#i want devs paid more to work less and i am not kidding

[redlilyqueen]

every bit of starfield i've seen looks so mind-numbingly boring and bog-standard to me, the same shit bethesda's been releasing for eons with a different coat of paint, and, while i would say i cannot understand why people eat this shit up, i am a sonic fan so i'm well aware that many people actually find it enjoyable even if i do not. for better or worse

#christhoughts #chriscomplains #i just dont like bethesda as a company mostly #and i can never ever see myself enjoying their special brand of ... whatever the fuck it is they keep putting out #not for me #feel bad for the poor fucking devs though! #stop trying to make big games #it doesn't fucking work #i want devs paid more to work less and i am not kidding #i just remembered when fallout 4 came out i got sooo fucking sick of hearing it. 'overexposure bias' i called that feeling #probably experiencing the same thing here with quicker onset #+ again i'm inherently biased against bethesda's shit in the first place #anyways people i follow better fucking stop playing starfield i really am already sick of seeing it

[zinnia-apologist]

"i want shorter games with worse graphics made by people who are paid more to work less and i'm not kidding"

no you don't

you want games made by people who are paid more. that's it.

you don't want shorter games. you want games that are worth the $60 you paid for. you want a game that mid-2000s magazines would have described as "jam-packed". you want something that lasts longer than a couple hours, and when you put it down, you have a reason to pick it up again. and if the game you want actually is short, you want something you can replay and read into again. you want different dialogue the second time through. you want $60 worth of content. sometimes you want that in a game you paid $20 for.

you don't want worse graphics, you want simple graphics. you want simple shading. you might even want pixel art. but god forbid the trees look bad

you don't want devs to work less. you want less crunch time. you want devs to like the work they're doing. you want devs to enjoy their work, because when they enjoy their work, they work more and make it better.

i am so fucking tired of seeing people reblog "i want shorter games with worse graphics made by people who are paid more to work less" and then turn around and say shit like "this looks like gamecube graphics" or "the devs are so lazy"

[picturejasper20]

Animation and LGBT+ representantion

I need animation fans,specially western fans to read this, please it's very important.

Lately i have been seeing this a lot of misinformation about animation, one common trend is that the people who work on these shows "are lazy" and "don't want to write LGBT+ characters".

Here's the thing: writting LGBT characters in animated children's media it's very difficult and hard. There are many restrictions about what you can or can't write.

It's not that the people who work behind these shows are cowards or don't want to make real LGBT representation. Many want to, but it depends on the restrictions they are given by their superiors.

Examples:

Adventure time

Marceline and Bubblegum (video from 2014):

"In the video you can see Olsen also made a point to ask Ward if the couple would be visible on the show or in the upcoming book. Unfortunately, not so much."

Olson: "And I said, 'Are they going to do it on the show at all, or can we say anything about it in the book?" And he's like, 'I don't know about the book, but in some countries where the show airs, it's sort of illegal.' So that's why they're not putting it in the show."

Here's she explains they that they couldn't be very explicit about Marceline's and Bubblegum's relationship because of these restrictions (they latter could though).

Avatar: Legend of Korra

Korra and Asami (from one of the creators of the show)

"As we wrote Book 1, before the audience had ever laid eyes on Korra and Asami, it was an idea I would kick around the writers’ room. At first we didn’t give it much weight, not because we think same-sex relationships are a joke, but because we never assumed it was something we would ever get away with depicting on an animated show for a kids network in this day and age, or at least in 2010."

"The more Korra and Asami’s relationship progressed, the more the idea of a romance between them organically blossomed for us. However, we still operated under this notion, another “unwritten rule,” that we would not be allowed to depict that in our show."

"We approached the network and while they were supportive there was a limit to how far we could go with it, as just about every article I read accurately deduced."

Gravity falls

"Hirsch confirms that though he attempted to push for LGBT+ characters in Gravity Falls, Disney executives prevented him from including explicitly gay characters."

Alex confirming this on his twitter:

https://mobile.twitter.com/_AlexHirsch/status/1292328558921003009?s=20

"Back when I made GF Disney FORBADE me from any explicit LGBTQ+ rep. Apparently “happiest place on earth” meant “straightest”"

In 2012 the Disney censor note on this image (refering to The owl house) would have been: “inappropriate for channel, please revise, call to discuss” (to avoid a paper trail)

The owl house

Luz and Amity

Dana Terrace talking about how it was difficult for her to write LGBT characters in her show:

"In dev I was very open about my intention to put queer kids in the main cast. I'm a horrible liar so sneaking it in would've been hard haha. When we were greenlit I was told by certain Disney leadership that I could NOT represent any form of bi or gay relationship on the Channel."

I'm bi! I want to write a bi character, dammit! Luckily my stubbornness paid off and now I am VERY supported by current Disney leadership.

Steven universe

Ruby and Sapphire (talking about the LGTB+ wedding in Reunited):

That took years of work because of sensitivities around LGBT+ content in programs aimed at children, which often have to work for a global market, said Sugar, 32, who is bisexual.

"We are held to standards of extremely bigoted countries. It took several years of fighting internally to get the wedding to happen," she told the Thomson Reuters Foundation by phone.

"So much bigotry is based on the idea that (LGBT+ content) is something inherently adult, which is entirely false."

"Sugar recalled the frustration of not being able to be open about her personal experiences in the early years of her career before she made her sexuality public."

“As I’m writing about this, as I’m pitching this, I’m also getting a lot of pushback,” Sugar said. “This was not considered acceptable material for children at the time. … [But] who is speaking to a generation of children about why they deserve to exist? About how they deserve to exist? I wanted to be able to do that.”

"While working on “Jail Break” in 2014, “it became clear to the network that I was incorporating LGBTQIA+ characters and themes into the show,” Sugar said. She was told that there was a chance the show could be canceled if authorities in conservative countries noticed and objected to those themes."

"Sugar tells EW it has been “extremely difficult” for her to earn this kind of visibility on Steven Universe, but acknowledges that large strides have been made. “When we started doing this in 2011, it was impossible and it has become possible over the last many years of working really hard to do this,” she explains."

"Yeah. Every time we would cover this ground, it would be a conversation. I think part of the challenge is that this show was an international show. We would be getting notes not just from the US but also from Europe, from around the world about what we could and couldn’t show, and they would be different notes from different countries."

"There was a point at which it was brought to my attention that the studio… I was brought up to a meeting where they [the studio] said, “We know that you’re doing this, and we support that you’re doing this… We don’t want to be giving notes on this, but we have to give notes on this” and it was all very difficult to navigate. Ultimately, I said, “If this is going to cost me my show that’s fine because this is a huge injustice and I need to be able to represent myself and my team through this show and anything less would be unfair to my audience.”

I could add tons of examples about this... but here's my point and it's something a lot of people need to understand: It's difficult to put LGTB+ characters in animated children media. There are certain limitations, restrictions, many times the creators cannot be very explicit about it for many reasons.

So next time you want call creators who want to write LGTB+ characters in their shows "lazy" or "queerbaiting" reconsider the fact that they are actually taking a risk by writing LGTB+ characters and they don't have all the control in their show. They can't always make their characters say "I'm gay" or "I'm bisexual" because of these restrictions. Of course, some are given more freedom than others.

If you don't like how the characters are written or a show.. that's completely fine. But reconsider that corporations have control over the creators on what they can and can't do and that it only ends up hurting their cartoons.

I would really like for people to know about this, since there's this misconception going around that animators don't really care about this. But in reality they do. And i think this it's very important thing to know when it comes to talking about animation.

#Western animation #animation #Steven universe #Gravity falls #The owl house #Adventure time #Avatar legend of korra #LOK #Representation #LGBT #LGBT representation #Interviews #Animation industry #Homophobia #transphobia

[sonicranticoot]

About CTR, Money, and Both Together

Yeah I know I took a break. Regular types of posts to resume shortly. I haven’t actually ranted in a very long time (”Why does he have rant in his name, and never actually rants?”) but today’s...uh, news about CTR is such a hot topic in the Crash community I want to talk about it.

That being yeah. Microtransactions. How quaint. It’s 2019 and Crash Bandicoot has microtransactions. Absolutely beautiful. Mostly being that, a lot of you already know this but I’m making it even more blatantly clear. They’re not ok, but it goes a bit deeper than “not ok.”

One of my main reasons for being annoyed with them is that simply put, they hurt my trust in the game. Pre-launch, it was confirmed in several interviews there would be no in-game purchases or any of the sort and all content would be available in the game itself. Now it’s always possible Beenox really did mean they didn’t want to put them in and never did and they were forced upon by Activision. Although wouldn’t be the first time it has happened in the industry (as one example, Square Enix similarly forced them into Deus Ex: Mankind Divided at the last minute). publishers being willing to blatantly break promises made by the developers still paints a pretty bad message. Regardless of how it happened, it gives me reason to put less trust into Beenox.

It’s also a bit of a skewed priority here in my opinion that microtransactions are more or less taking priority in development. Of course we don’t know everything about what will be done in the patch that adds the content from the new Grand Prix but no patch notes like the last GP is kind of concerning. There are a lot of things aside from the Wumpa Coin system that are serious issues with the game, like no host migration making it very hard to actually find games at times, long wait times between online matches, invisible items, invisible walls, lack of online options, etc.

I mention online because online is obviously a part of the game Beenox and Activision are encouraging people to play a lot - not just with coins but also the increased Nitro payouts and the incentive of the championship leaderboard that gets you a kart/decal (the latter even for who got the kart in an earlier GP, giving them incentive to make the top 5% again). But simply put, it’s barebones, has difficulty functioning well, and the fact the game uses peer-to-peer instead of its own servers is a whole ‘nother kettle of fish.

I mentioned coins before, and I know I’m not alone in expressing this fear, but with the already mangled coin handling last GP’s patch (honestly exaggerated, it’s better in some places, worse in others, it has actually encouraged me to vote for different tracks online than pre-patch but that’s just me), and the inclusion of microtransactions and them being explicitly said to help fast track coin collection, there’s...reason to believe that coin payouts are going to suck more than ever. Or they might jack up the prices to get people to grind even more, sucking out lives of people with limited time to play the game, or take the “easy way out” and get them to buy coins. Of course you also have to take into consideration that CTR is a kid friendly game that has this stuff. FIFA, rated E for Everyone, in recent years has cost parents literal thousands of dollars out of their bank accounts. Now I am unsure if CTR would ever get that bad since to my understanding FIFA has gambling and lootboxes which CTR currently lacks, but the real fear of a kid not versed in money spending too much on coins is a real thing. Or, people just wanting to catch up real quick, and with no self control, plunging into buy out the store.

Then there’s how the store actually works at the moment with its daily deals stuff that can, to a new player, actually make their cash-earned coins into either a test of luck by buying repeatedly, or just waiting forever. There’s a million ways that microtransactions can ruin people’s experiences with a game I don’t know where to begin.

I’ve heard all the excuses. “It’s all cosmetics.” “It’s optional.” “People need to watch their money.” “It funds the rest of the game!” Well some people would say, those are all pretty valid reasons at first glance, I refute:

Yes. They are cosmetics. That’s always how it starts. What if that’s a skin everyone loves? What if you’re the one person who doesn’t have it? What if that becomes a problem?

Yes. It is optional. Honestly I do think it’s the best argument, because you can do what I intend on doing: not buying into them. Sometimes, though, it’s not that simple; sometimes things feel so excessive they begin to not feel optional.

Sometimes, simply put, it’s not that simple. Today it’s easier than ever for a kid to randomly jack daddy’s credit card. Some people have genuine problems with money and have no control over how they spend it. It’s not that easy for some people. Maybe it is for you. It is for me. But it isn’t for everyone.

You know what else funds development? Game sales. You already paid $40 up front (or $60 if you wanted Robot Crunch that bad, I didn’t) and I don’t think you should be expected to pay more just to ease out of a slog that, depending on purchase date, can take months. Activision (or EA or Ubisoft or 2K or Square Enix or Warner Bros.) isn’t exactly light on money anyway.

Back to the grind for a little bit. Yes. Coin rates for offline players suck. Online sometimes gives you good coins and only does so when it wants to work in the first place. I, however, have a different take on the grind. The grind only becomes a grind if you make it into a grind. If you’re having fun playing the game, honestly? That’s what any good game does, it makes you play the game because you like playing the game. A lot of games have things that take forever to do, but are praised in spite of that because of things like strong game mechanics. CTR has amassed a dedicated community in spite of its well-documented issues because, simply put, this game is great. I’ve put god knows how many hours into it, admittedly sometimes as an active grind (I hate those battle mode challenges for the Grand Prix), but much of the time, it’s because I love playing a great racing game in my favorite gaming series.

Of course, that’s just me. Not everyone thinks a game is just a game, and sometimes the game itself these days gives off that message. Games you buy from a brick and mortar store operated completely differently before mobile phone games got big. Once those did, and devs started putting things into them, it just hasn’t been the same for a lot of people. Today, you have to log in to an account to play Doom, a game released 26 years ago, not on phones but after you pay for it with your own money on consoles current as of 2019. Mobile games and free to play games always operated differently from console games because that’s their whole thing, they generally aren’t console experiences and vice versa.

In summary:

If you love CTR, keep playing it, because without microtransactions, you have a game with a lot of good content and amazing gameplay.

However, actual issues with the game should be prioritized over trying to nickel and dime people, and with any game - not just this one - this message NEEDS to be loud and clear.

It is important for developers and publishers to see on the same terms, so they same message is given to consumers.

You don’t fucking put mobile game mechanics into video games that existed 10 years before Angry Birds and expect people to not talk about them.

Monetization is bad in so many ways it can hurt people and imply things about everything about the game in all kinds of ways. No ifs or buts about it.

Have a good night.

#crash team racing nitro fueled #crash bandicoot #microtransactions #rant

[kittymaverick]

Tradition dictates that I must make commentary on each MCF games, even when I complain about how thing the content is...

Spoilers under cut. Also, this is written from memory, so order might be a little off.

1. MD: Ah, finally. A well deserved holiday just like I requested-- Queen: Oh Master Detective the Americas are being incredibly incompetent at this whole supernatural thing. Awfully sorry for disrupting your vacation, but your service are requested. MD: ...Just shoot me in the head, will you, Your Majesty? Queen: I’m flying you over on a private jet plane. MD: Okay, everything’s forgiven. 2. Me: Cassette tape? Really? MD: I didn’t know our beloved Queen’s a hipster. Queen: Not only that, I also write letters. Me: My god she really is a hipster. 3. Me: ...Really? Artifact of immense power capable of granting immortality, and you use it as a quill? MD: I have no idea what you are talking about. 4. MD: ...Why isn’t anyone here to pick me up? I thought this was an all expense paid trip? I’m going to need to walk TEN MILES to the murder scene? Me: You’ve walked more than that in underground complexes. A wheat field is nothing. 5. Woman: Oh hi Detective you’re totally here to investigate the murder right. Me and MD in unison: SUSPECT! INSTANT SUSPECT! Woman: Also, why are you not turning on the truck lights? You can progress the game until you do that. MD: ... I hate this town already. Me: For a town that’s devoid of people you sure fill it with a lotta hate. MD: Me and abandoned towns don’t go so well together, in case my history hasn’t reflected that enough. 6. MD: Hm, interesting grave-- [GRABBED] FUUUUUUUUUUUCK MEEEEEEEEEEEE. Alvin: Hi. Bye. [Gone~] MD: .................How am I still alive? Me: You know, it’s awfully refreshing for once when the enemy isn’t obsessed with you. 7. Me: Who’s this magic guy that keeps on showing up on all the flyers? MD: If you actually used your head, it’s the first murder victim. Me: ...Can you not? 8. Housekeeper lady: Oh this town is so full of gossip you know, about it’s rich people. Me: Yes do share. I love gossips. 83 MD: .......What has my life come to. 9. [Creepy doll thing] MD: ... Totally not creepy at all. Nope! [Eyes lights up red] Not creepy! [MD begins weeping.] 10. Woman to other woman: GET OUTTA TOWN. Me: Someone get me a camera, imma gonna paparazzi this. MD: ...When I submit my case report, I am so going to request that I just have a mundane investigation of a heist or something simple for once. Me: Awwww, but the supernatural cases are the fun ones. D: 11. [Sees door with contraption] Me: Oh yeah...This is totally not a reminder of something. 12. Housekeeper: Oh no I’m trapped because I stuck my hand in this thing please help. MD: I am so fed up by non-player characters. Me: And I am dying of laughter inside because it’s legit the first time I’ve seen a complicated door puzzle TRAP someone. 13. MD: Alright, opening this hunting room right now-- [Bullet goes through the Elephant’s head] JESUS CHRIST! Me: YOUR HEAD. IS IT OKAY? MD: I’m glad I’m not taller! Me: Wait no, you have that immortal feather why am I worried about you? 14. Guy with gun: You made me waste a bullet! MD: And you made me waste my wits. What the hell is going on? Guy: Do you hear that? MD: ...No? Guy: The silence, it’s deafening. MD: ...Yeah, exactly. So I heard nothing. 15. [EPIC CRASH THROUGH THE WINDOW] {SHOTS FIRE} Me: OMG HE SHOT THE REVENANT-- oh wait yeah, guy’s undead he’s fine. 16. Guy: SHOOT HIM WITH THE CROSS BOWS! MD: WHAT CROSSBOW--[accidentally sets it off] ... OKAY GOT IT. GUY: IT’S NOT WORKING GET THE NET! MD: WHAT NET-- oh I SEE IT. Me: That worked? Holy shit it worked. 17. Alvin: Bye bye again. [Zoink!] Guy: COME BACK HERE. Me: No wait come back people that chase after the enemy tends to die you know. MD: ...Guy had it coming. Me: Also, it’s refreshing that YOU aren’t the one that set the building on fire this time. 18. MD: Alright, finally able to follow them. Ghost of first victim: BEWARE OF WHAT LIES AHEAD. MD: SOME FUCKING WARNING WOULD BE NICE. Me: ...Well you saw ghosts in Ravenhearst so-- MD: NO. 19. MD: Let’s find the guy-- Me: AAAAAHHHHHH BODY STABBED TO TREE! DEAD BODY ALERT! MD: ............I can’t even at this point. Me: You know, you’ve been less able to save people recently. MD: Can you really blame me? The last few enemies were rather homicidal. I have better self preservation instincts than to dive right in and risk my neck for people. 20. Me: Alright! We’ve got a ladder to the window! MD: ...THAT ENTIRE GEAR PUZZLE WAS ALL FOR A FREAKING WEIGHT??? Me: Yeah, was a tad unsatisfying... 21. Me: Aw they have a place called Lover’s Point-- MD: NOPE. Me: ...I didn’t even-- MD: CAN’T HEAR YOU. 22. Me: ...BTW, why are you kicking piles of leaves? MD: Stress relief. It’s that or setting things on fire. The latter’s kinda illegal. Me: Duly noted. 23. Alvin’s sister(?): Yeah just go ahead and have a look around. MD: You have a shite garden you know that? Me: WHAT SHE MEANT IS YOUR PUMPKIN PATCH IS WONDERFUL. 24. MD: It’s so nice to have an opponent who’s actually sane and has an organized room for once. Me: It’s a double decker trailer. I’m not sure how “neat” that is. MD: Just let me enjoy this for a moment, okay? 25. Woman: Hi this is totally not a supervillain confession tape. Well okay it is. MD: That makes you 1000% more forthcoming than the others I’ve faced. 26. MD: I need something with a hook on it to get this thing. Me: Alright, let’s find a broom-- MD: I’m going to stretch this rubber chicken out and attach a hook to it! Me: ...Is your mind okay?... 27. Me: Hm...There’s nothing about this creepy toy factory that’s ringing any bells, is it? MD: Hm.....I sure hope there isn’t. Me: Yeah, think we might just be paranoid. Devs: [Cackling in the background as they plot evilly] 28. Woman: PLEASE DON’T KILL OUR KID ALVIN. Alvin: Whatever. [Kills the woman] Me: ...You seriously just watched that happen and did nothing, didn’t you? MD: Yep. The less people there are alive, the less trouble I need to handle later. Me: ...Is this because you’ve had to save so many characters again you’re now letting them die so that’ll never trouble you again? MD: Damn, my master plan has been figured out ABORT ABORT. 29. MD: Oh no so the woman’s houskeeper’s daughter is really her own daughter! Le gasp. Me: ...For rich people this is kinda tame. MD: I know, right? They could have made it spicier. Housekeeper’s notes: I found ropes and handcuffs. Wonder what the miss is up to. Me: ...I don’t think that counts. 30. Housekeeper: The girl’s locked herself in her room! Me: Alright, just let me find one thing-- [Alvin comes charging through the door] MD: GOD DAMMIT CAN YOU TIME YOUR ENTRANCE A LITTLE BETTER ALVIN? 31. MD: Wait, what are they weak to? Me: Salt. Good old table salt. MD: Oh I’ll give them salt-- HERE HAVE ALL OF MY SALTINESS THAT’S DEVELOPED OVER THE YEARS BECAUSE OF THE ABUSE I’VE SUFFERED DURING MY CASES. YOU GET A SALT, YOU GET A SALT, YOU ALL GET A SALT! SALT FOR DAYS! Me: ......Nice therapy. 32. Housekeeper: Quick, open the door! Me: WE’RE MISSING A KEY-- Housekeeper: Oh that here I have it for you. MD: ...SERIOUSLY?! Me: I’m not sure if you’re surprised that she actually gave you something directly or that you’re insulted you didn’t get to search for it. 33. The girl: MH MH MH MH! MD: Oh so that’s what the bindings are for. Me: Huh, she’s left a vial of her own blood. MD: WHAT IS WRONG WITH YOU RICH PEOPLE??? 34. Me: So things have gone to shit downstairs. We’re taking the bedsheets down. MD: At least it’s not us escaping from a death trap. Alvin: [GLARING YELLOW EYES[ MD: I’M GOING I’M GOING! 35. Ghostly voice of the woman: ENTER THE ART EXHIBITION OF REGRET. Me: What do you mean exhibition-- oh my dear gods. This is like if Charles Dalimar built his complexes out of guilt of his crimes against humanity. MD: ....Why can’t I just see a NORMAL art gallery for once? Me: Well at least this time it’s not dedicated to you. MD: Please don’t jinx me. 36. MD: Really? All of that for a really nice fancy leather jacket? Me: It’s a nice leather jacket. Alvin’s got taste. Alvin: Hi, I heard you’re touching my jacket. Also is that what’s-her-name’s blood? MD: Um... yeah? Alvin: Okay. [GRABS STRANGLES] MD: FUUUUUUUUU-- Me: Oh don’t worry this isn’t so bad-- Alvin: [Breaks vial of blood] Me: Oh shit this is bad. 37. MD: YOU WANT IT HERE HAVE IT [Tosses the jacket into the fire] Alvin: Finally I’ve been avengeeeeeeeeeeddddddd [Ashes] Me: NOOOOOOO NOT THE JACKET IT WAS INNOCENT. MD: It was tacky. Real cool people wear detective long coats. 38. The girl: So the woman’s really my mom? But she was so mean to me. Housekeeper: Well she wanted what was best for you. Me and MD: Not it’s because she’s a self centered abusive bitch who keeps using her rich background as an excuse go hang out with your cool aunt. 39. Housekeeper: Omg that was so much drama. I can’t wait until I tell my friends at brunch. MD: Can you not??? Me: I’ll take brunch! 40. Me: You know, I can’t believe that went by so fast. We solved the case in a single evening for once. MD: Does this mean I can have the rest of my vacation back? Oh thank god. Me: Wait hold on a minute you let like TWO people die. MD: Two out of three people. I save the third. Me: Why couldn’t you save all three??? MD: Well you know what they say. Third times the charm-- Me: THAT’S NOT HOW THAT SAYING WORKS.

#Mystery Case files #The Revenant's Hunt

[gaming-rabbot]

Rabbot Reviews: Night in the Woods

Painfully relatable, wonderfully colorful, delightfully charming, and exasperatingly existential.

Imagine a much tamer BoJack Horseman, with a colorful flourish and sense of nostalgia reminiscent of Hotline Miami, mixed with the millennial Scooby-Doo gang vibe of Oxenfree. Also imagine if Life is Strange felt less artificial with its blatant farce of an attempt at understanding hip kid lingo, and that Firewatch actually bothered going somewhere with its thriller esque setup and plot hooks.

That’s a jumbled mess of words, but also a perfect descriptor for the subject of this review: Night in the Woods.

Night in the Woods stars the unassuming Mae Borrowski, a 20 year old college dropout who has returned to her podunk, middle-of-nowhere, boring town, where nothing good ever happened to anybody, least of all Mae.

Upon return, she’s met with passive-aggression spiced concern from parents who honestly just want to know what their only child is going through, and friends who all either already have or are in the process of growing up and moving on in life. Thus, her return meant to ease her back into the comforts of nostalgia and something resembling normalcy only seem to cause her more anxiety and strife.

Also the crushingly slow and depressing realization that life has no meaning and nothing we do in the universe actually matters. But hey, one thing at a time, right guys?

Last call for a (mild) spoiler warning.

The very first thing to note is that Night in the Woods is a certain type of game. And if you grit your teeth and practically feel your blood boil at the very thought of this type of game, first I might suggest seeing a doctor, but second and more importantly, NitW more than likely will not change your mind about this type of game.

I am referring, of course, to the ever-fun and totally-never-controversial-topic, the walking simulator. Where things like failure states scarcely show their faces, and gameplay mostly takes a backseat to narrative.

And by backseat, this sometimes means a bus. A very long bus.

I’ve talked about it before, but nobody reads my reviews, so I’ll say it again: I personally have absolutely no qualm nor quibble with the existence of this new and befuddling genre of video game. At least, not at face value. When the only thing a game is properly offering is a narrative, then I won’t hold that against the game, so long as said narrative can deliver. Not like Firewatch or Life is Strange, where the lack of an actual game further hampers the lack of a good or wholly competent story.

Besides, variety is the spice of life, my friend, despite what certain YouTube personalities will tell you. And a diverse offering of games means a diverse offering of self-proclaimed “gamers,” which goes on to mean the industry can only grow and get better as a whole with market expansion. You know, the only good part of capitalism; more media getting produced to the point where that incredibly niche thing you always wanted to see get made, well, finally getting made.

You know the one.

More to the point, I ask that narrative heavy games deliver. And deliver Night in the Woods did, with a fairly agreeable amount of competence.

It is at this point in the review, where the review has yet to actually begin, that I’d like to announce that I had been looking forward to this game for three years, ever since I first laid eyes on the Kickstarter trailer.

(Which, by the way, this game was funded via Kickstarter, so take that extra tidbit for what you will. I know it’s a touchy subject after things like Mighty No. 9.)

After which point, however, the game experienced something like three or four release delays, which speaks to me of a dev team possibly severely underestimating how long it takes to actually make a game. Or overestimating their own capabilities? Who knows.

Part of me worries that I can’t be objective, though. The game seemed to have won my heart long before I’d ever get to see a finished product. Could I have been blinded by my bias?

No. The answer is no.

Almost entirely for those aforementioned, nigh-constant release delays. Couple that with Infinite Falls putting out not one, but two mini games set in universe, instead of, oh I don’t know, the game people paid them to make? In an ounce of fairness, I’ve come to retroactively appreciate said mini games, as they do add to the lore.

And I’m a sucker for lore.

Perhaps I’m being petty, and somehow retroactively less petty, but my bias and unconditional love and goodwill slowly faded in direct relation to every year after the originally announced release date I had to wait. And as I sat down to start, and even as I completed the game, I asked myself: was it worth the wait?

Mm. Yeah, pretty much.

Okay, I should probably slow down. Maybe give some kind of buildup before spilling the final thoughts all out like that.

One of the first things you notice about Evening in the Forest, aside from how humorously long it takes to actually see all the characters in the woods at night time, is the screen constantly saturated with lots of orange, red, and brown. The fall colors are heavily emphasized, not merely because that’s the season the story takes place in, but the colors are exaggeratedly warm, so to match the cozy comforts the protagonist, Mae (remember Mae?), is seeking to feel deep down in her guts again.

But rather than that being the case, Mae’s hometown immediately feels cold and unfamiliar, which the game emphasizes by instead starting you off on the outskirts in the dead of night mostly by yourself. And the game world is introduced with lots of dark colors, mainly blues.

It’s easy to tell that color-play was set to be a key design aesthetic early in development.

This is matched and mirrored as even the primary cast are color coded in much the same way. Mae’s parents who forgot about her first night back are both dark, ash gray; cold. Gregg gives Mae the most excited welcome back of the crew, and he’s a ruddy orange; warm. Bea is distant at first, making undercutting jabs at Mae’s character, and she’s a muted teal; cold. Finally, Angus is friendly enough, if a tad mellow, and he’s the brown bear (who’s also a bear, ha (bam, super funny, original joke)); yeah, pretty warm.

The next to overkill levels of clear-cut color-play give the game a sort of story book vibe, which is further highlighted by the simple shapes that make up the models and the cartoonish proportions all the characters have; e.g., eyes make up a third of the real estate on any given face, which can sometimes be as tall or wide as the body it’s sitting on.

The bright, saturated, vivid colors of any given background, the color coding of warm and cold characters, the toony looks; it all drives home to evoke that very same feeling of familiarity and nostalgia Mae is seeking at the start of the game. As though to remind the player of simpler, more innocent times. It’s waking up on a Saturday morning at a young age to watch cartoons, that sort of thing. It’s the charming bait that demands your attention first. And the player, much like Mae, finds the hook a lot less charming with the panged stings of being proverbially stabbed by a cold and indifferent reality.

Reality tends to set in on this game like a sack of bricks. I found myself saying “that got a little too real there for a sec” so often, I figure it may as well be on the box.

(Well. You know. If the game had a box.)

It’s around this point, after the main cast is thoroughly introduced, that the game starts to really pick up. The pacing is solid enough; I never felt complacent, like I was waiting for the next bit of plot to happen. It’s slow exactly when and where it needs to feel slow. And for the rest of the time, the game is throwing sudden Guitar Hero segments at you.

When chatting with a friend about this, he admitted he found Mae’s movement speed plodding and felt it dragged the pacing down too much. It’s not something that bothered me, but I can see where there’s a case for it.

Here’s where the more “gamey,” for lack of a better term, side of the game comes in. At various intervals, the game will introduce a brand new mini game with its own self-contained set of mechanics. There’s a lot of variety here, and for the most part, they never outstay their welcome.

The only properly recurring one is the bass-playing segment. And though it’s possible to fail these (very possible in the case of the Pumpkin Head Guy song), the game will carry on regardless. In a way, Night in the Woods does actually have failure states, but the player doesn’t lose any progress when it happens.

Then the gang finds a severed arm!

Around that part, though, the game introduces a game within the game, in the form of a game on Mae’s laptop by the name of Demontower. And what a pleasant surprise, it’s a decent all around top down slash and dash, action affair. The amount of effort that went into it is shocking, considering it could’ve easily just been a cute little one-off gag. But no, it’s a completely legitimate game, with a full tale, its own set of mechanics, and several decently challenging boss fights punctuating each randomized level.

It’s the kind of thing I’d pay maybe ten bucks for (usd), but I’d be lying if I said I didn’t feel the value of my purchase with NitW go up a bit, considering there’s basically two games for the price of one here. Plus it might just placate one who finds dialogue heavy games dull. Who knows, but it’s a stellar addition either way.

I also adore that the developers wasted no opportunity to try and enhance their story, as they even worked symbolism relevant to the story at hand into the miniature side game on Mae’s laptop. The very first boss of any Demontower run looks remarkably like a certain muted teal gothic gator girl.

But, and here’s the kicker: this boss doesn’t do anything, and dies in one hit.

Surely it’s a reference to Bea’s semi-combative nature toward Mae at the start, and how easily that folds away when she remembers their shared history. It’s a really unnecessary metaphor they didn’t have to include, but it stuck with me that they even did. Although, in the interest of fairness, I feel I must admit it’s not exactly subtle.

In fact, it’s about as subtle as that severed arm I mentioned earlier, then stopped talking about.

I did this to draw comparison the somewhat noticeable lull between traumatic and supernatural events. Because while I said the story beats in of themselves never felt too far apart, I have to admit, again in fairness, that it seems to take a good while for the payoff of things like this. I will say though, payoff does come in due time, and NitW more or less sticks the landing well enough.

Take the backstory of Mae beating a kid’s face in with a metal bat during her little league game, for example.

To be perfectly frank, I figured the game would never have any kind of payoff for this at all. This or the actual reason why Mae came home from college. The cynic in me is alive and well, and I fully believed the writers would take the easy route and leave it all up to the imagination. But no, they actually explain it all, and explain it fairly well.

Mae has a mental thing where she rarely loses touch with reality, seeing only basic shapes where actual things and people are supposed to be. And a statue at college made up of basic shapes caused a mental relapse in her psyche, sending her spiraling into extremely self-destructive habits she couldn’t break herself out of. I’m certain there’s a proper term for this, but I’m not well read enough to know what it might be.

Effort like that put into creating a solid trunk for the rest of the story to branch off of is grand. And a relief, after dealing with games like Firewatch, where the backstory is so inconsequential, it’s picked out of a seemingly random assortment of vague synopses so as to snugly slot in any old referential dialogue between the bread of real plot.

In that regard, Dusk in the Trees fits nicely on the same shelf of Oxenfree.

Now that I think of it, both games are on that same shelf for a lot of similarities; the gaggle of young adults having complex relationships filled with strife and friction, the overt metaphor of them struggling to deal with supernatural elements where said supernature stands in for the responsible adulthood they’re on the precipice of, branching dialogue options used to explore character relations, the heavy and pervasive sense of nostalgia on the air like so many flitting dust particles in an old abandoned barn at sunset, etc.

Not that I mind having a couple eerily similar games, though. They’re a couple of the only games I’ve ever been able to relate to on such a deeply emotional and personal level. And I feel like that’s kind of the big foundation at the bottom of it all; relatability and realness to keep you grounded amidst all the severed arms, and ghost stories, and murder cults.

Whenever I watched Mae talk to her mom, I felt twinges of chills. Because I could almost swear I’d had those exact conversations with my own mother. We snark at each other in much of the same sarcastic way Mae and her mom do. I’ve even felt similar pressure Mae has about her education and how she’s going to handle the entire rest of her life.

It… hurts. It actually sort of hurts just how relatable this all is.

When walking down the main drag through Possum Springs (the ingame town), deja vu washed over me time and again. The urban decay of old businesses that never seem to last, the new franchised ones that seemingly cropped up from nowhere, the random animal people walking by who remarkably resemble random human people I’ve walked by in my own small, nothing special hometown; it all felt entirely too familiar.

It’s truly astounding how a game where the main character dreams about meeting god, and it’s not absolutely clear whether it actually happened, somehow managed to feel this real to life.

I’ve often commented on how relatability is not the end-all, be-all of good storytelling, let alone good character building. Though it does help, it’s better when the characters are this fun, charming, and sincere. And I feel like the writers really nailed that aspect, instead of relying on all the chest clutching of players like me who felt they’ve been there before.

Whatever smaller qualms I have with the story at large, I can’t deny how hard Infinite Falls got me to fall madly in love with this cast.

This game found me at I feel the perfect time in my life. It’s the angsty teen to young adult adventure I always wanted to see in a video game. This is my “that incredibly niche thing you always wanted to see get made, finally getting made.” And if you’re anything like me, then the story will resonate with you too.

Honestly, I can’t recommend this game enough. It’s not as perfect as I make it sound; there are a few grammar mistakes and a couple graphical issues. But if you can look past that, and gameplay ultimately not being the point, you’ll find a pretty solid, genuine-feeling story.

#rabbot reviews #video games #review #Night in the Woods #mild spoilers #long post