Yeah that tracks. Frank Horrigan is the biggest example of the Fallout fandom just completely missing the point of a character, Frank Horrigan fanboys prop him up as some chad alt right supersoldier but in reality he's a tragic character who is completely misguided and brainwashed, throwing away his life for the very people who tortured and abused him. Frank Horrigan is an allegory for those who would sooner heartlessly destroy those similar to them than to admit that they are being used and abused too
I could never be an umpire for many reasons but one of them is that I would curse at the crowd when they’re annoying me. “Ladies and gentlemen shut the FUCK up. players are ready. thank you” they have so much mental fortitude
Baldur's Gate 3's biggest writing flaw is the fact that they were so obsessed with accounting for every single player choice that they spread themselves out too thin, and ended up telling a half-baked story because of it.
Rather than giving characters long, thoughtful, UNIQUE scenes that enhanced specific companions' arcs and the overall story, or hell, actually gave you DIFFERENT DIALOGUE later on, they focused on making a story so general and loose that it could account for every possible way a player might interact with it...
And as a result?
It's so diluted with flavors that you cannot tell what the fuck you're tasting anymore.
It's mellow and weak, because it has to be mellow and weak in order for everyone to love the taste...but the result is.
You love nothing. It's surface-level and shallow, and you're forced to do the fanfic and analysis work for it, to account for its milquetoast, non-committal narrative shrugging. That's why the fandom is so big and fun and diverse.
It's a nothing cake, almost like a Disney project designed by marketing executives, trying to appeal to every demographic imaginable.
And some of you like that sort of thing.
But I look at it and say...it's a cake with layers of potential, but none of the decoration, none of the finesse, lacking daring decisions or inventive baker flourishing.
There I said it. Take me to church and beat me with a bible.
i have sooo many thoughts on the absolute failure of detroit become human's message honestly like it's so crazy. kara's entire storyline is negated when alice is revealed to also be an android since not only does the "can a human child view an android as a parent" question completely disappear, suddenly everything you've done so far to "protect the kid" becomes meaningless since kara and alice are essentially the same age. and then the general issue of David Cage failing to make a good enough case as to why androids should be considered human to the point where the worst part about the bad endings is that it makes Hank, the only human main character, sad. and this is only like a fraction of the problems but i find it fascinating how even the main core and theme of the entire story falls apart as soon as you think about it for even a second
This. This. This entire conversation with Morrigan actually makes me want to sob. She and my Tabris always becomes close friends over the course of DAO; that, paired with the fact that my Tabris always romances Alistair, makes everything about this hurt so much more when you take DAO's ending into account.
Her confusion over why my Tabris didn't send her away. Why she didn't abandon her after they learned of Flemeth's plans. Why Tabris went out of her way to slay Flemeth and bring her the true grimoire. She asks Tabris why, and is baffled when the answer is, "I did it because I'm your friend," as if it's that simple.
The way Morrigan looks at the warden, the way her voice cracks when she says, "I want you to know that while I may not always prove... worthy... of your friendship, I will always value it."
She knows how this will end; Flemeth sent her with the wardens with the end goal of stopping the blight and obtaining the old god soul through the dark ritual. Morrigan knows that Alistair and Tabris are the only Grey Wardens here, and assuming they don't find more, one of them will have to die defeating the archdemon unless they agree to do the dark ritual.
With that context, her asking Alistair, "And what if a Grey Warden has forced to choose between the Warden he loved and ending the Blight? What should his choice be?" suddenly has so much subtext weaved through the words that I'm gonna start foaming at the mouth. She's practically telling Alistair that a warden has to die. She's scrutinizing his reaction to find any hint that suggests he would agree to the dark ritual in order to save himself and the woman he loves. And when he doesn't choose, she has her answer.
Morrigan made comments to Tabris about him, almost hopeful that their relationship was just a physical thing between them and not actually riddled with feelings... and then gives disapproval when Tabris says she loves him.
She doesn't want the warden to die; hell, she doesn't want Alistair to die, either; whether because she does actually care about him or because she knows it'll break her friend's heart if she loses him, or both!
Things would be so much easier if the only two Grey Wardens left to defeat the blight didn't fall in love, wouldn't they, Morrigan?
She knows that in the end, no matter the outcome, she will lose the woman she called sister and it's devastating.
Morrigan, who has never known true friendship. Who grew up isolated in the woods with an abusive mother and terrible implications for her future. Who discovered said mother planned to take over her body just as she did with her other daughters. Who doesn't understand kindness as it was rarely given to her without a catch. Who isolates herself from the others in camp. Who finally has a companion she cares about... and in the end, if her plan works and the dark ritual is completed, she'll end up pregnant and alone and wearing Tabris' resentment like a tender wound on her heart.
Or Tabris will reject the ritual, and will die to the archdemon.
Or her lover will.
I just- the dynamic between the warden, romanced Alistair, and Morrigan is so good and painful and rich that I'm gnawing on furniture as we speak.
I think another reason why I'm of the opinion that 3H's writing falls flat due to superfluous exposition, is that... it actually does what I think is great gameplay-story integration.
And that's the character paralogues!
Every character has a paralogue which ties their personalities and backstories into that mission's plot, without exception. Certain gameplay elements are also introduced to suit why the characters are doing what they're doing in those missions.
They're not flawless of course (map reusal is a bitch), but they are nonetheless stellar ways to tie in the characters to their world.
So what's the issue? The problem then becomes, why the hell is there so much else then?
I'm not advocating for everything else to be cut or for character backstory/development centered supports to be shelved, of course. But when you have paralogues-missions that are very well crafted to engage the player in the game flow and the writing simultaneously-why do the characters reveal the same things and go through similar developments in other places, like supports, the monastery, sometimes even in story as well?
Because you can miss out on paralogues? Well this game makes it so you can skip the monastery, supports can get locked if you don't do them in time, and those sparse story moments don't exist if the side character dies. There's no functional reason why you need multiple avenues to dive into the same few character plotlines, especially when one method does it consistently better and more involved than the others.
And logically or writing wise, there's even less of a reason other than they really wanna make sure you know these characters really well. Which is in no way bad of course, it's great to make a cast that you're proud of and want people to fall in love with every aspect of each of them. But there's nudging your audience to a position, and then there's outright making the line between player control/influence/preference and authorial intent too blurry.
Inevitably yeah, people did love this cast. That's why 3H is so popular and why their characters rank so highly in polls. But I reiterate from previous posts: 3H doesn't do anything special that previous FE games didn't as well. The cast isn't particularly deeper than most FE casts on average, nor is its world/story writing any more impressive. There's just more of it being delivered and put in your face than normal. And because many finer details unique to 3H's plot construction end up irrelevant (or outright contradictory to the main plot when thought about for too long), most of what's pushed is the character writing and backstories and Fodlan's primary backdrop... over and over and over again.
To me, that becomes tedious and ironically makes me care less for the world as I find incessant need to reiterate major aspects of the story near verbatim to be artificial and suffocating. But I'm not most people, and I can't fault others for finding great joy in it. I just thoroughly hope that the gameplay-story interaction is taken as priority like it was with Engage for future FE games, because these are still video games at the end of the day. When your game is being talked/argued about more than it's actually being played (for reasons that don't specifically have to do with archaic design elements as a result of its age)... shouldn't that be seen as a bad sign in the eyes of a video game designer?
Thinking about the parallels between Riku losing himself to darkness because he (believed) his life-long friendship had been broken and replaced and Terra losing himself to darkness because he wanted to protect his friends/friendship more than anything else
// this is a stright up rant, not gonna bother wording it well
"Give Meredith and Orsino time to work out their differences..." man,, there's just so much to unpack here like
1. They're not a married couple to work out their differences ffs
2. "No good can come of showing favor to one side" bitch when one side is oppressors and the other is oppressed, not showing favor is siding with the oppressor. Simple as that. Especially when you're part of said oppressors
3. There's no working out differences when one wants to commit genocide and the other, shockingly /s, does not want that. What differences are there to possibly be fucking worked out??
4. You're supposed to keep Meredith in check, what the fuck are you even here for if you don't step in when there has been blatant disregard for Chantry law (nevermind that even if that's followed, it's still an oppressive system) for at least 7 fucking years??? Oh right, you're here to let Meredith (and the Chantry as a result) slowly take over Kirkwall, bc that's what it's all about apparently
Fuck this shit. I'm supposed to think that Anders finally blowing the lid off this dumpster fire of a city is the worst thing to happen? I don't. Things have been shit in the city and would've continued to get worse and worse and worse. Way more would've died if nothing was done and things still would've remained shit as an added bonus. At least after a revolt, there's a path to healing. Meredith would've annulled the Circle, then would've continued to lead a regime that got people killed for imaginary slights, and would've continued to raze through the city. A revolt was coming. Better sooner than later.