That's a secret. ...Partly because of wishful thinking that I can in fact get back to my YouTube channel at which point I'll probably talk about it somewhere down the line, in which case that'd be a spoilery spoiler. And partly because, well, even if I told you you're not old enough to play it. Of course, I still like the quite from the person I first heard about it from. "I'd tell you how old you need to be to play it, but, I don't think I'M old enough to play it..."
Funny you should ask... I actually have a review planned, the keyword being "planned" since all my plans to do videos or any substance have failed. I wanted to do a review of the new IT, not instance, and that almost gave me a panic attack. Yaaay...
But anyway, if I were to actually manage to make that review, it would be called "Bendy and the Ink Machine is the least terrible horror hype in almost a decade". Because, well, while it so far doesn't have what I like about horror, it doesn't have much of what I dislike either. It has an interesting and unique artstyle and concept, and it has something that is very important but lacking for horror games... SUBTLETY. The jumpscares, ignoring the Bendy monster going boo at the end of chapter 1, are actually really quiet and clever. My favourite is in chapter 2 when the cultist guy whatever his name was walks past with a cutout. At first you think it's another cutout peeking out at you, and a split second later you realize that oh, it's just being carried by a weird-looking dude, and THEN you realize that holy shit, it's being carried by a weird-looking dude. And the cutouts moving around when you're not looking or repairing themselves when broken and so on is a nice touch too.
However it's still not... good, per se. The crawling ink monsters are laughable, the Bendy monster is easily outrun (Hell, in the first chapter he doesn't even come after you. It kinda killed the mood when I realized I could just stand around with nothing happening), and there's not really any deeper layer to it.
Because unlike FNAF, BATIM clearly decided to take advantage of its increasing popularity and money, taking the time to make each chapter bigger and better than the last. The third chapter looks really ambitious from the looks of the trailers, and I'm hoping that the game will take a turn for the better as it goes on. If I know my stuff it should actually be out now... Once I can find a silent playthrough on YouTube, I'll decide based on what I see if I should review it.
So yeah. I think that Bendy and the Ink Machine falls into the same category as FNAF, Tattletail and Slender in the fact that it is a horror hype. A horror game blown massively out of proportions because of some cute gimmick and some opportunities to freak out at jumpscares. But I think that so far, it's already better than all of its predecessors, inferior only to the first horror hype, Amnesia. Which I think is an actually good horror game, and I'm disappointed that the internet took the wrong lesson from its popularity and thought the root of its success was its shock-moments, not the actual good stuff.
But at least BATIM is a step in the right direction. I don't think it's good, but I don't think it's bad. And it still has the potential to be good. That's more than you can say for any of the last few horror hypes. All it really needs to fit my standard of good horror is to keep up the subtle scares and suspense, and get the story going for realizies and make it an interesting one. I'm really hoping they won't fall into the trap of a really boring story like, say, "Joey made a deal with an evil demon and that's what Bendy is, you gotta stop him from being evil". That kind of shit fucked up the original Silent Hill...
There's your thing. You have a very black-and-white view of horror. I have a different view:
There's Shallow Horror
And there's Deep Horror.
Shallow Horror consists of surface-level scares, run-of-the-mill monsters and killers, and no small amount of games carrying out this type of horror.
Then there's Deep Horror, which you seem to prefer. Deep Horror is, in your words, 'about delving into the depths of the mind, and finding the darkest aspects of ourselves. It's about bringing up taboos we don't want to discuss; It's about exploring the human psyche as well as the psyche of the player'. Deep Horror focuses on more chilling aspects of life and the world as a whole, and you seem to like that.
But I don't think it's as simple as good and bad horror. Bendy and the Ink Machine is not a good horror game in terms of deep story and ideas (at least not at the present), but it has more surface-level goodies, such as a creative artstyle, and an idea that nobody has really harnessed before. Sure, we've gotten things like Roger Rabbit and Epic Mickey in the past, but they still have many differences. In my personal opinion, Bendy and the Ink Machine is the closest thing we're gonna get to an Epic Mickey 3.
It's very clear that you're a fan of, no, you're obsessed with, stories meant to provoke ideas of discontent and incredible worry, like some of Lovecraft's stories.
Personally, I tried to read The Call of Cthulhu. Emphasis on tried; Nothing the narrator said made any sense. And not in the good way, like, 'humanity can never understand the machinations of this kind of thought process', it's like, you're being overly complicated, which makes it almost frustrating to understand.
I feel like Wheatley from Portal 2 when he gets asked the paradox, and goes with 'true' because he can't really comprehend that kind of question. Instead of completely destroying him, it just goes over his head because he simply cannot understand it or what it means.
Shallow Horror is, in my opinion, a sort of gateway into discovering Deep Horror.
You start with the spooky animatronics and inky demons, and then you continue with Edgar Allen Poe and Ray Bradbury. You walk before you run.
I can see some people going that route, yes. However since what you call shallow horror is vastly more popular, that's what people tend to think of when they hear "horror". Horror has a shitty reputation just because people think of the shallow stuff when they think of it. I want deeper horror to be more common or at least recognized by the average person as its own separate thing, rather than being looked down upon as a lesser artform because part of it is done in such a manner.
I don't think BATIM is at all like Epic Mickey though. That shit goes way deeper and the only relation is the use of cartoon characters. As for not understanding Call of Cthulhu, I'd say try reading it again when you're older. Lovecraft has a very distinct way of writing, a mix of old-timey writing, a massive vocabulary, and a preference for certain words that are either lesser known or not used the same way anymore. Not to mention his way of conveying his writing. He either describes things in a very detached and informative manner, or a very stylized and poetic manner. Both of which aren't what the average modern reader is used to. The first time I read Lovecraft (Or well, the Swedish translation of his work, because I was a dumb kid who didn't read books in their original language yet), I was unimpressed because I didn't understand it at all. It either made no sense at all, or I drew the wrong conclusions about what it was about. It didn't help that I already had very specific expectations going in and they weren't at all met. I had heard about how Lovecraft's work was about all these weird creatures and shit, and yet such things are almost never mentioned. Because he's all about the mystery and the unseen, the unknown and the unknowable. If he would have taken the standard approach of making his monsters clear participants in the story, that would take away so much.
I don't think my view is very black and white though. I just have a different standard for horror. I did explain yesterday that I don't even think that "shallow horror" is real horror, but there HAS to be something deeper to it. That was me being tired, because my real position is similar, but not quite that. I can accept shallow horror as real horror as well, it just has to be done right. Just like jumpscares can be good if done right. It's just that they rarely are. It can't just exploit your primal reactions, it has to invoke a stronger, more lingering response. I think one of the best example of a horror game that isn't deep, but still good horror, is Alien: Isolation. There's no deep, terrifying thoughts to be found there. There are only dangerous aliens that kill you. But it's done in a very strong way that makes it feel like you're really there, and the jumpy moments don't get you out of the experience but pull you deeper in. That's what "shallow" horror needs to do to meet the standard of being good to me. Then it's not shallow. It's just... not deep. It's not just shock value. It manages to make you forget the comfort of your room on your side of the screen and suck you right into the game, and stick with you even when you stop playing. That is something even FNAF could have done if done better. If the jumpscares weren't as bad, if there were scares beyond the jumpscares, and well, one thing that again would have helped a lot is if you felt more like you were actually there. Even if you don't want free roaming in the building, you could still have made the office itself much more immersive. That's the problem, there's no immersion. Just surface-level "boo"s.
I think BATIM does its immersion better, because it goes considerably longer to make its work, despite being very different from reality, feel real. Even tiny touches like the bit of wobble to the camera when you're not moving helps convey the crooked, cartoony feel and makes it feel real. It's still not great at it, the environment still feels quite synthetic and the atmosphere isn't there as much as it should be, but it's better.
It's hard for me to pinpoint what qualifies a good and bad horror game, ultimately. It's easier for me to look at a single specific game and classify it as good or bad. Why it works or doesn't work, on a more primal or deeper level. Both can work if done right. But both can also fail. A game can fail with the primal shit by having cheap ooga-boogas, and a game can fail with the deep shit by making it a... shallow type of deep. You could go to the edgy parts of Tumblr or Deviantart if you wanna see deep horror gone really wrong...
I think it's a below "eh" game, but seemingly it was also treated as such, not lasting as long as FNAF, BATIM, or Slender. It had some neat mechanics, my favourite one being that to keep the monster at bay you gotta make no noise, and your Tattletail makes noise when it's dark, but to keep the flashlight on you gotta shake it, which makes noise. It's an interesting and clever mechanic that forces the player to be more strategic, trying to decide when it's safe to shake their flashlight and find opportunity to do so often enough as to not have the Tattletail tattle on them.
Of course, this along with other mechanics like being forced to care for its needs while still avoiding the monster and shit all falls apart when you realize the simple solution: Throw the annoying shit out the window or something. The Tattletail is UNBELIEVABLY unlikable since it's the fucking bane of your existence and never apologizes, instead forcing you into trouble and shit when really it'd be easier to just get rid of the damn thing. If they made the Tattletail likable, this would work better. If they made the player want to protect it, and make it clear that it making noise is part of its design, and it doesn't willingly do it. Maybe even have it apologize for it when it happens. Just... show some guilt for being the main thing getting you caught.
But a bigger issue is the monster, Mama. Firstly, I don't like that she, just like the FNAF monsters and Slenderman, teleports around as opposed to actually move. Pathfinding is apparently really hard for indie game developers... What I don't like about it in this instance is that her position doesn't seem to matter. If you hear the scratching noise and give her reason to attack, she'll just magically fly at you. It makes her feel really artificial and not there. I don't like that. I like my monsters organic and real.
Also... She's just really fucking silly-looking. The jumpscare isn't even scary, the noise isn't loud (which I guess is alright, a good jumpscare shouldn't even need a jumpscare noise), and she just kinda... looks at you. Giving you a long, good, bright look at what she looks like. And she looks stupid. Firstly, what's she even gonna do? That mouth is seemingly too small to even bite your finger. Secondly... yeah, she just looks silly. They basically took the normal, nonthreatening design and sloppily added teeth and red eyes. This is a scenario where the FNAF 4 treatment would have been nice, or better yet, keeping the monster hidden. I mean... if it's already too dark to see the bitch in the game, why should the jumpscare be so bright? Just base it on silhouettes and noises. Nice sound can be half the horror.
Also, the ending was lame to me. Both endings. The good ending was eh, and the bad ending was just dumb. I actually saw someone who thought of a waaay better bad ending, namely that when you go to your mom's bedroom, it doesn't just fade, instead you see what's in the bedroom. And you see there's nobody there. Nobody but a Tattletail sitting on her bed and giggling, saying "No more Mama!" ...It wasn't THEIR mama they were banishing in that ritual... Dundunduuunnn...!
So yeah... I thought it was a mediocre game at best. I still think it's better than FNAF, at least on a gameplay level, but still not good. It has some interesting mechanics that could have been a lot of fun in a longer game, but also a painful lack of justification for what's going on and a very unscary monster. (Also, fun fact, I could immediately tell that the game was made with Unity because they use the default First Person Player asset that comes with it... I recognize those default footstep noises anywhere... Like seriously bro, you couldn't even take the time to switch the soundfiles? That asset is easily customizable in many aspects, sound being one of the easiest things. You literally drag and drop the soundfile you wanna use instead in the slot that says "footstep" or whatever.)
Maybe I'll use Unity for making my first 'games', then.
I actually had an idea for a game where an imaginary friend from long ago comes back to the player's conscious; Or does it? We don't really know whether or not the friend actually made itself 'real', or whether or not the player character just has a few screws loose.
The friend is also a bit more different than other 'forgotten' villains. Unlike most, he's completely willing (at first) to just let bygones be bygones and play once again. However, the player character simply cannot live like that, just playing and playing without any visible end. They have a life they need to be a part of. And that makes the friend angry. They want, above all, to play with their pal just like the good old days. The player character tries to let them (the friend) know that this situation isn't their fault because that's just life, but the friend cannot understand this, as they were ditched when the player character tried to be 'mature', and therefore wasn't able to grow up along with the player. This makes them even madder, as they cannot understand any reason WHY the player doesn't just drop everything and play with them. So, they take matters into their own hands and bring some of the player's worst fears to capture them and bring them back to the friend, who won't ever let them leave.
Eventually, the player completely snaps, forgetting any sense of sympathy they had towards the friend, which proves to be a near-fatal mistake. The friend realizes they have nothing left to lose, and tries to kill the player. And they actually succeed.
At first, it feels good. But then they realize that since they've killed their 'mind-parent', they won't be able to exist. And not in the, "Oh, now they're just 'dead'", it's that they're still wandering around, but nobody can touch them, see them, feel them, they're completely alone. And they have to live with that forever.
Is this a stupid concept? I feel like someone's already done it before.
I kinda feel like Gumball did something similar at some point... I don't actually watch that show, I just got sent a clip from an episode they did in collaboration with the Don't Hug Me I'm Scared people...
I like the concept, but it's very rough. And you also already got a very specific story in mind, which I think would be a detriment. Games with linear stories can work, but usually they very much benefit from some more interactivity and choice. One game comes to mind... Dreaming Mary, I believe it was called. That game is spent inside a dream where you talk to your dream animal friends, particularly a boar guy. If you just agree to what the boar guy says and play his games and stuff, you can finish the whole game with nothing resembling horror happening. It's when you defy him that stuff starts getting nasty.
Basically, you should let the player choose whether to play along with the friend or go against them. And have several endings for each one, and probably add more choices within each alternative. Overall, letting the player feel like they're in control of their actions is a very good thing.
And the friend also needs nuance added to them from what I hear. I see an opportunity to make a play at real-life abandonment of friends because of stuff such as getting into a group that don't like that friend, or any of the other reasons friendships end. As well as the overly dependent or obsessive thing I talked about earlier. There's potential to make it look like an unhealthy relationship where both parties are at fault.
I do like the idea of the imaginary friend getting help from the person's fears. Treating all imaginary entities in the person's mind as interactable characters and give them relationships and stuff, allowing for weird crossovers. That's a fun concept with a lot of ways it could go. Of course it wouldn't be too interesting if the friend could just somehow control all the fears, but would rather have to make some kind of agreement with each one. Some might be willing to help just 'cause. Some might need some persuasion, or a favour. Some might backfire and lash out. Some might need to be broken out from a prison-like state after having been blocked out from memory. Hell, you could have some kind of "boss" in the form of a surpressed traumatic experience that the friend (and/or fear-allies) need to spend some extra time and effort breaking out. Maybe the player could even be given the objective to stop them from releasing it, and whether or not they perform well enough, the whole thing could be averted.
The Backwater Gospel I've already watched, so I'll give my opinion on that one first.
I really like it. The artstyle is really interesting in how it looks both like CGI and hand-drawn, not to mention the crooked, dirty style even ignoring that part. The representation of Death in the form of the Undertaker is also really neat. That crow/raven theme that extends even to his fucking face, his nose even resembling a plague doctor's mask. And of course the idea of dressing him up as an undertaker and have him take measurements of the dead. Honestly it's a more morbid and interesting way of portraying Death by giving him a profession. The traditional depiction of a reaper, while cool, doesn't hit home as much since he's supposed to be a farmer. That farms souls, sure, and it does invoke the concept of Death's work being a cold, uncaring process of mass-production where each individual straw of wheat means nothing to it. In that sense I really like the traditional portrayal too, but it's cool when people find ways to mix things up. Giving him the profession of a more human death-process is a nice idea.
The short also has some really nice messages and themes going on. There's definitely some criticism of the Church and religion, while I can almost always get behind and enjoy, but while the story relates heavily to that, it goes the extra mile by making the primary themes ones that are indeed part of religion, but also just part of the human condition. Conformity, fear of the unknown, arrogance, etc.
My favourite character is obviously the hobo/bard/whatever you wanna call him. Still really like that one line of his, when told to submit to the Lord, "Why don't you try it?" A fun poke at religious corruption and its common use to oppress the masses while the ones at the top don't even truly believe in what they preach. There's a reason why so many religions have rules that appear designed to make the peasants content with being peasants...
But my favourite aspect of him is how carefree he is. He doesn't fear death, and that's where the conformity and fear of the unknown comes in. Because the villagers all fear death, and because he doesn't, they fear him. Something's wrong with him. So he must be a bad apple. And one bad apple is enough to spoil the whole bunch.
Funny how that expression now has the opposite meaning nowadays. "A few bad apples doesn't mean there's something wrong with the whole bunch". Which is a healthier way to look at it. But in a more primitive age where people were obsessed with purity, the sins of the father and so on, and stories like Sodom and Gomorra were popular... Yeah, that was far from the only unhealthy behaviour that thrived back then.
One thing I love about the short is how it conveys so much with so little. Like the hobo's response to the priest, or how when the priest says "May he who is without sin cast the first stone", and they all cast their stones immediately. That's how arrogant they are. That's how right they think their faith makes them. Even though the original quote was even, again, meant to demonstrate the opposite. That goes a lot deeper than religion. Even today, people love thinking they're right. They love having their beliefs confirmed, and they don't want to consider the possibility that they're wrong. Probably doesn't even cross their mind. It's obvious they're right.
I think being right is a great thing to be. But thinking you're right is not. That's worthless. If you truly cared about being right, you would be completely open to yourself being wrong so that you could quickly correct that. But humans tend not to want to actually be right. Just think they are. They want the satisfaction, not the inherent perks that come with actually having your shit straight.
So once they've gotten rid of the bad apple, and find that the Undertaker still doesn't leave, they realize that the bad apple is still among them. And they ain't got the time to figure out which one it is. And they ain't gonna let it be them.
And so the scene that made me seek out the short to begin with ensues. And I still love it. How it's all done with silhouettes, making them seem all the more inhuman and the gore, while extremely graphic, still hidden enough to let your imagination run wild.
And once it's all over, and the world is once again peaceful, the Undertaker, having waited patiently, goes to collect the single soul he came for. The others were none of his concern. They brought that upon themselves in their fear of him. A nice lesson of fearing something so disproportionately that your actions to stay safe from it far surpass the threat itself, something we've seen a lot of the time both in older and more recent history. People love fearmongering. They love scaring people with the communists, or the nazis, or the terrorists. Because when people are scared, they're more easily controlled.
Oh, and I didn't even touch on the atmosphere, the tension, and all the other things the short does excellently. Overall, it is what I would most definitely call good horror. It's got a lot of surface-level shit done very well, and a lot of things to make you think about that are well-thought through. Not just some lame "Religion is bad" or "Fear is bad". Yeah, they are. But why? And the short tells you why. And more importantly, leaves you a lot to figure out for yourself. You don't want a piece of horror to just tell you the answer. That's boring, and the answer could even be wrong. It's better to give people the tools to figure it out for themselves. Like with the horror game I talked about earlier. It never said either side were right. It just wanted you to see which one you would pick.
Since I talked so extensively about Backwater Gospel I decided to wait so you'd have time to respond to my thoughts. ...I guess I'll move on to the next one instead then.
Turns out I already watched this one too, I just didn't remember the name at the top of my head. And well... I wouldn't really call that one horror. It's more of a... commentary thing. And as commentary... I guess it's alright. I think the example used isn't great. As a staunch school-hater I can't really get behind the idea of a teacher losing his job because people believed a kid over him. The general status quo both in my experience and as evident from many other anectodes, statistics and well, human psychology, people almost always take the teacher's side. It's like cops getting off the hook for committing crimes and being believed over civilians. They protect and serve themselves above all.
However, there is obviously the other angle, which is also what I think they're going more for. Someone using their job because of false, unproven allegations and stuff. And THAT is something I very much get behind. My current favourite song from a band I listen to is called Branded (translated from Swedish), and it's about how easy it is to ruin someone's life with a fake scandal or a true minor scandal blown far out of proportions. No need to fear that people will fact-check it or dismiss it as not a big deal, ohhh no. People love playing the role of vultures and sheep simultaneously, gobbling up the hit piece of the week and getting all too passionate about a minor event not affecting them so they can feed off of it while being played like a practice-fiddle.
In that sense I like the short. Since it's about showing what might happen in those cases where false accusations are taken at face value. How it can ruin someone's life and, perhaps, even be a self-fulfilling prophecy.
Don't be a sheep. Be a vulture if you really have to, if you really get off on scandals and gossip. But at least fact-check it, be skeptical and objective and avoid bandwagons.
Nah, I still hardly know who Yog-Sothoth is since I haven't come across him in anything I've read from Lovecraft yet. I just like the general idea of an entity that hoards knowledge in any form, and might grant some of it to people in exchange for giving it more somehow. Probably without the people even realizing it, just having them do some seemingly unrelated favour and they never find out what they truly did, since a being with so much knowledge would know alll about manipulating people, cause and effect, and in general get the result they desire through schemes that don't make any sense to others. It's a terrifying and intriguing concept at once.
My opinions are that it looks so promising that I'm avoiding it until next Steam sale so I can pick it up and play it for myself with as few spoilers as possible. The hand-drawn artstyle gimmick really impresses me with the amount of effort that's gone into it, to the point that they fucking drew the sprites with celshading just like in the old tedious days. Add to that the fact that the gameplay also seems fun (I love a good boss fight and as such I love good boss rush games) and I decided it needed to be at the top of my wishlist.
So yeah, not much opinions yet since I actively avoid anything that would allow me to form an opinion beyond my first impressions based on like the first 20 minutes.
Hm... Well, Sheogorath is obviously a treat. He's my second favourite Daedra in the ES games. A lot of it is the voice actor, he does a lovely job with bringing the character to life.
Nocturnal is a bitch. Dismissive, disdainful and even takes some of the fun out of the lore with the whole "Oh, you think you're good at stuff? Nah, it's aaall luck. And she controls luck. Totes." Hell, at the end of the Nightingales questline, she even has the guts to show up just to go "You want a reward? You want a compliment? Nah. You're not getting it. ...That's all I came here to say, byeee~"
Sanguine is fun though. He's one of the most down to earth of the Daedric Prines. He just wants to have a bit of a good time. He's not a douchebag who demands worship or favours in exchange for practically nothing, he's the kind of demonic god you could have a drink with and talk to about ladies. And probably about guys too, Daedric Princes tend to take on both male and female forms since they don't have a defined gender... ...Now I'm wondering what a female Sanguine would be like...
Vaermina I like the concept for, having a great interest in dreams. But she's not very... present in any of the games. And her questline in Skyrim is terrible. I hate quests that rely on an NPC. You gotta wait for them to get their slow butts to wherever they need to be and finish babbling their exposition... I don't see anyone NOT choosing to kill that guy at the end, if for no other reason than he wasted so much of your time. In Oblivion her quest is pretty neat though. In general, Oblivion's Daedric quests tend to be more creative. In Skyrim it happens too often that a Daedric quest is hardly separable from an ordinary quest...
Meridia I also don't like. She's again too dismissive and full of herself, and it's all the more intolerable since you keep being told she's the kindest of the Daedra. Pfft. Why, because she hates the undead? That doesn't make you good, it just makes you a discriminating asshole. #UndeadLivesMatter
The others I don't have a strong opinion on. ...I guess Namira's voice is surprisingly sexy? And Molag Bal is pretty interesting, I suppose. He doesn't appear much though, so the interesting stuff is more hinted at. But yeah, I can't think of much to say about the others.
Hm... Both of them I have about the same opinion on. They're big brutes that like strength and shit. Doesn't make for particularly interesting characters, at least not based on what there is in the games currently. I still haven't finished Oblivion's main questline though, and it's centered around Dagon, so maybe I'm wrong there... If so I guess I'll update my opinion. And I guess there's some interesting stuff with Malacath and his connection to the origins of the orcs and all, but I'm not very read-up on that... I remember something about one of the Daedric Princes eating another and shitting them out as a new Daedric Prince...
It's funny to think that the Daedric Princes, being immortal, are all forced to coexist to some degree even though they got their own planes of existence to hang out in, and sometimes get together to chat... Must get awkward sometimes.
"So uh... Remember that time Boethiah ate you? That was... uh..."
"...I was gonna say disturbing, but whatever Sanguine."
I like to imagine they occassionally meet up in a transplanar meeting room with a cosmic door with the sign "Jyggalag keep out!"
Bal's the king of rape, and according to Will, Sanguine would find vore hot. Thus, the two Daedrics have a stronger libido than most immortals. Of course, there's still one that nobody can surpass in sheer horniness.
Yup. Not proud of it, but I really couldn't continue.
Its a very long story I rather not share online. I want to go back to learning things though, I still want to just.. understand the subjects I was partially taught in school.
Hey, I made this because I knew you'd find it funny.
I mean I could use it for evil purposes to frame people into thinking someone said some really bad shit. Or at least.. trick dumb people.
I always found screenshots to be unreliable, yet now I know how easy it is to fake without even needing photoshop or any skill in programming.
I swear any seven year old could do this.
Nope. Non of these edits are lasting.
If you have google chrome just open up any webpage in it. Then right click and select "inspect".
Some window with code and stuff will open up on the right, and whatever part you inspected will be highlighted when you hover over it on the actual page.
This way you can easily find what part of the code on the right you need to edit to change the stuff displayed on the page.
I even figured out a way to save these fake pages, this way if I accidentally reload a page I can go straight back to my last save. However, I haven't yet tried this and it took me quite a while to figure out. xD Lots of progress was lost trying to make the fake wikia page.
...Holy shit, I never posted anything here? I wondered why I got no reaction... I must have forgotten to press the Reply-button, because I vividly remember writing a message. I guess I'll rewrite it...
My opinion has really gotten... flimsier. The varied reasons why I like an individual villain make them really hard to compare, something that overtime has become more and more clear to me. All I can really say is that The Horned King as dropped in my favourites. Not that I like him less, I've just decided I appreciate some villains more. Judge Frollo is currently my number one.
Well as I said, the list has gotten flimsier... I find it so hard to rank villains now that I don't even bother keeping a list anymore. I just look at them individually instead. I can of course sort ones with broad differences in quality, like for instance I would rank Ursula over Ursula's sister and Dr. Facilier over Ursula. ...Although Facilier and Ursula still have a lot of different positives and negatives- See what I mean? I've gotten too indecisive to appropriately answer.
What's your opinion on Cicero? I mean, there's definitely some annoying aspects about him, but I felt like that alone didn't really warrant death. So, I spared him. And by reading his journals, I felt far more sympathetic for him.
You made a wise decision in sparing him. I'm not sure how far into the questline you are, so I won't say why for now. Even though it'd be a miniscule spoiler. But yeah, I like him. I can definitely see why he would get on people's nerves, but personally I'm just happy to hear a voice actor with some actual passion and character. Sure, it could definitely be accused of being overacting, but I like overacting. Profion from the shitty Dungeons & Dragons movie, dreadlock dude from Battlefield Earth, they're funny. Really the biggest flaw I see in his character is that Skyrim's very limited animation system doesn't allow him to express himself appropriately. The same goes for characters like Sheogorath. You expect them to be flailing around, illustrating their words with arm movements and shit like that. But no, stiff pose while screaming their lungs out. I can only hope that technological advancements will make that less of an awkward issue in the next game.
I see. But yeah, sparing him gets him as a follower. So not only do you get to keep him around if you like him, but he's also one of the very few good stealth followers. Most will completely ruin your every attempt at being sneaky, and while nobody's perfect because of how the AI works (That is, even partial detection will cause them to abandon all stealth and rush into battle screaming), if you really want a follower with you and you wanna be stealthy, he's at least a more valid option than most.
In general I use followers for one of four purposes:
1. Not at all, they get in the way and they're not that useful to me (This is the most common one by far).
2. Pack mules. Exceeded my carry weight? Welp, take all this Dwemer scrap, Lydia. Your Thane commands you.
3. Standing around looking cool. Usually I deck them out in a heavy, cool-looking armour set to stand next to me as my stronk-looking bodyguard.
4. Roleplaying purposes, that is I just like the character. I usually do this with J'zargo. I like J'zargo. Kharjo is also a common choice, usually in combination with 3. And Serana, she's neat too. That is, until her insanely repetitive dialogue drive me insane.
Oh yeah, it's terrible. But I like the students. Except Onmund, he's lame. But I like J'zargo and Brelyna. Especially J'zargo. He's charming as fuck. He's also a really good follower since he's got some strong-ass spells, making him one of the best choices for a mage follower. I like to give him the Staff of Magnus if I obtain it on that same character. The thing's pretty much useless anyway, just like most supposedly super-powerful items in the game, and J'zargo asked so nicely for it...
Also, one thing I really like about Kharjo is that when getting the quest to find his amulet he specifically states that he wants you to be careful, because while he really likes his amulet, it's not worth your life. Compare that to most assholes with fetch-quests, who seem to have no regard for your safety and just whine about how much they miss those invaluable lame items... The beggar in Solitude comes to mind... "My pretty, pretty helmet..."
And yeah, generally I play with Serana throughout the Dawnguard questline and then no longer. I probably would keep her around after that if I wasn't so tired of her generic dialogue after that point. I do sometimes use a mod that expands her dialogue, making it more varied and also giving her dialogue for other questlines. Then I keep her around for those as well.
Well, the Staff of Magnus for one. It's a staff (which by default makes it crappier than a non-staff since it's powered by soul gems, I hate having to recharge items) that absorbs mana, and once all mana's been absorbed, it starts absorbing health. ...This staff is supposed to belong to a frickin' god. And it's only useful against pure spellcaster enemies, and even then, chances are you'll be dead before you've sucked out all their mana and can start using it as a shitty vampire-staff. And even if not, the time spent using the damn thing is time you could've spent mauling your enemy through other means.
Other good examples are the Daedric artifacts. Most of them can be outmatched by stuff you forge and enchant yourself, and at high enough levels even by stuff you just find lying around. Some do have unique effects, but even then most are garbage. The Ring of Hircine is hardly useful for anything at all, the Ring of Namira is only good for roleplaying purposes, and the Wabbajack, while fun to use sometimes, just has way too high a chance to have a boring explosion effect instead of something more creative.
Most of them are either ordinary enchanted items with a unique model, or non-ordinary enchanted items that are gimmicky at best and pointless at worst.
This goes for most unique items in the game, which I hope to see change in the next game. Because it is fully possible to have actual powerful artifacts without having them be unbalanced. Point of case, the Spellbreaker and Auriel's Bow.
The Spellbreaker is my favourite Daedric artifact. It's the only one I would ever consider using in lategame. And yet, it's not that amazing. It's a pretty average-level shield, making it inferior to a lot of ordinary higher-tier shields stat-wise. BUT... while blocking, it generates a Ward. So it doubles as a shield and a Ward spell. Technically this is far from overpowered; you could just have a strong-ass shield with you for most scenarios and have a Ward spell available for the rarer scenarios where you need to defend yourself against magic. But first of all, not all characters you play as will know a Ward spell, and second of all... it's just really inconvenient. I barely ever use Ward spells, because I don't see much of a point. It takes time to switch to, and they eat up your magicka. So the Spellbreaker is the lazy man's Ward. It's useful, not too useful, but useful and more importantly convenient. This is what makes the Spellbreaker superior to other Daedric artifacts; Its enchantment has no charge limit, so you'll never have to recharge it (I would be faaar more lenient to using ANY of the Daedric weapons if they were unique in that they're enchanted but doesn't need to be recharged; Again, it'd make them convenient, which is a good, balanced way making them more desirable), and its unique enchantment is NOT complete garbage. The player actually benefits from it, and even if they could benefit from the same effects to a greater extent just by learning a Ward spell or two, it's, as I keep repeating, more convenient (also no magicka cost, woo!).
Then you also have Auriel's Bow, which I would argue is on the shitty side, but shitty in a more interesting way. See, in theory it's pretty impressive. Its enchantment, while being of the charge-based variety, deals a rare type of damage (sun damage) which deals triple damage against undead and still has a moderate effect on non-undeads. Then you got the REAL selling point... Using special arrows, you can amplify this enchantment, having arrows burst into AoE effects on hit, and even aim them at the sun to call down a storm of light. Or you could use a DIFFERENT kind of special arrows and darken the sky, but this is mostly if you're a vampire and don't want to deal with the mildly annoying sun debuffs.
Those special effects actually make it worthwhile, a bow that is powerful but not objectively the best choice, and has some appealing unique effects. ...Its downfall though is that, as I mentioned, you need special arrows to utilize these effects. Mediocre arrows that you must travel to special NPCs to obtain, and are given to you in bunches of 20, making obtaining them a sluggish and obnoxious process, and as stated the arrows aren't even that good.
If the bow would have the special effects by default, regardless of arrows used (save for darkening the sky, using special arrows for that makes perfect sense), it would be an actual good item worthy of being called the relic of a god. Still not overpowered, but a viable option even at higher levels and with some fun special features. Which is why I think it's the perfect bridge between Spellbreaker and... basically all other supposedly powerful items in the game. It's ALMOST a good powerful item, but its downfall is a single element of massive inconvenience.
"Okay. I have a problem. Everybody else that's a decent human being has this problem. Basically, there's lots of Monster School animations that aren't created by Willcraft which are mostly cringy and sexual as heck, but some just go way too far. I'm glad I've seen none of these fan animations. If you've seen these kinds of fan animations, Willcraft...
Hm... I actually do recognize your profile picture. Maybe several people has it, but if not, I remember you. ...Just nothing you've ever said or done.
Anyway, I'm not officially back. I'm unofficially back, in that I'm making stuff, but it's not... stuff that holds up to the standards I've set for myself. The videos I'm making now are low-quality trash that I'm only doing for therapeutic purposes, hoping it'll help me get my driving force back to make actually good content.
You'll know that I'm officially back when I appear as Willcraft again. In the videos I'm putting up right now I'm appearing as Will. As the actual me. No silly persona. Of course, I intend to alter the Willcraft persona to not be silly, but still. No persona overall.
So yeah, I'm not BACK back, but I'm... closer than I've previously been. Close enough to be uploading stuff. Just not the stuff people want from me, nor the stuff *I* want from me.
Far as I know, no-one else has my profile picture. I suppose it's quite easy to remember. I guess you remember it from a load of comments I've left and you've replied to, like this one (too lazy to find more than one example lmao):