Speaking of Peasant's Quest, I played Pentiment whilst on my internet hiatus, and man, what a game. Surprising and thought-provoking and achingly humanist and just lovely, lovely, lovely.
Huge shocker that I'd be over the moon for a game with a third act devoted to questions like, "What obligations do we have when telling stories, and to whom?" But the game builds to its central questions in such a beautiful way. It doesn't make them these abstract philosophical quandaries, intellectual exercises devoid of stakes or weight. It gradually builds a world in which those questions, and their ramifications, feel consequential, feel tangible. Where the why of your choices feel just as significant, if not more so, than the what.
I cannot believe that we got Pentiment and Immortality in the same year. Two explorations of how we piece together narratives about the past - and how blurry the line can be between "discovering" a story and "constructing" one. It's fucking catnip for me, and we got two radically different riffs in a real short span of time, and they were both phenomenal, and they both landed in my top 5 for the year. Wild stuff.
+24
StraightziHere we may reign secure, and in my choice,To reign is worth ambition though in HellRegistered Userregular
I was hoping you'd played that, you were one of the specific people I was thinking about as I was playing it
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
StraightziHere we may reign secure, and in my choice,To reign is worth ambition though in HellRegistered Userregular
Pentiment spoilers
On the topic of Vacslav and Ursula, you can save them by either discouraging their heresies or by some butterfly effect with Ferenc (if he's still alive, he can save them and they'll get married I believe is the gist).
I do agree that I wish I could see more of the results of Act III, but at some point there needs to be an ending, y'know? Like, so much of Acts II and especially III is seeing the difference you made in Tassing, so it's hard for me to see a way that would be satisfying to do that again that isn't just an Act IV or similar.
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
For the first murder, I've seen enough stuff that makes me think Lucky (the stone-mason) probably did it. He's one of the few people somewhat aware of the tunnels and secret passages that he could sneak in or out of the abbey, he has a really strong motivation, he's probably the only suspect conceivably strong enough to just bash the baron's head into the wall, etc. Ferenc's motivation of hiding his own arcane interests seems... counterproductive considering he'd be committing a murder of a notable noble in the abbey, which would only direct a bunch more attention to the abbey, both externally and from the inside. The Widow is also an obvious write-off. The nun could have done it... but she would have had to sneak out of the convent without alerting any of the Sisters, find the Baron alone, and bash his head in. And her character really doesn't seem the type to kill.
For the second case, I am almost certain the innkeeper's wife did it. I can't point to one single thing but there is so many little things pointing to her doing it. She acts incredibly guilty and suspicious at multiple points in the investigation, she explicitly goes out to the area of town where the murder happened on the night of the murder. 'Martin' is a violent drunk, but Otto's murder seems to me like it would have required at least some premeditation. Also I think 'Martin' would have just a more direct violent approach had he really wanted to kill somebody. Guy is, above all, a coward, so I can't see him going all the way out to track down and kill Otto.
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
I accused the same folks you did, and for the same reasons. But for me, the question of "How to handle the revelations of the town's history" were a little thornier, because I feared for the safety of the townsfolk. I didn't want to do anything that could smack of heresy, that could give somebody with power an excuse to flex that power. I didn't want to put innocent people at risk, for the benefit of... Myself? The abstract ideal of Truth? I had a hard time imagining what the townsfolk would do with the truth, how it would change the way they treated one or another or the world. I could easily imagine the risks, but I had a harder time imagining the benefits.
Part of my thinking was, Magdalene grew up seeing what happens when a single person plants a flag and says, "Here's what happened." It leads to death and misery, and it can be revealed that they were wrong. I wasn't sure how eager she'd be to be confident, to make declarations about things she didn't witness, how comfortable she'd be paying the price for those declarations - let alone how comfortable she'd be letting other people pay it.
But one of the many, many wonderful things about the game is how valid other options feel, how there are justifications for those, too, how the ending manages to somehow be both a Rorschach test of sorts and a satisfying conclusion in its own right. Helluva thing.
Vacslav got burned in my epilogue, to my complete lack of surprise, but Ursula made it through fine and dandy. I was shocked to hear she could die.
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
For the first murder, I've seen enough stuff that makes me think Lucky (the stone-mason) probably did it. He's one of the few people somewhat aware of the tunnels and secret passages that he could sneak in or out of the abbey, he has a really strong motivation, he's probably the only suspect conceivably strong enough to just bash the baron's head into the wall, etc. Ferenc's motivation of hiding his own arcane interests seems... counterproductive considering he'd be committing a murder of a notable noble in the abbey, which would only direct a bunch more attention to the abbey, both externally and from the inside. The Widow is also an obvious write-off. The nun could have done it... but she would have had to sneak out of the convent without alerting any of the Sisters, find the Baron alone, and bash his head in. And her character really doesn't seem the type to kill.
For the second case, I am almost certain the innkeeper's wife did it. I can't point to one single thing but there is so many little things pointing to her doing it. She acts incredibly guilty and suspicious at multiple points in the investigation, she explicitly goes out to the area of town where the murder happened on the night of the murder. 'Martin' is a violent drunk, but Otto's murder seems to me like it would have required at least some premeditation. Also I think 'Martin' would have just a more direct violent approach had he really wanted to kill somebody. Guy is, above all, a coward, so I can't see him going all the way out to track down and kill Otto.
Re: the first case, the nun was indeed sneaking out of the abbey on a regular basis, but that's because she was romantically involved with one of the monks in the abbey
Re: the innkeeper, she was sneaking around because she was having an affair with the miller.
There's a lot of romance in the game! There's also a couple of monks who're in love, they had a happy ending in my game and I was delighted
The Stadia controllers have Bluetooth capability built-in, it's just disabled, as Bluetooth adds too much input latency in a streaming environment where you already have a lot of latency. The controller connected direct to Stadia's servers via wi-fi instead, which was a lot faster than going Bluetooth -> device -> Stadia (you could also used it as a wired controller with USB)
Crippl3 on
+5
LasbrookIt takes a lot to make a stewWhen it comes to me and youRegistered Userregular
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
I accused the same folks you did, and for the same reasons. But for me, the question of "How to handle the revelations of the town's history" were a little thornier, because I feared for the safety of the townsfolk. I didn't want to do anything that could smack of heresy, that could give somebody with power an excuse to flex that power. I didn't want to put innocent people at risk, for the benefit of... Myself? The abstract ideal of Truth? I had a hard time imagining what the townsfolk would do with the truth, how it would change the way they treated one or another or the world. I could easily imagine the risks, but I had a harder time imagining the benefits.
Part of my thinking was, Magdalene grew up seeing what happens when a single person plants a flag and says, "Here's what happened." It leads to death and misery, and it can be revealed that they were wrong. I wasn't sure how eager she'd be to be confident, to make declarations about things she didn't witness, how comfortable she'd be paying the price for those declarations - let alone how comfortable she'd be letting other people pay it.
But one of the many, many wonderful things about the game is how valid other options feel, how there are justifications for those, too, how the ending manages to somehow be both a Rorschach test of sorts and a satisfying conclusion in its own right. Helluva thing.
Vacslav got burned in my epilogue, to my complete lack of surprise, but Ursula made it through fine and dandy. I was shocked to hear she could die.
I ended up revealing the truth of the town and its history, but my logic for doing so was specifically based on the way that I'd painted the mural so far.
I went super humanistic for Magdalene (science-y background from Andreas' gift and some medical knowledge (also a total bitch, but that's largely unrelated)), and end up focusing my mural choices on portraying the people of the town and what they did rather than anything about what they believed. This was partially an effort to try and appease people (particularly, you know, Father Thomas) at first, but it did also end up leading to a very tragic mural of peasants burying their dead that nobody liked. And with that logic, that belief that the people of Tassing were essentially people (a message that falls heavily in line with the game's, coincidentally), it felt unfair to leave them with the lie of Moritz at the end of the day. If I've believed that the people make the land as much as the land makes the people up until then, I have to believe that those people are capable of knowing and holding that truth as well.
My Andreas might have chosen differently, I think, although he was often honest to a fault so it's a bit of a toss up.
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
I accused the same folks you did, and for the same reasons. But for me, the question of "How to handle the revelations of the town's history" were a little thornier, because I feared for the safety of the townsfolk. I didn't want to do anything that could smack of heresy, that could give somebody with power an excuse to flex that power. I didn't want to put innocent people at risk, for the benefit of... Myself? The abstract ideal of Truth? I had a hard time imagining what the townsfolk would do with the truth, how it would change the way they treated one or another or the world. I could easily imagine the risks, but I had a harder time imagining the benefits.
Part of my thinking was, Magdalene grew up seeing what happens when a single person plants a flag and says, "Here's what happened." It leads to death and misery, and it can be revealed that they were wrong. I wasn't sure how eager she'd be to be confident, to make declarations about things she didn't witness, how comfortable she'd be paying the price for those declarations - let alone how comfortable she'd be letting other people pay it.
But one of the many, many wonderful things about the game is how valid other options feel, how there are justifications for those, too, how the ending manages to somehow be both a Rorschach test of sorts and a satisfying conclusion in its own right. Helluva thing.
Vacslav got burned in my epilogue, to my complete lack of surprise, but Ursula made it through fine and dandy. I was shocked to hear she could die.
I ended up revealing the truth of the town and its history, but my logic for doing so was specifically based on the way that I'd painted the mural so far.
I went super humanistic for Magdalene (science-y background from Andreas' gift and some medical knowledge (also a total bitch, but that's largely unrelated)), and end up focusing my mural choices on portraying the people of the town and what they did rather than anything about what they believed. This was partially an effort to try and appease people (particularly, you know, Father Thomas) at first, but it did also end up leading to a very tragic mural of peasants burying their dead that nobody liked. And with that logic, that belief that the people of Tassing were essentially people (a message that falls heavily in line with the game's, coincidentally), it felt unfair to leave them with the lie of Moritz at the end of the day. If I've believed that the people make the land as much as the land makes the people up until then, I have to believe that those people are capable of knowing and holding that truth as well.
My Andreas might have chosen differently, I think, although he was often honest to a fault so it's a bit of a toss up.
Pentiment
In the long series of games where I can't be outright mean to people, Pentiment was definitely among their number, and so my Andreas and Magdalene generally were nice enough and tried to find middle ground solutions where possible
Magdalene was a little more opinionated though, and that may also have contributed to the ease with which I made that last decision - things like reacting in bafflement that the Mother and Father Thomas discussed how her work with her father was unbecoming/her needing to consider joining the nuns instead, being courageous about her decisions with the mural, etc; she didn't strike me as a character that would lack confidence in this sort of choice
Andreas was a little less committal for me overall but Magdalene sort of wound up being a product of the space she grew up in, I think
My mural wound up reflecting more of the townsfolk, with the imagery of the Roman settlers, Christian refugees, and Otto speaking to the villagers. As much as I personally would have liked the fantastical elements more it just felt more like the villagers would want to see themselves and their actual history more
A small thing I really like in retrospect is how the conversation choice range for Andreas shifts in the second part. You can tell he's down hard and you're now choosing between bitter mean answers, incredibly depressed answers, or trying to maintain a general affability. Which is not what the choices were like for him before. You could maybe be mean spirited in the first part, but usually with a playful tone. In the second part you can still try your best to be nice to everyone, but there's a drift in options that let you know there's something wrong.
+3
StraightziHere we may reign secure, and in my choice,To reign is worth ambition though in HellRegistered Userregular
A small thing I really like in retrospect is how the conversation choice range for Andreas shifts in the second part. You can tell he's down hard and you're now choosing between bitter mean answers, incredibly depressed answers, or trying to maintain a general affability. Which is not what the choices were like for him before. You could maybe be mean spirited in the first part, but usually with a playful tone. In the second part you can still try your best to be nice to everyone, but there's a drift in options that let you know there's something wrong.
The game overall does a really great job of both letting you make the character you want who feels extremely yours and also tightly restricting your options for who you are and how you exist in the world. Like, I played an Andreas who still wanted to be in love with his wife throughout act II, and felt empowered to do that while also knowing that as hard as I tried it simply might not be true.
Not in a restrictive way, not in the way some games won't let things be true, just... in the way things sometimes aren't true.
+2
BroloBroseidonLord of the BroceanRegistered Userregular
I’ll engage sure. In order.
All timers tier:
Undertale
Hollow knight
Hades
Celeste
Very good tier:
Darkest dungeon
Shovel knight
Not my thing tier:
Terraria
I never played stardew and I think i spent like 15 minutes with binding of Isaac once so I wont judge it
they're all really good
undertale is one of my favorite games of all time
I’m pretty sure it’s my #3 favorite. Outer Wilds snuck in and bumped it down from #2. Nothing will ever dislodge Mario RPG from #1, it’s too near and dear to me.
Posts
Huge shocker that I'd be over the moon for a game with a third act devoted to questions like, "What obligations do we have when telling stories, and to whom?" But the game builds to its central questions in such a beautiful way. It doesn't make them these abstract philosophical quandaries, intellectual exercises devoid of stakes or weight. It gradually builds a world in which those questions, and their ramifications, feel consequential, feel tangible. Where the why of your choices feel just as significant, if not more so, than the what.
I cannot believe that we got Pentiment and Immortality in the same year. Two explorations of how we piece together narratives about the past - and how blurry the line can be between "discovering" a story and "constructing" one. It's fucking catnip for me, and we got two radically different riffs in a real short span of time, and they were both phenomenal, and they both landed in my top 5 for the year. Wild stuff.
The part of me that loves mystery novels wishes there was a true answer for who the killer was for the two intermediary murders but I suppose I get why they constructed the plot the way they did, making it so the truth you pick is the one that is defined by the story regardless of what the actual truth might be
I accused Ferenc and Guy - Ferenc because the weapon did seem legitimately like it could have been used for the crime, and Guy because by that point I suspected Thomas but it was not actually something I could follow through on (and well, Guy was a jerk with no dependents).
I obviously loved the third act where I could play as a gossip-hound tinkerer lady; I found the ending to be satisfying but also personally found that final question of how to handle Thomas' question of faith versus honesty to be almost too easy to decide, hahaha. (I obviously chose the "tell the villagers the truth" option, especially given the way tensions had resolved with the abbey making it seem like the only choice.)
Magdalene moved to Prague (I didn't play her as someone who was strongly opposed to living in town, but it felt like after her father died she didn't have much tying her down if she could continue printmaking elsewhere), but Ötz went with her. I accidentally got Ursula and Varenz? Burned at the stake for knowing too much cool gnosticism, whoops. I do wish we got more about how things went for the other villagers in a game where it was so much more driven by those personal relationships, but ah well. I'll be curious to see if there were many other ways for things to play out.
3DS Friend Code: 0216-0898-6512
Switch Friend Code: SW-7437-1538-7786
I do agree that I wish I could see more of the results of Act III, but at some point there needs to be an ending, y'know? Like, so much of Acts II and especially III is seeing the difference you made in Tassing, so it's hard for me to see a way that would be satisfying to do that again that isn't just an Act IV or similar.
bad brain! no click spoilers!
For the second case, I am almost certain the innkeeper's wife did it. I can't point to one single thing but there is so many little things pointing to her doing it. She acts incredibly guilty and suspicious at multiple points in the investigation, she explicitly goes out to the area of town where the murder happened on the night of the murder. 'Martin' is a violent drunk, but Otto's murder seems to me like it would have required at least some premeditation. Also I think 'Martin' would have just a more direct violent approach had he really wanted to kill somebody. Guy is, above all, a coward, so I can't see him going all the way out to track down and kill Otto.
Part of my thinking was, Magdalene grew up seeing what happens when a single person plants a flag and says, "Here's what happened." It leads to death and misery, and it can be revealed that they were wrong. I wasn't sure how eager she'd be to be confident, to make declarations about things she didn't witness, how comfortable she'd be paying the price for those declarations - let alone how comfortable she'd be letting other people pay it.
But one of the many, many wonderful things about the game is how valid other options feel, how there are justifications for those, too, how the ending manages to somehow be both a Rorschach test of sorts and a satisfying conclusion in its own right. Helluva thing.
Vacslav got burned in my epilogue, to my complete lack of surprise, but Ursula made it through fine and dandy. I was shocked to hear she could die.
Re: the innkeeper, she was sneaking around because she was having an affair with the miller.
There's a lot of romance in the game! There's also a couple of monks who're in love, they had a happy ending in my game and I was delighted
The Stadia controllers have Bluetooth capability built-in, it's just disabled, as Bluetooth adds too much input latency in a streaming environment where you already have a lot of latency. The controller connected direct to Stadia's servers via wi-fi instead, which was a lot faster than going Bluetooth -> device -> Stadia (you could also used it as a wired controller with USB)
Haven’t played but hey, ‘tis the season.
Steam
https://www.amazon.com/gp/registry/wishlist/1JI9WWSRW1YJI
I went super humanistic for Magdalene (science-y background from Andreas' gift and some medical knowledge (also a total bitch, but that's largely unrelated)), and end up focusing my mural choices on portraying the people of the town and what they did rather than anything about what they believed. This was partially an effort to try and appease people (particularly, you know, Father Thomas) at first, but it did also end up leading to a very tragic mural of peasants burying their dead that nobody liked. And with that logic, that belief that the people of Tassing were essentially people (a message that falls heavily in line with the game's, coincidentally), it felt unfair to leave them with the lie of Moritz at the end of the day. If I've believed that the people make the land as much as the land makes the people up until then, I have to believe that those people are capable of knowing and holding that truth as well.
My Andreas might have chosen differently, I think, although he was often honest to a fault so it's a bit of a toss up.
Pentiment
Magdalene was a little more opinionated though, and that may also have contributed to the ease with which I made that last decision - things like reacting in bafflement that the Mother and Father Thomas discussed how her work with her father was unbecoming/her needing to consider joining the nuns instead, being courageous about her decisions with the mural, etc; she didn't strike me as a character that would lack confidence in this sort of choice
Andreas was a little less committal for me overall but Magdalene sort of wound up being a product of the space she grew up in, I think
My mural wound up reflecting more of the townsfolk, with the imagery of the Roman settlers, Christian refugees, and Otto speaking to the villagers. As much as I personally would have liked the fantastical elements more it just felt more like the villagers would want to see themselves and their actual history more
3DS Friend Code: 0216-0898-6512
Switch Friend Code: SW-7437-1538-7786
Not in a restrictive way, not in the way some games won't let things be true, just... in the way things sometimes aren't true.
this is engagement bait buuuuuuut:
Hades
Stardew
Hollow knight
Undertale
Celeste
Shovel Knight
Terraria
Darkest Dungeon
Isaac
this is basically my exact ranking, except maybe swap hollow knight and Undertale
- each map is a smallish rectangle
- pick randomly from 5 objective types
- randomly spawn enemies as you approach said objective
Eh? Eh? Who needs hand crafted missions when you can procedurally generate content that's just as good and infinite.
top 10 times forumers fell into engagement 😂☠️TRAPS ☠️🤣…
(you won't BELIEVE #3!!)
Is #3 "replying to this Brolo Post"?
Of those i played....
1. Undertale
2. Hades
3. Celeste
4. Shovel Knight
5. Darkest Dungeon
6. Terraria
7. Binding of isaac
Check out my site, the Bismuth Heart | My Twitter
me but replace Dork Dunj with binding of Isaac.
Check out my site, the Bismuth Heart | My Twitter
#9: Game that you, reading this right now, like.
God, how does it feel to be this wrong?
And they didn't.
So he died.
In hindsight, it's kind of weird that I put the same as #1 and #9.
may an urbanmech sit on you
All timers tier:
Undertale
Hollow knight
Hades
Celeste
Very good tier:
Darkest dungeon
Shovel knight
Not my thing tier:
Terraria
I never played stardew and I think i spent like 15 minutes with binding of Isaac once so I wont judge it
I think I own several of them.
You should play all of them except fro Binding of Isaac, imo.
Check out my site, the Bismuth Heart | My Twitter
undertale is one of my favorite games of all time
You should play the ones you got. They are good games.
I’m pretty sure it’s my #3 favorite. Outer Wilds snuck in and bumped it down from #2. Nothing will ever dislodge Mario RPG from #1, it’s too near and dear to me.