Why choose to go with someone else's engine rather than something you build yourself?

Because in fact, when you look back to when we started Dishonored 2, which was a little before we started Prey, actually, we were faced with a few challenges. In the case of Dishonored, our biggest challenge was to make the technology work. Because we knew what game we were going to do, but we did not have an engine for it. Back then the CryTek engine was not ready.

So we said, okay, this is our try is going to be to make our own engine. Because we know what the game is and and we have to make a new team. So that was enough challenge already.

And then you look at Prey, we were not wanting to add some more burden on the Dishonored 2 team because Dishonored 2, we had to to make our own engine there. Now with the same engine if you have to make two games, that would be multiplying the challenges. So [for Prey], the challenge was more like, let's take an engine that we know exists and is solid that we have and tackle a new challenge which is inventing a game.

It's essentially a new type of game, even though it's Prey, it's still a new IP in a way. So it's just risk management, and choosing the right thing. So, you know I was saying your company culture informs how you work, like in my case it's all creative, but at the same time, in this case it was a lot of production calls. We have to be logical.

Yeah, but I do think it's surprising you'd want to avoid having everyone working on the same tech. Whereas I feel an organization like EA, which is obviously much bigger, they're making an effort to bring all of their stuff into one engine.

Yeah, I'm not sure why because it's only a million dollars for those -- It's nothing secret here. The cost of an engine is about a million dollars. Any engine that you can buy and I honestly can't remember how much we payed on the case of CryTek, but it doesn't justify -- It's not a big win to say, "Well, we're going to unify all our games onto one engine." It seems more risky and more of a constraint for teams.

In fact, the entire Bethesda organization, everytime we try starting a game, they never care. They always ask us, "What engine do you want to use?" It doesn't matter if we want to use our engine, some new engine. It's a cost. If you make your own engine it's going to cost you something. If you buy one it's going to cost you something. There is a cost -- I can understand why some people want to unify everything because this way they can have their teams that know how to use their tools. Once you know the production pipeline of an engine you can reuse that for every time. So there is some sort of a save.

But at the end of the day there are so many constraints as well to use -- I know a publisher that now went under who were obsessed with using the unified engine across all their teams all their studios all over the world. It drove them to their death, because it's more constraint on the developers than there is any benefit.

I honestly think it's an ideology and it's a political idea that sounds beautiful. "Well, we'll put our efforts combined into one thing. Then we can share technology between studios." It sounds beautiful, but it never works.

So let's talk about beauty, for a sec. What is one thing you hope fellow game developers see in this game? Is there a certain level, or a mechanic, or a little production trick you did somewhere?

Well, your question has multiple facets to it. One could be, "What is it that they will praise us for?" The other one would be, "What there is that hopefully will inspire them?" So the inspiring thing -- As a player, I want to play more games that are real-life simulations and let me play the way I want and give me an experience that I feel I own, as opposed to something very directed. There are some games that do that, but there's also a lot of games that go somewhere else.

So I want to see more and more games that allow me -- Because that's the difference between a movie and a game, I think. So the more games that are simulations, the more fun it is to me. So I hope some future generations are going to go deeper in that genre.

As far as the thing I hope people recognize, I think it's the complexity of making a new world. Everything is designed in this world. The chairs, the tables, everything is designed -- The fashion. So I'm sure the artists and storytellers will have a chance to appreciate the amount of work that was put into the researching the background of the world and how it works.

Yeah, you had the idea for this long before you decided to use the Prey name, right? Do you remember any of the names you were originally going to use?

There were many and I think one of them was after the name of the alien race themselves, which is the "Typhon." So then we started to think, "Hold on, people aren't going to know if it's with an i, a y, is it ph, is it f?" So at the end of the day Prey was actually a pretty solid name.

Yeah, it's easy to spell, short. So if you had to give one piece of advice to fellow game developers, given your time in the industry, what would you say now?

You know, I think we're at a fascinating phase because there's way many more propositions than there ever was before. Now you can play mobile, different types of formats of games, like the indie games for $20 or the AAA for more. I think it's a great time to succeed. Better than when there was only one channel.

Now, there's more noise as well so it's hard to get through this noise. And also the other thing that I notice is that people give less importance to how amazing is your graphics. That I think is a great, great opportunity for developers to focus on their message, whether it's artistic message or gameplay message, rather than the form so much. Because we've been so blinded by trying to get the latest technology, the latest shader, the latest detail that costs a fortune. It's a big distraction from what really matters in the game. So I hope people focus on the art intentions and the gameplay intentions more than the technology, and how amazing the graphics are.