Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
I felt both! Relief followed immediately by your reaction.
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
I keep trying to play Shadows of Mordor, and I dunno, I'm just not feeling it
as you get more powers the combat becomes significantly more fun, and you really need to try and stick it out at least until you can mess with the Orc Power Structre stuff
If you get to where you can promote captains and have rivalries and yell "God dammit why won't this asshole stay dead!" and you still don't like it then you're probably good to stop, the game is basically the combat and the nemesis system
I really didn't like Shadow of Mordor. It was a great idea, and I really look forward to someone taking the Nemesis system and running with it, but the game just felt way too video-gamey to me. Like the way it holds your hand through everything; imagine if when you unlock the Branding ability, instead of giving you an entire series of tutorial missions about it, you had to figure out what it did by yourself. Or if instead of the random Nemesis activity missions that required another loading screen and put you into a new instance, they just happened around the world and you just ran into them actually randomly. Or if they had had some kind of timer on the Nemesis respawns so that I didn't walk into the same guy I had killed literally not even a minute ago 10 feet down the road except now he suddenly has an eyepatch and is totally fine otherwise even though it was literally not even a minute ago and I can still see his dead body on the ground
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
Well that was sort of a thought later, but at the time
I was honestly expecting a suicide note or even something more disturbing than that.
I had already freaked out at the red stains in the bathroom from the hair dye. Just how ominous everything in the lead up to the attic had become was getting to me.
+1
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Librarian's ghostLibrarian, Ghostbuster, and TimSporkRegistered Userregular
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
Well that was sort of a thought later, but at the time
I was honestly expecting a suicide note or even something more disturbing than that.
I had already freaked out at the red stains in the bathroom from the hair dye. Just how ominous everything in the lead up to the attic had become was getting to me.
Agreed
And i totally missed the thing with the father,
The note hidden in the basement that talked about the grandfather and the father.
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
they're teenagers doing dumb things because teenagers are dumb
Yeah gone home didn't really do anything for me, probably because I don't have siblings, had great parents, and never really got into trouble or had angst as a teenager, ever.
In fact the biggest feeling I felt was at the end where I was like, pretty mad at the girl. I felt like the game's tone was aiming for uplifting with the end narration when it was actually a huge downer.
But I can totally get people having the opposite reaction
The ending, for me, was a mixture of relief and bittersweetness
The relief was immediate and profound, that the girls were okay. Okay for now, anyway. The bittersweetness was that knowledge that comes with age, with distance, that "Oh, honey, you are nowhere near out of the woods. I'm glad you're happy for now, but this isn't an ending, or a new beginning. Life isn't that simple."
Since so much of the game is about looking back, of how some things only make sense from a distance, in hindsight, I thought that made that feeling that much richer. That you can only feel that free and that happy in a situation that precarious when you're in the moment. You can someday remember that happiness, and that freedom, you can look back on it and recognize it, but you'll never be able to feel it again. Not once you've seen more of the world, and seen what it can do to people.
I dunno, the ending can be read - and felt - a lot of different ways. That it doesn't tell you how to feel (it merely tells you how one character out of a cast of many feels) is one of its biggest strengths.
So I don't necessarily think "uplifting" was exactly what they were shooting for, or intended
Relief was the biggest thing for me...
When you go up into the attic I was dreading what I might find there. When you get to the end and just find the diary I realised I had been holding my breath and let out the biggest sigh of relief.
See relief was not what I felt
Oh you're teenage hobos now with no prospects, cool cool cool. You'll be dead in a ditch or back here in a week.
Well that was sort of a thought later, but at the time
I was honestly expecting a suicide note or even something more disturbing than that.
I had already freaked out at the red stains in the bathroom from the hair dye. Just how ominous everything in the lead up to the attic had become was getting to me.
This is what I wanted from the game, it was really anti climactic even from a realist perspective. Just a big "oh, that's all?" and it was done. The fathers story was more compelling for me.
any relief because I felt the game had tipped its hand incredibly early on that the girls were both fine.
? how exactly
It just seemed very apparent from the tone of the notes, what they were describing, etc, that she was fine. They never struck me as suicide notes at all. When talking to other people and hearing they were relieved at the end my genuine response was "What was there to he relieved about?"
Any potential tension they were building up they absolutely shattered with the bath tub red hair dying thing. At first i thought it was blood, whose blood and why jumped to mind. Then you find the hair dye. Just the idea of someone dying their hair to then go kill themselves just did not occur to me. It seemed very clear that she had left. It was still somewhat interesting to see exactly how the story played out but the fact that it had no tension to me definitely contributed to it falling flat for me.
Edit: From that opening note you linked:
Like everything about that note makes me think she is alive but elsewhere.
I can't see you, it's impossible. - Because she's not there, phrasing it that way for suicide just doesn't seem right.
Please don't go digging around. - Because I do not want to be followed. Like, if she killed herself she probably would want to be found so her body doesn't start rotting in the attic.
I don't want mom or dad to know. - If you killed yourself people are going to know, sooner or later. She must be somewhere else and not want to be found.
We'll see each other again some day. - She can't be dead for this to be true. Now, admittedly, I guess some people could read this other ways. But as someone who does not believe in the after life or supernatural things it only occurred to me to read it one way initially.
Don't be worried - I'm okay.
Like, from that letter on I basically thought Sam was fine and just not there and all the evidence I found supported that so it never occurred to me that she might not be fine.
I keep trying to play Shadows of Mordor, and I dunno, I'm just not feeling it
I am in the same place. The first time I had a dude come back to life to enact revenge, I was all "this fucker again!!!" and then it happened a second time with another dude and my reaction was to stop playing. It sort of infuriated me that they can just "undo" your manipulations of the nemesis system. Why am I trying to kill these dudes when the game might just bring them back anyway? I don't get mad at that orc, I get mad at the game for lyin' to me about the rules. The story is also shit and I don't really like the world although it's pretty in spots.
Combat is still very good (maybe my favorite version of Batman-style combat). I guess I need to power through more story and it'll open up a bit, as others have said.
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KwoaruConfident SmirkFlawless Golden PecsRegistered Userregular
Yeah the rule for orcs is that if they die with their head still on then they have a decent chance of coming back later
Heh, makes me think of 40k orks that are actually plants. So they are very, very hard to kill unless you are thorough.
And killing one just puts more spores into the air that can drift away and become more orks.
And the ones that drift really far have to run to meet up with their mates and not die so they become addicted to speed.
And then they so thoroughly believe that the color red makes them faster that red orks do actually move faster.
And 40k is so delightfully fun when it is not trying to be all super grimdark, which is does far too often.
Also Ork guns should not actually work according to any laws of physics or science. They only work because the ork firing the gun thinks it should work.
any relief because I felt the game had tipped its hand incredibly early on that the girls were both fine.
? how exactly
It just seemed very apparent from the tone of the notes, what they were describing, etc, that she was fine. They never struck me as suicide notes at all. When talking to other people and hearing they were relieved at the end my genuine response was "What was there to he relieved about?"
Any potential tension they were building up they absolutely shattered with the bath tub red hair dying thing. At first i thought it was blood, whose blood and why jumped to mind. Then you find the hair dye. Just the idea of someone dying their hair to then go kill themselves just did not occur to me. It seemed very clear that she had left. It was still somewhat interesting to see exactly how the story played out but the fact that it had no tension to me definitely contributed to it falling flat for me.
Edit: From that opening note you linked:
Like everything about that note makes me think she is alive but elsewhere.
I can't see you, it's impossible. - Because she's not there, phrasing it that way for suicide just doesn't seem right.
Please don't go digging around. - Because I do not want to be followed. Like, if she killed herself she probably would want to be found so her body doesn't start rotting in the attic.
I don't want mom or dad to know. - If you killed yourself people are going to know, sooner or later. She must be somewhere else and not want to be found.
We'll see each other again some day. - She can't be dead for this to be true. Now, admittedly, I guess some people could read this other ways. But as someone who does not believe in the after life or supernatural things it only occurred to me to read it one way initially.
Don't be worried - I'm okay.
Like, from that letter on I basically thought Sam was fine and just not there and all the evidence I found supported that so it never occurred to me that she might not be fine.
I keep trying to play Shadows of Mordor, and I dunno, I'm just not feeling it
I am in the same place. The first time I had a dude come back to life to enact revenge, I was all "this fucker again!!!" and then it happened a second time with another dude and my reaction was to stop playing. It sort of infuriated me that they can just "undo" your manipulations of the nemesis system. Why am I trying to kill these dudes when the game might just bring them back anyway? I don't get mad at that orc, I get mad at the game for lyin' to me about the rules. The story is also shit and I don't really like the world although it's pretty in spots.
Combat is still very good (maybe my favorite version of Batman-style combat). I guess I need to power through more story and it'll open up a bit, as others have said.
Well they aren't undoing your manipulations of the nemesis system, you are still vacating the spot they were in and shifting the balance of power, regardless of if they come back or not.
I dunno if they changed it but decapitation was not actually a guarantee for keeping orcs dead.
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MaddocI'm Bobbin Threadbare, are you my mother?Registered Userregular
I haven't played as much as I would have liked due to PC issues, but I definitely got a different message and indicator on the nemesis system screen after I had decapitated someone. Rather than an orc lying on the ground, it was a makeshift headstone.
Posts
Relief was the biggest thing for me...
See relief was not what I felt
I felt both! Relief followed immediately by your reaction.
PSN/Steam/NNID: SyphonBlue | BNet: SyphonBlue#1126
Doooooon't be a diiiiiiiick it reminds you
I call langly 'captain sunshine'
I've known some people from high school who have done similar, and they don't seem to regret it too much after all these years.
as you get more powers the combat becomes significantly more fun, and you really need to try and stick it out at least until you can mess with the Orc Power Structre stuff
Its easy to get caught in the wandering around killing dudes, but virtually every cool power in the game is gated behind story progress
It feels a little proof of concept-y like the first Assassin's Creed, but better fleshed out
PSN- AHermano
PSN/Steam/NNID: SyphonBlue | BNet: SyphonBlue#1126
? how exactly
yes but it says basically
Well that was sort of a thought later, but at the time
I had already freaked out at the red stains in the bathroom from the hair dye. Just how ominous everything in the lead up to the attic had become was getting to me.
Agreed
And i totally missed the thing with the father,
Ok yes @Jaykaos is right the note on the door is later but it says this:
which has some leading language
they're teenagers doing dumb things because teenagers are dumb
Any potential tension they were building up they absolutely shattered with the bath tub red hair dying thing. At first i thought it was blood, whose blood and why jumped to mind. Then you find the hair dye. Just the idea of someone dying their hair to then go kill themselves just did not occur to me. It seemed very clear that she had left. It was still somewhat interesting to see exactly how the story played out but the fact that it had no tension to me definitely contributed to it falling flat for me.
Edit: From that opening note you linked:
I can't see you, it's impossible. - Because she's not there, phrasing it that way for suicide just doesn't seem right.
Please don't go digging around. - Because I do not want to be followed. Like, if she killed herself she probably would want to be found so her body doesn't start rotting in the attic.
I don't want mom or dad to know. - If you killed yourself people are going to know, sooner or later. She must be somewhere else and not want to be found.
We'll see each other again some day. - She can't be dead for this to be true. Now, admittedly, I guess some people could read this other ways. But as someone who does not believe in the after life or supernatural things it only occurred to me to read it one way initially.
Don't be worried - I'm okay.
Like, from that letter on I basically thought Sam was fine and just not there and all the evidence I found supported that so it never occurred to me that she might not be fine.
I am in the same place. The first time I had a dude come back to life to enact revenge, I was all "this fucker again!!!" and then it happened a second time with another dude and my reaction was to stop playing. It sort of infuriated me that they can just "undo" your manipulations of the nemesis system. Why am I trying to kill these dudes when the game might just bring them back anyway? I don't get mad at that orc, I get mad at the game for lyin' to me about the rules. The story is also shit and I don't really like the world although it's pretty in spots.
Combat is still very good (maybe my favorite version of Batman-style combat). I guess I need to power through more story and it'll open up a bit, as others have said.
This rule is not explained clearly
And killing one just puts more spores into the air that can drift away and become more orks.
And the ones that drift really far have to run to meet up with their mates and not die so they become addicted to speed.
And then they so thoroughly believe that the color red makes them faster that red orks do actually move faster.
And 40k is so delightfully fun when it is not trying to be all super grimdark, which is does far too often.
Also Ork guns should not actually work according to any laws of physics or science. They only work because the ork firing the gun thinks it should work.
Yeah I definitely read that as much more ominous
But it is open to interpretation
Well they aren't undoing your manipulations of the nemesis system, you are still vacating the spot they were in and shifting the balance of power, regardless of if they come back or not.
I thought if you actually out them into that dazed on their knees state you decapitated them
Huh, I was sure I saw a hint that said a decap was the only sure thing
It seemed like it held true but after a while I stopped killing them because it was the most boring option
Steam
the podcast is four hours long
Best moment is easily the J death scene.