Ronarry woah

Uuuuh sorry for being MIA and also gaining a new hyperfixation. Work changes people fr

god i want. an au where it dosn't work. where it's just arr g'raha who's woken up, and he doesn't have all these memories and all these people keep looking at him like they're mourning someone. the world has changed and time has changed and all the people he knows have changed, but he hasn't changed, he was just sleeping, just sleeping, and the world nearly ended several times and apparently he helped prevent yet another end but he has no memory of this. they want him to join the scions. he does not know these people. (he barely knows the warrior of light, now, but did he ever truly know them in the first place?) his little sister is alive and well. she looks at him like a ghost. she's changed, and she's older than him now. he acts bratty and loud and brash to cover up the fact that he does not know anything it seems, and he is tired but he was sleeping for so long, so how could he be tired?

he doesn't know these people. they seem to know him. he wonders if he'd killed someone, when it was him and not that exarch who woke up. he wonders if it should have been him who was "killed" in that way, if it is him that lives and not that man who had known and become friends with all these figures from legend. he wonders if he'll always be fated to be a historian one step back from everything, because he simply cannot be a hero.

Sorry abt the occasional digiposting as of late, im coming to terms w/ the fact that it's starting to grow on me orz

tintin is incredible at timing

(possibly) the final snippet I'll post from my story The Gypsum Maw, the previous part which follows directly before is here - I've been seeing comments asking about where to read the full thing, I'm afraid what I post is basically it - I have more pages in my sketchbook but I suspect they are only legible to me!

this post is already long so more notes and credits under the cut!

I asked for some help for coming up with friends for Chang! The gentle giant Masek was created by InkyTrink on Twitter and the super excitable Libby was created by dreamyopal, a discord mutual:

They came up with some great character notes and were super helpful providing feedback on my designs!

Writing this felt pretty odd in ways. I graduated in 2020 during the Plague Year so my class didnt get a public art showcase. I attended one last year and it was a bittersweet experience.

Reunions feel a bit like time travel, you see people after a few years and things change quite a lot. I wanted to explore this in my post canon series, Chang has grown up, found himself and has been able to live a fairly normal life with family and friends. Tintin in a way reflects that young adult insecurity about being stagnant, like you haven't been able to fully reach adulthood properly. His fame and status as a Young Boy Reporter is holding him captive, he longs for connection but is held back by expectations from both himself and the outside world.

I've also been inspired by the concept of 'queer time,' the concept that the lives of queer people progress differently to the lives of non queer people. It takes time to come to terms with yourself and to come out. Queer people are often excluded from milestones like marriage or having children. Tintin being confronted with his peers at a university highlights his insecurity about being left behind, but he's slowly making the journey to self acceptance by talking to others, and recognising common ground he has with others.

Chang's university isn't a one to one reference to a specific institution but in Belgium there was a secular movement in reaction to the dominance of the Catholic church, in which universities played a key role. There's references to art movements that were deemed "degenerate" by the Nazis here, such as Fauvism and Surrealism.

your style makes my brain light up (especially your lamb design). the writing and pacing of your comics, the coloring, the lineart, the composition, the 3d form and tactility and anatomy and consistency...... every aspect I can think of just all comes together perfectly. (the progression of the recent dream sequence was flawless!!!)

and your expressions especially bring it all to life. but specifically, I can't believe I haven't seen anyone compliment how you draw narinder's eyes....... dealing with a monoeye in the middle of the head is hard enough, but in at least a few panels you basically give him 1.5 expressions! it adds so much character and is so much fun

for me, getting to experience art like this is the kind of thing that makes life worth living. I hope you keep having fun making comics for a very long time. thank you for sharing your stuff!

Thank you so much! n.n cotl's been kicking my brain in a way thats making me finally draw comics, ive been wanting to for a while now and i feel this is really fun way to practice it. Makes me so happy you like it too ✨✨

Homebrew Mechanic: Bumpercar Combat

I'm going to keep most of my reasoning behind developing this system below the cut but I think we can all agree that D&D's combat can be painfully static. I love fight scenes but after going down a combined stage combat/ videogame boss design rabbit hole I've realized that one of the primary elements is missing from D&D's combat system, namely: Movement

From a mechanical perspective, D&D combat needs movement to break up the monotony of non-spellcater characters throwing punches at eachother until one of them drops, to introduce increased risk and randomness without damage-spike abilities.

From a narrative perspective, D&D combat needs movement to introduce tension and to help put character into day to day fighting beyond just flavor text. Likewise, fights that give different opportunities for movement will feel different from one another, making them stand out in the party's mind.

So without further ado I present my fun new system, which will have your party and their enemies bouncing around the battlefield like a demolition derby:

Press the attack: If you attack a creature and your initial attack roll is higher than their constitution score, you can force them to shift 5 ft into any of the tree squares opposite from your position. You then move to occupy the space they did.  

Back to a Wall:  Walls and other substantial barriers grant attackers the benefits of flanking as if they were a threatening creature. 

Give Ground: If you are attacked in melee and the initial roll is lower than your dexterity score you may shift into any adjacent square, forcing the opponent to move into the space you previously occupied. If you are attacked at a range, you may still shift, but the attacker loses any cover bonuses they might have till the start of their next turn rather than moving. 

Tripping Hazard: If you force an opponent into a square that could be considered rough terrain ( such as if it was occupied by a chair, or down a slippery slope) the target drops prone. 

First things first I want to say that this system is largely inspired by the dynamic combat movement rules by raventear productions, which I found over on reddit. It's a great system but the more I thought about it the more I realized that introducing extra rolls into combat was adding extra bloat to combat, and so I needed to retool the system to ensure that the party weren't having to roll any more dice than they normally would. My goal with homebrew is always to add more options, not bloat.

Also, go check out@jillbearup over on youtube, her series breaking down cinematic fights was one of the main drivers behind wanting to find a homebrew system like this in the first place.

Finally, long hours spent watching @ohnoitstbskyen 's in depth bloodborne playthough got me thinking about the design of fights, and the right combination of enemies and environment can truly elevate the player(s) experience. I'm also working on my own bloodborne game which gave me a reason to finalize this system.

Now lets get on to why I wanted to build this system in the first place: D&D combat is at risk of being painfully slow and boring, as it's aged the depths to which it can be slow and/or boring have only increased. While part of that is up to the skill of players at the table, I largely chalk it up to the fact that the base system of combat isn't much changed from the days of old tabletop wargaming....characters and monsters control like army units, clashing up against one another till one side drops or some spellcaster drops an AoE ( artillery). That rigidity is fine when one person is controling a whole army of units, but I think every melee character has been in a position where they're slugging away with the same old attack while the wizards get to do cool shit.

The system sort of worked back In the early days when characters and monsters could only take a couple of hits before dropping, but as the editions progressed and everything got more complex what might have first been a quick life or death clash turned into a slugfest. Attacks of opportunity and rigid flanking rules specifically encouraged this slowdown, and 4th edition, the only attempt outside of the battemaster to really play with positioning crashed and burned mainly due to WotC's incompetence.

So how do I use this?

If you're having trouble thinking of why this system might be fun to implement, here's a few ideas:

It makes groupfights more dangerous, encouraging tactical thinking. Getting advantage reliably is the deciding factor in most d&d combats, with the tide turning in favour of whichever side has the most bodies. If combatants are shifting around with every missed hit then that advantage is more up for grabs

It puts increased focus on hazards and terrain features. Ledges, pits, pillars, walls, furniture, dungeon-clutter. Make no mistake that if you use this system and then design your combat arenas with some kind of terrain feature, it's GOING to be used. Where previously players and enemies alike had to chose between engaging with the arena for a potential benefit or doing raw damage reliably, here they'll be able to do both.

It gives non burst-damage melee characters a new way to play. Rolling a barbarian or fighter is supposed to come with a scene of empowerment which can be undercut one folks realize their super-strong orc berserker is being outclassed for damage by the shifty guy with the knife. Telling that player "Yeah, that person gets to roll more dice, but you get to bounce badguys off the walls like pinballs" is more than a consolation, it's what they signed up to do in the first place.

It adds drama to the fight. There's only so many ways a dm can describe enemies taking non-lethal sword hits that only take up a portion of their hp, and they're liable to run out of those long before the campaign is through. Part of what sells the importance of those hits and keeps players engaged between the first and the last is the feeling that they've had SOME kind of effect. Moving folks around is a middle ground between doing nothing and dropping a foe, changing the battlefield in a myriad of small ways that can build up to something meaningful.

Art

The Far Roofs: Systems

Hi!

Today I’m going to talk a little bit more about my forthcoming RPG, the Far Roofs. More specifically, I want to give a general overview of its game mechanics!

So the idea that first started the Far Roofs on the road to being its own game came out of me thinking a lot about what large projects feel like.

I was in one of those moods where I felt like the important thing in an RPG system was the parallel between that system and real-world experience. Where I felt like the key to art was always thinking about the end goal, or at least a local goal, as one did the work; and, the key to design was symmetry between the goals and methods, the means and ends.

I don't always feel that way, but it's how I work when I'm feeling both ambitious and technical.

So what I wanted to do was come up with an RPG mechanic that was really like the thing it was simulating:

Finding answers. Solving problems. Doing big things.

And it struck me that what that felt like, really, was a bit like ...

You get pieces over time. You wiggle them around. You try to fit them together. Sometimes, they fit together into larger pieces and then eventually a whole. Sometimes you just collect them and wiggle them around until suddenly there's an insight, an oh!, and you now know everything works.

The ideal thing to do here would probably be having a bag of widgets that can fit together in different ways---not as universally as Legos or whatever, but, like, gears and connectors and springs and motors and whatever. If I were going to be building a computer game I would probably think along those lines, anyway. You'd go to your screen of bits and bobs and move them around with your mouse until it hooked together into something that you liked.

... that's not really feasible for a tabletop RPG, though, at least, not with my typical financial resources. I could probably swing making that kind of thing, finding a 3d printing or woodworking partner or something to make the pieces, for the final kickstarter, but I don't have the resources to make a bunch of different physical object sets over time while I'm playtesting.

So the way I decided that I could implement this was by drawing letter tiles.

That I could do a system where you'd draw letter tiles ... not constantly, not specifically when you were working, but over time; in the moments, most of all, that could give you insight or progress.

Then, at some point, you'd have enough of them.

You'd see a word.

That word'd be your answer.

... not necessarily the word itself, but, like, what the word means to you and what the answer means to you, those would be the same.

The word would be a symbol for the answer that you've found, as a player and a character.

(The leftover letters would then stick around in your hand, bits of thought and experience that didn't directly lead to a solution there, but might help with something else later on.)

Anyway, I figured that this basic idea was feasible because, like, lots of people own Scrabble sets. Even if you don't, they're easier to find than sets of dice!

For a short indie game focused on just that this would probably have been enough of a mechanic all on its own. For a large release, though, the game needed more.

After thinking about it I decided that what it wanted was two more core resolution systems:

One, for stuff like, say ... kickstarter results ... where you're more interested in "how well did this do?" or "how good of an answer is this?" than in whether those results better fit AXLOTL or TEXTUAL. For this, I added cards, which you draw like letter tiles and combine into poker hands. A face card is probably enough for a baseline success, a pair of Kings would make the results rather exciting, and a royal flush result would smash records.

The other core system was for like ... everyday stuff. For starting a campfire or jumping a gap. That, by established RPG tradition, would use dice.

...

I guess technically it didn't have to; I mean, like, most of my games have been diceless, and in fact we've gotten to a point in the hobby where that's just "sort of unusual" instead of actually rare.

But, like, I like dice. I do. If I don't use them often, it's because I don't like the empty page of where to start in the first place building a bespoke diced system when I have so many good diceless systems right there.

... this time, though, I decided to just go for it.

--

The Dice System

So a long, long time ago I was working on a game called the Weapons of the Gods RPG. Eos Press had brought me in to do the setting, and somewhere in the middle of that endeavor, the game lost its system.

I only ever heard Eos' side of this, and these days I tend to take Eos' claims with a grain of salt ... but, my best guess is that all this stuff did happen, just, with a little more context that I don't and might not ever know?

Anyway, as best as I remember, the first writer they had doing their system quit midway through development. So they brought in a newer team to do the system, and halfway through that the team decided they'd have more fun using the system for their own game, and instead wrote up a quick alternate system for Weapons of the Gods to use.

This would have been fine if the alternate system were any good, but it was ... pretty obviously a quick kludge. It was ...

I think the best word for it would be "bad."

I don't even like the system they took away to be their own game, but at least I could believe that it was constructed with love. It was janky but like in a heartfelt way.

The replacement system was more the kind of thing where if you stepped in it you'd need a new pair of shoes.

It upset me.

It upset me, and so, full wroth, I decided to write a system to use for the game.

Now, I'd never done a diced system before at that point. My only solo game had been Nobilis. So I took a bunch of dice and started rolling them, to see ... like ... what the most fun way of reading them was.

Where I landed, ultimately, was looking for matches.

The core system for Weapons of the Gods was basically, roll some number of d10s, and if you got 3 4s, that was a 34. If you got 2 9s, that was a 29. If your best die was a 7 and you had no pairs at all, you got 1 7. 17.

It didn't have any really amazing statistical properties, but the act of rolling was fun. It was rhythmic, you know, you'd see 3 4s and putting them together into 34 was a tiny tiny dopamine shot at the cost of basically zero brain effort. It was pattern recognition, which the brain tends to enjoy.

I mean, obviously, it would pall in a few minutes if you just sat there rolling the dice for no reason ... but, as far as dice rolling goes, it was fun.

So when I went to do an optional diced system for the Chuubo's Marvelous Wish-Granting Engine RPG, years later, to post here on tumblr ... I already knew what would make that roll fun. That is, rolling a handful of dice and looking for matches.

What about making it even more fun?

... well, critical results are fun, so what about adding them and aiming to have a lot of them, though still like rare enough to surprise?

It made sense to me to call no matches at all a critical failure, and a triple a critical success. So I started fiddling with dice pool size to get the numbers where I wanted them.

I'm reconstructing a bit at this point, but I imagine that I hit 6d10 and was like: "these are roughly the right odds, but this is one too many dice to look at quickly on the table, and I don't like that critical failure would be a bit more common than crit success."

So after some wrestling with things I wound up with a dice pool of 5d6, which is the dice pool I'm still using today.

If you roll 5d6, you'll probably get a pair. But now and then, you'll get a triple (or more!) My combinatorics is rusty, so I might have missed a case, but, like ... 17% of the time, triples, quadruples, or quintuples? And around 9% chance, for no matches at all?

I think I was probably looking for 15% and 10%, that those were likely my optimum, but ... well, 5d6 comes pretty close. Roughly 25% total was about as far as I thought I could push critical results while still having them feel kind or rare. Like ...

If I'm rolling a d20 in a D&D-like system, and if I'm going to succeed on an 18+, that's around when success is exciting, right? Maybe 17+, though that's pushing it? So we want to fall in the 15-20% range for a "special good roll." And people have been playing for a very long time now with the 5% chance of a "1" as a "special bad roll," and that seemed fine, so, like, 20-25% chance total is good.

And like ...

People talk a lot about Rolemaster crit fail tables in my vicinity, and complain about the whiff fests you see in some games where you keep rolling and rolling and nothing good or bad actually happens, and so I was naturally drawn to pushing crit failure odds a bit higher than you see in a d20-type game.

Now, one way people in indie circles tend to address "whiff fests" is by rethinking the whole dice-rolling ... paradigm ... so you never whiff; setting things up, in short, so that every roll means something, and every success and failure mean something too.

It's a leaner, richer way of doing things than you see in, say, D&D.

... I just didn't feel like it, here, because the whole point of things was to make dice rolling fun. I wanted people coming out of traditional games to be able to just pick up the dice and say "I'm rolling for this!" because the roll would be fun. Because consulting the dice oracle here, would be fun.

So in the end, that was the heart of it:

A 5d6 roll, focusing on the ease of counting matches and the high but not exorbitant frequency of special results.

But at the same time ...

I'm indie enough that I do really like rolls where, you know, every outcome is meaningful. Where you roll, and there's never a "whiff," just a set of possible meaningful outcomes.

A lot of the time, where I'm leaning into "rolls are fun, go ahead and roll," what it means to succeed, to fail, to crit, all that's up to the group, and sometimes it'll be unsatisfying. Other times, you'll crit succeed or crit fail and the GM will give you basically the exact same result as you'd have gotten on a regular success or failure, just, you know, jazzing up the description a bit with more narrative weight.

But I did manage to pull out about a third of the rolls you'll wind up actually making and assign strong mechanical and narrative weight to each outcome. Where what you were doing was well enough defined in the system that I could add some real meat to those crits, and even regular success and regular failure.

... though that's a story, I think, to be told some other time. ^_^

Hi! I played your game and really, really like it, I am a huge fan of slow burn - combined with Yandere too? That's kinda rare nowadays, haha. Thanks for making it and creating Mychael, I love his design. Two questions: How many days are planned to be playable in the full release?

And

Since in just one day Mychael feels very friendly towards us (according to a post you made with where his feelings are based on a meter) does that mean he's very clingy??? Like, in just one day he feels like our friend. What little effort and words will it take for him to go from crush, to love, to whatever yandere thing he might be??? Like, is he okay??? Should I be worried???

This guy? Clingy? Nahhh. Nothing to worry about, anon :-) 🍄❤️

As for the game, long (!!!) answer below cut: might be spoiler-y might be not.

For context, here's the post mentioned above.

I'm still not sure how many days it will be, but it's definitely ranging between 4-5 days. Granted it'll be a while before the game is finished finished but I think progress will pick up as I complete assets that will be reused. I'm writing Days 2, 3 and 4 simultaneously (anyone who writes can probably relate to wanting a specific thing to happen in the story but dread writing up to it, so I skip around in order to keep my motivation and interest up)

As for relationship progression, slow burn usually means a long time passes before anything develops. But this is a VN and I'm a solo part-time dev so the scope still has to be small 😔 That said!

Mychael, as a person, is quite solitary in nature; he likes being alone and you'll find out why. He does however desire company and he's only realized just how pleasant having someone around can be (hence his reaction for the Bad Endings in Day 1 if you wish to leave/run away)

Although I'm not a fan of the 'you do one (1) nice thing any decent person would do and yandere is already head-over-heels for you' trope, I do have to make use of it but, drip-feed style? You grow closer to Mychael as you hang out with him and do little things that he appreciates. (Honestly I just realized I'm describing the typical visual novel experience just without the yandere beginning-- go! figure!!! /lh)

Example: the first thing that boosts you to immediate friend status is your willingness to accept his physical looks, something that's never happened to him before. (I know my artstyle makes him a yassified pretty boy but imagine genuinely meeting a sentient creature in real life with patchy green skin, a dextrous tail and four blinking pitch black eyes, I think I'd freak too haha) Little things like that mean a lot to him and motivates him to prolong your stay.

In a way, the MC is written to be more kinder and open-minded (at least outside of Bad Ends) than the sweet/sour personalities that come in a VN, so (for narrative AND coding purposes) I can't really diversify it much. I hope that's okay ¯\_(; v ; )_/¯ If Mychael met a more grouchy/mean MC on Day 1 he'd probably not be as attached. He'd just save you, feed you and send you home when you ask hahaha. Of course this will change as he gets to know you better, at that stage he'll be willing to overlook your flaws like any upstanding yandere

Phew this was a lot to dump in an ask but I did wanna explain my vision for the game! I enjoy yandere VNs as an escape fantasy, but it's common they start out with the yan already being invested in you or fall for you too fast!!! if that makes sense. I'm interested in yanderes in the aspect of how love (romantic or otherwise) starts from innocent affection and spirals into dark obsession!!! It's also compelling as to why a character is so devoted to someone, in this situation the MC, and I wanna write the kind of person Mychael would fall for. And personally 'love-at-first-sight' as a reason just doesn't do it for me 💔

(Disclaimer!!! I'm not saying my game is any more original or better than the other wonderful yan VNs in the works, but hopefully with Mychael as a character I can deliver that 'slow-burn-and-yearn' storyline I'd like it to be. As my itchio profile says: I make games I thirst for in secret but are sadly lacking around the internet 💔 )

Thank you for the ask!! :-D

i just finished watching scavenger's reign yesterday, and let me tell y'all this is genuinely the best piece of sci-fi media i have seen in a long while, and it's insane how little i've seen this show being discussed online! it is probably the most unique and viscerally stunning series i’ve ever seen. the world that they have created is equal parts fascinating and terrifying, and every part of it feels fully realized. sci-fi is at its best when it lets go of nostalgia and explores the unknown, and SR gives me hope that real sci-fi can take root again, and be something beyond what came before it.

i will refrain from giving too much away in my discussion because this show works best the less you know going into it. the premise for this show is simple: crewmembers of a crashed freighter ship are left scattered across an alien planet. a good chunk of time has already passed by the time the show begins, and a few of the survivors have already established camps. however, things quickly spiral out of control as disaster wipes away their progress and forces each of them to move on. it's a harsh and unforgiving world that tests them each and every step of the way on their journey.

worldbuilding is where this show truly shines. it is no easy thing to design an entire ecosystem from scratch. it takes an insane amount of creativity and attention to detail to pull off what this show has. and my god did they fucking pull it off. living balloons floating through the air, large sea creatures that suck up their eggs when faced with danger, tendrilled plants that spawn clones of their prey to track them down - it is a frightening, surreal, and violent world, but harmonious in its own way. some creatures poison you, others clean off the poison. there are your typical type of predators that come at you with sharp fangs and giant pincers, but then there are predators that hunt via more insidious means: manipulating the memories of their prey to have them do their bidding, or hijacking their bodies from the inside. ultimately, the characters who fare best in this world are those who learn to adapt to it, and even sync with it.

SR also boasts a surprisingly well-crafted narrative. we are shown just enough of the world to keep us hooked, but it still feels like there is a lot left to be discovered. i also really enjoy the way the story is delivered to us. we follow the journeys of a few isolated groups whose paths gradually intersect. the characters are all fleshed out and three-dimensional - they were different enough to be unique and quirky, but never too different that it felt overboard. the way they react is exactly how humans in those circumstances would and should, the dialogue and voice acting were just superb. it felt so insanely real at times.

i really do hope that this show gets greenlit for a second season. this type of pure creative freedom is what we need right now. all in all, scavenger's reign is a gorgeous nightmare that you need to experience for yourself.

So I wrote a whole long thing about Amy's tarot cards, but what about, you know... the rest of the Sonic Frontiers DLC? The new alternate story route, the hours of new gameplay, all that?

Having now played it, I'm not sure Sonic has ever had this specific combination of good ideas that make the future of the series look bright, and execution that I fucking hate.

(Full spoilers ahead.)

The good

There's a lot to like here, conceptually.

First and foremost, Tails, Knuckles, and Amy are finally playable in a new mainline 3D Sonic game for the first time since 2006! Seventeen years! We've been begging for this for so very, very long. Nature is finally truly healing from the fallout of Sonic '06. Early on I hedged my bets and expected them to be locked to Cyber Space or something like that, assuming that there was no way they'd be fully playable in the Open Zone. But sure enough, while they're a bit limited compared to Sonic, they're still all full-blown characters with skill trees to unlock and lots of exploration to do.

We also got a more bombastic alternate final boss fight, after the first take on The End kind of underwhelmed. And it's obvious that Sonic Team has listened to our pleas to focus on the 3D platforming over the forced 2D sections, and to reduce the amount of automation in the level design. This update is chock full of Actual Platforming. Wow! I can only pray this means we never get an area as agonizing to explore as Chaos Island again.

Sure, there's still some jank - especially with Knuckles' movement, which is kinda rough. But if this is the stuff they're trying out so that they can refine it further for the next game, then I'm really excited.

On the other hand, good fucking lord is The Final Horizon tedious. And that tedium sapped most of the fun out of it for me.

The frustrating

The new scenario massively increases the difficulty over the base game, seemingly out of a desire to give the hardcore players who were posting speedrun videos and whatnot more of a challenge. It's the Super Mario Bros.: The Lost Levels of Sonic. This difficulty comes in many forms throughout your playtime, some worse than others, and continues to ramp up over time.

Rather than giving you a tutorial level, the new scenario dumps you directly into a remixed version of the final island and makes you do some fairly precise platforming with Amy, Knuckles, and Tails - new characters with new movesets that you won't have any experience with. You'll also need to find character-specific Koco that give you free levels, because Sonic's friends all start at level one and certain locked moves in their skill trees will be mandatory to progress. They don't even have Cyloop unlocked at the start. And because they're all low level, that means you'd better steer clear of the beefed-up bosses scattered around the map, which will absolutely annihilate Sonic's friends. (I honestly just avoided them and never bothered beating any of them, not even with my high-level Sonic. I have no idea if they're beatable with the others.)

None of this is explained to you particularly well. I spent my first few minutes with Amy wondering why the attack button did nothing, only to eventually think to check her skill tree and realize that I had to unlock her basic attack. If you don't bother to take the time to read through the skill trees, you'll very quickly find obstacles you have no way of getting past with no clues as to what exactly you're supposed to do.

Adding to this confusion is the fact that objective markers often tell you to go half a kilometer into the sky, and you'll have no idea how to get up there because all of the relevant platforms are out of your draw distance. Many objects seem to only pop in for me when I'm within about 60 meters of them, which isn't a long distance for a high-speed open world platformer like this. I was having this problem running the game with high graphics on PC, so I can only imagine how obnoxious it is on Switch. I'd frequently find myself poking around nearby clusters of platforming objects and praying that they'd lead me to a spring, rail, or cannon that would eventually point me in the direction of the floating objective marker.

There were always complaints about the art direction in Frontiers and the way it relies on floating rails and prefab platforms that are visually disconnected from the natural scenery of the islands, but it's even more dire here. The new platforming sections are dense and complex, but they seemingly didn't have the budget to change the topography of Ouranos Island at all, so it all takes the form of these prefabs. It very strongly gives the vibe of a Forge creation in Halo 3, back when there were no blank canvas maps and people just had to make "new maps" by jamming a bunch of shipping containers and barricades together in the sky above one of the default arenas.

I was still more or less having fun, though, despite the jank. It's a big creative swing, I told myself! They're trying stuff out! They're experimenting!

And then I hit the towers.

The towers are agonizing because they're SO close to being great. The logical part of my brain understands why some people love them, but god, I just fucking hate them. The platforming there IS cool! These layouts are cool! The individual challenges along the way are a bit tough, but totally doable. You know what's not cool? Making one mistake and slowly falling 800 meters all the way back down to the ground, forcing you to start over. Because none of these towers have checkpoints. For me, this one decision transforms what should have been a fun set of platforming challenges into a massive, unfun difficulty spike.

I enjoy some masocore platformers, but those are typically games with quick deaths and restarts like Celeste, Super Meat Boy, or VVVVVV. Hell, the Mario games tend to get way more difficult than the average Sonic game, and those are obviously all great. Quite frankly, unlike those games, Sonic Frontiers is nowhere near tight or polished enough to make this difficulty feel fair. Bits of jank that I could ignore in the base game due to its lower difficulty are now matters of life or death. Missing a jump because I boosted off an incline in a way the game didn't like for reasons I don't understand is not fun. Falling off a tower because the camera was pointing in the wrong direction while I was in midair and I couldn't see the next thing I was expected to homing attack is not fun.

And it's such a jarring spike when moving from the base game to the DLC that it feels like the game is suddenly quizzing me on skills it never bothered to instill in me. Maybe if you've spent the last year labbing out the movement tech in this game this is all a no brainer, but for the average returning player it's a kick in the dick.

I'm sure I could've beaten these towers normally if I gave them enough tries. They aren't the hardest thing in the world. But I very quickly decided I had better things to do with my life and turned on easy mode, which adds tons of extra springs and homing attack balloons to make all of the platforming piss easy. I wish there was a middle option between Only Up: Sonic Edition and this extreme hand holding, but when given the choice between the two I gladly picked baby mode. I just wanted to see the story.

(The new Cyber Space levels are also long, challenging, and devoid of checkpoints, not unlike the towers. But I only ever found the entrances to two of them. So I only did two. They're theoretically required, because they give you "Lookout Koco" that you need for... some reason? But in a rare act of mercy, Sonic Team put Cyloop treasure spots that give you free Lookout Koco all over the map.)

As I continued, so many little things started adding up to piss me off. Why do you only reveal like five tiny squares of the map at a time? I would've loved to find all the new 1-on-1 dialogue scenes, but not if I had to do dozens of hard mode versions of the stupid little puzzles and challenges to reveal the whole map. Why does every character need their own unique collectibles? What is this, Donkey Kong 64? Why can't I just grab this EXP for Amy when I find it as Tails? Why can I only manually swap characters by talking to an out-of-the-way NPC unlocked right before the final boss? Why is fast travel disabled? Why are the new vocal themes you hear when playing as Amy, Knuckles, and Tails so monotonous, with a single verse repeating over lo-fi beats ad nauseum? Why is the jukebox feature completely disabled throughout the DLC, even after rolling the credits? Why can't Tails homing attack? Why do I have to wrestle with the camera so much while also holding the jump button to fly as Knuckles and Tails? How many right thumbs do they think I have? Why is this animation for picking up animals in the Cyber Space levels so incredibly slow, and why can I still take damage while it's playing? Why does the stupid starfall event have to make it so hard to see what I'm doing when climbing these towers? Why does this shitty combat trial have a popup that makes it seem like I should be using the Cyloop when the actual strategy revolves around repeated parries? And on and on and on...

The story

What about the new story? Well, there sadly isn't much to chew on here. Most of the DLC has the cast running around and finding different macguffins for arbitrary reasons, as part of some sort of plan to divide up the work on the last island so that Sonic can go train with the spirits of the Ancients and harness the power of his cyber corruption. What the fuck is an Impact Form? I don't know, but Knuckles needs something to do, so go find one.

It's a thin excuse plot meant to make you do platforming challenges around Ouranos Island, with little room for Ian to add any real flavor of his own, even though he certainly tries. Having Sonic meet the spirits of the Ancients who controlled the Titans, who are revealed to directly parallel the personalities of him and his friends, is kinda neat, I guess? It's something. The optional conversations seem to have some fun bits, including both conversations between the supporting cast and additional lore. But again, I only found a few of those because of how tedious filling out the map was.

The writing is also let down by the voice acting - or I guess the voice direction, because I know this cast can do better. Roger's voice continues to be weirdly, distractingly deep as Sonic, which was clearly something that was requested of him just for this game. (For a recent example of him going back to his regular Sonic voice, see this LEGO trailer.) The performances of Sonic's friends are also WILDLY mismatched. This is most clear when they start feeling the effects of the cyber corruption. Knuckles seems to be barely affected at all, Tails sounds like he's moderately hurt and low on energy, and Amy starts completely overselling her pain out of nowhere. The extremely strained performance makes it sound like Cindy's literally being tortured in the fucking booth. I have no idea what's going on over there.

The final challenges

People have debated whether or not things like the towers and the new Cyber Space levels are fair challenges. What's not up for debate is the fact that Master King Koco's Trial is complete and utter bullshit, and I can't believe they shipped this.

Before you can fight the new final boss, the game forces you to do a boss rush of the first three Titans - INCLUDING the pre-Super Sonic climbing sections - with a hard limit of 400 rings. For all three lengthy, heavily scripted fights. Back to back. You can't even cheese it with the leveling system, because you're forced to do this at level 1. This all but forces you to look up speedrun strats for the Super Sonic fights so that you don't run out of rings and fail the trial.

And the real kicker? They changed the parry just for this trial! Originally, you could just hold down the bumpers endlessly and Sonic would ready himself to parry the next attack, whenever that may hit. Now it requires you to do a "Perfect Parry" with specific timing. And you HAVE to hit those parries if you wanna clear this trial and get to the new ending. Miss a few and you're probably fucked. You just have to reset. Time to go through all those fights, all those climbing sequences, all those QTEs, and all those unskippable mid-fight cutscenes all over again. This is by far the most egregious example of the DLC deciding to quiz you on new skills that the base game never required of you, and it's one of the most absurdly unfair things I have ever seen in a Sonic game.

Easy mode does make this trial easier by making the timing window for Perfect Parries much more generous, but that's all the help you get. It's still easy to lose time failing to parry Wyvern's hard-to-read animations, or to lose rings by getting hit on the climb sections, or for things to just fuck up because these fights were always kinda jank. I gave it a few shots. I looked up guide videos. I tried the Quick Cyloop and stomp combo strat that seems all but mandatory. But I quickly decided that, again, this wasn't a worthwhile use of my time. It just sucks. And I really, REALLY didn't want to overwrite all my fond memories of these Titan fights, some of my favorite setpiece moments in any Sonic game, with memories of this shit ass boss rush.

So I cheated! And if you're on PC, you should too.

With the worst hurdle out of the way, I turned cheats back off and moved on to the new final boss. It was pretty cool. It's much flashier than the original fight against The End, that's for sure. It's still kinda annoying, and it requires you to do very specific shit without properly telegraphing it, but it's nowhere near as bad as the preceding challenges. I was hoping for one last new metalcore song to go with the new fight, which we sadly didn't get, but at least the new version of I'm Here is good.

The ending is... mostly the same, with a couple altered scenes that don't really change anything in the long run. But overall the new finale was pretty good. I just wish it hadn't been such a slog to get there.

Closing thoughts

Sonic Frontiers: The Final Horizon wants to be three things:

A patch that adds a new alternate ending that was probably supposed to be in the base game in the first place.

An experimental take on making Tails, Knuckles, and Amy playable again, presumably testing things for the next game. And...

An official Kaizo Sonic Frontiers mod for the sickos.

The thing is, the people showing up for #1 and #2, the main things that Sega hyped up about the update, are not necessarily going to be down for #3. If they had announced some uber-hard new Cyber Space levels for the arcade mode or whatever, I'd be like, neat! And then not play them. I would never touch Master King Koco's Trial if it was an optional challenge. I would leave that for the sickos. But instead, they made the hardest content mandatory for anyone who wants to see the new Good Ending where the final boss gets an actual budget.

I'm mostly left in a state of shock that it shipped like this. I cannot believe they playtested this and decided this was the state The Final Horizon should be released in. That this should be the note Frontiers ends on. That this should be how we remember those Titan fights. That this should be the lingering taste in our mouths as we wait however many years for the next 3D game.

Armchair devs always love to say that things would be "easy to fix," but like... there really would be easy fixes for the insane difficulty and general tedium here! Add a few more tutorial popups explaining what the game expects of you with Sonic's friends. Give the Cyber Space stages and the towers a couple checkpoints. Give the combat trials more generous time limits, especially on the lower difficulties. Remove half of the map puzzles, and make the ones that remain uncover twice as many squares. Skip the startup animation for Knuckles' glide. Let me turn on the goddamn jukebox. Since so much of this update was designed around fan feedback, I can only pray that Sonic Team is still listening, and that they tweak at least a few of these things with a balance patch.

But still, after those many, many paragraphs of complaining... this still somehow makes the future of 3D Sonic seem pretty promising?

Sonic's friends are FINALLY playable again, and the focus is back to proper 3D platforming, rather than railroading players into awkward forced 2D sections in what's otherwise an open world. These are the things that they hopefully want to carry over to the next game. The difficulty? Well, that's just because it's the postgame DLC that's supposed to be the toughest challenge in the game. It's just an unreasonably cruel one of those - an example of how designing and balancing for a vocal minority of your fanbase can really hurt your game. But Sonic Team is onto something here, and I hope that they can learn the right lessons from this expansion and not throw the baby out with the bathwater.

I've heard that while most people really really love BotW and TotK, some people hate those two for going open-world, and some people hate TotK specifically for something about the story. As the resident Zelda expert I know of, what do you think of those takes?

"something about the story" is a bit too vague for me to answer--if you look at my totk liveblog tag from back when the game was newly released or my general zelda analysis tag you may be able to find some of my in-depth thoughts about the story of totk, but in general i liked it.

the open world thing though is something i can and will talk about for hours. (I am obsessed with loz and game design and this is an essay now <3) breath of the wild is a game that was so well-received that a lot of the criticism from older fans who were expecting something closer to the classic zelda formula was just kind of immediately drowned out and ignored, and while i don't think it's a valid criticism to suggest that botw strayed too far from its origins in going open-world, i am more than willing to look into those criticisms, why they exist, and why i think going open-world was ultimately the best decision botw devs could have made. (totk is a slightly different story, we'll cross that bridge when we come to it.)

Loz is a franchise with a ton of history and a ton of really, REALLY dedicated fans. it's probably second only to mario in terms of recognizability and impact in nintendo's catalog. To us younger fans, the older games can sometimes seem, like, prehistoric when compared to what we're used to nowadays, but it's important to remember just how YOUNG the gaming industry is and how rapidly it's changed and grown. the first zelda game was released in 1986, which was 31 years before botw came out in 2017. What this means for nintendo and its developers is that they have to walk a very fine line between catering to older fans in their 30s and 40s now who would have been in nintendo's prime demographic when the first few games in the franchise were coming out AND making a game that's engaging to their MODERN target demographic and that age group's expectations for what a gaming experience should look like.

LOZ is in kind of a tough spot when it comes to modernizing, because a lot of its core gameplay elements are very much staples of early RPGs, and a lot of those gameplay elements have been phased out of modern RPGs for one reason or another. gathering collectibles, fighting one's way through multilevel, mapless dungeons, and especially classic zelda's relative lack of guidance through the story are all things that date games and which modern audiences tend to get frustrated with. for the last few releases before botw, the devs had kind of been playing with this -- skyward sword in particular is what i consider their big experiment and what (i think) became the driving force behind a lot of what happened with botw. Skyward sword attempted to solve the issues I listed by, basically, making the map small and the story much, much more blatantly linear. Skyward sword feels much more like other modern rpgs to me than most zelda games in terms of its playstyle, because the game is constantly pushing you to do specific things. this is a common storytelling style in modern RPGs--obviously, the player usually needs to take specific actions in order to progress the story, and so when there's downtime between story sections the supporting characters push the player towards the next goal. but this actually isn't what loz games usually do. in the standard loz formula, you as the player are generally directly given at most 4 objectives. these objectives will (roughly) be as follows: 1. go through some dungeons and defeat their bosses, 2. claim the master sword, 3. go through another set of dungeons and defeat their bosses, 4. defeat the final boss of the game. (not necessarily in that order, although that order is the standard formula.) the ONLY time the player will be expressly pushed by supporting characters towards a certain action (excluding guide characters) is when the game is first presenting them with those objectives. in-between dungeons and other gameplay segments, there's no sense of urgency, no one pushing you onto the next task. this method of storytelling encourages players to take their time and explore the world they're in, which in turn helps them find the collectibles and puzzles traditionally hidden around the map that will make it easier for them to continue on. Skyward sword, as previously mentioned, experimented with breaking this formula a bit--its overworld was small and unlocked sequentially, so you couldn't explore it fully without progressing the narrative, and it gave players a "home base" to return to in skyloft which housed many of the puzzles and collectibles rather than scattering them throughout the overworld. This method worked... to an extent, but it also meant that skyward sword felt drastically different in its storytelling and how its narrative was presented to the player than its predecessors. this isn't necessarily a BAD thing, but i am of the opinion that one of zelda's strongest elements has always been the level of immersion and relatability its stories have, and the constant push to continue the narrative has the potential to pull players out of your story a bit, making skyward sword slightly less engaging to the viewer than other games in the franchise. (to address the elephant in the room, there were also obviously some other major issues with the design of sksw that messed with player immersion, but imo even if the control scheme had been perfect on the first try, the hyperlinear method would STILL have been less engaging to a player than the standard exploration-based zeldas.)

So when people say that botw was the first open-world zelda, I'm not actually sure how true I personally believe that is. I think a lot of the initial hype surrounding botw's open map were tainted by what came before it--compared to the truly linear, intensely restricted map of skyward sword, botw's map feels INSANE. but strictly speaking, botw actually sticks pretty closely to the standard zelda gameplay experience, at least as far as the overworld map is concerned. from the beginning, one of the draws of loz is that there's a large, populated map that you as the player can explore (relatively) freely. it was UNUSUAL for the player to not have access to almost the entire map either immediately or very quickly after beginning a new zelda game. (the size and population of these maps was restricted by software and storage capabilities in earlier games, but pretty muhc every zelda game has what would have been considered a large & well populated map at the time of its release.) what truly made botw different was two things; the first being the sheer SIZE of the map and the second being the lack of dungeons and collectibles in a traditional sense. Everything that needs to be said about the size of the map already has been said: it's huge and it's crazy and it's executed PERFECTLY and it's never been done before and every game since has been trying to replicate it. nothing much else to say there. but I do want to talk about the percieved difference in gameplay as it relates to the open-world collectibles and dungeons, because, again, i don't think it's actually as big of a difference as people seem to think it is.

Once again, let's look at the classic formula. I'm going to start with the collectibles and lead into the dungeons. The main classic collectible that's a staple of every zelda game pre-botw is the heart piece. This is a quarter of a heart that will usually be sitting out somewhere in the open world or in a dungeon, and will require the player to either solve a puzzle or perform a specific action to get. botw is the first game to not include heart pieces... TECHNICALLY. but in practice, they're still there, just renamed. they're spirit orbs now, and rather than being hidden in puzzles within the overworld (with no explanation as to how or why they ended up there, mind you) they're hidden within shrines, and they're given a clear purpose for existing throughout hyrule and for requiring puzzle-solving skills to access. Functionally, these two items are exactly the same--it's an object that gives you an extra heart container once you collect four of them. no major difference beyond a reskin and renaming to make the object make sense within the greater world instead of just having a little ❤️ floating randomly in the middle of their otherwise hyperrealistic scenery. the heart piece vs spirit orb i think is a good microcosm of the "it's too different" criticisms of botw as a whole--is it ACTUALLY that different, or is it just repackaged in a way that doesn't make it immediately obvious what you're looking at anymore? I think it's worth noting that botw gives a narrative reason for that visual/linguistic disconnect from other games, too--it's set at minimum TEN THOUSAND YEARS after any other given game. while we don't have any concrete information about how much time passes between new-incarnation games, it's safe to assume that botw is significantly further removed from other incarnations of hyrule/link/zelda/etc than any other game on the timeline. It's not at all inconceivable within the context of the game that heart pieces may have changed form or come to be known by a different name. most of the changes between botw and other games can be reasoned away this way, because most of them have SOME obvious origins in a previous game mechanic, it's just been updated for botw's specific setting and narrative.

The dungeons ARE an actual departure from the classic formula, i will grant you. the usual way a zelda dungeon works is that link enters the dungeon, solves a few puzzles, fights a mini boss at about the halfway point, and after defeating the mini boss he gets a dungeon item which makes the second half of the dungeon accessible. He then uses that item in the dungeon's final boss fight, which is specifically engineered with that item in mind as the catalyst to win it. Botw's dungeons are the divine beasts. we've removed the presence of mini-bosses entirely, because the 'dungeon items' aren't something link needs to get within the dungeon itself--he alredy has them. they're the sheikah slate runes: magnesis, cryonis, stasis, and remote bombs. Each of the divine beast blight battles is actually built around using one of these runes to win it--cryonis to break waterblight's ice projectiles, magnesis to strike down thunderblight with its own lightning rods, remote bombs to take out fireblight's shield. (i ASSUME there's some way to use stasis effectively against windblight, mostly because it's obvious to me that that's how all the other fights were designed, but in practice it's the best strategy for that fight is to just slow down time via aerial archery, so i've never tried to win that way lol.) So even though we've removed traditional dungeon items and mini-boss fights, the bones of the franchise remain unchanged underneath. this is what makes botw such an ingenious move for this franchise imo; the fact that it manages to update itself into such a beautiful, engaging, MODERN game while still retaining the underlying structure that defines its franchise and the games that came before it. botw is an effective modern installment to this 30-year-old franchise because it takes what made the old games great and updates it in a way that still stays true to the core of the franchise.

I did mention totk in my opening paragraph and you mention it in your ask so i have to come back to it somehow. Do i think that totk did the gigantic-open-world thing as well as botw did? no. But i also don't really think there was any other direction to go with that game specifically. botw literally changed the landscape of game development when it was released. I KNOW you all remember how for a good year or two after botw's release, EVERY SINGLE GAME that came out HAD to have a massive open-world map, regardless of whether or not that actually made sense for that game. (pokemon is still suffering from the effects of that botw-driven open world craze to this day. rip scarlet/violet your gameplay was SUCH dogshit) I'm not sure to what degree nintendo and the botw devs anticipated that success, (I remember the open world and the versatility in terms of problem-solving being the two main advertising angles pre-release, but it's been 7 years. oh jesus christ it's been SEVEN YEARS. anyways) but in any case, there's basically NO WAY that they anticipated their specific gameplay style taking off to that degree. That's not something you can predict. When creating totk, they were once again walking that line between old and new, but because they were only 3ish years out from botw when totk went into development, they were REALLY under pressure to stay true to what it was that had made botw such an insane success. I think that's probably what led to the expanded map in the sky and depths as well as the fuse/build mechanics--they basically took their two big draws from botw, big map and versatility, and said ok BIGGER MAP and MORE VERSATILITY. Was this effective? yeah. do i think they maybe could have made a more engaging and well-rounded game if they'd been willing to diverge a little more from botw? also yeah. I won't say that I wanted totk to be skyward sword-style linear, because literally no one wanted that, but I do think that because of the insane wave of success that botw's huge open world brought in the developers were under pressure to stay very true to botw in their designing the gameplay of totk, and I think that both the gameplay and story might have been a bit more engaging if they had been allowed to experiment a little more in their delivery of the material.

ok Worm Bigotry Breakdown in more detail for @silverflyingpikachu

tl;dr: author is Cishet White Guy From Canada In 2011. he ostensibly thinks he is progressive. this does not change his proclivity for tossing his Cishet White Guy From Canada Biases into the books and then saying even more bigoted things in defense of those writing decisions on forums. wildbow is just some cunt on the forums with bad opinions on wildbow's writing. the book is 1.7 million words long but i believe in my ability 2 categorize this shit with decent accuracy. everyone who has ever said worm's CWs can't be categorized, including wildbow himself, is a lying ass bitch. this will include some vague spoilers, because i can't really go in-depth without a few examples, but i'll stay away from anything too plot-critical.

racism:

- worm is fundamentally a book abt systems of power and the ways in which they suck. some of the critiques worm issues--e.g, its depiction of how school systems enable bullying, inspired by wildbow's own experiences w/ the school systems as a deaf kid--are viscerally accurate and incredibly compelling. but wildbow fundamentally doesn't understand how certain systems of oppression work--e.g policing--and subsequently, his attempts at depicting them occasionally fall flat onto their face and land in racist territory. this gets particularly nasty when combined w/ the White Guy Author propensity for racist stereotypes--for example, his chosen face of police brutality is a black girl portrayed as predatory & animalistic.

- who is also one of the only black people in the book overall, alongside--for example--an addict portrayed as having less interiority & being less deserving of empathy than A Literal Fucking Nazi. also, the main characters have to team up with the nazis "for the greater good" (defeating the mean asian villains) at one point. it is a mercy to the readers when this part of the story ends. - there are two black characters in the main cast. for the first, wildbow just Straight Up Forgot to include the most compelling aspect of their background + characterization in the text (it was provided via WoG instead, which i provide to all wormreaders like a fuckin' DLC patch when they get to where it's relevant) & entirely forgets they exist towards where the end of their character arc should have been. the second is introduced w/ the most misogynoiristic description on the planet but blessedly has a largely compelling and well-written arc as the book goes on. - depiction of china is just like. fox news level sinophobic "it's all a brainwashed indistinguishable evil cult" shit. not relevant for very long relatively speaking but insufferable to read. asian characters are also like. we got Brutal Yet Honorable Asian Man. we got Fiery Asian Girl With Blue Eyes. it fucking blows it's not good

- oh yeah forgot this one someone mentioned in the tags. #it's an insignificant paragraph and nobody talks about it but the part where it goes #“yeah literally EVERY cape in South America is with a cartel and the heroes are barely distinguishable from the villains” #fuck you #not that the others aren't bad the fatphobia gets really gross but nobody mentions this and that one got me so yeah typical Insufferable Awful Imperial Core Author Understanding Of What Other Countries Are Like - i could make this section one million bulletpoints long but the gist is summarized i think--wildbow's varied racist biases leak fucking everywhere, into character design, into narrative assumptions about who's deserving of interiority/empathy or not, into attempts at Saying Anything About Society, into which characters he prioritizes, into who he offers validity via the narrative, etc etc etc.

homophobia: - theres a girl named amy dallon in it and she is the worst lesbophobic stereotype ever known to man. no other Problematic Lesbian™ you can think of has anything on this girl. the worst part is that she genuinely has a decently compelling character concept and arc, which her being awful is integral to, so you might accidentally find her interesting anyway and then she'll move into your brain - wildbow kept accidentally writing characters that scan as massive dykes and then got really mad about f/f ships for the book being popular in the fandom. he responded by making a deranged forum post involving the phrase "pandering is pandering" insisting everyone (but the bisexual "hedonist") is straight and writing a scene into the book where one of the characters literally turns to the camera and tells the readers "not to get the wrong idea" about her hugging her friend. - over the course of 1.7 million words he finds excuses to loudly inform you that all of the relevant female characters are straight and it's sooo shoehorned in you can always tell when he's doing it - basically worm is like if naruto was about homoerotic teenage girls who do violent terrible things, in terms of levels of unintentional homoeroticism, and the author responds to ppl going "lmao gay" about the unintentional homoeroticism with poorly restrained seething rage

fatphobia: - generic brand of fatphobia you'll see in p much all mainstream media where only side/bg characters are fat and it's obliquely used as a descriptor to indicate that someone has negative personality traits or should be viewed as sort of gross

anti-addict shit: - wildbow generally likes writing about how social circumstances--i.e neglect from society, oppression, failure on behalf of systems--causes crime. he generally likes demonstrating the ways in which the villainous main characters are traumatized teenagers failed by society fumbling to keep existing & holding each other up through The Horrors. unfortunately all of this intelligent writing flies out the nearest window when addicts are involved. there is a gang comprised entirely of addicts, all of whom are portrayed as disgusting, violent, dangerous, and of course often racially stereotyped. it is a mercy to the readers when they're no longer relevant to the story. - on a more subtle level, characters are every so often just like. a little more anti-drug than they would realistically be and you can tell it's wildbow's opinions leaking into their characterization. this is largely what the anti-addict writing is kept to after The Addict Villains leave the story iirc.

if youre wondering wellwhy does anyone read this book then. to that i would say that unfortunately despite it all it'sa fucking excellent book. so we all carry on reading the parts that suck and thinking about how they suck and then reading the parts that fuck and going "ouuugh my god" and rolling down 20 flights of stairs about how hard they fuck.

I can't be only one, right...?

I wanted to finish the game and then write this post but I gave up. I put in 100 plus hours and just could not go on once I got into act three. Maybe no one will hear my pitiful cry from the void, but I must scream for the sake of my sanity.

I was completely and utterly disappointed by Baldur's Gate 3. 

It had huge maps like an open world game yet I had no desire to explore the settings despite their beauty. It had hours of dialogue as an RPG would and yet I found myself skipping characters' responses. The game mechanic structure was inspired by DnD, a story-telling game dictated by some rules, lucky rolls and the extent of players' imagination, yet I was strong-armed into fighting impossibly stacked battles. A story-telling game dependent on the players’ attachment to their and their teammates' characters and yet this game lacked any kind of narrative consistency or depth of feeling. 

Larian wanted to make an open world RPG, based off of DND mechanics and somehow did the worst version of all three. The studio touts that Baldur’s Gate 3 has 17,000 possible endings and 2 million words, but to what end? What did this game have to say about what happens when people rise to the challenge and become heroes despite their circumstances or fall into the dark and become the monsters they were supposed to fight? What did it suggest might happen when fate deals you a bad hand but in doing so also helps you find true friends or love with the other? Ultimately, nothing. 

BG3 is so large that it ends up being incoherent. No writing or game structure decisions were made to keep the narrative tight and on theme. It urges players to choose a moral alignment, but most decisions, good or bad, seem to end up having little effect in the end. To play the game at all you have to resort to save scumming and that in turn deflates the possible impact of so many plot points of the narrative overall. 

Forcing players to save scum in order to progress through the game is terrible design in general. Statistically speaking the bosses make impossible critical hits again and again. I was playing in the game’s “casual mode” and found myself struggling to get through confrontations with bosses that were at a lower level than my own. If you are reading and thinking oh well you are probably not using tactics or spells well, etc., let’s do a little experiment…

Take your d20 (https://rolladie.net/roll-a-d20-die if you don’t have one in person). In the third act of BG3 I had an AC of 13 as a sorcerer with 100 plus HP. Roll your d20 ten times or more. How many times out of ten would your character have gotten to hit mine successfully? Unless an enemy is extremely lucky it should be unlikely that an enemy could hit my character every turn they get. And even if they do they would have to roll for damage which is only a single d6, d8, d10 or d12 plus a modifier at lower levels depending on your class. Again an enemy would have to have an extremely lucky roll to hit me every turn AND deal significant damage. During an in person DnD session that is just a bad night for my character. In a video game on casual mode that is significantly suspicious. 

So what you might say. You've made and enjoyed the fanart, memes and etc. You got your $61 worth of playtime. So many other people were fine with the game, what is your problem? 

I love video games. They blend so many artforms and tell stories in ways never done before. It is a medium unique to our current century and when historians look back they will view video games as an insight to our culture. 

It frustrates me to no end that Baldur’s Gate 3 is considered the next gold standard. Too many games have done open world and RPGs in a fantasy setting far better for Larian (Swen Vincke) to have made the design and writing choices they did with BG3. There are so many podcasts and shows that have written better stories through the DnD format. I am embarrassed for the medium as an artist and frustrated as a player. Players and the industry deserve better than to have artists, actors, engineers etc. burn themselves out creating maximalist behemoths like this game. A game that is beautiful but basically unplayable, narratively, nihilistic and incoherent. 

Thoughts on Helluva Boss 205 ("Unhappy Campers")

Wow, this... This one may actually be worse than Murder Family. That's impressive.

Is anyone else noticing a pattern of Helluva Boss episodes going absolutely nowhere? Each one ends without affecting the larger plot in any meaningful way. Season 1's structure was fairly episodic as well, but at least back then there was some sense of progression.

I usually include separate lists of pros and cons in these critiques, but in this case, I have so few compliments to give this thing it's not worth it. I tried my best to find more to like about this episode, but it gave me bupkis to work with. So I'll just present all my notes in chronological order.

Let's get this over with.

-Looks like the rehab facility where Barb used to live is located in Sloth (on account of the floating islands and all the pink in the environment), just like the hospital in this season's previous episode. We've never seen care centers in any other ring, so... Does Hell society's opinion of sick people dictate that they're just lazy? Some clarification on that might be nice.

-"She's got a job now. A life. Don't fuck it up by findin' her." Holy shit, the nurse is the most mature, sympathetic character in this entire episode. Tasing Blitzo in the butthole earns her bonus points in my book. Nurse Pussyface, you are way too good for this show.

-Why is Blitzo even trying to visit his sister if he's been kicked out of the facility several times and knows she hates him? What's the impetus? "Look, I know you hate my guts, but Dad's dead, and he named you in the will." Or maybe he had an experience that reminded him of her and figured he'd drop by to see how she was? Y'know, something.

-By the way, Helluva's animation is usually a highlight, but here there's not much to say about it. It wasn't especially memorable or ambitious; just kinda... passable. Even the climactic fight scene (which I'll get to later) didn't have much to write home about.

-How the hell didn't the client notice the holes in his boat before he rowed it out into deep water? Because I'm pretty sure it would leak when it was still in the shallow end of the lake, unless this is a unique real-life boating phenomenon I'm not aware of. Also, you'd think this guy was a bit too gung-ho to get out on the lake for someone who can't swim. Did someone have a gun to your head, dude?

Fun fact: Did y'all know I was on staff at a summer camp once? We had a pond, canoes, and a boathouse just like the camp in this episode. One thing we had that this camp apparently doesn't, however, is this important rule: No one gets in a canoe without a life jacket. EVER. But, well... We see later that the adults at this camp don't care much about safety, so I guess that's fair enough. (Though I'm curious how they manage to stay open, or what the client's loved ones have to say about his mysterious disappearance.)

-What did the client do to get sent to Hell after he died? Mrs. Mayberry murdered someone, so that's why she's here, but this kid seems pretty chill-? (And don't even try to explain this on Twitter, writers. If it's not in the story itself, it ain't canon.) I also can't help but notice that his design reflects the way he died, but every other sinner's appearance is just random. Consistency? Who needs it!

-Some unintentional hilarity for ya: Here's Millie's face after the client recounted his death.

And she holds this pose for the remainder of the scene. Was there NO direction on how to animate Millie here?! This is a grim situation and she's smiling?! I get that she's a demon, but damn that is cold. It's never been clearer that half her role in this story is just smiling and looking cute, to the point the animators don't know what else to do with her.

-Richard Horvitz's valley girl voice was kinda funny. I dug it. Not sure why Moxxie and Millie had to dress in drag for anything other than cheap laughs, though.

-I know Millie's hurtin' for more development, but this story's conflict would have made SO much more sense from a character standpoint if Moxxie were getting all the praise from the campers. Think about it: He's the one Blitzo always shits on and doesn't believe in. He's the one whose father doesn't love him. He's the one who never gets positive attention from anyone except his wife. Suddenly the conflict is much more compelling: Now that he has approval from these humans, maybe he doesn't need it from Blitzo anymore (not sure why he needed his approval in the first place, but whatever). Maybe he'd realize what he's been missing, and how shitty Blitzo's treatment has been in comparison. Could this be the breaking point that finally gets him to muster some self-respect and quit IMP? We'll never know, because the episode has miscalculated where the most interesting dilemma actually lies.

As far as we can tell, Millie's had zero reason to doubt herself, and we never see her being mistreated like Moxxie has.

Take these lines of dialogue: "And for once I feel like... Like I'm important! Like I'm somebody to be proud of!"

Wouldn't they fit so much better if they came out of Moxxie's mouth?

-I kinda liked how the lyrics of Millie's song were humble while Moxxie's lyrics were egotistical, showing that being down to earth will win you friends while being self-centered will turn people off. But is that really the kind of message we need in an adult show? It's a useful lesson for children, but after you hit the age of this series' target demographic, most people will have the social skills to know better than to pull what Moxxie did at the campfire.

-Speaking of Moxxie being super immature, why does he weep when a bunch of preteens ignores him? They're...They're kids, Mox. They aren't your peers. Literally who cares. This behavior makes no sense outside of (once again) cheap humor. I could understand being bummed out that you're not good with kids if you wanted to have your own someday, but even that doesn't warrant actual tears. And this makes him look like a massive hypocrite later on when he asks Millie why it matters what "these yokels" feel about her. I mean... You seemed to care a lot about how they saw you, Moxxie...

-Moxxie's excuse for why it's so hard for him to get information on the case is that everyone's too busy "swooning over" Millie. Here's a thought: Why doesn't Millie get the info? She's the one everyone likes, so it should be a snap, right? Well, once again, the characters get railroaded because the writers can't entertain any other plot ideas. And of course Moxxie ends up getting blamed for everything as if he's the only one who fucked up here.

-Why the hell would a summer camp show so much favoritism toward a single camper that they set up a friggin' concert for this camper and this camper only? Yeah yeah, "viral sensation" and everything, but 1) The news crew can wait another day or so for camp to end in order to conduct an interview (y'know, something that wouldn't require a huge-ass stage and pyrotechnics that'd cost the camp boatloads of money), and 2) The camp staff thinks Millie is a child. How fucking irresponsible can you get to lavish this much attention on a kid? Think it'll go to her head or something? Psssh nah. Also, you're telling me none of the other campers are the tiniest bit jealous? How do you think they feel, seeing this one kid get treated like a god while they're left in the dust?

Okay, plot-wise, the writers decided they wanted Millie to sing a song so she's occupied during the final showdown with the killer. Easy solution: Camp talent show. That way, the adults treat all the campers equally, and Millie gets her (more believable) moment in the spotlight.

-Oh hey, we finally see Asmodean crystals in action. And of course the first one we see is a butt plug.

SuCh a MAturE shOw, GUys! (Sorry, I'm still laughing my head off at that.)

So, a bit of backstory for those who aren't familiar: We first learned of Asmodean crystals in the Season 2 premiere, when Stolas opened the grimoire to reveal Norse runes on its pages. Someone on the internet was kind enough to translate:

Now here's the deal: Blitzo tells the lust demon to open the portal with his crystal (even threatening him at gunpoint), leading me to believe only non-imps could use Asmodean crystals and that's why he needed the grimoire to get to the human world.

But guess what happens later:

Blitzo's sister Barb, another imp, uses a crystal on her bracelet to open a portal back to Hell. So what exactly was the point of stealing the grimoire from Stolas??

BLITZO. YOU. DENSE. MOTHERFUCKER.

Okay, maybe I'll be generous and acknowledge that there might be another explanation, like Blitzo getting banned from using Asmodean crystals because he's misused them in the past. (Maybe there's a spell that causes the crystals to burn him every time he tries to hold one. Something of that nature.) But at this point I don't trust these writers to fill in their plot holes. Or plot portals, as the case may be.

-The portals themselves are kinda pretty, though. I can appreciate that they look different from the portals created by the grimoire.

-Moxxie calls Blitzo "sir" in this episode despite Blitzo telling him to use his first name in Truth Seekers. Moxxie then uses it in "Ozzie's" (if I remember correctly), but now he's back to "sir" for unexplained reasons-? Coupled with how their relationship has reverted back to square one with Blitzo learning nothing (as well as no one bringing up the agents or what they can do to stop them leaking the proof that demons exist), do the writers just want us to forget that episode or what?

-Blitzo chastises Moxxie for dragging the case out for a week, but it took him a week to track down Barb. This hypocrisy is never addressed.

-At the boathouse, Blitzo tells Moxxie he's looking for his sister, then kicks down the door, revealing Barb inside. Moxxie asks, "Do you know her?" "Do I know her? That's my sister, fuckface!" That's... oddly repetitive, writers. I get that Moxxie wouldn't immediately make the connection since Barb's disguised as a human, but there's a more graceful way to handle that in the dialogue. Something like, "Is this her?" "Oh, now you're on the ball!"

-In an earlier post I expressed concern that these writers wouldn't handle Barb's addiction well, and I'm somewhat relieved they didn't go into it. But I also predicted she'd amount to a genderbent Blitzo instead of having her own personality, and... well...

Overindulges in addictive substances? Check. Runs a business that requires travel to the human world? Check. Pottymouth? Check. Uses sexuality as leverage? Check.

It would've been nice to at least get a hint about what Blitzo did to make her hate him so much (and perhaps confronting that would make him rethink how he treats Moxxie-?), but I guess we'll have to find out when she comes back in seven episodes or so. Yaaaaay.

-Barb says she picked this particular human as her supplier because teenagers are easy to manipulate, but she really had no way to accomplish that other than flashing her panties at him? Assuming Barb and Blitzo are the same age, she's in her 30s, and... it's just a tad creepy and uncalled for, even if this kid's legal. That's a pretty big age (and power) gap regardless. This is one of those times when it looks a lot more predatory when you switch the genders, but, importantly, women can be predators too. Bad optics, y'all.

-The climactic fight scenes in prior episodes were snappy and exciting, but this one's pacing felt really sluggish. I get that the song in the background had a slower tempo than we're used to in these action scenes, but would it have been so hard to double-time the animation? Also, previous fight scenes were notable for their creative choreography, but Barb wrapped her tail around Moxxie twice in a row. Having trouble coming up with new fight moves, guys? Like damn, she's an acrobat. She could do so much more.

-In another edition of "characters being idiots because plot", Moxxie and Millie make out in front of everyone who thinks they're related. They couldn't have run off to somewhere more private?? Apparently no; this needed to happen so Millie's internet fame would be dashed... or, here's another option: Show how the internet popularity cycle is so damn short that everyone's already moved on to the next sensation. You could have made that funny if you actually put in some effort. Like... The faux-incest was just so unnecessary.

-Much like Murder Family, another unfunny ending where Moxxie's dreams are crushed. Blitzo gets his hopes up only to call him a "fuckin' disgrace". But remember, guys: He'S HArd oN hiM BEcauSE hE CAreS! (Fuck it, I think I'll just edit a supercut of every time Blitzo has berated Moxxie, pre- and post-Truth Seekers.)

Oh and look, Millie's glaring at Blitzo, which is totally the same as opening her mouth to tell him off like he deserves, right?

She'll take on a whole gang of mobsters out of love for Moxxie, but standing up to Blitzo? Whoa, that's a step too far. Y'know, because he's the writers' favorite and he shouldn't have to experience any complications from his behavior. Same old story as it's been for a season and a half.

This ending would've been a million times better if it left off on a cliffhanger. Maybe this could have been Moxxie's final breaking point. After Blitzo calls him a disgrace, Moxxie could take a deep breath and...

MOXXIE: (flatly) I quit.

Then he walks out of the room. Everyone looks after him, stunned. When he closes the door, the screen cuts to black and the credits roll.

Oh shit, what's going to happen next? How will Blitzo deal with this? How will it affect Moxxie and Millie's home life? What kind of new job will Moxxie find to keep food on the table? Will he ever come back to IMP, or will Blitzo find a replacement? I know these writers aren't too interested in serialization or any sense of continuity outside of the stupid romance subplot (or hell, inside it), but good god, it would give viewers some exciting possibilities to look forward to.

This episode had so much potential and followed through on none of it. "Unhappy Campers" turned out to be a more fitting title than expected, as that's exactly what I was while watching this.

(Also this show needs a continuity coordinator like yesterday.)

Ahh absolutely fell in love with the martian twins thanks to y’all!

Had a (genuinely curious) question about Ma’al’s design though - why did you (both?) decide to have Ma’al be smaller than J’onn as adults? Does it bother y’all when/if people think Ma’al is a younger sibling of J’onn’s, instead of their twin? Was it to avoid people thinking Ma’al was J’onn in a different outfit/with a different hairstyle?

Also super curious how y’all being identical twins yourselves affected Ma’al and J’onn’s designs….

Sorry if this ask is disjointed it’s like 4am & I binged all the Sons of Mars/JL AU content instead of sleeping

Oh my gosh what an absolutely kind thing to say!! :') thank you!

We designed Ma'al that way for a couple of reasons!

It's a homage to how the two are depicted in the comics! While by definition of their birth (or how their birth was described in the comics) they are monozygotic twins, and by earth standards identical twins, since they're from a planet of shapeshifters they can still pick whatever form they want regardless of the circumstances of their birth. In the comics, Ma'al is always thinner and a bit smaller in stature compared to J'onn. We just exaggerated it~

For story reasons in our AU, Ma'al wasn't well cared for growing up, being treated as a science experiment for most of his life. So not only does he not look as "strong" as J'onn, but his form also reflects his desire to live out the life he didn't get to have- or how he perceives where he is at in life. I compare it to the concept of Queer Time: where queer people don't progress into adulthood in the same way non-queer people do because they missed out on various supposed life milestones. Ma'al is living his messy young adult life. while J'onn had a life partner and wanted to have kids.

It doesn't bother me when people think Ma'al is J'onn's much younger brother instead of his twin! I get a lot of people mistaking Ma'al for M'gann too (because he dresses so non-conformingly). I think it's funny, haha. Plus some twins just be like that~

Being identical twins ourselves didn't affect J'onn and Ma'al's designs (we look straightforwardly identical and even play it up with our outfits), but it does affect how they're written! I have a lot of feelings about how multi-birth people are depicted in media, and I find non-multi-birth writers tend to fall into some really tiresome tropes. Ma'al as a character is so straightforwardly an evil twin trope it's painful (right down to tricking people by disguising himself as J'onn in the comics, boo).

There's an opportunity to create an incredible story and dynamic if Ma'al is written with like a fraction of nuance and people's biases on identical twins weren't holding them back. Most twin stories are about twins maturing and splitting up to be "individuals" but Sons of Mars is about twins reuniting and sticking together. The martians living together in a foreign planet pulls from our experience studying abroad and living together :)

Review Two, Electric Boogaloo: Eureka: Investigative Urban Fantasy

This is my second review for Eureka, as the document has been majorly updated, and the designers are gearing up to fund it on Kickstarter from April 10 to May 10.

This game is an investigative game meant for mysteries that incorporate a large amount of action and horror. I’m going to break down some of the interesting things Eureka does, and talk about who I think would be a good audience for it.

Graded Success

Eureka uses 2d6 for pretty much every roll, with the possibility of ending up with a failure, a partial success, or a full success. You can add modifiers from various different places, such as your skills, your fear, and your player Truth. The breadth of this game and the game philosophy behind it means that it is not a Powered by the Apocalypse style game - Eureka is its own beast.

Investigation

There are two kinds of rolls in Eureka - investigative and non-investigative. When you are not investigating, success and failure will mostly be determined by what makes sense in the fiction. For investigative rolls, regardless of success or failure, your character will receive investigation points.

I really like this mechanic because even if you fail, your character makes progress - and in fact, since you gain more investigation points when you fail, this plays as if your character is able to use their failures to arrive at a conclusion later in the story.

This is a great time to talk about the Investigation Bar, which is the central focus of the game. When you fill the Investigation Bar, you get a Eureka! This could be a chance to get a vital piece of information, or to tip the narrative scales into your character’s favor.

Precious Information - Secretive Play

Secrets are important in Eureka. The Narrator has secrets of course - the answers to the mystery, the motives of the NPCs, the supernatural that is hiding around the corner - but the players do to. If you are a vampire, a werewolf, a psychic, etc., you are encouraged to wait until a dramatically appropriate moment in the game to reveal this information.

This presents a very specific style of play. Eureka is an ideal game for folks who want to procedurally uncover information, and game masters who like using pre-determined, pre-written mysteries, with motives, clues and events mapped out. How these mysteries are solved still depends on what happens in play, but as a GM, you’ll have plenty of sources to draw on when the characters ask questions.

Eureka also prepares players for messy relationships between their characters. If you want your characters to misunderstand each-other, compete with each-other, or even betray each-other, that is an option in this game. These complicated relationships might even give birth to a secondary plot line for the characters to follow as they try to solve the mystery, especially if they want to find the answers for different reasons. I think it has the potential to make Eureka a multi-layered storytelling experience.

Procedurals

This multi-layered experience is possible only if you have one or more members of the group who are dedicated to taking notes. Because the information being relayed to the characters is so important, it’s crucial that the players remember that information.

In some ways, this reminds me of games where players are expected to get inventive with the tools they have. Players are given pieces of information, and then asked to put the pieces together while in character. The handing out of this information is similar to what I’ve heard described in GUMSHOE - obvious clues will not require a roll - but what is done with that information is up to the players.

I think this might be why playing in longer games or campaigns might be a really good format for Eureka, because it allows characters to piece together a big mystery over a long period of time. This is a game that requires a large amount of investment from both players and game-master alike; this is procedural play in which the narrative emerges from the procedure.

Horror

Eureka thrives with horror, and while the game is meant to be compatible with adventures with various systems, that doesn’t mean that it is genre-agnostic. There are dark things in the corners of this world, whatever it may be, and those things will scare and stress out your characters. There are a number of mechanics that tie Eureka to horror really well.

First is Composure, which is a replacement for sanity mechanics of games like Call of Cthulhu. Your character can only take so much emotional stress before it starts to inhibit their ability to perform certain tasks. If you lose enough Composure, you’ll find yourself hindered in the amount of positive modifiers you can apply to any given action. I like how this replicates how stressors can inhibit it personal performance - and the fact that Composure can be regained means that you can moderate how gruelling the gameplay is.

There’s also character Truths, which aren’t necessarily horrific, but can give you a reason to take the less-than-optimal path in any given situation. Similar to Vice in World of Darkness, you can gain a modifier to a situation in which your character chooses to act in a way that is in line with their Truth, even if there is another option available. This is a mechanical reward for playing true to your character, flaws and all.

The game also asks you to personalize the fears associated with your character. These fears may trigger Composure Rolls, or apply modifiers to them to make them harder to pass. These fears may also be cues to give to your Narrator, indicating what kinds of things you want to inhibit your character, and what kinds of things you want your character to be able to face with little difficulty.

Toolbox

There are elements of Eureka that are optional, which are there to help tailor your game experience. For example, you can include a Ticking Clock to give your players a dead-line or heighten the suspense, which can focus the game and also make it feel more like a thriller.

You can also tailor the skills to make the game fit a certain setting, such as prioritizing horseback riding or driving cars - or perhaps increasing the medical skills to make this a mystery much more focused on biology and medical practises.

The game also has many nods to various forms of detective fiction, as well as supernatural mysteries, action pulp films, and film noir. You can see this primarily in character abilities, which come as a big list of things you can pick and choose and pair together for a unique character.

All in all, if you want a game where Columbo, Buffy the Vampire Slayer, and Indiana Jones can all be in the same adventuring party, you might want to check out Eureka.

You can find a free download version of Eureka here, and keep an eye out for the Kickstarter here!