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insertdisc5 · 1 year

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Devlog #14: Big News Incoming and Illustrations

Hello everyone! Welcome to this month’s devlog!

If you just stumbled upon this, I am Adrienne, also known as insertdisc5! I’m the developer, writer, artist, main programmer, etc of the game. The game being In Stars and Time, a timeloop RPG, which is also the next and final game in the START AGAIN series, following START AGAIN: a prologue (available here!). You can find out more about In Stars and Time here!!!

LET’S GET TO IT. This month has some Big News about Big News Incoming! And also some illustrations!

The Big News Incoming first: In Stars and Time will be a part of Future of Play Direct on June 10, 8:00am PT | 11:00am ET | 5:00 pm CET! Future of Play is part of the Summer Games Fest and showcases a lot of incredible indie games, so I hope you’ll tune in. There might be a little something for you to see :> And...

In Stars and Time will also be a part of The Mix on June 8th! The Mix is an amazing games showcase over in LA. There will be a lot of press there, so I’m very excited to get some eyes on ISAT! Please stop by the booth and say hi to the lovely people from my publisher, Armor Games Studios, if you get the chance!

Alright! That’s it for the big news. Now for other big news.

Porting the game to Switch seems to be close to done! Currently, the porting team is taking care of optimization thingy things. The game is playable, but tends to drop frames every so often, so the team is optimizing the game to make sure it’s playing smoothly so Switch players can have the best possible experience! And…

The (hopefully) final round of Japanese localization is underway! Last April, the localization team sent back a couple of sentences that should be reworded now that they have further context. Now that those changes are implemented, they are playing it one more time to make sure everything works as intended!

I sadly don’t have a Fun Gamedev Thing to talk about this month (or… last month either…) because I moved elsewhere back in April and have been taking care of many things so my move went smoothly. Did you know that moving and getting used to a new town is hard work? So, here’s some things I posted on social media in the last couple months!

Here’s an illustration I drew a while back but only posted recently! I imagine that during their journey, everyone must’ve shared a bed at least once. This is also an occasion to show everyone’s sleepytimes clothes. Siffrin on that honk shoo honk shoo fit

Like many people, I have seen the Barbie movie trailer. So of course I had to redraw these iconic frames.

And someone over on Tumblr asked me about how I picked everyone’s names! Here it is copy-pasted for your convenience.

Siffrin: i think. i will wait until the game comes out before saying how i picked their name. ask me again later (it’s not a spoiler its just silly)

Mirabelle: her name was actually Prunille for the longest time, but I kept mixing it up and calling her Bonnie… so I went looking for another fruit sounding name (prunille>prune>plum in french) and Mirabelle fit her perfectly :> (Mirabelle is a kind of plum!)

Isabeau: it’s just a nice name. It actually is a girl name but i refuse to accept it because “beau” is the masculine form for “beautiful”, but either way it fits his character pretty well…

Odile: old sounding french name. that’s it. when i was early in preproduction her name was Isabeau actually (and she had a WAY different personality)

Bonnie: it’s a nickname and not their full name. have i said their full name yet? (checks the wiki) i did. Boniface is just a name that I had never heard before, and I could easily imagine Bonnie not liking it because it sounds “old and lame”. i think as they get older they would like it more and more

This is also a reminder that In Stars and Time has a wiki page. I am so grateful that this is a thing someone made. You know you've made it when your game has a wiki page!!!

That’s all I have to say for today! Let me know if you have any questions, or if there’s any aspect of the game development struggle you’d like me to talk about! See you next time!!!

AND DON’T FORGET TO WISHLIST THE GAME ON STEAM ALSO IT REALLY HELPS BECAUSE STEAM’S ALGORITHM IS MORE LIKELY TO SHOW OFF GAMES WITH A HIGH AMOUNT OF WISHLISTS THAT’S THE REASON WHY GAME DEVS ALWAYS ASK TO WISHLIST!!! OKAY BYE!!!!

#in stars and time #devlog #game dev #indie game #game development #start again start again start again

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randomnumbers751650 · 7 months

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Talking about a ship for me is complicated because the feeling that I might be missing something or extrapolating too much. But still, I want to talk about Kafka/Blade.

Since HSR is a gacha, the chances of playable characters having romantic relationships are very low, so the fans have to pick the crumbs. Sometimes it’s pretty much obvious the devs want certain characters together, but the hand of the gacha business model holds them back. Other times, not really, maybe the devs are really aiming for platonic or other. And, of course, fans are free to interpret their own. So, I’m here to give my interpretation of KafBlade, why it called my attention.

From their interactions, they are working together and they have a level of affection: Kafka calls him Bladie (and he’s upset if others call him by that), Blade loves hearing her singing and is receptive to her whispers; they also seem to have good synergy in the battlefield. It also works in accomplishing missions, with Kafka’s lack of fear making her prone to injuries and Blade acting as her immortal bodyguard. Plus, there’s the implication they had to fake being a couple for a mission, which I hope it never gets a full flashback because imagining how it went is funnier. How they complement each other is what makes them so interesting.

They are both fundamentally broken people. We know Blade’s story, but it’s pretty implied Kafka has some tragedy in the closet (with Blade commenting he doesn’t want to see her sad; would it really be surprising?). And, they are villains after all.

But still, what I see in them is how they can still experience with each other things that they couldn’t imagine to experience or that they thought that they’d never experience. For example, Kafka is a liar. It’s a strength in her job, to the point even when she’s telling the truth it still feels she’s lying. She uses her whispers to dominate men and then discard them when they’ve done their jobs. She goes full “nothing personnel, kid”, because for her everything is just a job.

And then, one day, appears a guy who’s like “can you do that again?” A guy who wants to be whispered, whose lies sooth and motivate him. And then she learns he’s an immortal that wants to die and then she decides that she’ll help, but that she will strive to make his life more fun until that day because he amuses you. She has no feelings for him, because she has no feelings at all (or are very different from what normal people think to be); either she wasn’t born with them or the organization she learned her skills remove them, but still she just wants to make him feel good about his journey to death.

Blade is similar: he wants revenge. He crafted his entire life and used all his bladesmith skills to pursue that goal; it’s easy to imagine him forgoing everything, his feelings, his self-care, eating whatever slop he puts on his face, a very miserable life. And then one day a woman appears saying “join me” and she’s actually…fun to be around. Sure, they are using each other to their respective objectives, but there’s something more to it. He starts to pick her habits and helps her whenever she needs carry her stuff. And then he starts to wonder that, yes, his life sucks, but it sucks a bit less with her around. The blade he crafted for revenge can be used to protect, unexpectedly.

It should be noted that the devs already had opportunities to portray their relationship as toxic and abusive, but they haven’t. I’m not sure I’d call healthy either, but there seems to be a mutual respect and trust about them. I mean, they are dangerous (along with the rest of the Stellaron Hunters, Silverwolf, Sam and Elio himself (it’d be really funny if he was the cat)), but still it’s not hard to imagine them as a found family. We have to wait for future updates to see how they’ll be developed, but their Team Rocket dynamic with the heroes is fun.

One last thing is how I think it’s funny that KafBlade is “what if Gojo and Marin (from My Dress Up Darling) were evil?”. Kafka is the extroverted girl that loves shopping and fashion, while Blade is the recluse artist, but that grew bitter - as Yingxing, he was one the best bladesmiths of the Xianzou, he knows what beauty is (also please read the fanfic “dal segno al fine”, it really captures this side of his) – and would be reluctant even if Kafka’s feelings were like Marin’s; Kafka would have to have a lot of patience, but I think she’s not one to give up once she set up a goal.

I didn’t really review their text and quotes, I’m remembering all of it in the game and some comments in the internet. Even so, I wonder if others share these thoughts on them, especially the fact they bring out things that were previously kinda buried in each other, so it has potential for a more mature love story.

#honkai star rail #kafblade #blafka #kafka x blade #blade x kafka #again this is how i extrapolate #but still i never understood the term comfort ship until now #of course it also has potential for their interaction even as platonic #or platonic in the lack of a better term #stellaron hunters

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shadamyheadcanons · 3 months

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I saw a while back you were asked what your favorite interpretations of Shadow and Amy were.

While I don’t disagree (haven’t played heroes so can’t comment there, but have beat SA2) I was curious on your views over Sonic 06 version of Shadow? Ignoring the heavy problems with the game itself, I’m personally a heavy fan of the VA and how he acts.

It may be selfish of me… but I kinda wish Amy got more interactions with Shadow instead of Silver. I get WHY they did it, but I feel like it could of been nice to have them reunite and maybe even contrast the end of SA2 y’know?

First post about my favorite Shadow & Amy portrayals, SA2 and Heroes

Follow-up about Sonic Battle and Sonic Chronicles

I love both Shadow AND Amy in that game!

06 Shadow in particular has been getting a ton of interest in the past few years, and it’s wonderful to see. I considered including it in that first post about my favorites. 06 being such a failure gameplay-wise really screwed things up for the series for a long time. Sega learned all the wrong lessons. No more humans apart from Eggman. No more dark, serious plotlines. One-dimensional characters. No playable characters apart from Sonic in mainline games. None of the others can talk to anyone but Sonic. Obviously there were exceptions to this, but the series lost so much. Sonic 06 is older than most Sonic fans, but we’re only just now getting all of that back with Frontiers, IDW, etc.

This would have been bad enough on its own, but coming off the heels of Sonic 06, it hurt that much more. Sega decided Team Dark weren’t friends directly after their most poignant interactions. Shadow knew who he was. He knew what was important. And he knew he could trust the best friends by his side. When’s the last time he was so self-assured? That’s the downside of the 06 timeline being erased in the end. We know Shadow and Team Dark’s potential, but he doesn’t remember any of it.

That said, I’m ultimately still glad it’s erased. I’d hate for Shadow to go through life knowing the humans would reprogram his own best friend to hunt him down and lock him up forever. It says great things about Shadow, but it makes me like the humans a lot less.

It’s thanks to 06 that I consider Shadow to be the biggest hero in the franchise. This clip encompasses everything that makes his heroism unique:

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“If the world chooses to become my enemy...I will fight like I always have.”

Iconic. Badass. I love the way he drops his inhibitors as he talks. This is Jason Griffith’s delivery at its best.

Sonic fights to protect his friends and the planet he calls home, along with the humans and Mobians who all love him, but there are SO MANY people who’ve treated Shadow like filth, and he still protects them. There’s no one else in canon who’s that selfless, and I also like that 06 doesn’t lean on Maria as the reason he does all this. Shadow himself is a good person and does good things for his own reasons, not just because she told him to.

Heroes proved this, too. Shadow didn’t even remember Maria in that game, but he still made the right call. Maria’s important, but she’s not the only reason he’s a good person.

Jason Griffith does a very good job as Shadow here and elsewhere, but David Humphrey is and always will be my favorite Shadow VA. If Jason is an A-rank, David is S-ranked. I’d be thrilled to have either of them back.

You’ll never see me judge anyone for wanting more Shadow/Amy interactions. I’ve thought the same thing with 06, and I love the Silver/Amy bits, too. She has an adorable scene with him AND starts him on the path to redemption. It’s the Amy Rose Special. I also like how she and Shadow inadvertently worked together to turn him around. Amy raised a question Silver hadn’t thought to ask, and Shadow showed him the answer.

But what this demonstrates to me is that this didn’t have to be an either/or situation.

It would’ve been nice for Amy to reunite with Silver and see how he turned things around. They were both there for the final battle, but they didn’t speak to each other. What if they’d had a scene with all three of them together? I hypothesized about that possibility in headcanon #99.

Side note: I just want to say that I think Amy is great in 06. She has the same cute accidental hug/elevator speech combo she used to turn Shadow around in SA2, but people sleep on it in 06 for some reason. On top of that, a lot of fans willfully misinterpret one particular line of hers. And anyone who knows Sonic 06 knows which one that is.

“If I had to choose between the world and Sonic, I would choose Sonic!”

I’ve seen so many people say she’s a dumb, ridiculous fangirl for this, and I can’t stand it. She’s not saying the rest of the world doesn’t matter, she’s saying that she has so much faith in Sonic as a person that she’d take his side even if the rest of the world said he was wrong. And, uh...she has good reason to! It’s not the first time he’s been falsely accused of something. It’s like these fans conveniently forgot what happened in SA2 the second they saw an opportunity to hurl insults at Amy.

You know what Amy’s line reminds me of most?

“Even if you believe everyone in the world will be against you, know that I’ll always remain by your side. Remember that.”

Yeah. That line everyone loves about ultimate loyalty for someone you care about. The line that many consider to be Rouge’s best. The only difference is that Rouge is a calm young adult talking about a friend, while Amy was an upset young girl whose feelings were too big for careful phrasing and restraint. Combine that with how much hate there was for her at the time, and you have a great, dedicated line absolutely drowned in ice-cold, bad faith takes from the fandom. And Silver needed that fervor to make him question Mephiles, too! It had to be her! It was because he saw how strongly she felt about Sonic that he started having second thoughts. You think a calm statement like Rouge’s could have made him back down from attempted murder?

Much like with Shadow in SA2, it had to be Amy. 06 did a great job with her. Some fans still need to wise up about it. They’ve been recognizing how awesome 06 Shadow is, so maybe, just maybe, they’ll do the same for Amy someday.

#shadow the hedgehog #sonic the hedgehog #not a headcanon #ask #amy rose #anonymous

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cerastes · 1 year

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Fire Emblem Engage has paradoxical depths. Schrödinger’s depth.

On one hand, the maps are very well designed, and the gameplay is very good. There’s tons of little details that add to the love for previous entries — Engage being a 30 year anniversary entry — such as how Lucina’s super has the final hit freeze motion exactly like killing blows did on bosses in Awakening, or how Leif gets a myriad of weapon types and his passive is auto-equipping the best counter to your attacker’s weapon because in Genealogy he is one of two playable (and the only one of his half of the story) Master Knights, who can just wield every weapon type (except Lopto if you consider that a type). The class system is something I enjoy as well, it’s streamlined in a way I think is good, with every class having an integrated ‘type’ like Backup, Armored, Qi Adept, etc, as well as a degree of selectable variance on promotion: Your Sword Fighter can become a Hero that uses Swords and Axes, or Swords and Lances, for example. The balance of combat roles is also very polished: Armored units are true physical juggernauts, even generic Armored enemies, and must be dealt with either specialty weapons (Hammer, Armorslayer, et al), or magic, or it’s an uphill battle. I personally like the way the Weapon Triangle works now, being predominantly a very offensive tool that allows big plays, but that also punishes you if you’re not attentive.

On the other hand, the presence of ‘Emblems’ — spirits of previous games’ characters — is otherwise merely superficial and fanservice that doesn’t really amount to much nor is it worked with to anywhere near its full potential. There’s no personality showcased in the slightest, and they all sound the same: Generically supportive, “trust in your friends”, and otherwise bog standard heroic. This is especially frustrating when you have a character as fun and vivid as Yunaka paired with Radiant Dawn’s Micaiah, who is very spicy back in her home game but is just a generic supportive cute girl in here. I understand and can excuse this (to some degree) being the way with characters like Marth or Sigurd, who didn’t have much character development or characterization back in their original games in the first place, but Celica, Micaiah, and even Roy, those from more modern games, really have no reason to just be as generic as portrayed. Supports (and Bonds, which are Supports with Emblems) are so bare bones and bland that they are not even worth talking about. The story is simple to the point of just being an engine for the gameplay (it’s like I’m really playing an old Fire Emblem!) and, while certain characters are fun, you overall have a pretty generic fantasy ensemble to work with. More than just a bit disappointing! The main character in particular is a huge nothingburger, unfortunately, following in the steps of Three Houses, and making me want to go play Echoes once more so I can feel something again from Alm, Celica, and the rest of that cast.

Overall, yeah, good game, but I don’t think I can call it a good Fire Emblem.

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honourablejester · 3 days

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Heart: The City Beneath

For reasons, I’m assuming because I’ve been watching actual plays of various ttrpgs lately (Legends of Avantris playing D&D 5e, Nobody Wake the Bugbear playing Mothership, several others), I was recommended a video on a game called Heart: The City Beneath. Just a basic overview video, themes, tone, talking the game up a bit. But it sounded interesting, so I went to look up what the 9 playable classes were, just to see what kind of ideas we’re working with, you know?

And. Just from that online write-up. There was one particular class that caught my eye enough to go buy the actual game. Now, having read in more detail, there are several other classes that also sound really cool, but I still want to talk about the thing that caught my eye.

The Vermissian Knight.

Now. I would not ordinarily go for a very martial class when magical-type classes are an option. It’s just not usually how I roll. But the classes in Heart are all very, very setting-related, and all very, very weird, and the thing with the Vermissian Knight …

Okay. The setting for this game is Heart. The, well, City Beneath. There is a mile high surface city called the Spire, and then there is a vast living beating realm of something beneath it, called Heart. It is alive. It may be an extradimensional benevolent parasite. It might be a god-cocoon. It might be a seed of terraforming fuel. It might be a lot of things. But it’s definitely alive and weird and warps reality the further down into it you go.

The city above it, Spire, was run for ages by arrogant elves. And at some point, those elves decided that the city needed a mass transit system. A railway network, called the Vermissian. Right? But it wasn’t working, it was a lot of infrastructure, and funding was complicated, and power supply was an issue, and they wanted a way to hook the whole thing together and power it mystically. Right? So, what did they do? What does any arrogant race sitting on top of a magical weirdness bomb do when they suddenly need power? Yeah. They decided to core down into the Heart Itself, this mystical, weird-as-shit, possible god parked under their city, and they decided to hook their mass transit passenger network right the fuck into it.

It went, as you might imagine, horribly wrong. The reality-breaking weirdness of the Heart smashed up through the transit network of the Vermissian and nearly corrupted all of Spire above, save that the warding glyphs on the transit tunnels kept it confined. Within the system, time and space and reality got smashed and thrown about higgledy piggledy, and batshit monsters crept about the tunnels. The entire network was cut off, the stations abandoned, and Spire did its best to pretend there was never an attempted transit project to begin with. Just shove the whole mistake behind some condemned signs and pretend it never happened, boyos!

But the network is still there. The tunnels, the trains, the monsters. It’s hidden in Spire, but down in the Heart, the stations stand unguarded. Stuff leaking out. And people venturing in.

And the Vermissian Knight, as a character class, is someone who seeks to understand and patrol that network, to explore it and protect people from it. The class is built around armour, armour built from scavenged parts of eldritch trains. And the class builds …

Okay. In Heart, all characters are doomed. It’s a whole thing. This is not a long-form campaign sort of game. You will not last. Your character will die. So levelling is … you’re not building towards power, you’re building towards a climax. You’re building towards a spectacular end. Not necessarily death, but something that will take your character very dramatically off the board. And the Knights. Their Zenith Abilities, their capstone, dramatic ends, should they survive long enough to reach them. They can either bind themselves to a landmark, potentially a station on the line, or they can become a techno-organic titan, a biological perpetual motion machine that stalks the Heart and can be summoned by your surviving party as a deus ex machine, OR …

Or they can cast a death rite that summons the last surviving Vermissian train to tear its way through to them and crush them under its wheels, while also wiping out anything else in its path. Like. Your last, taking-you-with-me stand as a Vermissian knight is summoning a hell engine from a warped extra-dimensional transit network to plough through your enemies.

That. That is just so cool? Just. That whole concept. It’s so cool.

There are other classes in this game, and they are also pretty cool, don’t get me wrong. The Deadwalker, a person who died and came back haunted by the personification of their own death, able to potentially slip into the afterlife while living and bring people along for the ride. The Deep Apiarist, a person so determined to fight against the living chaos of the Heart that they have allowed themselves to become colonised by a megaconsciousness of order-inducing bees, in the most body-horror way possible (the bees go in through your nose and convert at least one of your organs to wax and paper to inhabit your body)(the Sunless Sea vibes are so strong with this one). The Hound, a group of mercenaries aided (and potentially possessed) by the spirits of the cursed survivors of a massacred army once sent to invade the Heart. The Junk Mage, magic addicts that eat scraps of power and make bargains with eldritch entities. There are a lot of cool classes in this game.

But the train knights. Just. The train knights. The image just enchants me. A cursed railway network, a twisted tangle of tunnels and weirdness, and the armoured paladins who seek to explore, understand, and protect those who encounter it.

I love it so much. I’m not fully sure why, what it is about that concept, that image, that so bowls me over, but …

I wanna play a train knight. A gnoll train knight, seeking enlightenment. Answers. I’m down here, in this strange, twisted place, because I want to know. What is it down here, in the Heart, that could do that to our network? What actually did happen to the network? I want to explore and I want to know.

(The Calling system is what you’re down in Heart looking for. Your class is what you are, your calling is what you want. There are five options: Adventure, Enlightenment, Forced, Heartsong, Penitent. You came for adventure, you came for answers, you came because you were forced to, you came because the Heart itself called you, or you came because you fucked up very badly and this is the only way to make up for it. Each calling gives you story beats that you can choose from along your quest for a suitable climax, and they’re really cool, and many of them encourage you to act, shall we say, incautiously. You’re not going to survive this, honey. Nobody comes down here who’s sane or sensible and likely to live long. So do something mad and dangerous and interesting with your time here. I actually really like that part of the system a lot).

Yeah. A Vermissian Knight, seeking Enlightenment. I would totally play that.

This is a boss-ass game, you know that? The setting is really cool.

#ttrpgs #heart the city beneath #character concepts #game recs #train knights #i just love the idea so much #cursed rail networks and their guardians #such a fantastic image

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weatherman667 · 1 year

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The Glory of Dragon’s Dogma

I’m going to take a moment to talk about how ridiculous good Dragon’s Dogma is, and how horrifying it is to be forgotten by the cultural zeitgeist.

1) Real Time RPG

For 20 years, game companies had been trying to create a real-time RPG, and EVERY - SINGLE - ONE has been horrible. Or at least annoying. All, except Dragon’s Dogma. Dragon’s Dogma let’s you lead a party of four, and they are all intelligent. And not just intelligent, but they can literally learn better ways to fight the enemies.

2) Trading Pawns

In addition to your playable character, you create a Pawn. What exactly the Pawn is is only revealed in the endgame, but they are an endlessly loyal companion. You equip them, train them, can change every physical aspect about them. You can also decide their deportment. Not with a series of idiotic, overly minimized IF statements, but by sitting them down and talking to them. Each of the various comportments has well designed AI backing it up.

Now, in the game, there is the Rift, (not the post-Dragon one). This is asynchronous multiplayer. Here you can borrow Pawns, and they can borrow yours. The Pawn will stay with the other player until either they die or are dismissed, (you can still play with them), if dismissed, they will come back with new knowledge of enemies, and maybe a gift from the player.

This is how you get the other 2 characters from your party. And this is brilliant. All of the Pawns are created by players. You can control your character and your Pawn, but the others you have to pick from ones other characters have created. This creates an incredible versatility, (and a million nearly identical female Pawn mages).

3) The Arisen’s Beloved

In the game, your Beloved plays an important(ish) role. So, who’s the Beloved?

Any character in the game. Literally any character in the game, other than the 2 or 3 that have to die for plot. Even characters without unique dialogue can be your Beloved. The way it works is that every - single - character in the game has an affection meter towards you. All of the main character stories will end with them maxing affection. The LAST one to max affection to you will be your Beloved.

There is an item that will max affection for you, once per playthrough.

Now, every time you talk to a character, they will get affection for you. This is beautiful, hilarious, and horrifying, depending on who you get as your Beloved in the first playthrough, until you figure out how the mechanics work.

Darling's Dogma by TricksyWizard

4) Hit-with-a-rock Crafting

Instead of a complex crafting system, you can combine any two items together to find out what happens. This creates the most versatile, (and sometimes annoying), crafting system every created.

#dragon's dogma #video games

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britcision · 1 year

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So I’m thinking about this again and I think a lot of the dislike for Vivienne comes from missing the metatextual layers of her character

Obviously she’s always a bitch and I love that for her, 10/10 step on me energy and if she was lighter she’d have been Lady Dimitrescu a few years early

But there are two different layers of subtext that I can see in her character that at the very least have made it really hard for people to explain why they don’t like her

Long and involved discussion below the cut, pack a lunch

Let’s start with the most common complaints:

1) she’s mean. Y’all love that in plenty of other characters though, so there’s something different about Vivienne that makes her being mean so much more offensive

(I wonder what it could be.)

She’s even mean in an overly polite, very delicate way with lots of honeyed compliments and stark disagreements

2) she’s a cop apologist who thinks the circle system works

Ignoring for the moment that people seem to have far less animosity for Cullen, who Literally Is A Cop and believes all the same things

(I wonder why.)

This is where the metatextual layers come in though, so bear with me:

Vivienne’s view point, that the circles are essentially good and while Kirkwall clearly wasn’t and needed to be destroyed, that was the exception instead of the rule, is the dominant viewpoint in the game

Even hanging out with the mage rebellion at Redcliffe, the greatest concentration of mages who should be pissed about the circle, every single minor mage NPC is against the rebellion

They’d rather be in the circles, but left because otherwise they’d be alone and murdered

There MUST be a number of mages who’ve experienced the worst of the circles; enough of them voted to rebel to carry these outliers like a tide

You never fucking talk to them

Not one

Fiona, the leader who started the vote to rebel, has nice things to say about templars if you speak to her, and still wants to reform the circles. She’s just realised it won’t work from within, and accidentally almost sold the mages into indentured servitude (if you picked the mage route)

This isn’t a subtle thread, it’s glaringly obvious if you pay even a little attention. Even mages who started as apostates tell you the templars are not all bad, and “it’s complicated”

Now, I haven’t played DA2 or seen a full play through, so this part is pure speculation, but.

The biggest complaint I see about DA2 is that you can’t help Anders blow up the chantry.

You have to be shocked by it, despite giving him the dynamite, and everything about how DAI refers to it tries to push that he was an extremist and hurt the mages more than helping them

(Also mysteriously every circle Cullen is at tends to fail soon after, despite him being extremely pro templars. Very interesting, completely unrelated)

And I think that’s why you’re surrounded on all sides by “not all templars” in DAI

I think someone at the top level was fundamentally confused by the reaction to DA2, because I think someone at that level thinks the moral quandary of the game is “who’s right, the mages or the templars”, and they think it’s a 50-50

That’s why you can pick either side with equal weighting

They think there is not a right or wrong answer to this question

We shall be calling this the Supervisor level, since I’ve no idea who or where they are, but they’re definitely near the top rung because holy fuck DAI is beating us to death with “well free mages are bad actually and some templars are lovely people”

I think that the Supervisor level think Vivienne is right

This is a game that has gone to great lengths to portray racial equality (and emphasise species inequality as a metaphor that it clearly understands is bad), that worked hard to make incredible, gorgeously under-toned and perfectly lit dark skin options

All of the default heads for all of the playable races come with two gorgeous POC options that are hot out of the box

Vivienne herself is a character they’ve given the world to; she’s beautiful, powerful, independent, strong willed, beginning in by far the best position of any of the companions

Her first scene is her stepping in to effortlessly undercut an encounter with a pissy noble that you as the PC were not given a win condition for

She is the most influential mage in the game, Fiona is undercut by Alexis before even appearing, the Tevinter magisters are all suspect because who knows who is Venatori, Dorian is a pariah and a rogue, Solas is an isolated apostate

Vivienne is in the running to be the next fucking Divine if she joins the party

The people who approved each level of plot for this game gave this beautiful Black woman the world at her feet, persuasive dialog options, and the most widely supported opinion in the world of the game

(She’s not wrong that right after Kirkwall’s explosion is a bad time for a rebellion and makes it look like mages support murder; she just fundamentally does not understand that there would NEVER be a right time or how badly the other mages were being mistreated

She’s isolated on a glowing cloud of privilege, yet never mentions her childhood or early days at the circles )

Dorian will happily tell you that the Tevinter circles pretty much are what Vivienne thinks the Orlais circles should be; well established schools of learning and study where mages are protected and given room to grow

(He also admits disappointment that their templars are toothless and don’t actually investigate who’s doing the human sacrifices unless they’re poor or not well connected)

So our first meta textual layer shows that to the Supervisors, Vivienne is right. It should not be almost impossible to get high approval with her, because players should not all be on the side of mages

They specifically use mages to push “free mages are dangerous” because it’s harder to argue against

They’re prepared for people to go that route anyway, that route exists, but they expected it to be a pretty much even split, and for grey areas like “the circles are bad, but mages still need to be watched because demons will possess them” to be a strong part of the mage route

Even if you ally with the mages freely, you can tell every single ally in every single conversation that you lied, they aren’t free, you’re going to keep them in line

And this brings us to meta textual layer 2:

Someone (or a group) in the writing staff understands the actual dilemma of the game perfectly:

The templars are wrong, the circles are an oppressive system that cannot be fixed from within, and you are only barely able to advocate for them to be treated as people, against constant and heavy resistance

This shines through in ways that could almost be seen as coincidence, which is why I think the power balance is set up this way

Sera says it best when asked where she stands on the mage and templar war:

In the middle, because you only hear about mages when one gets possessed and blows people up, and you only hear about templars when they decide to steal a bunch of maybe-mages

On the surface, this sounds like a pretty flat 50-50, both sides are bad so why take a side

But when you actually look at the words…

You hear about mages when their bodies are taken without control and they are forced to do terrible things

You hear about templars when they decide of their own free will that they want to kidnap random people and make sure no one ever looks for them

Only the templars have agency in these examples

There’s also the simple fact that the main baddies in the first part of the game are rebel mages and rogue templars

Rebel mages are fighting for their freedom, notably split off from the main body of the rebellion, who have run for their lives and are hiding

Rogue templars just decided to stay behind when their powerful and influential leaders decided to pull out and stop protecting people, and none of the “good” templars tried to stop them

You are deadass not permitted to bring this up when you first go to Val Royeaux and the templars fully withdraw to their keep

It wouldn’t fucking go anywhere because ✨plot reasons✨ but the fact that there isn’t even an option to say “by the way come pick up your trash” feels telling

Nothing is stopping all these good templars, that we are constantly being told exist and have mage partners and all that, from trying to do something about the rogues who are murdering just anyone they come across

There is no system to stop the bad templars, or abuses in the circles, because the system is not set up to protect mages

It is set up to contain them, and keep them from causing trouble. Whether you do that by keeping them happy and compliant or beaten and locked in solitary isolation does not matter to the system

But guess which one is easier, cheaper, and inevitable without any kinds of checks to make sure that the good templars are the ones in charge?

In this layer, Vivienne is laughably uninformed about… well, everything that goes on not under her nose

She’s so sure she’s the last First Enchanter left because she lives outside her circle, has the perspective of what common people believe, understands the political timing in the way the other mages

(Who are surely all just as comfortable and well off in their towers as Vivienne herself, who lives in a palace and visits the circle when she wants to)

can’t possibly grasp. Her whole first recruited dialogue is a list of increasingly passionate “why couldn’t they just sit tight and bear it until a better time came”

If you push all the way down she becomes more and more emotional each time, from her cool façade of “I know best, they’re being foolish” all the way to “they made it look like mages support murder”

It’s beautiful animation, incredibly complex and nuanced, and easy to miss if you write her off as a cop apologist and don’t drill down

I seriously doubt she even knows what restrictions were imposed by any of the circles, possibly including her own, cuz they sure as shit did not apply to her

Her party dialogue with Cole is actually another really good example of her just… not knowing what to do when the information she was given is wrong

She starts full of certainty, confident she knows more about demons than Cole or Solas (he asks why she’s scared of him but Solas isn’t, it’s adorable)

She accuses Cole of wanting to be more than friends with Solas, asking if he wants to possess Solas and keep him forever and stay out of the Fade with utter conviction

Cole understandably gets upset and tells her that he fully can’t go back to the Fade, and sometimes wishes he could

The motivation she’s ascribed to him deadass does not work, has been easily disproven in two sentences, and the conversation ends

Vivienne never replies, because this information doesn’t fit her worldview and she therefore doesn’t know what to do with it but write it off as a lie

Because on this level, which we will call the Writer level because it is most visible in the script, Vivienne is so much more than a cop apologist

Vivienne is the perfect demonstration of how an oppressive system cannot be changed from within, and what happens to those who try

Vivienne does not approve of abusive circles; she’ll tell you right off Kirkwall needed to be shut down

She just assumes that her circle experience is the more common one. That most of the circles are as lenient as hers, letting people live off campus if they have the right friends

Hearing her talk about the circles is actually a lot like hearing Dorian talk about the Tevinter circles (and yet he also doesn’t receive half as much hate.

How mysterious.)

Vivienne really thinks that the circles are all nice, comfortable institutions of learning and protection, and the mages who rebelled are brats who want to put their comfort over lives

She thinks circles like Kirkwall are outliers that need fixing, though preferably not by explosion

If Vivienne becomes Divine, Orlais circles go back to what they were, because she does not see the problems, does not listen to common people, and is comfortable under the status quo

It’s a fascinating combination of arrogance and misplaced modesty; Vivienne is special, incredible, the best for a reason. But she also thinks anyone else could have done as well, if they only applied themselves

That any other mage, in any other circle, could and would have her sphere of comfort and protection if they only tried

The system needs mages like Vivienne, powerful, cunning, persuasive mages, because they are its greatest weapon

She’s given a position of relative power and influence specifically to stop her from changing the system to what she believes it should be, by making her believe it has already been done

She defends the system from outside change because if it works for her, it must work for everyone, and they’re just being petulant, and she is isolated from anyone who could show her she’s wrong

She’s surrounded by the upper echelon of templars, who either have the appearance of being good, kind, noble protectors, or may actually be in her own position;

Being cosseted to keep them from making changes

It doesn’t actually matter if every single circle has fallen to the depths of depravity, abusing every mage inside it in obvious physical ways

What matters is that every single one of them can, and would the second one of the bad templars that everyone agrees are there, bad, and should be dealt with, got into power

There is nothing to stop any circle from becoming Kirkwall or worse, and that is why the system needs to be burned down from the ground up

They are jails, and the templars see themselves as jailers over people who never did anything wrong

If you wonder how that goes IRL, check out the Stanford Prison Experiment, then remind yourself that in the eyes of the templars being born a mage is a crime

And if you go wandering around and talk to everyone you can… there’s a Tranquil woman in Skyhold, your new creature researcher, Helisma Derington

(and HOLY SHIT the Tranquil will be a story for another fucking time, for now let’s leave it at “mages are uncomfortable around them and encouraged to see them as less than people for a reason”)

And Helisma will tell you she was made Tranquil not because of her magic, but because she was willful. That the time before she was made Tranquil was emotionally trying, but she doesn’t remember why

And ooooooh do I ever want her to have a talk with Vivienne, because holy fucking hell there but for the grace of God and all that, this lady cannot be a coincidence

And the Tranquil can’t lie

On this level, it’s actually much more important that Vivienne is a Black woman, and an intelligent, independent, powerful, canny Black woman at that

Because it shows that the system can and does work on anyone

There’s no identity that magically makes you aware of the inner workings of oppression, and you can’t opt out by being clever

Vivienne being so intelligent, so independent, so strong willed, is what makes her so very desirable to the system; she will be so much better at defending it once she is on the inside

Because oppressive systems that can be changed from within don’t last a decade. No matter how much you think so, you’re never the first to decide to change it

That’s why the system is built specifically to channel clever, capable, strong willed people into one of two paths: Vivienne’s, or Helisma’s

First the certainty that just kicking the system down and starting over would be so much worse. It’s dangerous, scary, and unfamiliar

Then the lure. Surely a Good Person at the top could fix all the problems. You can be the Good Person, make all of the changes, the system worked for you so it must have the potential to work for anyone if you can just fix those little problems

The isolation, being kept away or not seeing the people for whom it doesn’t work, never has, never will

Turning you against those who want to tear the system down, because clearly it’s personal. They don’t believe in you, they don’t think you can do it. You just have to show them, prove you’re right, if they’d just sit down and behave you could fix it all.

But do you need to? It’s already worked for you. It works under your nose, where you can see it

It’s nice, comfortable to be a mage in your circle, and you can’t be everywhere. The templars can keep their own people in line, they have the seekers for that

It’s too much money, too much work to look into every circle every day, week, year to make sure that no one is abusing the system, because the system itself is good

And frankly, that is a good chunk of why I enjoy Vivienne so much

She’s so utterly convinced she knows best, and the other mages just don’t understand, but she’s the one who really has no idea what’s going on

She’s so smart, classy and sassy, funny, and we will never hit a single point of agreement because she’s deadass just wrong

And there is just the smallest chance that if you keep her out of the system long enough, if you could introduce her to the right people and experiences in the Inquisition, she’d see how the system was using her

(And oh BOY would that ever be something)

And if she doesn’t? She has the same beliefs as more than half your companions. Wants the same things and speaks the same way as 90% of the minor NPCs in the game

(Seriously they are SO heavy handed with the “both sides” rhetoric that has to be intentional too)

Most of your allies disapprove of allying with the mages, though only your companions get the immediate little flash on screen

(You don’t get Viv’s Greatly Disapproves until the next time you talk to her, so you could probably technically avoid it and never speak to her again)

Cullen, Josephine, and Leliana are all quick to tell you you shouldn’t have done it, and should have talked to them before making a decision (I think there’ll be some disapproval if you freely ally with the templars too, but Cullen sure as hell approves of that one)

Tl;dr: the Supervisors think Vivienne is right about mages.

The Writers are using her to show how oppressive systems are designed to prevent people from changing them from the inside.

You don’t have to like her, but she doesn’t have to be right all the time about everything to be an interesting character

#dragon age inquisition #dai #dragon age #vivienne de fer #vivienne dragon age #the smartest person you know believes something really ignorant #misogynoir #meta #long post #with many opinions

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smilesrobotlover · 3 months

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Hyrule Warriors?

Since I did the regulars Hyrule warriors I’ll talk about Age of Calamity :) hope you don’t mind!

Ok, so, I understand why this game is so hated. Nintendo practically lied to us, marketing this as a prequel, which yeah, was a sucky thing to do. I don’t like that either. But…

Idk this game is weirdly special to me dhsksbsksbk. I 100% the game, dlc and all, and when you’re able to look past the fact that they lied to you, this game is pretty good! The fighting when you’re playing the right character is far more satisfying than Hw, and it’s a lot easier for me to play each battle. It was fun to 100%! I like Terrako, I like what they did with Rhoam, and yeah I’ve started to like Astor just a little bit. He’s my scrunkley loser. The introduction of Sooga was super cool and Kogha’s character was just, incredible. Plus they picked the PERFECT voice actor for him.

It’s really annoying how much it doesn’t follow botw tho. Like it’s connected, but not canonically. If I recall correctly, link pulled the master sword when he was 12? So what’s he doing here? Also they just… really tried to force Link and Zelda into the same proximity :/ I didn’t connect much to their relationship in botw but this game REALLY forced it huh. It’s annoying and it’s also disappointing how they didn’t explore Link’s family? Or anything about Link? Like great we have more stuff about Zelda but like, what about Link? Also why does Terrako follow him around when he’s obsessed with Zelda lol?

I also wish that they did more with the champions. Like giving them actual character arcs. I felt like they had so many ideas but such little time to actually explore any of it. Especially revali, who has the potential to being an extremely complex character. I also wish they did more with Sooga. He and Byrne kinda suffer in the same way to me :( I’m glad he’s at least playable in the dlc, but still.

But, I did love young robbie and Purah. The two scientists are so sexy it’s not even funny. And of course Impa is such a beloved omg I love her so much <333 tho she feels mega sidelined at the end :(

Also uh…. Why isn’t Astor playable? Unless I’m missing something but I’m very disappointed that Astor, the main villain, is not playable in this game? Pls if he is playable tell me cuz I wanna play as the crusty man.

Ok sorry I’m jumping all over the place but I did like calamity Ganon, he looked super cool. And harbinger Ganon also looked super cool. Like dang they went all out! And watching everyone fight at the castle was super dope :)

Now, even tho the gameplay is more fun and satisfying than Hw, it’s only more fun when you have the right character. Some of the characters in this game are painful to play as. The fairies, daruk, and Yunobo are ones that I hated playing as. They’re so painfully slow and it’s not fun :/

Idk this game has many good things and many bad things. But I like it a lot! It’s a good one!

#asks

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cynicalmusings · 3 months

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some thoughts about the traveller, because why not. (minor spoilers ahead for xianyun’s story quest.)

in the cutscene at the end of xianyun’s story quest, there is one moment which struck me while i was watching it. not the twins being reunited—that was nice to see, yes, but the moment i’m talking about really hit me hard—or the traveller crying or whatever. it was moment here:

specifically, the way the traveller’s expression changes on the line ‘your fearlessness in the face of danger’. they’re not pleased by the praise. they’re not exactly comforted by it, either. if anything, they look hesitant, like the reassurance and the compliment doesn’t make them feel better.

that made me start thinking about the traveller and how they deal with their emotions. in the recent lantern rite, there’s even a dialogue line (with no alternative options, if i remember correctly) where the traveller explicitly says they prefer to bottle things up. it made me think about how, even as the player behind the traveller, we barely ever see them have emotional moments. this whole game is an adventure, it’s fun, even the dark lore is intriguing rather than actively off-putting. as the players, we’re obviously separated from their feelings and deeper emotions. the rest of the playable characters also seem to take the traveller’s willingness to help for granted, at least to an extent.

but for the traveller as a character, imagine how lonely they must be. they’ve been thrust into this world without warning, separated from the only family they have, and are now seeking said family with the knowledge that their sibling is fighting against everything they are fighting for. on top of that, they’re constantly asked to do favours for people, whether that’s tasks as mundane as daily commissions to having the pressure of saving entire nations on their backs. yes, they have help, and they have companions in paimon, but surely that can’t balance out the loneliness they feel in being separated from their twin while having to have their personal quest constantly hindered by what others ask of them.

they’re not ‘fearless in the face of danger’ because they want to be, or even necessarily because it comes naturally to them. although they are undeniably a brave character, this little expression made me think that they’re so courageous because they have to be. there’s no other choice. they’re stranded in an unfamiliar world among unfamiliar faces with all their power stripped from them and scraps to go on regarding finding their twin. enjoy their travels as they may, of course it can’t all be all fun, especially not in their situation.

again, they’re not travelling out of choice, but out of necessity—and, more than that, they’re moving so fast all the time that they never have a moment to breathe, or break down, or really linger on their emotions. (obviously, considering this is a video game, it makes sense: people need to be entertained and have things going on to keep them interested. most players probably wouldn’t be interested in a quest entirely about the traveller sitting around and crying or getting therapy, but i’m talking about this from the perspective of the character, not the game itself.)

and then we finally get a ‘breather moment’, although brief, in this cutscene, and… of course the traveller isn’t flattered or consolidated by being called fearless; because whether or not they are brave as a person, some extent of their bravery must be forced.

there’s also another change in expression (which tumblr won’t let me upload) when xianyun mentions them becoming weary, similar in hesitation and averting their eyes. again, they are weary, and they are afraid (at least sometimes), and it’s just a matter of never showing this to anybody—even to paimon most of the time.

tldr; that moment really made me stop and think about how tired and old a soul the traveller really is, despite how they present themselves and their emotions.

#thank you for coming to my ted talk #it’s a bit of a ramble #but whatever #genshin impact #aether #lumine

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faroreswinds · 1 year

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Saw a post @agoddamn made, and I agree on the thoughts regarding Three Houses and one of it’s biggest problems. It’s something I’ve noted before, but I’m bored and eating ramen so I want to talk about it again briefly. (Also, FEH reminded me of it so it’s on my mind).

But the idea of Crests being the source of problems that many of the characters face is divorced of logic. It is terribly forced and feels unnatural when you sit down and think about it for two seconds.

Basically every playable character and a bunch of NPCs blame Crests for the existence of nobility. They blame Crests for forced marriages, for force relationships, and for things such as being desiring you and the power you have.

But ignores the reality that nobility exists regardless of Crests, not because of them. Things such as forced marriages or your parents guiding your childhood relationships is not unique to Crests. There are ways Crests can be problematic that are specifically unique to them, but TH tries to attach concepts that are not inheritably related to them. Nobility, arranged marriages, and desiring someone for their strength and power does not just go away because Crests are gone.

Furthermore, I don’t think a single main character in TH is grateful to have a Crest. You would think at least one person would be stoked to have extra power and value the edge it gives over battle. But the character either literally don’t care at all (Felix) or are so wrapped up in their personal problems that they think it can only be related to their Crest (Sylvain and Marianne).

It feels artificial because a specific forced conflict was necessary to push for FE.

And it is not like IS is unaware of similar powers and what they mean to others. Characters like Lissa and Chrom demonstrate this. But there is almost no nuance in TH. The only nuance comes from Dimitri, and that is hardly focused on.

It’s incredibly frustrating to see this false, uninformed narrative be pushed for the sake of drama.

#Three Houses discourse #feh

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fatuismooches · 11 months

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SMOOCHES HII MY CUTIE PIE!!! ૮꒰ ˶• ༝ •˶꒱ა ʚ🍓ɞ

HAVE YOU SEEN THE LEAKS OF DOTTORE AND ARELCCHINO??? SHE BEAT THE DEAD ALLEGATIONS AND APPARENTLY BOTH HER AND DOTTORE MAY ACTUALLY BE PLAYABLE 😭!!!! I HAVE BEEN LOOKING AT EVERY CONCEPT ART ON TWITTER JUST HYPING MYSELF UP FOR FONTAINE. My motivation to finally finish exploring the desert just went up so much !!! I’m not sure if you’ve seen but there’s a Dottore concept art of him wearing different colored masks! (Which is most likely to differentiate the clones to Prime) AND THERE WAS EVEN A LEAKED CONCEPT OF ALL THE HARBINGERS STANDING SIDE BY SIDE AND PIERRO LOOKS SOOOOO!!! AND CAPITANO TOO AHHH !!!! AND PANTALONE WEARS PANTS LMAOO (I’m sorry I’m literally frothing at the mouth I’m such a simp for all the Fatui Harbinger men. Yes I love all of them not just Dottore) N I THINK PANTALONE HAS A CANE TOO ALTHOUGH IM NOT SURE IF UTS PART OF SIGNORA’S DRESS OR SMTH either way even if he’s a grandpa I’ll still love him. And don’t get me STARTED on Fontaine’s concepts for the map it’s so blue n vibrant n green!!! It’s honestly giving monstadt vibes n reminding me of when I first started playing genshin back during launch 😭 I’m so excited for Fontaine i really hope it lives up to its hype since sumeru disappointed me a lil but seeing Omega made it 10/10

But I hope you have an amazing week/year!! I give you many many chu chus n kisses n hugs n cuddles!!! I’m sorry I haven’t sent any brainrots I’ll try to come up with some tonight!! (I unfortunately didn’t sleep well last night since there was a roach and it went up my foot and I’ve been traumatized since!! I DONT know if it’s still in my room or not waaa) ໒꒰ྀི ◞ ◟꒱ྀིა

From your very excited boo boo bear 🎐 anon ♡︎૮꒰ ˶• ༝ •˶꒱ა ♡

YES BRO OMFGGGGG 😭😭😭

NO CUZ SAME. I literally sat on twitter and reddit just scrolling and refreshing at all of these leaks cuz WTF HAPPENED ON JUNE 19 2023?? like MY GOSH IT WAS SHOCKING AND AMAZINg. ALL OF THE DESIGNS LOOK SO GORGEOUSSSSSS AHHH AND EVEN OLD CONCEPT ART OF THE OTHER CHARACTERS?? we were robbed.

AND YES I'VE SEEN THE DOTTORE MASK LEAK... he looks so fine i love him😭💖 I NEED TO SEE OMEGA AND PRIME ON SCREEN AT THE SAME TIME I WANT TO SEE THEM TALKING TO EACH OTHER??? I NEED INTERACTIONS NOWWW . AND YESS THAT IMAGE OF THE HARBINGERS TOGETHER IS KEEPING ME ALIVE THIS IS THE MOST WE'VE SEEN THEM TOGETHER SINCE THE TRAILER 😭 and ACTUALLY I THINK I SEE THE CANE THING UR TALKING ABOUT?!! IT DOESN'T LOOK LIKE PART OF HER DRESS SINCE ITS TOO FAR AWAY OMG NONNIE I DIDNT NOTICE THAT AT ALLLL 😭💖 PANTALONE HAVING A CANE ACTUALLY SUITS HIM OMFG

I'm super excited for Fontaine 🥰🥰 And i feel you with the desert exploration! Really wish we had more forest than desert in Sumeru. Good luck on it 🎐 anon!! Dottore mains us soon 🥰

#smooches talks #🎐 anon #leak.content #MY LOVE DW ABT BRAINROTS I GET HAPPY JUST BY LOOKING AT UR WORDS...#AND UM IS UR FOOT OK..??#IM SO SORRY THAT HAPPENED TO U 😭😭😭 STAY SAFE

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rachelkaser · 2 years

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The case for a female protagonist in Assassin’s Creed: Codename Red

Assassin’s Creed has hemmed and hawed on giving its games a solo female protagonist. Codename Red might be Ubisoft’s chance to go all-in -- if it takes the plunge. Here’s how it could work and why the developers should do it.

You know the expression, “The opposite of love isn’t hate but indifference?” The point of it is to demonstrate that lack of care is the greatest sign of love’s absence. But turn it on its side slightly, and what it’s also telling you is that love and hate can exist in the same space. I have seen no surer proof of this idiom’s truth than my own feelings towards Ubisoft’s Assassin’s Creed series. I love it . . . oh, but how I hate it, too.

For those of you just joining us, I am a fan of the series, but I am also very critical of it. I have loved this series for almost half of my life, but its evolution and overarching story is messy at best and insultingly incoherent at worst. I accept and embrace the series as it is, while also despising it for its unrealized potential.

With that being said, and since I’ve mentioned unrealized potential, let’s talk about the future of Assassin’s Creed -- specifically, the upcoming game currently codenamed “Red.” This might be the ideal time for Ubisoft to introduce something Assassin’s Creed has avoided like it avoids the modern day storyline: A starring female protagonist. Not only are conditions for this “bold” move ideal, but I would argue the company has to do it. Let’s talk about it.

Let’s Talk About the Female Assassins

Before we go on, I know I should address the series’ existing heroines, lest anyone accuse me of not thoroughly covering my material. I’m aware that Assassin’s Creed has given us a few heroines already -- they’ve even said that the female characters are the canon leads.

However, as we talk about it, I think you’ll notice a common theme with all of these characters. I call it the Not So You’d Really Notice It effect. We’re told they’re definitely the canon characters and are important to the history of the series . . . but Not So You’d Really Notice It.

Evie Frye

The ninth game, Assassin’s Creed Syndicate, was the first in the main series to feature a playable female character. Syndicate follows the adventures of twin Assassins Jacob and Evie Frye, who are attempting to retake London from Templar control. Now, according to the developers, Jacob and Evie were supposed to be equal co-leads in the title -- but Not So You’d Really Notice It. Jacob dominated in all of the marketing, and Evie’s story in the actual game is static and boring compared with his. She has fewer story quests -- should the player so choose (some missions you can select which twin to play), they only have to play as Evie for about 30% of the game.

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To be fair, this is not just because Evie is a woman -- another factor is that Ubisoft was trying to marry its two different kinds of protagonists into one game. I mentioned this when I first reviewed the title, but traditionally AC protagonists fall into one of two camps: They’re either reserved stoics with a temperamental streak (Altair, Connor, Shay) or charismatic, flirtatious extroverts (Ezio, Edward, Arno). Ubisoft has always been better with the latter, rather than the former -- or rather, the games in which the extroverts star seem to be better received.

Ubisoft knows how to write a story starring a character like Jacob. They don’t know what to do with stiff-upper-lipped Evie besides make her perpetually irritated at Jacob. Her brother gets to undergo a whole character arc, while Evie doesn’t really get the same treatment. To reiterate, I don’t think that’s just because of her gender -- but I’m also convinced that was at least part of it.

Syndicate also hides its most interesting character in what amounts to a mini-game: Lydia Frye, a WWI-era British Assassin spy who worked alongside Winston Churchill. You’d be hard-pressed to find a better hook for a character anywhere in the series, but Lydia is only in about an hour of the game, total. I would love for Ubisoft to make a game about her, but I know how likely that is to happen.

Aya, a.k.a. Amunet

In the next game, Origins, Ubisoft decided to change up the formula slightly by making the protagonist an older, married father. Bayek is himself a breath of fresh air, having a different motivation than other protagonists and not really fitting the previous templates. He’s assisted in his quest by his wife, Aya. She’s supposed to also be pursuing vengeance for their murdered son . . . but Not So You’d Really Notice.

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Hold onto something, because this might just give you the vapors: Aya was originally supposed to be the main playable character in Origins. According to a Bloomberg report, the original plan for the game was to sideline Bayek early (it’s not exactly stated how) and for Aya to take over. However, if this Bloomberg report is to be believed, Aya was slowly pushed to the margins over the course of development.

You can see traces of this in the final game, as there are a few sequences where you play as Aya. She’s off on her own quest to avenge her son’s death, at least at first. One problem with her diminished role in the game is that her motivations are incredibly difficult to follow. She’s out for revenge, up until the moment she meets Cleopatra, with whom she becomes smitten and flips on a dime. She’s given some more screentime in the DLC, which I assume was because the higher-ups were no longer paying as close attention.

Kassandra

Out of all the female characters in Assassin’s Creed, Kassandra is probably the best-received. I’ve yet to hear anyone say they dislike her or, worse, are indifferent to her. While I only have anecdotal evidence, I’ve heard that some people who’ve never played Assassin’s Creed before jumped aboard because they wanted to play as this dry-witted, badass Amazon woman.

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According to the aforementioned report, Odyssey was also originally conceived of with a solo female protagonist -- Kassandra. Her brother, Alexios, was in the game, but he was presumably consigned the role of villain Deimos. Eventually this morphed into the version of the game we have now, where the two are interchangeable protagonists, and whomever isn’t selected is Deimos. According to Ubisoft and Odyssey’s novelization, Kassandra is the canonical Eagle-Bearer -- but Not So You’d Really Notice It.

To be clear, the Assassin’s Creed meta-narrative is that a modern-day person is reliving the life of an historical figure via genetic memories. Having two distinct people who could be the protagonist doesn’t really work... at all. It’s not the only concession Odyssey makes in an effort to be more like an RPG, but it’s probably the one that requires the biggest break from established series conventions.

Eivor

This brings us to the most recent game, Valhalla, which once again features a man and a woman sharing the throne. In this case, they’ve ditched the idea that they’re separate people and just made them a single person named Eivor. You can choose to play as a male or female version of the character.

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Eivor is a Viking warrior who departs Norway with their brother Sigurd and founds a settlement in England. They’re eventually drawn into the apparently eternal battle between the covert forces of chaos (the Assassins) and the oppressive forces of order (the Templars). It’s not helped by mysterious stranger (and future protagonist) Basim attempting to manipulate both Eivor and Sigurd.

Just like Kassandra, Female Eivor is the canonical character. Male Eivor is actually the Norse God Havi. Eivor is his reincarnation and thus shares his DNA. Once again, you can tell that the female character is supposed to have been the lead here: Eivor is a female name. The in-game character selection gives players the option to “Let the Animus decide” which makes Female Eivor the Viking-era protagonist but Male Eivor the Asgard-era protagonist.

WTF, Ubisoft?

As you can see, Ubisoft has come very, very close to having a female protagonist lead one of its titles. But every time it’s come close, it’s choked at the concept stage, throwing in a male protagonist as a preemptive tonic. Why did this take place?

Apparently the directives to change all of these games from women-led to shared adventures or male-led came from the marketing department or Ubisoft CCO Serge Hascoët. Both claimed that games led by female characters wouldn’t sell. The report doesn’t say whether that same thought process applied to Valhalla, but I think I can assume so.

To be fair to Ubisoft, that presumption may not have been too far off. According to director Scott Phillips, the majority of Odyssey players chose Alexios, though he added that their popularity was about even in playtesting. But I take that with a grain of salt -- the entire games industry has historically been gun-shy about female protagonists and gives them much less marketing than they might otherwise receive.

I’m not even going to dedicate much space to Assassin’s Creed: Chronicles, which gave separate episodes to some peripheral Assassins of history. The China episode is led by Shao Jun, but I can’t exactly give Ubisoft props for that -- for one, she’s sharing the spotlight with Arbaaz Mir and Nikolai Orelov. For two, Chronicles is an offshoot game that got precisely zero marketing compared with the mainline titles.

The only character in the franchise so far who has carried a game entirely on her own is poor Aveline de Grandpre, the protagonist of Liberation. Honestly, Liberation is so unusual compared with the rest of the series that I have to believe it was a fluke. It had to have been made while Ubisoft higher-ups were looking the other way -- and given that it was originally a PlayStation Vita exclusive, I wouldn’t have blamed them for not paying attention.

Also, I want to be clear that I bear the male protagonists in these games no ill will at all. Jacob is a glorious himbo; Bayek is complex and original; Alexios has some of the series’ best voice acting; and Male Eivor is an awesome Viking warrior, and we can never have enough of those. I love this series’ badass men. I just want them to stay in their own games to give the badass women a chance to shine.

Forward to the Past

With all of this history, let’s talk about what the future holds for Assassin’s Creed. We already know that the next game in the series is Assassin’s Creed Mirage, set in 9th Century Baghdad. It’ll star Basim, the mysterious stranger from Valhalla. No female counterpart, but he will have a female mentor character, a Persian Hidden One (precursor to Assassins) named Roshan. Funnily enough, Roshan got almost as much focus in the reveal as Basim, most likely because she’s voiced by Shohreh Aghdashloo.

Other than Mirage, Ubisoft is working on games codenamed “Jade” and “Hexe.” Jade is a mobile RPG with a customizable player character set in ancient China -- doesn’t interest me much, seems designed to capture the Chinese mobile audience. “Hexe” is a cipher, and we have no details about it from which I could speculate on what kind of story to expect.

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The game I wish to focus on is Codename Red, which Ubisoft announced during its big show earlier this year. Codename Red is the fulfilment of a longtime fandom wish: An Assassin’s Creed game set in historical Japan. Players have been asking for this because its such an obvious fit for the series mandate: The fictional Assassins and the historical ninja are obviously simpatico, and Japan has a number of points in its history where the traditional Assassin vs Templar narrative would fit perfectly.

So far we don’t know much about the game. According to the trailer, it’s set in “Feudal Japan” (which could be anywhere within a roughly 500-year period), it’ll have the action-RPG gameplay of Odyssey and Valhalla, and it’ll let players live a “shinobi fantasy.” That’s all we’ve got to work with, outside of rumors.

Now let me explain why this game should have -- nay, cries out for a female shinobi to lead.

The Land of the Rising Sun

Ubisoft has used Japan as a setting in the expanded AC universe, most notably in the French novel Blade of Aizu and in Memories the card game -- yes, Assassin’s Creed had a digital card game. The latter revealed that the Assassins established a Brotherhood in Japan during the Sengoku Period by allying with the country’s ninja, including Hattori Hanzo.

Let me paint a picture of the kind of female character we’d have if Ubisoft actually moved forward with this idea. We’ll call her “Akane” for reference. Suppose that we start in feudal Japan -- perhaps slightly before the age of Hattori Hanzo, but still within the Sengoku Period -- and Akane is a young merchant, perhaps someone who participates in the burgeoning trade with newly arrived Europeans. One day something happens that almost makes her a casualty in this time of upheaval -- I leave it to those who are more well-versed in Japanese history to say what.

Akane obtains a Hidden Blade, either from one of her European friends, or perhaps a member of the Chinese Assassin Brotherhood (Shao Jun would have been active around this time). Determined to keep the common people from being wrapped up in the machinations of those in power, Akane swiftly begins growing a network of spies across the region, participating in several covert assassination missions, and essentially starting an Assassin’s bureau all by herself in Japan.

I don’t have the requisite academic background to speak from authority on the subject, but even cursory research shows that female spies, assassins, and warriors were not rare in Japan. In fact, one such historical figure, Mochizuki Chiyome, recruited an entire spy network of female shinobi. She’s a character in Memories, albeit working for the Templars and opposed by Hattori Hanzo. There is historical precedent aplenty for this “Akane” character, and I’m excited just at the idea of what Ubisoft could do with her if they really cared enough.

Having said all that, I’m not going to bother giving an historical justification for a female protagonist in this game. I am not going to address them directly, but the misogynistic fuckwits who oppose the concept of a female protagonist on principle (or the illusion of principle) often use “historical accuracy” as a flimsy shield for their real intent. I don’t want to even give the impression that I’m meeting them on their level. Because here’s the fun thing: Historical accuracy could not possibly matter less in the Assassin’s Creed series.

Nothing is True...

If we’re being very honest with each other (and we always are here in my house), AC’s pretentions to historical accuracy have always been shallow at best. For the last few years, the developers have tried to position AC as some kind of portal to a proper history education, which is commendable and also kind of adorable given how little their series resembles real world events. (Those Who Came Before, anyone?)

But leaving aside all of that, the entire conceit of the series is that history was not as we’ve been taught it. Major forces in the world have deliberately obscured or buried historical facts and figures, and the version that we’ve been taught is a sanitized version palatable to the Templar overlords. If you played Black Flag and spent any time in the modern day (though if you avoided that, I wouldn’t blame you), you’ll remember that the entire point was that Abstergo is Templar-washing the historical people who’ve opposed them.

Connor became a brutish savage. Ezio became a deranged serial killer. Altair became an arrogant heretic. Aveline was lauded, but they notably cut off her story around the time she pretended to join the Templars, making it seem that she did come around the “right” way of thinking. I found that part of Black Flag surprisingly clever -- while we, the players, know that’s not an accurate view of their lives, we can also see how Templars can paint that picture with just a slight twist of the facts. When it comes to history, it matters who tells the story.

My point being that this is the most elegant venue ever to tell a story about a person who may not have a whole lot of historicity. Oh, you don’t think women could have feasibly been warriors and assassins at this time and place in history? That’s what the Templars want you to think! Especially when you consider that the Templars in the games are traditionally the rich and powerful, while the Assassins recruit from society’s oppressed and downtrodden. Seriously, I could not create a better stage than this to tell this kind of a story.

...Everything is Permitted

One thing I have not yet addressed is why it might be in Ubisoft’s best interest to put a woman in the lead of this game. Three words: Ghost of Tsushima. Let me expand.

Players have been asking for a Japanese Assassin’s Creed game since the series began, but Ubisoft never delivered on that. AC3 creative director Alex Hutchinson once said, by way of explanation for why they weren’t considering it, “People on the internet suggest the most boring settings. The three most wanted are WWII, feudal Japan and Egypt. They're kind of the three worst settings for an AC game.”

He later added, “Feudal Japan would work as an Assassin's game, for sure, but I feel like it would start to look like 'oh, have I played this?' You know what I mean - 'oh, I've been a ninja before, I've been a samurai before'." Well, if the problem was that ninja and samurai were too common for Ubisoft, then they’re really not going to like the market into which Codename Red will launch.

In terms of a quasi-historical fantasy game set in Japan where players are a sneaky anarchist people’s hero trying to topple a militant regime, we’ve got Ghost of Tsushima. And it was both a great game and hugely successful -- enough so that I’m not sure Ubisoft should try to beat it.

To make matters more unfavorable, Ghost of Tsushima 2 is heavily rumored to be in the works. Team Ninja is also working on Rise of the Ronin. Honestly, if even one other “Japanese historical fantasy” title launches in the same year as Codename Red, then it’s going to be in trouble.

So if Ubisoft really wanted to stand out, they could do something I’m quite certain the other games won’t do. It’s a really easy solution, too: Make the protagonist a woman. The historical background is there, insofar as Ubisoft has ever needed it to be. They’ve come very close to doing it many, many times. Now I want to see this franchise grit its figurative teeth and take the plunge of actually giving a woman the starring role.

Appendix: Reality Check

Having said my piece, I wanted to add that I’m aware just how remote the possibility of this actually happening is. While female game protagonists are not as rare as they once were, and studios are becoming slightly less reluctant to greenlight a game with a woman in the lead role, the chances of Ubisoft finally giving in and making a female Assassin-led title are smaller than I’d like.

In part, the problem is Ubisoft. The company’s alleged culture of hostile, noxious masculinity was only revealed recently, and I’ve seen no sign that it’s made significant enough improvement to give me hope. For one thing, TheGamer recently reported that devs are actively avoiding Red because director Jonathan Dumont allegedly has a history of being verbally abusive, particularly to women.

The other part of the problem is that, as optimistic as I am that there’s a sea change in the industry, a game with a female lead character is still a Big Deal . . . and not the kind of Big Deal that publishers want. And Ubisoft is not just any publisher -- it’s a publisher that has proven, time and again, that it’s not willing to put a woman in the spotlight all by herself.

I can’t lie: That makes me very sad. Having a female character should not be a Big Deal. It should not be something that requires extensive rewrites in order to shoehorn in a male option to steal her thunder. I can promise you that, when a Ubisoft creative pitched Mirage to his higher-ups, no one responded with, “Hmm, Basim, really? Not sure about that. Don’t you think we should make Roshan playable too, just for the people who want to play as a woman?”

In any case, we’ll likely hear more about Assassin’s Creed Red at some point in the near-future. My fingers are crossed, but my hopes are summarily tempered. I can still dream, can’t I?

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