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#the far cry experience
lulu2992 · 5 months
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If you’ve played Far Cry 3, you’ve probably seen its “prequel”, a promotional web series called The Far Cry Experience starring Michael Mando as Vaas and Christopher Mintz-Plasse as himself.
In Episode 4 (spoilers), Vaas asks the audience if they want Chris to live or die. People decided he should live but, since there were two choices, they had to shoot two versions of the final episode.
Well, a few years ago, I realized that, on the Ubisoft Japan YouTube channel, both versions were available! So in case you didn’t know this video existed, here’s what would have happened if people had voted for Chris to die:
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The video is dubbed in Japanese and I unfortunately don’t speak this language, so I can’t tell what they’re saying... But if you understand Japanese or are good at reading lips, maybe you can :)
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hotmessteaparty · 6 months
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Weheeeeey. Look who's not dead? Ik ik long time no see, but if there's one thing that keeps me alive it's my baby boy. So I apologize for my absence here, my life took a complete 180 over the kast 3 months but i think I might start pisting again. Also my ff because fuck I miss them boys 💔
In the meantime enjoy some cosplay stuff I shot 😂 another year another fem!vaas cosolay am I right?
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artificialcaretaker · 2 years
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Ayo can someone please explain why tf Vaas was like deadass in love with that dude he buried in the ground?????? Like homeboy was like “Chris have you ever been in love?~” BRO MADE HIM A WHOLE ROMANTIC DINNER AND PICKED FLOWERS FOR HIM WTF IS GOING ON??????
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Y’know what this is evidence that he’d treat me righ-
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sc0obl · 5 months
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Write Me a Better Ending :)
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calicos-clones · 21 days
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I don’t think people realize how freaked out fanfic readers get when their favorite author(s) doesn’t update their ongoing schedule ON TIME.
And it’s not cause we want the chapter…it’s cause we’re so fucking worried about the Author.
Like— OMG ARE YOU OKAY? YOU’VE BEEN GIVING US THE TRAGIC UPDATES OF YOUR LIFE IN THE NOTES THE PAST 10 CHAPTERS?! WHY STOP? ARE YOU DEAD? DID YOU GET STUCK IN THE WALL LIKE YOUR CAT?? HAVE YOU EATEN?? HAS YOUR BRAIN EXPLODED??
Readers no longer care about the story when they don’t get their usual update. We panic and flag S.O.S as we track down our wayward author who has been both blessed by the universe with a creative mind and cursed all the same with the worst luck.
So any authors who are reading this please understand— when we comment “hey are you okay?” in your comments. No, we are not asking about the chapter.
We are legitimately concerned for your wellbeing. Do not force yourself to shit out a chapter just to appease other ppl when you yourself are not in the mental state to enjoy it or even write it to begin with.
TAKE CARE OF YOURSELF DAMMIT
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uncanny-tranny · 9 months
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I think it can be true that certain lifestyle changes can help with pain and disability, but people really overplay how those changes will affect people's lives.
I've found that exercise has helped my back pain - I have had chronic back pain that PT didn't touch, but exercise has helped. However, what hasn't changed is what exasperates that pain, and when my pain is especially exasperated, it doesn't matter how much I exercise, I'll be in my bed trying so hard to get out, and I'll be seeing white. So, yes, exercise helped me, but it did not save me. That's an example of what I mean.
It's fine to give (solicited!!) advice to people about how to manage things like this. But I'm begging people to be realistic about this. Lifestyle changes can only do so much, and disabilities are - surprise! - disabling.
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northern-passage · 5 months
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i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.
...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?
[...]
Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.
Most games either:
allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.
immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.
But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:
Why don’t the police investigate the murder at a later date and track down the player then?
Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?
Why doesn’t the victim’s son grow up to become Batman?
We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”
Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?
This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)
These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)
Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.
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Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.
You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?
Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.
When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”
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In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.
But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)
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It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]
Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.
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edeldoro · 2 months
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I love how the broken, gilded cage Robin sits in appears to resemble a waterphone (and a phonograph within, by the look of it?). You may have heard its beautiful haunting voice in horror films and music in general. That the splash art attributes it to her, a Path of Harmony character, The Robin of Penacony, renowned singer across the stars, is so cool.
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miragold123 · 8 months
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That on color wheel challenge but characters from games I've played (most for the first time) this year
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lulu2992 · 2 years
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A few questions (and answers) about Vaas from Michael Mando's latest "AMA" (Ask Me Anything) on Reddit:
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(If you’re using a screen reader or click on the "ALT" in the bottom left corner of each picture, you can hear/read the transcripts) :)
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kinos-fortress-2 · 5 months
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does this even looks like a tf2 fanart anymore
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STARCLAN SUCKS WTF!! How is everyone responsible for Midnightstar's actions???? Even the apprentice????
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...It was something you heard once, long ago. When the ground opened up and the sky spoke to you. I am the shifting mass. I am the open maw. I am the endless dark. I am the place of no stars. You are sent to me, holy or unholy. The worst are reformed, the best are corrupted. Leave your sins at the entrance and you will be allowed passage. Defy my rules and you will become the flesh of the lost god. So be it, exile of the stars, vowed to the path of reflection, welcomed to the rest of your eternal vanishing.
The shifting mass retreats.
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khihi · 3 months
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most days i can power through and ignore the physical and psychological pain and discomfort having a skin condition causes but some days it hits me all at once how much of a toll it actually takes on my whole life... today is one of those days apparently 🤠 wuhoo
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silliestofbilliest · 6 months
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The average experience of listening to Hozier:
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I’m in emotional anguish and bliss from a couple of bridges bc of this madman’s wonderful vocal control, i cant-
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thedepyuty · 2 months
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Never believed I'd say it, but can't wait to get myself a drink tonight and go fishing in far cry 5 maybe kill some peggies on the way
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eerna · 9 months
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just in case you thought I got over TLT, I felt like rereading the end of book 1 and I'm sobbing crying screaming over the beauty of fiction
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