Playing Against Type

Bloodborne.  Lots of people call it a good game.  And they’re right.  Some people call it a great game.  I’d agree with that.  Some people call it a masterpiece.  Those people, I start wondering if they need their heads checked.

Bloodborne has a lot going for it.  It was built on top of a great, proven engine, it has a great design, its lore is steps ahead of your average game, the combat engine pushes the player’s limits in just the right ways, and so on.  But it’s also a flawed game, and it has a lot going against it that other games I would consider true masterpieces, such as its predecessor Dark Souls, deliberately and deftly avoid.  Two big things come to mind.

The first, I’m just not very good at Bloodborne.  I don’t click with the combat style.  Which is fine.  I didn’t get to where I’d actually consider myself good at Dark Souls until Artorias kicked my face in for two hours, so I think I just need a moment like that.  And everytime I look online for help, I come across a past conversation with the type of infuriating wanker that thinks there needs to be a holy war between the haves and have-nots of Bloodborne skill.  Which, really, is not a problem with the game itself, but I get to choose what I think are masterpieces, and the skill barrier disqualifies a game until I cross it.

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The second factor, I have to blame on the game.  Bloodborne’s gameplay has several mechanisms that just work counter to each other.  Bits of the design philosophy that conflict.  The most prominent is that Bloodborne requires grinding.  Specifically, it punishes you with grinding.  Your health items and one of your key defensive tools are consumable.  You use them, and they’re gone, even if you screw up and get all your progress you had used them towards erased.  Enough failed runs, and you’ll have to spend an hour’s time just farming enemies in order to build your supplies back up for another go ‘round.

Which would be a black mark on its own.  But what makes it even worse here is that Bloodborne is built around trial and error gameplay.  You are expected, almost required, to fail.  Because that’s how you grow.  Enemies are built to be too much for you at first.  Even at second.  Maybe up to fifth or beyond.  It doesn’t matter.  They only put you down so that you can get up again.  They hurt you so you get better.  As you fail, you learn their timings, you try new strategies, you find yourself moving where they’re weak, and by the time you’ve triumphed, you have had internalized who and what they are, through your repeated trials in overcoming them.

It’s glorious.  It’s one of the things that make so much of From Software’s recent output so great.  But it’s made so, so much weaker by the fact that you are punished for it.  The game requires you to learn from failure in order to succeed, but if you fail, it will take away from your experience.  The game abuses you for playing as it intends.

Thing is, having some mechanics push in one direction and other mechanics pushing you back is totally common thing in games.  In fact, to some extent, games are built on it.  The later Persona games created their whole time management gameplay by matching their mechanics encouraging you to take as much outside-dungeon activity as possible with mechanics limiting the amount you got to do.  Resident Evil 4 was all about deftly navigating hordes of enemies as you cut them down, yet would constantly limit your ability to do so by locking you into a vehicle or situation that restricted your movement.  Fire Emblem is focused on utilizing the near complete availability of information to build completely safe and defensive strategies, yet still left the unpredictable elements of critical hits and enemy reinforcements in there.  And they’re all great games.  In fact, the counter-productive elements add to the experience.  So why is it that it works here, but not in Bloodborne?

A lot of it lies in the nature of how these counterproductive elements are used.  In all those good examples?  The interworkings were set in place to provide limits.  To place challenges to overcome.  Games require rules and boundaries, and those elements were how the designers set those in place.  They gave you something to work around.  Providing new gameplay, even if, the way I explained it, it seems they should take away.

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Bloodborne’s grinding requirements?  Along with stuff like Dark Cloud’s fragile freakin’ weapons when the game requires you to be grinding them down?  Like Skies of Arcadia promoting exploration when the game has a monstrous random encounter rate?  Like Final Fantasy 2 requiring you to enter doors, yet more often than not sticking you in a stupid monster closet whenever you did so?  Those are all mechanisms of punishment.

Failure needs to have consequence, or so goes a common set of game design knowledge.  Thing is, games don’t exist in meatspace.  They can’t reach out of the screen and slap you when you screw up.  Yet.  I call dibs on the patent.  In fact, game designers don’t have a whole lot of torque over players in the real world.  So, for punishment, they use one of the few things they do have power over.  They punish you by wasting your time.  They remove the progress or resources you’ve already bought with your time.  Or, as in Bloodborne’s case, they make you spend more time before you get to the stuff you want to play.

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It’s not a good system.  Wasting your time is one of the biggest sins a game can commit.  There’s a reason why gaming has largely been moving away from this method of punishment, or, at least, limiting its impact, as the medium has developed.  And yet, we still see it pop up.  And it’s never to the game’s favor.  The sparse placement of checkpoints and the long walks after failure was one of the few black spots on an otherwise gleaming game in Dark Souls, and that, combined with the time required to grind up to recover from your losses, is one of the biggest weights dragging Bloodborne down.

It does lead to a more old-school feel, which is what I believe the Soul series is going for, but unfortunately, it does so without adding to the experience.  It’s better than a lot of other applications, such as the Do It Again, Stupid style gameplay I’ve been running into all over the PS2 era lately.  But I do feel that this is misused.

So how would I overcome this without changing this feature of the gameplay?  Try and make more use of it to add to it.  Bloodborne’s a bit more straight-lined than Dark Souls, but mayhaps this would lead to an opportunity to expand upon the rails.  Have one area give you a certain type of resource as a common drop, another area give you another, both needed to get through.  So, if you’re having a lot of difficulty with one place, the game guides you towards the section that carries the resource you’re lacking, so you still make progress there, while taking a break so you can get back to your trouble spot with a fresh mindset.

Then again, that doesn’t really fit in with the philosophy of the souls series.  But then again, neither does making endless runs through areas you’ve already got down pat just to get yourself back to a state where you can try the area that’s giving you trouble once more.  In any case, the counter elements should be posed more as limitations or as obstacles to be overcome, rather than as punishments, in order to lead to greater gameplay.  If Bloodborne implemented a more complex system of resource management, or a better way of recovering your supplies than mindless repetition, this may be a good fit.  As is, it only hurts the game, and it’s largely because of the way it’s posed rather than anything else.

Story Quality and the Persistence of Memory

Every once in a while I get something stuck in my head that’s absolutely unproductive but I spend a whole lot of time thinking through.  So here’s a question I was faced with recently.  Can a story be considered good, have the right mix of elements that resonates with the readers and makes for a good plot, when it’s absolutely unmemorable?

I came upon this when I started up playing Max Payne 2.  This wasn’t my first go round with the Max Payneiverse.  I logged my time in with the first Max Payne, like 15 hours or however long it took to get through it.  And that was an award winning game.  Back in 2001, it was the talk of the town.  The video games journalism town.  It’s scummy and the family trees are all tangled up there, I wouldn’t recommend you visit.

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Anyways, the first Max Payne.  Most highly praised for its gameplay, atmosphere, and squinty mugshots, but more than a few people gave it props for its story as well.  I played through all of it.  I have memories of my impressions of the plot.  But, in going to the supposedly familiar places, meeting all the supposedly familiar people, and killing a bunch of dudes all of again, I discovered that I don’t remember much of the actual events at all.  I spent hours with it, yet the actual happenings of the story are a big void to me.

That’s not to say that it’s a bad story.  Plenty of people had a good time with it, else it wouldn’t have gotten all those plotprops.  The few memories I have of the plot are decent enough.  I remember it being surprisingly down to earth compared to what else I was playing at the time, I remember being satisfied by the noir style telling, and I remember hating the Nordic theming at first but then absolutely loving it towards the end when I realized Payne is pretty much a historic berserker.  But the things that went on to cause those impressions?  No idea.

Part of that is just the nature of the beast.  Max Payne pulls back some noir storytelling, and noir by its nature is very introspective, reserved, and doesn’t tend to lead to the big Aha! Moments that really stick in the mind for the long term.  So the fact that a lot of it’s not sticking around may be a sign that it’s hitting the form it’s going for.

It may well be the type of story that only really shines on multiple retellings, when one’s had the chance to absorb more of it and read into it more fully.  I’ve come across quite a few plots that require experience or a certain mindset to really get into.

In any case, I find it difficult to look back on Max Payne and evaluate what I went through there.  Of course stories are subjective, and there are a lot of elements that can go into making a quality plot.  Does memorability need to be one of them?  If something was good while you went through it, even if it has no aftertaste, can you still consider it just as good after the memories leave?  I find myself torn.  To some degree, I’m pretty sure I enjoyed Max Payne’s story while I was playing.  There were at least good points to it, and just because I don’t remember them doesn’t mean they weren’t there.  But none of it stuck.  I spent all that time with it, and I’m carrying none of it around with me.  And to some degree, that has to diminish the experience once it’s over.  Is it enough to make it all invalid?

Then again, a lot of this is me trying to internally evaluate a work that I have no memory of.  I had my time with it.  I may not of been the most engaged, but I know I had some fun, and just because I don’t remember it any more doesn’t take that away.  Beyond that, it doesn’t matter to me now.  Whether I can call the original Max Payne good or not doesn’t have an impact on me until I start playing the game again.  We’ll see if a story can be unmemorable but still be good then.

Yandere Simulator: The Destined Battle

I hear you.  You don’t speak much, but even so, I hear you.  And perhaps more importantly, I listen.  You’ve been telling me something for a long, long time now.  You’ve been telling me what you want, for a good long while now.  I haven’t given it to you yet, and for that, I’m sorry, but that doesn’t mean I haven’t been listening.  I know what you want.  My search terms tell me so.

Specifically, you want some Yandere Simulator porn.

In fact, you’re absolutely hungry for it.  No, you don’t need to deny it.  I know.  See, here’s the top search terms bringing you to my site in 2015.

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That’s changed a bit in 2016, but I can tell your desire is still there.

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All that, in spite of the fact that I have never actually written about Yandere Simulator.  Or porn of Yandere Simulator.  It dominates my search results, but has never touched this blog.

But I am a man of the people.  So, there’s two great tastes we’re looking at here.  One is a pre-alpha build of an indie video game steeped in creepiness.  The other is graphic images and films intended for sexual arousal of a third party.  Together, this is really far outside of my usual wheelhouse, but I’m willing to meet you halfway.  We’ll pick one of those aspects, the one in the medium I’ve spent my whole life and most of the posts on this blog building myself up in, and we’ll have ourselves a good old runaround about that.

Now, which aspect we’re picking up should be pretty obvious.  I’ve got a great passion for video games.  Hell, just count how many words I’ve devoted to gaming in this blog alone.  Go ahead, count them.  I’ll wait here for you.

Yeah, you’ve got that right.  On top of that, I’ve been a player since I was a cub, barely learning to walk.  Video games make up a large part of who I am.  It’d be amiss for me to choose any other aspect.

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Sticking the Landing

Red Metal and I have been going round and round these comment sections, complaining about when the plot turns sour at the end of video games for a long, long time.  And with good reason.  Dropping the ball on the plot like that is pretty much like giving the player a nice, delicious dessert, only hiding a big ‘ol rock in the middle of it.  You’re going along, enjoying yourself, and then bam!, all your teeth are shattered and you hate everyone who delivered that to you.

But, you know, plot is not the only way a game can fall apart at the end.  I don’t know if it’s even the most common way a game can fall apart.  Plenty of games fall apart gameplay-wise, as well.  In fact, thinking back, it’s hard to remember the last time I played a game that didn’t somehow just drop in gameplay quality at the end.

Fact of the matter is that most of the people who start your game aren’t going to get to the end.  As it turns out, not everybody can muster up the commitment that I do so magnificently all the time.  So, it makes sense that they’d put most of the quality up front.  That’s where the reviewers are going to focus, that’s where your first impression is developed, and really, that’s where you know most people are going to be playing.  From a pure dollar/value standpoint, of course that’s where you’re going to get the most impact for your operational inputs.

Of course, it may not be a conscious decision to focus on the start to the detriment of the end of the game either.  Oftentimes, if you’re making the end of the game at the end of the development process, you’re just running out.  Running out of funds, running out of energy, running out of creativity, it’s kind of natural you just wouldn’t be able to bring it the same way you were earlier.  Compounding this, one of the ugly truths of the video game industry is that crunch time is a standard practice.  When your game is getting close to being ready, your life will quickly become hell.  And you’re still supposed to squeeze out the magic there.  It just can’t happen.  So if crunch time is overlapping with you capping off the game, of course the quality’s going to suffer.

Just like a plot going down the tubes at the end can derail the whole experience, so to can the drop in gameplay.  I was actually enjoying Fallout 4.  I know not everyone enjoyed Fallout 4, but I did.  Until the end.  Which hit a really weird moment.  That was the point at which the plot was reaching its most tension, with all the factions I had been moving along having their irreconcilable differences finally coming to fruition, and with that pushing things forward, it really should have been at the game’s height.  The gameplay just wasn’t matching it, though.  The game completely ran out of anything new or different to deliver, leaving me fighting the same old goons without anything really special to it, glitches started popping up a lot more, and balance all went out the window.  The quests had the highest amount of emotional release in the game, but aside from the Brotherhood trying to get its troops at me through a toothpaste tube, which was kind of cool, the gameplay was all same old, where it wasn’t lacking.  It kind of made the experience feel a bit hollow.  Part of me was into it, part of me wasn’t, and I ended up suffering through the bad parts and not enjoying the good as much as I would have otherwise.

Don’t have much of a point here, just a bit of a rant.  But, while it’s easy to complain about a bad plot twist spoiling a game for you, and while a disappointing last level may not ruin the experience as much as a failed ending, it really amounts to a bit of lost potential.  I finished Fallout 4, and haven’t cared to go back, but a game that sticks the landing can have me coming back again and again.

The Bloodborne Mumbles

I’ve been playing and publicly humiliating myself at Dark Souls for years.  I finally got myself through that.  You might think I need a break from that, but nope, apparently not.  After a scant few weeks away, I started playing Bloodborne, and stepping back into that engine, that design philosophy, that world of challenge… well, it felt good.  It felt right.  So much so that, after spewing so many words at Dark Souls, it just feels like there’d be something wrong with the world if I didn’t do the same for Bloodborne.  No Let’s Play here, because I don’t know how to get screens off my PS4 I want to play this one for myself, but I’d still like to get my first sessions’ thoughts down about the game.

Let’s make this happen.

  • First things first, the Otaku Judge and I’ve been in each other’s spheres for a good long while now. So when I finished up my Dark Souls run, he suggested Bloodborne to me, thinking I would like it, unaware that I had already picked it up and it was already on its way through the black magic and the mail.    And hey!  He was right!  I do like it.  Great minds thinking alike and all that.
  • Dark Souls was a very hard game to stay unspoiled from. I ran into things by accident.  Knowing I’d eventually be interested in playing it, I’ve been a lot more careful with Bloodborne.  This will be about as pure an experience as I can get here.  Very little spoilers for me.
  • We plug the game in and… not off to a great start. I’m really starting to get tired of always being asked to download and install a patch every time I buy a new game.  I get this thing, I want to play it.  I don’t want to spend my limited gaming time with this new piece of art I’ve been looking forward to just slapping some files together.    Screw that.  I don’t get to play online because of it, but whatever.  I’ll just try it out later.

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  • Dark Souls’ opening was full of lore and backstory. High concept fantasy stuff.  Bloodborne’s is a lot different.  The big thing they’re delivering is unanswered questions.  Hinting at the lore to come.  I’m a paleblood, whatever that is, and I’m here for blood ministration.  Going by the dictionary, that’s ‘the provision of assistance or care’.  To my blood.  I’m here for a transfusion with some of Yharnam’s super cool pimp blood, then contracts are mentioned, then character creation screen.
  • You get a lot of options with character creation. As is my wont, I spend a lot of time here.  I’m really attracted to the options you get with the skin color.  I briefly consider popping the Incredible Hulk in there, but since girls aren’t watching and I don’t have to show off, I go with something a lot more basic.  I end up with a willowy muse, who just happens to be very, very blue.
  • Demon Souls let me have my characters face, but didn’t have a lot to play with in creating it. Dark Souls was less limited, but in one memory I actually find really funny, totally played me by making my character completely skinless.  Kind of wondering if Bloodborne will end up jerking me around the same way.  I’m hoping they will, actually.
  • I originally intended to base my starting class on which one had the sexiest hat. Unfortunately, none of the classes change your equipment layout.
  • So, the embarrassingly long amount of time I’ve spent fine-tuning my appearance is over, back to the intro. I pass out, creepy wheelchair doctor disappears, here comes a werewolf made of blood.  Just like a Tuesday morning for me.  Werewolf burns for no reason, then from around the bed I’m strapped to, here pop a whole lot of creepy baby Ghoulies.

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  • Okay seriously, I don’t like these guys. Don’t want to look at them.
  • Oh hell they’re touching my face!
  • Okay, that was horrifying and I’ll never be clean again. I’m free now, though.  Let’s play with the controls.
  • Okay, that is totally just Dark Souls. I can’t block, and my dual wielding button is moved, but otherwise, right at home.  The path I’m on leads me to a werewolf.  Let’s test my knowledge of this out.
  • Considering I’m unarmed and doing 12 damage a shot, I’m actually doing quite well. The werewolf can’t touch me.  At least at first.  But one difference from Dark Souls, when you’re locked on, your dodge is a quickstep rather than a roll.  The timings a bit different.  While it’s clear from the first time I used it that there’s some invincibility frames in there, I don’t know where they are, exactly.  After smacking him like twenty times with my bare fists, I get caught, and that’s the end of that.
  • That seems to have been the intended path, though. That makes me even more frustrated at that loss.  I bet I’d have gotten something super sweet if I had managed to get past that first werewolf.  In any case, upon death, I’m transported to the Hunter’s Dream, which seems to be the hubworld for everything else.  Big flashbacks to Demon Souls here, but unlike that time, it wasn’t something super sick wicked that killed me.

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  • Weapon time, though! I almost gave up on them, given that the Ghoulies have touched all these weapons and they’re super icky, but I’m not into that much abuse.    I know very little about how Bloodborne differs from Dark Souls, mechanically, but I do know that it requires a more aggressive playstyle, focuses on counters over guards, and has you fight groups of enemies a lot more often.  In light of that, I opt for the faster weapons over the stronger ones.  Figure mobility is more key here.  On top of that, this gives me the option to beat down werewolves with a cane, like the gentleman I was always meant to be.  Sweet.
  • Fast forwarding a bit, the first bits of lore you get about the game you find from talking to jerks hiding in their houses. And they’re always jerks.  Anyways, that’s some great use of light.  There are lots of doors, given that you’re fighting your way through city streets, but all the ones that will talk to you have a lit lantern next to them, or light peeking underneath, or some other use of lighting that just draws your eye to them.  Clever, and it feels really natural.
  • So, yeah, lore. The city of Yharnam is pretty screwed thanks to ‘the Hunt.’  I am a ‘Hunter’ and it’s up to me and ilk to slay ‘beasts’ such as those werewolves and all the other jerk townsfolk I’ve been smacking around.  Also, I’m an ‘Outsider’ and that means everyone ‘hates’ me even though I’m somehow supposed to make everything better and they can all go ‘die horribly in a fire’.
  • A few werewolves have been crucified and set on fire. Not necessarily in that order.  So far, I’ve mostly been smacking around a bunch of townsfolk who’ve gotten a little too bigheaded, rather than the beasts everyone’s talking about.  I wonder if this is going to end up being me just going mad and slaughtering everyone, my insanity driving me to think I’m some great liberator as I’m doing so?  The pieces all fit.

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  • The Dark Souls engine was never great at having you fight groups. The camera’s too close and controlling it uses the same thumb as your vital dodge button, your defenses are pretty uni-directional, and the margin of error is way too slim.  Bloodborne keeps some of those problem, but fixes others, so overall, it is a bit better suited.  Namely, your dodge roll/quickstep is faster than it used to be and actually has some invincibility frames, so you can weave through multiple attacks a bit better, and, I don’t know if every weapon has this, but the alternate blade-whip mode of my cane was great for keeping groups of enemies at bay.  I still had to employ a good bit of my old Dark Souls scumbag tactics to get through, but I’m comfortable with that.  Positioning is very important, taking control of choke points or at the very least getting everyone to come at you from all directions, but so far, the levels seem designed to give you ample opportunity for that.

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The Survival Horror Balancing Act

Ever since survival horror became a thing, video games and horror have gone together like peanut butter and chocolate.  Like cheese and wine.  Like me and everyone else’s girlfriends.  The inherent nature of video games lends a lot of tools that really compliment the necessary design for good horror.  The immersion.  The unpredictability.  The lack of story compression.  It’s ironic that a genre once defined by its mimicry of film elements has so quickly developed into something all its own.

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I played Fatal Frame 3 recently.  It scared me.  Well, until the last few chapters at least.  And in a totally manly way, that reflects no weakness on my part, of course.  It also made me wonder at how long it’s been since I’ve actually felt that kind of tension from a game.  Most of the big publishers have been going for more of an action horror ever since RE4 rocked the world, with even Shinji Mikami’s efforts to bring survival horror back to its base in Evil Within seeming to hew too close to the action side.  The action horror just doesn’t bring the same level of stress so necessary to horror.  The indies have been filling the gaps, but personally, I don’t think I’ve come across an indie game that quite gets the survival horror mix right.

Horror is not an easy thing to deliver.  I’ve tried.  That work will never see the light of day.  And horror in video game form requires a very specific mix of elements that seems to be increasingly difficult to get right as the medium goes on.

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The big thing at the center of video game horror is stress.  Which is kind of counter intuitive with most games, as stressing out the player is a sign you’re doing something wrong.  In survival horror, though, that’s central to the experience.  A lot of it should come from having some sort of empathy with your central character who’s in this situation so above them, hence why your character’s are always pretty weak and generic rather than being a true doom murderhead like me, but what’s unique about video games is that a lot of this stress gets imposed directly onto the player as well.  Necessary resources are always scarce, controls are deliberately clumsy, and viewpoints are pretty limited.  You end up having the player fight with the mechanics as much as the character fights with the terrors facing them.  Having your character comparatively weak to the enemies they’re facing is a big one, but you, the player, are weakened as well.  Taken outside its context, this would make for an absolutely horrible time, but because the goal of these games are not to be fun, but to fill your pants with dread, they get to use that as part of the experience they’re building.

The stress has to be very carefully managed, however.  That’s part of why the good survival horror games are so slow, and work entirely at the player’s pace, because it’s easier to manage the necessary stress that way.  You want a slow buildup there.  Time to realize that the next room may have a whole bunch of enemies and you’re down to your last healing energy drink.  You need to be able to suffer from the poor controls and camera angles without being overwhelmed.  You need to be pressed to the limit, ever fearing that last nudge that will push you over, but then taken back some so that being at the edge doesn’t grow stale.  And you need to be very, very careful not to push the stress too far.  It is so easy for that level of stress to rise from the tension necessary in good horror to frustration, killing the mood of the game.  A death is a pretty common trigger for that, not only breaking the immersion but providing a relief to the pending fear in the form of anger as the player now has to deal with the punishment that comes with the failure state.  Survival horror has a very thin line that it has to walk in order to be effective, and good designers both guide and push the player along it, keeping them at just the level of stress necessary.

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Most of the modern games I’ve played seem to have lost that balance entirely.  Usually it’s on the side of not building enough tension in the first place.  Now that the genre’s making way for action horror, most of the stress built is instantly relieved just by blasting away at your foe.  The big problem is not just that you can kill your enemies, but you can kill them comfortably.  Fighting them doesn’t have as much pressure when you’re carrying an arsenal and every fight is not this whole new struggle.  And not only does the pressure not get built up in the first place, you get immediate relief by overcoming it, so things don’t get built from conflict to conflict.  Also, it’s a little hard to be scared on behalf of your character when your character is such a badass.

So far, a lot of the indies I’ve played seem to take it too far in the opposite direction, going for an even longer game than standard survival horror, and not building enough tension up in the first place.  I know I’m going to have to hand in my keys to the internet for saying so, but this was my big problem with Amnesia.  You play that game for so much time without much happening, that any sort of threat the intro and mystery builds up just fades with time.  A lot of indie horrors focus on the more puzzle/adventure aspect that comes in with the genre, and you do want to give them that, as well as give them time to absorb the story and get the suspense built up.  But suspense and fear come from two different sources of tension, and any attempts to induce one will fall flat if efforts up to now were largely towards building up the other.

I’m sure there are still some good examples of classic, solid, fearful survival horror out there.  I just personally haven’t played any that have come out since the PS2 era.  And there’s a reason for that.  It’s just so hard to get the balance for horror quite right.  It takes a lot of personality put into the game, a lot of preparation for the player’s actions, and a lot of manipulation of the player without letting them onto it.  It seems to become a much rarer form that those who do undertake this endeavor do so well.

The End of Dark Souls

Last time, on Aether Plays Dark Souls… you know what?  Forget about last time.  Forget about all those last times.  Except don’t really, because those last times were great and they make the world so much better, but maybe forget them a little bit, because it’s all about what we have ahead of us now.

For we are at our moment.  This is it.  This is that moment upon which the fate of the world will fall.

How long has it been?  How many deaths, both mine and others’?  How many tears, conquests, falls and rises?  How many friends have I gained and lost?  How many times have I truly proven myself the best chosen one?

And all around me, how many other people on their own adventures, dealing with their own plague of the darksign, making their own quests?

Tonight, that all ends.  When dawn comes again, if it ever does, the world will be changed.

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But a man can’t change the world unprepared.  I have some things to do.  First step, make use of the rite of kindling and build Firelink’s bonfire as high as it can go, filling my estus flask to bursting in the meantime.

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Second step, use the soul of the darkmoon knightess to make my estus even stronger.  It’s not the best way to honor her death, and I feel I owe her more than this, but you know what?  She tried to kill me.  I don’t care.

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Third step, head up to Frampt and cut him in his big stupid lying…

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I mean, try to cut him, but fall down the giant gaping hole in front of him instead.  Boy, do I feel stupid.

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There’s some magic there, to cushion my fall.  Who left it there, I don’t know.  But for once, I don’t get hurt.  I could get used to that.

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And here I am.  That which I’d been seeking to open on this whole ‘murder everyone’ fool’s mission. Continue reading