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#like. there are content questions but...

sprucewoodmpreg · 2 months

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im not even grianpilled but i have to admit i fuck w his thang of making games with rules that are clearly Meant To Be Broken in pursuit of narrative. or content. life series where the most interesting story beats tend to come from players being hyperaware of the rules + how they try to bend them. and now this permit stuff where the previously (mostly) straightforward shopping district has turned into Ok How Can We Cheat The System

#it's like. uninteresting systems given interest through rules that are supposed to be questioned or broken #it's a recurring thing with every little game he introduces #though i supposed this could be said for like. most games n rulesets. the rules create tension Which Is The Point #but with how often grian is the instigator of this shit. and considering the whole Youtuber/Content thing. it's a bit funny

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notsogoodangel · 5 months

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Guess who made a QSMP AU about Martyn being on the Island?!

This is just some barfing I did while dealing with Carpal Tunnel, so if you see some of them and think, "Why is the lineart so bad here?" That's why. I developed Carpal Tunnel and refused to stop and/or remove my brace.

Anyway, I still have no idea how Martyn would have gotten to the island within the logic on the island, like I'm sure Doc sent him there, but I have no idea if he would have being already there or was sent on a boat by the island or what. I do know that they will probably contact him because of his experience dealing with Watchers as someone who seemed to break out of their grasp, and the Federation thinks what they have on their hand is a Watcher since, you know, tricked a bunch of people into a secluded area and forcing to kill each other for its entrainment is all very Watcher-y behavior.

What they didn't know is that he seems close to the notorious Federation hater and anarchist Philza, like, sure, they look similar, but you can't blame them! All white men look the same!

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rivalkieran · 3 months

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being a pokemon fan and caring about lore is a horrible fate all these games do are crack open like 10 cans of worms and dump them all out onto a table and fucking leave and never explain anything WHEN WILL THE SUFFERING END

#solis.txt #scvi leaves us with So Many questions and we’re like.. Done. with it now #done as in official content releases for it (probably) atleast bc IM NOT FUCKING DONE WITH THIS GAME!!!#likewhat the fuck. Get back here? EXPLAIN YOURSELF???

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sirazaroff · 6 months

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I have an idea that involves Velvet and i wanted to ask you what you thought of it! :3

A few days after RWBY and Jaune return from the Ever After, Velvet notices that Jaune is keeping his distance from her, and she has no idea why. She asks all of Team RWBY and even Nora, Ren, and Oscar, but they don’t know why he’s doing it either.

She tells Coco about it and she immediately wants to figure it out and the two basically corner Jaune to get him to talk. He relents pretty quickly and says he’s doing it to make sure he doesn’t make Velvet uncomfortable.

Velvet has no idea why he’d make her feel that way, he’s her friend after all, so Jaune explains that soon after returning from Ever After he caught himself reaching to touch her ears out of Habit because he did it with Juniper whenever he was stressed or needed something to ground himself, but he knows that touching a Faunus Trait is a very serious and intimate thing and felt horrible for nearly intruding on her personal space.

Velvet is touched by his thoughtfulness and says she appreciates it immensely, but he doesn’t have to distance himself from his friends, all he had to do was explain from the start and she would understand, and now she does :3

Coco’s still hung up on the fact that Jaune was friends with an honest-to-gods Jackalope LANSKXSBJS

And after Coco and Vel confront him

Sorry I just! I love this scene you’ve set up so much that I wanted to see come to life. Jaune’s always treated so strangely in this fandom. He’s really not that bad if you just focus for a sec.

————

I totally see this scenario being believable. All that trauma from his time in the Everafter. And Juniper was his only stability for so so so long…you don’t forget someone like that. See their ghost in familiar places, in familiar people.

I think it’ll do him good to start being made to process his issues. I haven’t made it to V9 yet but my take on Jaune is he’s just having a bad day constantly. Underdog healer. Being around new company will do him good. Help him process. I think when the trio are alone together they’ll make a lot of progress with that. Unload a lot of that baggage he’s been carrying.

Anyways, boy’s gonna be fine. He’s in good hands and even better company~

Thank you for sending the ask! Here have this for me taking so long.

Now. Time to play catch up with my inbox.

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rawliverandgoronspice · 5 months

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Hello!! I'm back for: more whining about TotK Quest Design Philosophy

I can't reblog a really great post I just saw for some reason (tumblrrrr *shakes my fist*), but hmmmm yeah not only do I completely agree, but I think I might expand on why I feel so much annoyance towards TotK's quest design philosophy at some point, because it does extend past the fundamentally broken setup of trying to punch a pseudo-mystery game on top of BotW's bones, where the core objective was always explicit and centered and stapled the entire world together; or the convoluted and inefficient way it tells its story through the Tears, the somehow single linear exploration-driven quest in the entire game.

Basically: I'm talking about the pointless back-and-forths. There were a lot of them, a lot that acted against the open world philosophy, and almost none of them ever recontextualized the environment through neither gameplay abilities nor worldbuilding nor character work.

I'll take two examples: the initial run to Hyrule Castle (before you get your paraglider), and then the billion back-and-forths in the Zora questline.

I think?? the goal of that initial quest to Hyrule Castle is to familiarize you with the landmark, introduce the notion that weapons rot, tell you about the gloom pits, and also tell you that Zelda sightings are a thing? But to force any of these ideas on you before giving you a paraglider is, in my opinion, pretty unnecessary. I think the reason it happens in that order is to prevent Link from simply pummeling down to the gloom pit under Hyrule Castle and fight Ganondorf immediately while still introducing ideas surrounding the location; but genuinely, the Zelda sighting makes the next events even more confusing? Why wouldn't you focus all your priorities in reaching the castle if you just saw her there? Why lose time investigating anything else? Genuinely: what is stopping you from getting your paraglider and immediately getting yourself back there, plunging into the depths to try and get to the literal bottom of this? (beyond player literacy assuming this is where the final boss would be, and so not to immediately spoil yourself --which, in an open world game, you should never be able to spoil yourself by engaging with the mechanics normally, and if you can that's a genuine failure of design)

I think, personally, that you should not have been pointed to go there at all. That anything it brings to the table, you could have learned more organically by investigating yourself, or by exploring in that direction on your own accord --or, maybe you think Zelda is up there in the castle, and then the region objectives become explicitely about helping you reaching that castle (maybe by building up troops to help you in a big assault, or through the Sages granting you abilities to move past level-design oriented hurdles in your way, etc). Either way: no need to actually make you walk the distance and back, because the tediousness doesn't teach you anything you haven't already learned about traversal in the (extremely long, btw, needlessly so I would say) tutorial area.

But to take another example, I'll nitpick at a very specific moment in the Zora Questline, that is honestly full of these back-and-forth paddings that recontextualize absolutely nothing and teach you nothing you didn't already know. The most egregious example, in my opinion, is the moment where you are trying to find the king, and you have to learn by listening in to the zora children who do not let you listening in.

So okay. I think Zelda is great when it does whimsy, and children doing children things guiding you is a staple of the series, and a great one at that. But here? It does not work for me on any level. Any tension that could arise from the situation flattens because nobody seems to care enough about their king disappearing in the middle of a major ecological crisis, except for children who are conveniently dumb enough not to graps the severity of the situation, but not stressed out enough that it could be construed as a way for them to cope about it and make anything feel more serious or pressing. It feels like a completely arbitrary blocker that isn't informed by the state of the world, doesn't do anything interesting gameplay-wise with this idea, doesn't build up the mood, and genuinely feels like busywork for its own sake.

This is especially tragic when the inherent concept of "the zora king has been wounded by what most zoras would believe to be Zelda and is hiding from his own people so the two factions do not go to war over it" has such tension and interest and spark that the game absolutely refuse to explore --instead having you collect carved stones who do not tell you anything new, splatter water in a floating island, thrud through mud who feel more like an inconvenience than a threat or, hey, listen to children playing about their missing king less than a couple of years after being freed from Calamity Ganon's menace. It feels like level designers/system designers having vague technical systems that are hard-coded in the game now, and we need to put them to use even if it's not that interesting, not that fun or not that compelling. It's the sort of attitude that a lot of western RPGs get eviscerated for; but here, for some reason, it's just a case of "gameplay before story", instead of, quite simply, a case of poorly thought-out gameplay.

Not every quest in the game is like this! I think the tone worked much better in the sidequests overall, that are self-contained and disconnected from the extremely messy main storyline, and so can tell a compelling little tale from start to finish without the budget to make you waddle in a puddle of nothing for hours at a time. It's the only place where you actually get character arcs that are allowed to feel anything that isn't a variation on "very determined" or "curious about the zonai/ruins", and where you get to feel life as it tries to blossom back into a new tomorrow for Hyrule.

But if I'm this harsh about the main storyline, it really is because I find it hard to accept that we do not criticize a structure that is at times so half-assed that you can almost taste employees' burnout seeping through the cracks --the lack of thematic ambition and self-reflection and ingeniosity outside of system design and, arguably at times, level design-- simply because it's Hyrule and we're happy to be there.

There's something in the industry that is called the "wow effect", which is their way to say "cool" without saying "cool". It's basically the money shots, but for games: it's what makes you go "ohhhh" when you play. And it's great! The ascension to the top of the Ark was one of them --breathtaking, just an absolute high point of systems working together to weave an epic tale. You plummeting from the skies to the absolute depths of hell is another one; most of the dungeons rely on that factor to keep your attention; the entire Zelda is a dragon storyline is nothing but "wow effect" (and yeah, the moment where you do remove the Master Sword did give me shivers, I'll admit to this willingly) and so is Ganondorf's presence and presentation in the game --he's here to be cool, non-specifically mean, hateable in a non-threatening way and to give us a good sexy time, do not think about it too hard. What bothers me is that TotK's world has basically nothing to offer but "wow effect"; that if you bother to dig at anything it presents you for more than a second, everything crumbles into incoherence --not only in story, but in mood, in themes, in identity. This is a wonderfully fun game with absolutely nothing to say, relying on the cultural osmosis and aura of excellency surrounding Zelda to pass itself off as meatier than it really is. This is what I say when I criticize it as self-referential to a fault; half of the story makes no sense if this is your first Zelda game, and what little of that world there is tends to be deeply unconcerned and uncurious about itself.

And no, Breath of the Wild wasn't like this. Breath of the Wild was deeply curious about itself; the entire game was built off curiosity and discovery, experimentation and challenge (and I say this while fully admitting I had more fun with the loop of TotK, which I found more forgiving overall). The traversal in Tears of the Kingdom is centered around: how do I skip those large expanses of land in the most efficient and fun way possible. How do I automate these fights. How do I find resources to automate both traversal and fights better. It's a game that asks questions (who are the zonais, who is Rauru and what is his deal, what is the Imprisoning War about, where is Zelda), and then kind of doesn't really care about the answers (yeah the zonais are like... guys, they did a cool kingdom, Rauru used to run it, the Imprisoning War is literally whatever all you have to care about is who to feel sad for and who to kill about it and you don't get a choice and certainly cannot feel any ambiguous feelings about any of that, and Zelda is a dragon but we will never expand on how it felt for her to make such a drastic and violent choice and also nobody cares that's a plot point you could *remove* from the game without changing the golden path at all).

I'm so aggravated by the argument "in Zelda, it's gameplay before story" because gameplay is story. That's the literal point of my work as a narrative designer: trying to breach the impossibly large gap between what the game designers want to do, and what the writers are thinking the game will be about (it's never the same game). And in TotK, the game systems are all about automation and fusion. It's about practicality and efficiency. It's also about disconnecting stuff from their original purpose as you optimize yourself out of danger, fear, or curiosity --except for the way you can become even more efficient. And sure, BotW was about this too; but you were rewarded because you had explored the world in the first place, experimented enough, put yourself in danger, went to find out the story of who you used to be and why you should care about Hyrule. I'm not here to argue BotW was a well-written game; I think it was pretty tropey at large to be honest, safe for a couple of moments of brilliance, but it had a coherent design vision that rewarded your curiosity while never getting in the way of the clarity of your objective. There is a convolutedness to TotK that, to me, reveals some extremely deep-seated issues with the direction the series is heading towards; one that, at its core, cares more about looking the part of a Zelda game than having any deeper conversation about what a Zelda game should be.

#thoughts #tloz #totk #totk critical #when will my brain return from the imprisoning war...#quest design #game design #level design #game criticisim #I think the more time goes on and the more uncomfortable I am with “if the game is fun it's good”#sometimes the game is fun and the game is empty #fun games can be addictive and predatory on purpose #(not saying totk is but it is well known that fun is not a neutral feeling)#fun can also reinforce questionable ideas of what “fun” should even look like #*side-eying CoD and co*#and fun =/= coherent always #if we're talking about games like artpieces #then you don't get to pick and choose which parts matter and which parts don't #you can absolutely say “I resonated with it for X and Y” but to make an argument that people who feel uncomfortable by content #that is in the game!! put in the game!! on purpose!!#is not a very productive attitude let's say

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54625 · 1 month

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people can keep coming up with angsty headcanons about why qPac passes out (crashes) so much- like he's got low blood pressure from not eating properly or he's exhausted from not sleeping properly- and I accept that

but to me he's just that one character in a kids movie that keeps getting injured as a gag. like he's just constantly tripping over roots and whacking his head off the ground, birds just constantly seem to drop rocks specifically on his head, people just keep inexplicably slamming doors into his face without realising it. qPac is just such a cartoon character to me I'm sorry

#ah the age old question- character angst or funny gag? tis a tough decision #qsmp #pactw #qsmp pactw #qsmp headcanons #if i can rant a tad bit here for a second - I'm not really huge on angsty headcanons or fan content about qPac I'll be honest #so much of his character and story in canon itself already feels just like.. idk how to explain it. misery porn?#he's sad and traumatised and things just keep going wrong for him #it gets a little tiring after a while #I'm not a huge fan of stories where the entire point is EVERYTHING SUCKS <an insane sentence from a WH40K fan but that's besides the point #anyway point is i like letting qPacs character breathe a bit #there's more to him than being the resident sad boy #and i don't love treating him like his only character trait is being extremely unfortunate cause it's just kinda boring #i don't have any huge moral problems with it it's just kinda boring #pactw tag

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xitsensunmoon · 22 days

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Hi, just a curious question but when will you write/draw about how doctor y/n first met sun and moon? because in the FAQ, you said that you will show or answer the question we might ask but it has been a year and i haven't seen any spoilers or more details about the au?

I'm saying this not only to you but to everyone out there who is asking similar questions. Stop treating creators like content generators. You're not entitled to the content you're shared with for free.

Firstly - you're not being curious, you're being rude.

Secondly - if you're not monetising the creations you like, you have no word on deciding how soon they will come out. I'm the host, you're a guest, I'm not a seller, nor you're a customer, nor a consumer.

And finally - the more you ask the less motivation I will have. The best thing you can do is engage and support. This will result in the opposite outcome.

It will come out when it will come out. I am a living person with who knows what type of everyday struggles and you're in no place to say "it has been a year".

The fact that you've read the FAQ that said "no need to ask this question" and still you decided it was ok to do so just shows how entitled you think you are to my creations.

#you're making my own au less enjoyable for me to create when you treat me like a robot #the fact that you created an empty account tells me you knew how rude this question actually is #ask xitsen #i appreciate a lot of my followers and just this community. the sense of support and positivity here is crazy #and i would never create so much content for dca without the sense of community #feeling like you're being appreciated and valued is very important #if anything this makes me feel rushed and pressured. the opposites of what rhe community should be

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rosicheeks · 1 year

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Thin crop top AND short shorts? That sounds soooo cute how could anyone resist having their hands all over my god