rynling: (Mog Toast)
Me: The puzzles in Rime are annoying, and the platforming elements are awful. If this turns out to be one of those indie games where the kid is dead all along, I'm not sure it's worth it to...

Me: *checks spoilers on YouTube*


I think Rime is supposed to be about four hours long. Not counting my first hour of wandering around aimlessly, I put about two hours into it, and I think I'm done. Rime is like Journey without the charm and like Wind Waker without the cleverness and solid gameplay. Where it succeeds visually are its brightly colored landscapes, but it forces the player to spend a lot of time in unlit interiors. I think there's supposed to be an emotional payoff at the end, but I'm not feeling it.

Spoilers... but not really, you already know how this ends )

I think I would have preferred a more straightforward story of a kid being shipwrecked on an island and discovering the remains of an ancient civilization. The game is structured so that the kid is able to visit the island in what seems to be different time periods: in one it is lush and green, in another it is filled with ghosts and sand-choked ruins, in another there are robots, and so on. Also, many of the game's puzzles involve circles, orbits, the sun and moon, light and darkness, and other elements that suggest the cyclical nature of time. It would therefore make sense, both in terms of game design and gameplay, to have the game's theme be the ultimate ephemerality of even the most monumental human achievement within the endless flow of time.

I think it would also be cool if the game involved the kid gradually realizing that they are the heir to this ancient civilization but then leaving everything behind on the island so that they can go home. Or the kid inadvertently (or deliberately) destroying everything on the island and being okay with it. Or the island being some sort of trial or pilgrimage the kid has to undertake in order to become an adult, kind of like a spirit quest.

I guess I wanted the game to be more thematically cohesive. As it stands, it's a waste of what could have been some gorgeous environmental storytelling. I'm not sure that even the most resonant of themes and the most brilliant of storytelling could have made up for the shitty puzzles and platforming, though.
rynling: (Default)
What Remains of Edith Finch is a walking simulator that takes about two and half hours to complete. I think it was released back in April on Steam, but it just made its way to the PlayStation 4, and oh my goodness it is gorgeous.

What Remains of Edith Finch falls into the most perfect category of video games: It was created for an adult audience by a small team of developers who take full advantage of the interactive gaming medium but have no intention of fucking with the player. The game is emotionally challenging, and there's a lot to explore and take in. The design is flawless, and the atmosphere is never broken by the player having to get up and check a walkthrough.

You play as a young woman named Edith Finch who is returning to her family's house on a small island off the coast of the Pacific Northwest. The house has been abandoned ever since Edith's mother moved away in order to escape the family curse, which seems to be that everyone who is born into or marries into the Finch family dies in a tragic accident. In order to find closure, Edith tries to reconstruct the details of these deaths, which the player is allowed to experience for herself in a series of games within the game.

The story progression is definitely on rails, but it doesn't feel that way. Even though we know that each story will end in death, the player's interaction with the game is integral to the storytelling. The example I'm going to give isn't so much a plot spoiler, then, as it is a spoiler for the firsthand joy of figuring out what's going on for yourself.

Read more... )

What Remains of Edith Finch is one of those games that made me cry not because it's sad, but because it's so goddamn beautiful. It doesn't give the player the same sort of transcendent experience as something like Everybody's Gone to the Rapture or Abzû but instead offers a smaller and more self-contained story. Epic postapocalyptic science fiction is all well and good, but it's also nice to see the gaming medium used to apply magical realism to a Gothic drama of family ghosts and dying communities.
rynling: (Terra Branford)
"Everyone's smiles shine so brightly. Those smiles led us to so many other people. And those meetings will lead us to a bright future. I'm so glad I got to meet everyone. I'm so glad I got to meet you."

- Lillie

Pokémon Sun is such a sweet and gentle game. It only took me about 45 hours to finish it, but I spread it out over ten months because the world of the game was a surefire source of happiness and joy. Breath of the Wild was a lot of fun, but Pokémon Sun healed me.

As I wrote when I started the game (link), Pokémon Sun is an unapologetically positive model of what a postcapitalist utopia might look like. Money isn't much more than a game token, everyone's needs are met, and there is no scarcity; jobs pay well, leisure is abundant, and volunteerism is common. There is a state, but it only exists to provide basic services. The villains in the game are aberrations that have to be tolerated as a byproduct of the functioning of the local market system, which is driven by individual interests. Basically, even in a postcapitalist system with no scarcity, some people will still insist on behaving according to capitalist ideology, and those people will create problems for everyone else if someone doesn't talk sense into them.

What I especially appreciate about Pokémon Sun is that it repeatedly emphasizes the message that everyone's talents are valuable. Success is achieved through cooperation and mutual support, and the goal is not to "get stronger" but to develop one's unique strengths. The character Lillie is a good example of this value system. She wants to get stronger at the beginning of the story, but gradually she finds the courage to resist the expectation (enforced by one of the game's villains, who happens to be her gorgeous and fascinating mother) that there is an absolute standard to which she should aspire. That being said, Lillie isn't content to "be herself," as she acknowledges that change isn't something to be afraid of, and she makes a firm decision to direct her own character evolution by setting her own challenges.

If you choose to play as the female protagonist, the relationship between this protagonist and Lillie is the most pure and perfect thing I have ever seen in a mainstream game. I'm actually really surprised that Nintendo allowed this, considering how gay it is.

The people who wrote the entries in the pokédex are complete savages, though. That shit is dark, and whoever is responsible for it needs to reflect on their life choices and think about what they've done.
rynling: (Ganondorf)

I'm not super into men or dating sims, so I'm probably never actually going to play Dream Daddies, but I really enjoyed reading an essay titled Angels in America and Log Cabin Republicans: How Dream Daddy’s Joseph Reflects Gay Conservatism. The whole thing is good, but the conclusion is gold.

Which brings us back around to the question of when it’s “okay” to write a character who is both part of marginalized identity and also a terrible person. Joseph’s story isn’t just part of a long storytelling tradition examining the ways in which heteronormativity is imposed on queer men; he’s also one character in a cast full of diverse portrayals of queerness. It’s a simple idea that bears repeating: if you have a character who is the only member of a group in your whole story, they are inevitably made to stand for the author’s thoughts on the whole of that group–because it’s the only example we have to go on; tell a story with many members of a group, and their individual traits are tied to who they are as people, rather than their identity.
This is actually somewhat tangential to the point of the essay, which mainly concerns itself with a close reading of a character within the relevant historical context, but I think this conclusion gets to the heart of why I'm so distressed by what I call "Idris Elba tokenism," which is when a work of fiction has its one character with a minority identity be a terrible person, often in ways that reflect negative stereotypes regarding that minority. Although this is obviously a major problem in big-budget popular media, I've noticed that it's also a tendency in the work of Tumblr-based and other independent creators, who feel pressured to represent a certain minority but don't fully understand what that minority identity entails or what "representation" is supposed to achieve in the first place. 

This is also why I want someone to develop a concept like Magic Mummies, because I am so thirsty for diverse representations of older gay girls that it's kind of gross.

rynling: (Mog Toast)
As I play Final Fantasy XII, the outfits of the female characters have been driving me a bit crazy. What I was able to accept in 2007 isn't really flying with me anymore, and I feel a burning desire to fix the stupid designs, or at least try to imagine alternatives.

The worst offender is Fran, who is from a tribe called the Viera. The Viera are basically forest bunny versions of the Gerudo from the Zelda series (link) in that they're an isolated society of warrior women whose "otherness" is marked by brown skin, while they are made less threatening to the ostensibly straight male player through their sexualized clothing. As is the case with the Gerudo, the elements of "male-oriented exoticism" are unfortunate, because the Viera have an interesting culture. Likewise, Fran is a fascinating character, but... I don't really need to watch the black leather of her thong disappear into her bare butt as she runs through the desert, you know?

This is Fran's official design (link), and here is some concept art (link). I would be interested in keeping the character's features the same while designing a battlemage adventure outfit that's a bit more practical. I was thinking about actually commissioning someone in the Final Fantasy fandom, but no one jumps to mind. I'd love to see Kashuan do something like this, but...

A lot of Final Fantasy artists have moved on (typically to the Dragon Age fandom), and the ones that are still around really intimidate me. They didn't talk to me when I was a baby fan on DeviantArt, and they sure as hell aren't going to talk to me now that I'm a slightly less baby fan on Tumblr. So maybe this is something that I should try to do myself?
rynling: (Ganondorf)
Rime (stylized as RiME for some reason) came out this past May, and people have been describing it as a cross between Journey and The Wind Waker. This comparison is apt, as Rime has the aesthetic sense of Wind Waker with a few design elements borrowed from Journey, and its particular brand of "exploration adventure" is clearly influenced by Journey, with a few gameplay elements (such as moving block puzzles) drawn from Wind Waker.

Rime is apparently supposed to be three to four hours long, and I think I'm about a third of the way through. This doesn't include the extra hour I spent trying to get past the first section of the game, an hour that I erased by resetting the game and starting over with a walkthrough. Overall, Rime isn't particularly difficult, but I want to talk a bit about this weird failure in the design of what it's probably fair to call the "tutorial mission."

Read more... )

I frequently have trouble figuring out the internal logic of games that are new to me, so this could just be a consequence of my own relative lack of skill, but I still think exploration challenges with this level of difficulty should not be part of the tutorial mission. This wouldn't be a flaw in a game that is in fact meant to be difficult, but it's definitely a problem in Rime, and it could have been avoided with a focus group of literally one shitty gamer.

My experience of fooling around with Rime has been making me appreciate how good the game design of the Zelda series is, especially Breath of the Wild, which has no artificial barriers and doesn't force the player to use an action before they've figured out how it works in a more natural and intuitive context. That being said, there is more environmental storytelling in the first hour of Rime than there is in however many 100+ hours I spent with Breath of the Wild. After I finish Rime, I want to talk more about the intense Wind Waker feels this game has been giving me.
rynling: (Ganondorf)
Me: What do we want??


Me: WHEN DO WE WANT IT?!?!?1??

Square Enix: ffxii_fran_hd_closeup.png

Also Me: MAYBe we can wait until,, the gaming culture matures,,,, I am not sure this is what
rynling: (Mog Toast)
It's been a busy week, but I've been trying to make time for Final Fantasy XII. Last night I got as far as watching Vayne's speech in Rabanastre, and I was impressed. This is partially because the voice audio has been beautifully remastered, and partially because the voice actor (someone named Elijah Alexander?) does a wonderful job, but mainly because it's a good piece of writing.

I don't remember ever having strong feelings about Vayne, mainly because I've never been 100% clear on what his story arc is supposed to be. From what I understand, he firmly believes that there should be peace in Arcadia, and he wants his little brother Larsa to preside over that peace. Vayne fears that the continued existence of Rabanastre as an independent state will only result in escalating tensions between Arcadia and Rozarria; and so, to shield his brother from becoming enmeshed in a prolonged conflict, he has the king of Rabanastre murdered by someone imitating one of the kingdom's war heroes in order to force a quick resolution. Vayne knows full well that what he's doing is evil, but he takes one for Team Larsa.

And then at some point he goes crazy and becomes the final boss monster, which has something to do with Balthier's Hot Dad. To me, a more reasonable narrative progression would result in a final boss battle against Hot Dad and Venat, but... Maybe I should talk about this later. In any case, Vayne deserved better.

Speaking of hot dads, Vaan is such a dick to Migelo. I know Vaan is only seventeen, but come on. Migelo deserves all the love. His voice actor (John DiMaggio, who is apparently also Wakka's voice actor??) does this weird cottonball mouth sort of thing, but I would not be surprised if Migelo was a total badass when he was younger. He is a master of social interaction, and the way he bows his head to Vayne after their conversation, like, hurt me.

As an aside, I would recommend that no one go looking for fan art of Migelo, just take my word on this.
rynling: (Celes Chere)
The God of Pre-Orders was kind to me, and I got my copy of the PS4 release of Final Fantasy XII a day early. It's been five years since I last played the game, but I still remembered exactly how long the prologue is, so I made myself sit down and suffer through it last night.

At the beginning of the game, there is an extended exposition dump about military action and political betrayal that then makes an abrupt transition to the perspective of an orphaned teenager killing rats in the sewer. I understand why it's effective that the story be told primarily from the perspective of a representative of "the common people," but I do think the prologue could have been handled more skillfully. Specifically, I wish the narrative had begun with Vaan's personal concerns and only gradually revealed the larger conflict, including Ashe and Basch's backstories. For the first few hours of the game, it's really enough to say that a small city-state was conquered by the powerful empire to the north, and foreign troops now occupy the city in preparation for the arrival of an imperial governor. Although it makes for a dramatic opening cinematic sequence, Ashe's marriage is largely immaterial to Vaan's story, as is Marquis Ondore's lengthy history lesson.

I don't dislike Vaan with the intense burning hatred I feel toward Tidus, but I'm planning on rushing through the game until the point where its real heroes, Ashe and Basch, join the party.

ALSO, NEVER FORGET: http://xii.venusgospel.net/ff12_basch.html
rynling: (Ganondorf)
It took me four months, but I beat Breath of the Wild. I... feel so empty inside.

I accidentally skipped through the end credits, so I don't know how many hours I put into Breath of the Wild, but the post-clear map screen tells me that I've only completed 39.48% of the game. And this is after me finding and upgrading all of the gear, finding and finishing all of the shrines, and thoroughly filling out the "Hyrule Compendium" (which is basically an annotated photo album). I think that the rest of the percentage points probably have something to do with collecting all of the Korok Seeds, of which there are 900 (I've found a little more than 200, which is all you need to max out your gear slots), as well as finding and defeating every instance of every monster. Maybe I'll pick these projects back up when there is DLC available... or maybe not.

To be honest, there isn't a lot of story or lore or worldbuilding in Breath of the Wild, and running around and poking Link's face into the various nooks and crannies of the overworld map doesn't really teach you anything. After a while, everything starts to feel a little generic, and actually playing the game isn't helping me get inspired to write fic about it.

I'm not sure what to do with myself now. I'll just wait patiently for FFXII to come out, I guess.
rynling: (Terra Branford)
For my class on Final Fantasy X this semester I've been using screencaps from my current Steam playthrough for my PowerPoint slideshows, but as I've been putting together my last (thank god) presentation I realized that I'm missing a crucial shot. I had a vague memory of saving someone's screengrab from Tumblr a few years ago, so I went into my old "Final Fantasy" image folder to see if it was there. In fact it was, along with dozens of screencaps of Barret being his beautiful self.

I never really thought of Barret as being one of my favorite Final Fantasy characters, but the results of my pre-2014 internet magpie tendencies prove otherwise. I have like one picture of Sephiroth, maybe three or four of Cloud, and a good half dozen of Tifa, but most of the FFVII images in that folder have something to do with Barret. Honestly I still love him, and I regret nothing.
rynling: (Ganondorf)
It's funny, but I think I'm more disciplined about playing Breath of Wild than I've ever been about anything in my life.

Don't get me wrong, playing the game doesn't feel like work, but it does require mental energy. It's not difficult, per se, but it requires that you be fully engaged with the diegetic environment. Sometimes when I get home in the evening I just want to take a bath and read for a bit and go to sleep, but I've been forcing myself to sit down on the couch and turn on the Wii U so that I can get just a little farther in Breath of the Wild.

Every night I try to play through at least one shrine. Shrines are puzzle-based mini-dungeons, and since they're hidden all over the world (often in dangerous areas) locating and then being able to access a shrine is often a major task. There are 120 shrines in the game, and some of them are significantly more difficult than others. If I can, I've also been trying to complete or at least trigger one side quest a day.

Meanwhile, I haven't gotten very far in the main quest at all. The story (such as it is) is told through a series of flashback sequences, and I watched them all on Youtube a day or two after the game came out. I mean, this game really isn't about story. There's a princess who wants to be a hero, but because she's a girl and doesn't have The Phallus Of Destiny her job is to sit in the castle and wait for the hero to save her. Some story, right? Nothing in the game really changes if the player completes one of the dungeons, so I'm saving them for when I get around to it.

For the time being, my goals in the game are to make Link (1) rich, (2) swol, (3) fashionably dressed, and (4) a certified master chef, and I am making good progress.
rynling: (Gator Strut)
It seems that there is a Wikipedia entry on video games as an art form. The major strain of criticism I've encountered (generally from inside the game dev community) that holds that games are not "art" tends toward the argument that the ontological category of "art" is transcended by the multimedia and nonlinear nature of games. The sense I get from the Wikipedia entry, however, is that there is still a debate focused on the participatory elements of the medium and the ostensible lack of creative direction of an auteur.

I've frequently run across references to Roget Ebert supposedly saying that video games are not art, a quote that (I think?) I was finally able to track down...

Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control. I am prepared to believe that video games can be elegant, subtle, sophisticated, challenging and visually wonderful. But I believe the nature of the medium prevents it from moving beyond craftsmanship to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers.
Five years later, in April 2010, Ebert posted an essay literally titled Video Games Can Never Be Art, which was written in response to a TED Talk (that I will not link to because TED Talks are ridiculous and pretentious) in which someone quoted him being old and grumpy. Here he writes...

One obvious difference between art and games is that you can win a game. It has rules, points, objectives, and an outcome. Santiago might cite a immersive game without points or rules, but I would say then it ceases to be a game and becomes a representation of a story, a novel, a play, dance, a film.
Elsewhere in the essay he references Werner Herzog, which is never a good indication of having an open mind about new technologies. In any case, the internet exploded, and two and a half months later Ebert made another post conceding that...

I thought about those works of Art that had moved me most deeply. I found most of them had one thing in common: Through them I was able to learn more about the experiences, thoughts and feelings of other people. My empathy was engaged. I could use such lessons to apply to myself and my relationships with others. They could instruct me about life, love, disease and death, principles and morality, humor and tragedy. They might make my life more deep, full and rewarding. [...] I had to be prepared to agree that gamers can have an experience that, for them, is Art.
He's not happy about it, though, and mostly he justifies why he's not interested in engaging with the argument, his reasoning basically boiling down to the fact that he's not interested in playing video games. So that's a dead end.

When "video games as art" are discussed in other contexts, it seems to be in terms of "game art," which is when games are presented in the context of gallery spaces, as in the case of installations like Super Mario Clouds. Like the Ebert "debate," those conversations feel dated (probably because they in fact occurred almost ten years ago), and I wonder if the sort of games profiled by 365 Tiny Games are what are now considered to be "art games."

I don't have much to add; I'm just amused that this was ever a thing. Of course games are art.
rynling: (Cecil Palmer)

Breath of the Wild has started to stress me out (I'm still overwhelmed tbh), so I've started playing Night in the Woods instead. It's a visually gorgeous game, and the writing is fantastic.

I've also been listening to the OST. There are a lot of interesting songs there, but the one I've had on repeat is Possum Springs, which is super chill and relaxing.
rynling: (Needs More Zelda)
I've really been enjoying Breath of the Wild.

To be honest, I wasn't crazy about the game when I first started playing, as the "go anywhere and do anything" mode of gameplay can be a bit overwhelming. Now that I've put more than fifteen hours into it, though, I can say that I'm having a crazy amount of fun with Breath of the Wild. It's everything that I've ever enjoyed about the Zelda series in terms of adventure and exploration and the thrill of discovery. The player is free to go off on her own in any direction, but there's just enough guidance to ensure that you're never going to be completely lost or unsure of what to do next; I think the game developers were able to create a perfect balance between creative direction and player agency.

Breath of the Wild is deep and rich and full of cool things to interact with, and it's super saturated with color and charm and humor that ranges from stupid dad puns to surprisingly clever sex jokes. Also, it's been breaking my heart with its sheer beauty. The music and lighting effects are phenomenal, and the characters are gorgeously written. Link has depth, Zelda has depth, a ton of the NPCs have depth, and their stories build slowly and gradually gather momentum.

My favorite thing about the game is that it's filled with plants and animals in a vibrant and interconnected set of ecosystems. Basically Link can ride around on a horse all day hunting and fishing and collecting mushrooms and herbs, and it never gets boring. Whatever you chose to do (or not do), the game will reward you by being an absolute joy to play.

Breath of the Wild feels infinite, and its plot and background information is offered to the player in such small fragments that people will probably still be trying to put everything together years from now. I have some major concerns about the story, but it's easy to put them aside and just have fun in the wide open world.

TL; DR: Breath of the Wild gives me life.
rynling: (Ganondorf)
I keeping thinking about Ganondorf as a representation of a complicated ethical position, and I keep finding interesting references in the weirdest places. For example, these are two panels from a comic (link) illustrating one of the more disturbing ideas to come out of contemporary posthuman philosophy:

rynling: (Gator Strut)
I am all about this essay on modding, accessibility, and gaming:

You'll hear all sorts of discussion about the way a game is "meant" to be played. But this sort of analysis is unfair to players! Games are so often dismissive or unaccommodating, and the culture that has formed around it equally so — it prides itself on games that encourage huge time commitments, are prohibitively difficult, or pile on a ridiculous number of things to attend to. It's a culture that's fueled by a desire to feel accomplished, by winning out against a stacked deck.

I'm considering getting myself a desktop PC. This is mostly so that I can run the current edition of Photoshop without my laptop crashing, but I'd be lying if I said I don't intend to cheat at games that are too difficult or too time-consuming.

Back in the day, I used to love my Super NES Game Genie. I enjoyed using it to explore the maps of games I had no desire to master. Some people say that the experience of playing a game shouldn't be like walking through a museum, but why not? Some of us really enjoy walking through museums, and there's no shame in that.
rynling: (Cecil Harvey)
I played my sixth 30-minute session of Final Fantasy XV last night, and it did not go well. I'm having a lot of trouble with this game, which I'm afraid is indicative of my failure to adapt to modern gaming. The biggest problem I'm having is that the map works in a way that is not intuitive for me, and the text and maps in the official strategy guide are not in the least bit useful in helping me navigate. I'm getting lost a lot, especially when the game decides it's going to be night and I can't see anything.

FFXV is an action RPG, and combat moves extremely quickly. With four people and swarms of enemies, even the first several battles are chaotic, and the fact that the player needs to control the camera as well as Noct does not help. The entire screen is filled with rapidly shifting information, none of which I know how to process. Although you can pause the game, there's no way to slow down the battles, and they are brutal. In other words, the player is expected to start the game at a fairly high point on the learning curve.

(By the way, if your response to my admission of difficulty is "I'm not having trouble" or "my friends aren't having trouble" or "the Let's Play Youtuber I watch isn't having trouble," check yourself.)

After every battle, the game grades you on your performance. I wish you could turn this feature off, because it makes me feel awful about myself. Even worse, every time you rest for the night (which you need to do in order to tally your experience points and gain levels), the game grades you on how well your exploration went that day. Because I want to explore the map and am constantly getting lost, this makes me feel awful as well.

You suck, FFXV keeps telling me. You're barely passing. You're bad at playing this game. You're bad at games. What are you even doing.

A lot of the work I do in real life is invisible, and I don't typically get a lot of feedback, positive or otherwise. I also don't get much feedback from my creative work in fandom, which (as much as I would love to say that "I create for myself!") is also tough to handle. One of the reasons I play games is because I need to feel like I'm capable of accomplishing something. Even if it's just gaining a level or being told that I found 100% of a dungeon's treasure, I like to feel that I'm making progress.

The constant stream of negative feedback in FFXV is so hurtful and alienating, and I don't know why it has to be this way. I play Final Fantasy games to experience interesting stories and explore beautiful worlds while falling in love with quirky characters as I gradually customize their growth. If I wanted to play a hyperdrive murder simulator, I would choose another game. There are a lot of them out there!

Because FFXV is so stressful, I wind down from play sessions by playing other games, mainly Pokémon Sun and Link's Awakening. Go at your own pace. Take your time, both games say to me. You're doing great! It's not that the games aren't challenging, but rather that they're broad enough to accommodate diverse playstyles.

I'd like to advocate for "slow gaming," which I see as a more individualized and sustainable type of gaming. I'm going to need to think about what this means before I write more about it, but basically, I want to say that the style of gaming represented by FFXV should not be understood as normal or standard or something that anyone can enjoy.
rynling: (Ganondorf)
I had to work on Friday, and I didn't want to get myself too psyched up by the Nintendo Switch presentation broadcast to fall asleep, so I skipped it and went to bed.

When I woke up at six the next morning, the Nintendo Switch was sold out. Everywhere.

The Master Edition of Breath of the Wild was also sold out. Everywhere. Even in Canada.

On one hand, I don't care. I will get the Switch eventually, and despite being a huge nerd I have no use for video game memorabilia cluttering my home and office. I've had the Wii U version of Breath of the Wild preordered for months, so it's not like I'm not going to be able to play the actual game when it comes out.

On the other hand, I've had the Nintendo Switch listing pages of several online retailers bookmarked since June, and I checked them almost every single day, just in case. To have made diligent efforts in tracking this console for eight months only to miss my opportunity in an eight-hour window is beyond frustrating.

This is an important life lesson, I think. In order to succeed, you really have to be at the right place at the right time. If you're not lucky, or if you don't possess sufficient foresight, or if you don't have insider information, no amount of persistence or hard work will help you achieve your goals. Malcolm Gladwell wrote an entire book about this.

I think it's high time I accepted that, at this point in my life, I am not an outlier. I am never going to be in the right place at the right time. And that's okay! It has nothing to do with me. So why am I working so hard? I should really spend more time chilling out and enjoying myself.

And honestly? I'm not actually that excited about the new Zelda game anyway. Let me tell you about the sexism.
rynling: (Gator Strut)

That Pokeyman Thing is a twenty-minute browser game that was put together partially in response to an interview with Werner Herzog in which the dude totally does not understand Pokémon Go.

To me, as someone who is still keeping up with Pokémon Go, That Pokeyman Thing captures the experience of playing the game quite well - it's more than a little stupid, but it's actually kind of fun, and it does encourage you to leave the house and explore your neighborhood. I usually hate WASD games, but this one is well written and well programmed, and as an added bonus the music is super catchy.

I'm on Level 27 in Pokémon Go, if anyone cares. I have been on Level 27 for months.


rynling: (Default)
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