Muskrat Love?

The first thing I did when I started this post was check the Labels to see what I'd written about The Expanse already. 

 

There is no Label for The Expanse.

OK, so I forgot to make a Label. That's fine. Blogger has a solid search function. I'll find my posts and reviews with that.

 

Plenty of matches but almost all of them for other Expanses, mostly the Svarni Expanse, a zone in EverQuest II. There was the odd mention of the TV series but only a line, here and there, in posts about other topics entirely. It seems I never reviewed the show at all, not even a single paragraph in a portmanteau post.

Well, that's strange. I watched all six seasons. Not like me not to have said something about them. But I didn't. I just scrolled back through all the posts labeled "TV" from 2022, when the final season aired on Prime, to when I first began writing about TV shows here which, somewhat to my surprise, was only in 2020. Posting about what I'd been watching started as a pandemic thing and never ended , apparently. A bit like Valheim's Early Access.

That kind of puts a rail gun round through the double hull of the post I was going to write. I can hardly reflect on what effect reading the books has had on my feelings about the TV series if I can't go back and refresh my memory on what those feelings might have been.

I mean, you can't expect me to remember, surely? I don't have that kind of self-starting memory. I have the kind that requires a catalyst for the reaction to begin. If I even see the cover of a book I read years ago or a still from a movie, everything slowly starts to come back but without some kind of stimulus, I got nothing.

Oh, yes, sure, I could go watch some clips on YouTube. The trailers usually do a good job of reminding me what went on. But it would be missing the point more than a little. I wanted to know what I thought about it then, not what being reminded of it makes me think now.

So we'll scrap that idea and just talk about the books, I guess. I just finished the ninth and final volume, Leviathan Falls. It took me about a month to read them all. Maybe it was a bit longer. I wasn't counting. 

I bought the entire series for £2.00 each in a charity shop last year. Or I thought I did. When I got to the end of the last one, that was when I found out there are actually nine books in the series, not eight, so I had to buy the last one pretty sharpish. Good thing I work in a bookshop. 

It was certainly a lot of reading to do in a shortish period, whatever. None of the books runs under five hundred pages so that's getting on for five thousand pages in total. It's an extremely easy read, though. It fairly races along. There are hardly any longueurs, at least not until the smattering of faux-poetic/surrealist "Dreamer" chapters turn up in the last book. Those did slow the whole thing down a tad.

The most notable thing for me was how incredibly closely the TV series seems to have stuck to the original. Not always a good thing in my opinion. I love adaptations the way I love cover songs and for the same reason; it's fascinating to see what changes. In this case not much changed. Not much at all.

I could almost literally see the scenes from the adaptation playing out in my head as I read the books. The characters are all exactly the same, with the possible exception of Bobbie Draper, and then only, presumably, because the casting director didn't manage to find a suitable Polynesian actor to play her. My friend, who watched and read all of this before me, says Amos is different in the books but I couldn't see it. Well, not until... but, no, spoiler... let's not go there.

Also in my head, everyone in the books sounds exactly like the actors who played their characters in the show because the dialog seems to be identical down to the inflection. Except I can't remember the dialog, so that must be subjective. Still true, though, I bet.

The one huge deviation, of course, is that Alex dies in the TV show, where he doesn't in the books. He got written out because the actor playing him did something Amazon didn't want to be associated with, i think. Can't remember what it was, if I ever even knew.

I knew, roughly, when Alex disappeared but even now I have absolutely no clue how the narrative changed in the show to allow for his absence. That was the point where I realized I wasn't so much remembering what happened in the show as re-watching the show by way of the book. 

I felt the narrative in general becoming less familiar after that. More divergent. I seem to remember Drummer having a much bigger part in the show than she does in the book, for a start. I also thought Filip ended up going dutchman with his father's ship, too, not going AWOL before it left port and thereby surviving.

If that's what happened. Filip literally never appears in the narrative afterwards.He barely gets a passing mention. I kept waiting for his plot-line to pick back up but it never does. Did I miss something?

There are a few moments like that but not many. Mostly, the two authors that make up the James S. A Corey gestalt (Ironic, that, isn't it? Given the ending of the series.) keep all the balls in the air and all the plates spinning. I bet they were glad to get to the end all the same.

The last few books, the ones that carry on "Thirty Years Later..." past the point where the show ended, feel a little different to the rest. The series starts off as a kind of gritty, near-future noir, confined to a single system and focusing on very human concerns but it ends up being a full-blown cosmic space opera, a universe-shattering battle with quasi-Lovecraftian Elder Gods from another dimension.

None of it really bears close examination, not if you're trying to avoid picking holes. At one point, quite late on, someone makes the observation that Holden and his crew seem to be extraordinarily lucky. Geez! You think? They have more lives than ninety-nine cats!

But that's just about the best thing about the series from my perspective. The older I get, the less time I have for stories that don't turn out well. I don't just want to like the characters I'm reading about, although I very much prefer it if I do. I like them to have a good time, too. I like a happy ending but I also like a happy beginning and a happy in-between if I can get them.

The Expanse is all happy endings. OK, not for the literally billions of people who die, many of them horribly. But they're just NPCs. We don't know them and we don't care about them. Almost everyone you could think of as even a minor supporting character either gets a noble death Doing The Right Thing or doesn't die at all. Even nearly all the baddies! 

In fact - no spoilers - some of them don't even die when they die!

Jim Holden is a total Pollyanna and I get the feeling the authors must be too. They really do want all their readers to have a good time. They even bring in a lovable dog towards the end for absolutely no reason I can see other than they thought it would be nice to have a lovable dog in the story. Talk about fan service!

That dog, though... If there's one moment when disbelief ceases to be suspendable it's when you think about how that dog stays happy and healthy through the same physical stresses that almost kill most of the crew. She's always described as smiling or grinning or having a great time, even when everyone else is getting crushed into paste by thrust.

And she's not even a young, fit dog! She's an old dog being subjected to G-forces that Corey spends paragraph after paragraph telling us are incredibly hard to survive, even in custom made crash couches, with huge doses of custom-designed drugs, some of which are amphetamines. 

Yet they can just get a dog on the spur of the moment and Amos somehow whips up a perfect dog-suitable equivalent in five minutes! And the dog doesn't just survive, she settles in and acts like she's been in space all her life!

Yeah, I had a problem with the dog. But don't start picking holes in the plot, that's my advice. So I'll stop. I really didn't have anything to say about The Expanse anyway, other than it's good and if you haven't seen it, you should see it and if you haven't read it, you should read it.

I might get the audiobook next...

A Rockin' Good Time - The Love, Money, Rock'n'Roll Demo

One reason I like reviewing demos is that they're concise. They're mostly either short stories or single chapters as compared to the full game's novel. Sometimes they're purpose-built but more often they're discrete segments pulled out of the finished work, usually the opening chapter or the introduction or the tutorial. 

It makes them very easy to assimilate, assess, analyze and review. It's neat and tidy and satisfying. I look forward to playing them and I look forward to reviewing them.

That's most demos. But then there are demos like Love, Money, Rock'n'Roll. 

Is it even a demo?  After about an hour I had to tab out and check to make sure I hadn't somehow downloaded the full game by mistake. When the sun came up on the fourth in-game day, I decided it was time I stopped. There was no sign the demo was going to.

Steam tells me I have 82 minutes played although I'm not convinced "played" is the most appropriate term here. Love, Money, Rock'n'Roll is a visual novel although I'm not convinced "novel" is the most appropriate term either. Heck, I'm not one hundred per cent sold on "visual"...

Whatever LMRnR is, it's not a game, that's for sure. It does have a handful of inflection points, moments when you appear to be able to change the flow of the narrative, but from an hour and twenty minutes I can only remember, at most, half a dozen. 

Being asked to make a decision about every fifteen minutes doesn't constitute a game by my definition. If anything, it reminds me of one of those Choose Your Own Adventure books, but only if someone had redacted almost all of the choices.

At this point I should step in to clarify that I really enjoyed my 82 minutes with Love, Money, Rock'n'Roll. I'm also okay with the visual novel format although I don't think it's necessarily the best option for a narrative like this. As a story, though, it's intriguing, entertaining and a bit of a page-turner. It's also absolutely nothing like I was expecting.

But what was I expecting?  The Steam Store sales pitch, which I quoted last time, doesn't give much away: "Love, Money, Rock'n'Roll: the romanticism of the Eighties, mystery and intrigues, betrayal and sacrifice, hatred and passion — all this and more in the new game from the creators of the legendary visual novel Everlasting Summer!"

I realize now I'd taken most of my cues from just the title and that mention of the Eighties. I'd pretty much skipped over all the rest, the stuff about mystery, intrigue and so on. I'd somehow come away with the idea I was going to be playing a game where you put a band together and went on tour - something like that. 

Yeah... nope. There's nothing like that at all. Not in the first 82 minutes, anyway. What there is is a whole lot of story.

Here's my précis of the plot so far. I'd spoiler-warn it but this is the fricken' demo! The whole point of demos is to give stuff away so you can see if you want to pay for the whole thing, isn't it? To say revealing the plot of a demo is like spoiling the plot of a game is like saying trailers spoil the plots of movies. 

Oh, wait... 

You play as Nickolai, a senior in an elite Tokyo high school. He's Russian, as in both his parents were Russian, but he's lived in Japan since he was six, speaks fluent Japanese and is consequently treated neither as a local nor a foreigner, leaving him in some uncomfortable third space between.

Nickolai is one of those odd, semi-emancipated teens who seem to crop up a lot in Japanese narratives. He's eighteen, which where I come from would make him unequivocally an adult and he lives alone in the house his parents bought before they died. Big house, too.

Despite living as a self-supporting adult (On money left by his parents, I think...) he's still in the final year of high school and he behaves - in school, at least - in that very disconcerting way young adults mostly behave in anime, which is to say a bit like any young adult would behave here in the country where I live but also a lot like someone much younger.

In another familiar but bizarre trope of the form, Nickolai has a neighbor of the same age, Himitsu, who goes to the same school, who has a key to his house, who cooks his meals for him, walks to and from school with him, hangs out with him all the time, is in love with him maybe as a brother, maybe not that way at all, and who absolutely is not his girlfriend! Mostly because he's an idiot would be my take on it.

She's also half-Russian, which seems like a bit of a co-incidence, but then one of Nickolai's only two other friends is American, as is his ex-girlfriend, who we'll get to later. The school seems to be full of the children of non-Japanese VIPs as far as I can see.

Himitsu is not a stalker. We need to get that clear from the start. She rings Nickolai up at three in the morning because she sees his light on but she absolutely hasn't been staying up all night, watching his house. She just can't sleep. 

She comes into his house, uninvited, at three in the morning purely because she's worried abut him. And because she has a key. Which he gave her, so that's all quite alright and perfectly normal. And when she mumbles under her breath that since it's like they're living together, maybe she should move she absolutely isn't suggesting anything weird is going on in her head...

Actually, as is always the case with this trope, or at least in the few times I've encountered it, she's so very far from being a stalker that you want to grab Nickolai by the scruff of his neck and tell him how bloody lucky he is and how he should stop mooning after all the other much more melodramatic, enigmatic and just plain stroppy girls he seems to find far more interesting and pay her the attention she goddam well deserves.

About those other girls...

There's the one he "saves" from a gang of bullies, who turns out to be the Class President of the class he is in, which he doesn't even know! How does that work?! She can't stand him, of course, and she isn't at all grateful, quite the opposite really, but inevitably they keep getting thrown together all the same.

 

Then there's the girl who spills orange juice over him in the cafeteria and blames him for it. She turns out to be the daughter of the President of the School Board and the Queen of the School, which is news to him because he's only been at that school for how many years? She can't stand him either, so naturally they keep running into each other, at one point even hiding in a tiny cupboard together, something which causes both of them a great deal of necessary embarrassment.

But most importantly there's Catherine Winters. Catherine is Nickolai's aforementioned ex. The demo begins with an elegiac sequence about cherry petals drifting in the wind, which was what was happening the last time he saw Catherine. She left without explanation, was it a year ago? Maybe two? But now she's back, again without explanation, and back in his class, no less. Nickolai is very much not over Catherine. 

So, eighty minutes in and he's got four girls to juggle. Seems like it's going to be a high-school romance, right? Yeah, and it is. Except there are also the mysterious notes in misspelled Japanese left on his doorstep, followed by the even more mysterious phone calls in the middle of the night. It's not Himitsu this time. It's someone with a Russian accent, warning him Bad Things are going to happen because of Something His Father Did and he should Watch His Step.

Okay. Recap and recount. 

Love? Check. 

Money? No sign of any so far.

Rock'n'Roll? Coming to that right now.  

 

Orange-juice girl, whose name is Ellie, plays the guitar. Nickolai, who plays the bass, although by his own account not very well, runs across her in the music room at school. She's playing an acoustic guitar when both of them ought to be in class, an odd affectation that leads directly to the two of them squeezing into a cupboard together to avoid being discovered bunking off lessons by the Principal, who just happens to wander into the music room for a quick, secret conversation with another member of staff.

Nickolai thinks Ellie plays pretty well but he doesn't expect to see her fronting a glam rock band in a grungy back-street club. Well, why would he? Even though it's one of his regular hang-outs and even though Ellie's band, whose name I've forgotten but they're named after an anime robot, is headlining and even though Nick makes the point earlier that only local bands ever play at the club...

Even though, as I hope I'm making it clear, none of this really bears close examination, it does not matter a jot. It all works. I believed it at the same time I didn't believe it.

That's because the characters are all well-differentiated, convincing, believable within the local physics of credibility. Other people might not do these things but these people do and it feels right that they would.

The writing is crisp and clean except when it's Nickolai being about as flowery as any lovelorn adolescent feeling sorry for himself might be. The dialog is charming. The story trips along nicely. It's a damn good read.

There's also whole layer of very welcome meta-referentiality that really appeals to me. Nickolai is always making comparisons about the way similar situations would play out in manga and anime, usually without realizing that's exactly what is happening to him, only without the "magic girls" and superheroes.  

There are also lots of useful, explanatory notes on Japanese culture as seen from an outsider's perspective. That'll be because the developer is Russian, I imagine. I do find it slightly disturbing, how many games and anime I enjoy, initially believing them to be authentically Japanese in origin, turn out not to have been made by Japanese creators or studios at all. Probably says something about me or the culture or both.

Graphically the game is a real pleasure although it's pretty much a slide show in which most of the slides get repeated over and over. Occasionally something will move on the screen - a train crossing in the background, a character lifting a glass, but mostly everything is static. It's like looking at a series of pictures in a gallery. 

Good pictures, too. Every image is meticulously crafted with far more detail in the background than the narrative requires. I took a lot of screenshots because every new slide is as lovely to look at as the last. 

The controls are almost literally as minimal as it's possible to get. There are no instructions at all on how to play. The demo just starts and it's up to you to figure out how to get it to do anything but since all you really need to do is click the mouse anywhere on screen to make the next line of dialog appear, that's not a problem.

Once in a very long while you might have to choose between a couple of options like "Follow Her" or "Do Nothing", which just takes a click, but other than that there's nothing for you to do but read and watch.  If you were hoping to get up on stage and jam at any point, like I was, you're going to be disappointed.

Or maybe that comes later. I doubt it. You might get the option to "Join In" or "Just Watch" I guess.

I really like Love, Money, Rock'n'Roll. It tells a compelling story through likeable characters and pretty pictures. As with many visual novels I've "played" I'm far from convinced it's a game or needs to be one. It'd be a perfectly good manga or anime. 

I'll finish the demo for sure. I might well buy the full game at some point. 

I'd much rather watch it as an anime, though.  

Fracturing The Fractal

Who wants to read another post about AI, then? Always a popular subject, I know. But I think we may be past the point where putting our fingers in our our collective ears and singing "La! La! La! not listening!" is going to work.

Did anyone ever actually do that, by the way? It seems like one of those things you grew up knowing other people did, somehow, rather than anything you ever would have done yourself. 

There's a lot like that in the book Mrs Bhagpuss and I are collectively and separately reading Homework by Geoff Dyer. Mrs Bhagpuss got it for Christmas, or maybe it was her birthday, and it's been the bathroom book for a while.

Does everyone have a bathroom book? I first came across the concept back in the 'eighties, when I stayed at a friend's place and saw they had a bookshelf over the cistern. It was all the same book, too. Not literally the same book. Now that would be weird. No, I mean a series of books. I can't remember what the series was except that it was a comic strip. Peanuts maybe?

No, it definitely wasn't Peanuts. I did  have another friend back then... he's dead now, been dead a while... who was, I won't say obsessed with the Peanuts strip but he sure did like it. But then everyone liked Peanuts in those days.

Peanuts is back in fashion now. Did you know that? It goes up and down, somehow. The high point was back in the 'eighties or 'nineties, when there was even a shop in town that sold nothing but Peanuts products. Then it kind of dropped out of the cultural conversation for a while but now it's back. I have no idea why. These things happen.

Oh, that brings me back to what I was saying about the Geoff Dyer book. So, Geoff is exactly the same age as me, give or take a few months, and he grew up within less than an hour's drive of where I grew up. His book is a memoir about that but since he's a... wait, what is he now? 

We were talking about that, Mrs Bhagpuss and I, back when we both started reading the book. I knew his name very well from work but I couldn't exactly put my finger on what he was best known for. With most writers it's easy to go "Oh, him? Yeah, he writes historical crime novels set in the Reformation" or "I know her. She's the woman who writes all those romantasy books with the dragons..."

Authors generally stay in their lanes or they do if they want to have a long-running career. Same as musicians, which is why that Spinal Tap line about "Hope you like our new direction" lands so hard. Nobody ever does.

Some writers, though? Their lane is not being in a lane. The emperor of all of them is Bill Bryson. Bill is real nuisance. People come into the shop all the time and ask "Where are your Bill Brysons?" and the answer is "Depends what he's writing about".  Not the answer anyone wants to hear.

Geoff Dyer is like that, I think. He's a novelist, an essayist, an editor, a critic and I guess he's best described as a cultural commentator. And now he's a memoirist, too.

Except his memories don't exactly tally with mine. Or Mrs Bhagpuss's. She's a couple of years younger and grew up a couple of hundred miles further East but she's still solidly in the same growing-up space as Geoff and me. And both she and I recognize all the experiences Geoff relates but we don't always relate to the experiences. Or not the way he does.

It's a thing about the culture, isn't it? Pop culture, I mean, specifically. I nearly said it's the thing about it. It's fractal. 

Now, see, there's a thing. Another thing. Do I mean fractal? Is it the right word? Do I really know what it means and if I do or if I don't, is it appropriate to the context?

I'm not sure it matters. What does matter is that it's an example of itself. Hey! Recursion again! Recursion is really my jam at the moment. Oh boy, another example.

So, fractal was a moment in the nineties. We sold a lot of books on the back of it and some of us got at least a vague idea what lay behind the pretty pictures and weird optical effects, which led to the word slipping into the language as a vague, hand-wavey metaphor. Kind of but not exactly like I said "jam" there, without really having grown up saying it or having the automatic cultural appreciation of its nuances you get from encountering something while your synapses are still settling in. 

As time goes on, these things get layered in like laminate. It's all surface but add enough surface and you have depth.

Like Peanuts. Peanuts goes back to the 1950s, to a Charles Schulz strip called Li'l Folks. Actually, the 1940s. I just looked it up. It ran from 1947 to 1950. Li'l Folks isn't Peanuts, though. It just looks like it and sounds like it. And was written and drawn by the same person. 

But Li'l Folks is not in the culture in the way Peanuts is. I know it because I've been a comics fan for almost as long as I've been alive. You probably know it too because chances are you came to this blog, directly or indirectly, because it is or at least was a gaming blog and comics is to gaming as jazz is to blues.

Is that fair? I feel like that's an order of magnitude too close. Or maybe the whole analogy doesn't work. This is why editors exist. Cut me a break. I'm wearing a lot of hats, here.

Peanuts is one of those cultural artifacts that transcends both taste and preference. If you lived in a certain place at a certain time you will know who Snoopy is. You may not care but you will know. This is what reading Geoff Dyer's Homework is like. 

It's filled with anecdotes and stories that reference all the same things both I and Mrs Bhagpuss grew up with but the importance Geoff places on them and the conclusions he draws from his experiences with them frequently don't tally with ours. And ours don't always tally with each other, either, although they do come closer more often, which I suppose goes some way towards explaining why we've been able to stand each other for over thirty years.

And understand each other, too. Sharing a cultural identity does lead to a degree of understanding even if it's often as confusing as it is comforting. All experiences are unique as the cliche goes, if I didn't just make that up.

So, yes, pop culture is fractal. I was right all along! Maybe.

AI, though.. 

Ah! Look! We're back to AI. Lulled you into thinking I'd forgotten, did I? Well, I said at the top that was where this was going, although I'd almost forgotten, myself.

Here's what I was thinking. You know the AI bubble that was going to burst? Is it, though? It seems to be taking it's time to pop, doesn't it? And meanwhile new AI stories keep cropping up. Gaming stories, I mean. (Here's the famous writer, staying in his lane.)

Like Roblox (Ptuiii!) and its "agentic AI  tools" or the $50m fund to "invest in AI-driven games". AI is going to "save the games industry." Or at least the part that isn't swearing on a stack of Bibles that it's never going to use AI at all...

I don't have any links to the people saying that. They tend not to be very interesting. People fervently advocating for the maintenance of the status quo rarely are.

A lot more interesting are the people willing to engage not just with the future but the immanent present, even if I'm not sure Infinity Nikki is the best example of the ineluctable importance of the human soul.

I'd be happy to engage if someone would hand me the controls. Here's what I'd like AI to do for my gaming. I'd like it to let me prompt for a game featuring my characters, the same ones I've spent the last year recovering from the dead spaces of the past and turning into songs. I'd like to see them walking around, interacting with each other and with me. And no-one else.

I wouldn't want to share them. They wouldn't become part of the shifting, drifting cultural backdrop, not even to the degree this post you're reading has. And congratulations if you are still reading. You have some stamina!

AI has the potential to create hyper-local cultural bubbles. It's nothing new. The Brontes were doing it on a family scale with Glass Town two centuries ago. Li'l Folks was doing it, an order of magnitude larger, for the people of  St. Paul just after the war. (You probably need to be the same age as Geoff Dyer and me not to need to add a qualifier to "the war" there...)

My wished-for bubble would be the smallest of them all. I'd be the only one in it. Me and my imaginary friends.

I've always had a thing for imaginary friends but they're had to sustain without psychosis or psychedelics once you get past seven or so. Paper and pen has been the best way for me but it is, frankly, a lot of work. Uplifting, elevating, wonderful work but work all the same.

Wouldn't you like to have a faithful amanuensis to turn all that creativity into a playground designed and built just for you? I imagine I would but maybe that's just my imagination. The reality might not taste as sweet.

If it did or if it didn't, though, I'd be the only one tasting it. 

And where does the culture go, if everyone's creating their own?  

 

AI used in this post

The three images. Obviously. Although none of them is what you'd call original AI. I fucked around with all of them in paint.net. I think messing up AI images with filters and effects is both fun and aesthetically pleasing. Artistically valid is another question.

The thing is (I do say that a lot, don't I? It's like a nervous tic.) it's quite hard to get useable images out of non-visual prompts. Go figure! And I tend mostly to use AI for illustrations only when I don't have obvious visuals to work with. Otherwise I'd use a screenshot or take a photograph.

For this post, I did the old "pull out a sentence and see what the AI comes up with" routine. I think it did a very good job with the one I used for the header image. That was with the very catchily-named Flux 2 Klein 9B Fast. Who's in charge of these naming conventions? Clearly not the Marketing Department. The prompt was the entire third paragraph of the post, which I'm not going to repeat here. Just scroll up if you're that interested. I added the style instruction "1950s comic strip. Sunday color page."As for the settings, honestly these days I'm past caring. I don't even look at them so whatever the default was.

The next image is by Qwen Image SD from the prompt "fractal was a moment in the nineties. We sold a lot of books on the back of it and some of us got at least a vague idea what lay behind the pretty pictures and weird optical effects". No style instruction.

The final picture is a hybrid created by both the previous models. I had Qwen Image SD make something from the prompt "So, yes, pop culture is fractal. I was right all along! Maybe." with no style instruction and then I used that image a starter for Flux blah blah blah, only using the cut-down prompt "pop culture is fractal" and the style instruction "line drawing, ink wash, color."

Then, as I said, I really messed them all up. If you think they look ugly now, you should have seen them before!

Also, is it really obvious I enjoy doing these "AI used..." postscripts as much as or maybe more than doing the posts themselves? I can see why all those actors and directors love doing the commentaries on the special editions of the DVDs...

 

Recursion To The Max

Now there's no more leveling to do, it's time to start filling out the many gaps in Mordita's character sheet so she can become the do-it-all character Conkers was. I did a fair bit of prep on that last year but there's a long way yet to go.

And it's complicated, not to say confusing, deciding what's essential, what's merely desirable and what's mostly irrelevant. One problem with bringing a new character in at the current end game (Solo end game, that is. Let's not get carried away.) is that by definition they weren't there for all the previous end-games, so whatever the point of doing those might have been, you've missed it. Haven't been there, haven't got the T-shirt. 

Every expansion comes with a bunch of features that require you, at minimum, finish the Signature quest-line to get the full benefits. Often there are side quests and other content you'd be expected to do as well, if you want to make sure you've got all the goodies. There could be skills and abilities and items and spells... all kinds of things you probably don't want to be without, not least because, when the devs are designing later content for subsequent expansions and updates, they may very well assume most people have them.

A surprising number remain relevant for years, while others are swept aside and forgotten. For example, there's a crafting quest in 2016's Kunark Ascending that gives you a buff that makes gathering materials very significantly quicker. You really wouldn't want to miss out on that, especially if you were used to having it on a previous character. It's like gathering treacle without it.  

On the other hand, there's not much point back-tracking to get the widget that lets you see Shadow Nodes and gather from them, much less spend the many hours needed to raise the skill. To everyone's relief, the deeply unpopular Shadow Prospecting from 2019's Blood of Luclin expansion never made it off the moon.

But you could if you wanted to. All of this stuff - indeed very nearly everything there ever has been in the game - is still there, waiting for anyone that feels they missed out. Some of it is worth doing for the fun of it, even if the rewards don't mean much any more. If you're just trying to catch a new main character up to where you left off with the previous one, though, you'll probably want to be a bit choosy.

The question is, where to start? There's a lot of quality of life stuff that isn't essential but that's exactly what I miss most, when I suddenly run into something that reminds me I don't have it. Like languages, for example. It's always a pain when you try to speak to an NPC you know has a quest you want, only to find you can't communicate with each other.

These days, you can just buy a book from an NPC to learn most languages but there are still a few you need to do some work for. The question is, which is which? I probably ought to take Mordita to the vendor and buy everything she hasn't already got, then compare her language skills with Conkers, my Berserker and make some notes on what's missing. Then I'd have to look up how to fill in the gaps.

It's some work, changing Mains in mid-stream, for sure. Not everyone enjoys the admin. Luckily I do. Mostly.

In theory, QoL improvements ought to take second place to combat efficiency but as I've been saying all along, as a Necromancer I'm suddenly finding the solo content a lot easier than I was used to, back when I was playing a Berserker. If she's winning all her fights easily already, is the effort involved in upgrading all her spells going to be worth it?

And let's not pretend it wouldn't be an effort. I got my Sage, Barnabus, out yesterday to see how many Expert spells he’d have to make and how many rares it would take. I make it thirty-three spells. Every spell requires two rares these days, so sixty-six rares.

The rares for cloth caster spells are Flowfall Vines. There are enough on the Broker to make everything but they go for about 25m plat each so that would be 1.65b plat for the lot. Hyperinflation is rampant in Norrath these days. It's true Mord did have a windfall recently. She got a key Inquisitor Master as a boss drop and sold it for 1.7b. I wasn't planning to spend it all on crafting mats, though.

The preferable alternative is to gather the vines myself but they call them rares for a reason. Last session, I spent about three-quarters of an hour gathering and I got five, which was honestly a pretty impressive haul. Maybe I could average six an hour if I was really lucky, so eleven hours of gathering, but realistically I'd expect it to take more like double that long.

Which is fine. I like gathering. It's restful. I generally don't listen to the radio or podcasts any more when I play games but gathering mats is made for it. If it was June and the cricket was on...

If I was going to do it seriously, of course, I'd need to get Mordita's Rare Harvest Chance stat as high as possible. And her Bountiful Harvest stat as well. She already has the AAs for both but there's gear with boosts she and her mount could be wearing that they're not. 

Well, the mount has some, now. I had Barnabus make a saddle and hackamore with relevant stats since I already had him working. He, or any of my high-level crafters, could make other items, too. The Artisan pieces, at least. Any crafter of high enough level can do that, always assuming they've scribed the recipes. There are consumables too...

Except the problem with the whole plan is that a lot of Mordita's existing spells are already upgraded to a degree that means the Experts from the new spell books, which I just got Barney to buy because he didn't do much in the last expansion or three either, won't actually be upgrades for Mordita. Although I haven't been playing her as much as Conkers these last few years, I have been keeping up with her free, time-gated spell progression and as a result all her important spells from before the level cap went up (And a lot of the less-important ones, too.) are Master level or above. 

That means I'd be gearing Mordita up so she could get mats so Barney could make her upgrades she doesn't really need, which wouldn't upgrade the spells she already has anyway. And yet I do still need to do it at some point, if not right away.

She may not need those upgrades now, but if I keep on passively upgrading her old spells without replacing them, at some point they'll be maxed but still be too low to be really effective. Every expansion comes with power creep as a built-in feature, whether you want it or not. 

I could certainly leave it until the next expansion, later this year. That won't come with an increase in the cap so it should be fine. If I do, though, in two years, when the cap goes up, I'll almost certainly need to swap to at least the new spells that came with this expansion and if I make the Experts for those now, I'll have a year and a half to upgrade them with the passive system, meaning they'll be more powerful than the Expert-level spells in the expansion-after-next.

Yeah. Makes my head hurt, too. I think the percentage move is just to keep gathering every time I'm out doing anything, pass the vines to Barney and have him make the key Experts piecemeal as and when I have the mats. There are probably only a dozen or so spells that really need to be kept at peak effectiveness. That should be easy enough.

Of course, that's just for one character. I have a whole lot more clamoring for attention. At one point I had half a dozen at cap although that was when leveling took hours not weeks. And the above examples are just a few of the things that need to be done to get Mordita to where she could be. Where Conkers already was before I swapped over. 

There are all those adornment slots that could be improved for a start. She could make the Adornments herself if she did the dailies to skill up. And she ought to max her Tinkering, too. I think Transmuting is already done just from clearing the many unwanted drops from doing the Overland dailies and Weeklies and the instances in the last update. Come to think of it, she only did one of those because the rest were Level 135 Required. I guess I should run her through the rest at least once, just to see what's there...

And so it goes. On and on and ever on. But to what end? 

Don't look at me. After more than twenty years I think it's clear the only reason I'm doing any of this is so I can keep on doing more of it. I'm seeing recursion everywhere these days.

I kinda like it...

A Warm Drink And A Comforting Toy - The Lucy Dreaming Demo

Just a very quick post today since normally I'd be at work at wouldn't be posting at all. Instead, I'm on "holiday", which is to say I didn't book any time off at all before the cut-off point so someone just gave me a bunch of weeks and this is one of them.

That's how come I was able to spend the last hour playing through one of the demos I downloaded the other day, Lucy Dreaming. Fifty-two minutes to be precise. A very good length for a demo. 

And it's a very good demo, too. Exemplary, in fact. If I was going to rate it specifically as a demo, I'd give it five stars. 

It's not only the right length - long enough to get the measure of the game but not so long it feels like you've actually started playing it for real - it's also a satisfying gamelet in its own right. Playing through it feels like a complete experience and also like a tailored one, not a fragment of the full game ripped loose from context.

Which is a clever trick because in a way that's exactly what it must be - the introduction to the full game. Not even the first chapter, more like the prolog. Only you can tell it's been adapted for the demo, not just pulled out and dropped in as-is from the self-referential little asides that contextualize it as a version specifically designed to be played in demonstration mode. 

Plenty of demos do that. They put up walls or pop up messages with some variation on "Not included in Demo". That's better than just leaving you to figure out why something isn't working but the Lucy Dreaming demo goes further. It incorporates the explanations into gameplay, so when you try to interact with something that's not relevant to the subset of the game you're being allowed to see, it tells you so within the same framework it tells you everything else. 

That sounds a bit vaguer than I meant but unfortunately (Or more properly the opposite of that.) I was so engrossed in the gameplay I neglected to take any screenshots when it happened, leaving me either to paraphrase from memory or fall back on a broad overview of the technique. 

Oh, alright then, I'll semi make one up. It was close to what I'm about to tell you but I can't remember the exact phrasing. You can take it that it was more amusing than what I'm going to come up with, though.

The whole demo takes place in Lucy's house. It starts in her bedroom and from there you can explore the upstairs landing, the downstairs hallway, the lounge and the garage. There are three more doors you can't enter - her brother's room, her parents bedroom and the bathroom. Oh, and the front door and the garage door, which lead to the outside.

The garage door is locked. The front door opens but there's just no option to go through it. Lucy's brother, Lloyd, is in his room and he's not about to let his little sister come in. Lucy very reasonably balks at going into her parents bedroom, commenting she doesn't even want to think about what they do in there.

That leaves the bathroom. You can try to go in there but when you do, Lucy tells you the bathroom isn't available in the demo. And then she adds that it's just as well she doesn't need a wee.

It's only a little thing but it adds to the feeling you're not just playing a demo but a short game that someone has really thought about. That's one example I can remember but there are a few more and they added to the sense that Lucy Dreaming is a game someone cares about.

But you can tell that from everything about it, really. One thing that often annoys me in adventure games is the way you can only examine objects that you'll need to use. Lucy Dreaming feels a bit like one of those open-world RPGs that claim if you can see somewhere you can get there, only in this demo that translates to if you can see an object, you can examine it.  

That's a lot of work, adding a line or two of text to everything in the house and, again like those open-world RPGs that let you open every single container in the world, it risks annoying the player almost as much as making most of it inert would. If you're going to tag everything with a line of dialog, you have to make most of them worth the click and Lucy Dreaming manages to do it. 

At least it does in the demo. Which, as I said, is less than an hour's gameplay. Whether the writer(s) can keep it up for the whole game I suppose won't be apparent until its too late, if you've been suckered into buying it by the attention to detail in the short version and it turns out not to be sustained. But then, we should be alert to that risk. It's there in every MMORPG ever made. The starting zones and tutorials are always the most complete and polished part of the game. Never judge an MMORPG by its tutorial.

Lucy Dreaming, of course, is no MMORPG. And anyway, I really don't think that'll be the case here. It feels like one of those hand-crafted labors of love that wasn't a labor at all to the people who made it. It has that sense of the creators having fun and of that fun transferring well to the audience.

Which brings me to the advertised "British Humour" (British spellings look really weird to me these days. I've been using American spellings for so long...). As a British person (That's what it says on my passport, anyway.) I'd have to say that I really didn't notice much "British" humor in the demo at all.

British accents, yes. Lucy herself speaks in a British accent that I found very easy on the ear. Not exaggerated for comic effect. Just a naturalistic Northern burr. The only other speaking part in the demo, Lucy's dad, only gets a couple of lines and those are enunciated in such a strained and peculiar way, as appropriate to the circumstances, I couldn't really tell what accent he had.

A British accent, though, even a Northern one, does not in and of itself constitute humor. There are plenty of jokes in the demo, some of them quite funny, but none that I noticed seemed particularly nationalized. 

The house itself looks like a British house but I'm pretty sure it could pass for one in any number of other countries. It's a child's bedroom, a couple of hallways and a garage. How different, culturally, can those be between English-speaking nations? The lounge is the most British - English, really - of them all but even there it has a ceiling fan and I can't say I've ever been a suburban home in this country that had one of those. We don't get the hot weather to need anything like that.

As for the dialog, most of which is Lucy talking directly to you, the player, I'm pretty confident you could give the same script to an American actor and you wouldn't have to change more than the odd word or two. If it was the Britishness of the humor that sold you on the game, you may be disappointed. You're not going to see much of it in the demo. Can't say I was sorry about that. 

Graphically, it's retro as has been the fashion in a large corner of the adventure game market for a while now. There's an admirable attention to detail and the color palette is easy on the eye. What's not to like?

Also, it is quite specifically an Adventure Game. There are several fourth-wall-bending gags about that. The demo is never afraid to go meta-fictional, another thing that predisposed me to like it.

Gameplay is rock-solid point & click puzzle-solving. Examine everything, pick up everything that looks remotely useful, figure out what to use on what. We all know the drill. 

In the demo you have to complete half a dozen tasks to get Lucy ready to go to sleep. All of them are completely realistic, like putting on some calming music, getting her into some suitable nightwear and making her a warm drink. As you complete each one it crosses itself off a list, which made solving each puzzle feel oddly satisfying.

The puzzles themselves are very fair. Most are even rational, although I wouldn't have warmed Lucy's bedtime drink in quite the way the game expected. Then again, she's a small child. I can totally see a child doing whatever it was Lucy did. 

No, I'm not going to tell you. Go play the demo if you really have to know!

Mostly, though, I thought I knew exactly what to do and I was almost always right. The problem was figuring out how to do it and the solution was usually guessable in no more than a couple of tries, which is the mark of a good point & click in my book. I never once had to look for a hint so I don't even know if there's an in-game hint system. If the whole game is as well-designed, you won't need one.

All in all, as I said at the start, this was an exemplary demo. Or maybe not because at the end of it, although I'd had a great time figuring out all the puzzles, I didn't immediately wishlist the game. That's because the demo gave me almost too vivid an impression of what it would be like to play the finished article and I wasn't sure I liked the idea of that as much as I ought to, if I was going to buy it.

Sometimes you need just a little grit to make the pearl. (Apparently that's not really how pearls get made but a cliche is a cliche.) I wouldn't remotely call this demo too slick or too easy but after I'd finished it I didn't get the feeling I needed to find out what happened next. Maybe the demo was too well-constructed and complete in itself

I might still pick the game up at some point but I have the feeling there are other Adventure games I might find a little more compelling. Still, don't let that put you off trying the demo. If nothing else, it's a fun, self-contained, satisfying experience all of its own. 

Video Games And Blunt Force Trauma

As threatened  promised - a music post for Friday. Why is it Fridays and Saturdays always seem like the time for one of these? Hangover from the days when weekends meant something, I guess, and when what that meant, often as not, was going to a gig, which in turn meant playing a bunch of songs really loud before we went out, to hype ourselves up.

Been a long, long time since I went to see live music and almost as long since I worked a schedule that gave weekends much meaning. Post-pandemic, my work week has literally been weekends on, weekdays off. I ought to do these on a Sunday and a Monday by that reckoning.

Yeah, but that'd just be weird, wouldn't it? Sunday might be good for a lazy, kickback playlist but Monday? Who puts up music on a Monday?

So, Friday it is. And it's been a while since the last time. A little over a month. In fact, once a month seems to be the self-regulating cadence right now. Seems reasonable, although I notice, even when I'm not putting the time in to search out new stuff specifically for posting, I'm still ending up with more good tunes than I can fit in each time. Could be a month is a tad too long.

Want numbers? I got numbers. Bookmarked for possible inclusion since last time: fifteen new songs by what you could call regulars plus a dozen either by people I'd never heard of until now or acts that don't generally turn up here. Plus a bunch of curios and covers and live performances that I saved mostly for my own interest.

That's more than double what I can fit into a post without going so long no-one's going to get to the finish. Speaking of which, I should probably just get on with it and stop yakking.

First Light - Lana del Rey 

Well, that's a gimme. Not just a new song from our queen but the theme tune for a video game. Can't get much more on point than that, not for this blog.

The game is 007 First Light, a James Bond joint due out towards the end of May. I was not aware of it although I certainly should have been because Ula picked it for the TAGN Fantasy Critic League. If I'd known Lana was doing the theme song, I might have bid on it but I'm not a fan of the Bond franchise so it never occurred to me. 

Lana may or may not be a Bond fan but she's certainly had it in mind for a while that she'd like to sing the theme to a Bond movie some day. This sounds like she's delivering her calling card to whoever's handling the production duties now it's not the Broccolis. (I just looked it up and it's Amazon.). It could hardly be any more Bond-Thematic.

Of course, Lana has a history with video games. Her breakthrough song, the one that made her a star, was literally called Video Games.  I've never been sure whether the lyric is entirely complimentary about the form, either. It's so hard to tell with Lana, something that's caused her no end of trouble over the years. 

She's woven some video game textures into the arrangement and the lyrics here and I'm not entirely sure it works. But it's Lana, so of course it works. 

Elizabeth Taylor (So Glamorous Cabaret Version)

Taylor Swift

Been a while since I really liked a Taylor Swift tune. Probably the long version of All Too Well and that was... blimey! 2021! Really? Well that's disturbing...

And even though I'm a sucker for songs named after famous people in general and movie stars like Elizabeth Taylor in particular (Cf Elizabeth Taylor by Clare Maguire. I bought a whole album by her off the back of that one.) I don't especially like the original album version of this, either. It's harder and brasher but most importantly it doesn't sound like Taylor doing her best Lana del Rey impression. 

This version does. And she does a good one, too. 

Something To Give - Witch Post

Is Witch Post my favorite new band or is it Sunday (1994)? Is it any co-incidence they sound a little bit alike? Do they sound a little bit alike or is that just in my head?

You decide.

Shame - Sunday (1994)

Now that's a disturbing video to go with a disturbing lyric. Is it less or more disturbing if you know the song was inspired by Peter Jackson's first film, Heavenly Creatures? Maybe I'd be able to tell, if I'd seen the movie.

It's surprising I haven't seen it in a way. It looks like the sort of thing I would have gone to see, back in the day when I went to the cinema. But I can tell you why I didn't, I think. 

Heavenly Creatures came out in 1994. Know what else came out in 1994? Fun. Heavenly Creatures is a movie about two teenage girls who kill an older woman. Fun is a movie about two teenage girls who kill an older woman. 

I did go to see Fun at the cinema. It was a tough watch, as I recall. And for once I do recall. Once seen, never forgotten. I also recall reading about Heavenly Creatures in Empire Magazine and thinking "Y'know what? I think one movie like that's probably enough for now." 

I never got around to watching the second one. Maybe now I will. 

Quiet Light - Postinternetfame

Let's have someone we don't know, shall we? Also something that doesn't sound like it was made ten, twenty, thirty years ago. Great lyric on this one although it's hard to pick out through the hyperwall. Full transcript in the YouTube description but here's a highlight:

God I love you we could have 10 kids
And move wherever you want 
I’ll get another job I’ll change my name 
I’ll do anything that I need to do 
To get you to stay
Say that you’ll stay.

The standard for lyrics is higher now than it's ever been. It just is. I don't know why but it makes me happy. I mean I know why it makes me happy. I just don't know why it's happening.

 Mike Johnson Is A Mechanic - PARKiNG

Titles, too, amirite? This is like that Joyce Manor song I shared a while back, I Know Where Mark Chen Lives. Not that it sounds anything like it, although Joyce Manor did used to sound a bit like this. No, I mean the title just makes you want to hear the song. Well, it does me. 

Going Shopping - The Strokes

Have I ever shared a Strokes song before? Not sure I have. They're a big gap in my timeline. I missed their whole ascendancy. I always like them when I hear them but this is really fun. Great title, great seventies groove and that autotune! 

God, I love autotune. Why doesn't everyone use it all the time?

Okay, maybe that would be a bit much.

 Better Angels - sadie

Yeah... but would it, though?

I Go Up, You Go Down - My Precious Bunny

Or maybe you prefer your vocal distortion a little more old school? Lily has you covered. That's Lily Wolter, who made the extremely sensible decision to go out under the name My Precious Bunny. Not there's anything wrong with Lily Wolter as a name but I wouldn't have clicked on a link to find out what Lily Wolter sounded like. 

My Precious Bunny, though? I mean, you have to know, don't you? 

Names matter so much.

 Another Time - Zoh Amba

Want an irrefutable counter-argument against that really dumb idea I had just now? You remember it. The one about how everyone ought to fuck around with their vocals all the time? 

There you go.

 Radio - Junior Varsity

Then again...

Okay, I'll stop now.

Black Cherry Liqueur - Silver Gore

Does anyone actually like liqueurs? To me, they're always those sickly-sweet things you end up drinking at three in the morning, when everything else has run out. Or they're the garish bottles you bring back to give to people to show you went somewhere exotic, always knowing no-one is going to drink them, that they'll just stay in the back of the cabinet until years later, when someone's having a clear-out and throws them away.

Okay, just one more and it's a doozy, as no-one's said unironically since about 1972.

Boots On The Ground 

Massive Attack/Tom Waits

Tom Waits is someone else who never really features here as much as he might. I suppose the same could be said of Massive Attack. I'd have to say this sounds 90% Tom, too. If it hadn't said otherwise I'd have thought it was all him.

Tom Waits is one of those artists who's so consistent there comes a point where you think to yourself "Y'know, I think I may have enough of these now." Then something like this comes along and you realize how it's kind of a short-sighted position you've taken.

And that about wraps it up for today. I'll try to make it a bit sooner next time but no promises.

In The Event...

Just three days ago, Kay at Kay Talks Games was looking at Steam's Hidden Object Fest and saying how nice it is that the platform hosts such events for anyone that cares to put one together. I have no interest in hidden object games but the post started me thinking about how quite a few bloggers in this part of the 'sphere, myself included, jump on Next Fest just about every time it rolls around and yet hardly anyone mentions any of the other Steam "Fests" or events.

I don't even have any idea how many there are, much less what they're about. Is there always one running, every week for the whole year, except when there's a seasonal sale on? More than one? And why doesn't Steam really publicize these things? 

There's that pop-up window that appears the first time you log in that tells you about some promotion or other, usually some kind of sale from a specific publisher, but even when Next Fest runs I sometimes have to dig around a little to find it.I certainly never seem to get any emails about Steam events, whereas other publishers deluge me with press releases and promos (/wave Square Enix.)

Did you know, for example, that there are two events on right now?  One is getting the pop-up treatment and the other isn't. Unless , of course, they're taking turns.

The one in the shop-window today is Lovecraftian Days, "The fourth annual celebration of the widespread influence of the works of H.P. Lovecraft and the cosmic horror genre in gaming ", hosted by Fulqrum Publishing. I'm not a big Lovecraft fan but I clicked through anyway, just to see what was there and after I pushed my way through the inevitable forest of tentacles, I came to Sherlock Holmes: The Awakened.

I'm a lot more interested in Holmes than I am in Cthulhu. A 90% discount on a £39.99 game from 2023 with a Very Positive rating seemed like a tempting prospect. I was pondering on whether I'd actually get around to playing it when I spotted a banner across the top of the game's Store page. It read   

Hmm. Weird. A Sale Event within a Sale Event? What was that all about? 

So I clicked on the banner. It took me to the expanded version, which looks like this:

Half an hour's browsing later and here I am, writing about it. I have a couple of things to say and the first is, who knew there were so many crowdfunded games? 

Not me, for sure. I mean, I feel like I ought to have known but I really didn't. When I think about it, though, it seems obvious. I must read about a new fundraiser at least every few days and those are just the ones in the genres the niche gaming sites I follow feel the need to cover. Anything that's not some kind of MMO or RPG probably isn't going to ping my radar at all.

Then there's the spread. These are games old, new and yet-to-be. There are some titles in the sale that have been around for years, names you'll recognize, like My Time At Portia or Sunless Sea. There are games just about to launch that you also might recognize by name, things like Outbound or Your Crown Is Mine, both out in May. And then there are the games with no launch date at all, just "crowdfunding soon". Games from developers who, presumably, would still like you to chip in so they can get them finished. 

There were more games than I could readily evaluate. I scrolled through what seemed like hundreds of titles and didn't get to the end. I'm not sure how many crowdfunding platforms for games there are. They can't all be Kickstarters, surely?

Those were the games the event organizers were hoping you might buy or fund but of much more interest to me were the demos. I only knew there were demos because one of the sort categories is "Top Demos". I started scrolling and it went on and on. If those are the top ones it makes me wonder how many there might be with the middle and bottom ones thrown in. 

And that was when I started to wonder why we make such a big deal of Next Fest if there are always dozens of demos just waiting to be played. I like playing and reviewing demos and it's a long time between Next Fests or it can feel like it. It'd be good to have another snack of them between-times.

So I had a look at what they had and I picked a few. Not too many. I can't be sure of finding the time to play, let alone review them.  For Next Fests I usually go for six to eight but this time I settled on four,

And they are:

Lucy Dreaming - "Discover a dark family secret and rid a young girl of her nightmares in this splendidly British point & click comedy adventure. Playing as sharp-witted Lucy, explore both dreams and reality to meet all the colourful characters who'll help you solve puzzles, gather clues and find a murderer."

When it comes to games, normally I just have to see the words "British" and "Comedy" in the same sentence and I'm on to the next. It almost always means labored Monty Python or Terry Pratchett pastiches and I'd had more than enough of those by the '90s. I liked the illustration for this one, though, and the title. And it's a point&click...

I watched thirty seconds of video. It was... mildly amusing, no more than that. But much more importantly it wasn't Pythonesque. Or Pratchetty (Can that be right?) 

I heard Lucy say "I bloody love queuing, me!" and I was in. Self-deprecating irony and cultural stereotyping! Now that's British comedy! And the developers, Tall Story Games, are based in Telford, so they'd need a sense of humor....

Phoenix Springs -  "Lose yourself in Phoenix Springs – a modern point-and-click set in a mysterious neo-noir world. It begins with an investigation: find your brother Leo. You already know where it ends."

Arthouse point&click with an aggressively over-designed visual style. Featured review quotes on the Store page from the New York Times and the Guardian. Ah, I know where we are!

I'm always up for a bit of pretension and the voice-over on the trailer is deliciously dry. Just hope it doesn't take itself too seriously.

Love, Money, Rock 'n' Roll -  "the romanticism of the Eighties, mystery and intrigues, betrayal and sacrifice, hatred and passion — all this and more in the new game from the creators of the legendary visual novel Everlasting Summer!"

Didn't even look at the video. Saw the title, read the description, hit download.  

It's just as well I didn't. I have watched it now and if I'd had to listen to that caterwauling racket, I'd most likely have passed. Visuals are good though. If the story is too, maybe I'll play it with the sound off.

Habromania - "A dreamy Alice in Wonderland-inspired RPG that follows 19-year-old Alice as she tries to escape the surreal, cozy hellscape that is Wonderland—hopefully with her sanity intact."

Not even sure this one is in the event. I might have just grabbed it when I was looking at the Store before this all started, when I was checking the price of Equinox: Homecoming, whose demo (That I wanted to finish.) no longer works since the game launched. I'll almost certainly grab it if it goes on sale again at a decent discount.

Back to Habromania: it looks charming but I'm curious as to why Alice is nineteen. that seems weird. In the books she's seven, which is one hell of a leap. Would any of the story work if Alice was an adult instead of a child? Then again, there are so many versions of Alice, I guess by now she's whatever people want her to be.

And that's the lot. If I play them I promise I'll write about them but I'm not promising I'll play them. I probably will, though. I mean, how long does it take to play a demo? 

Oh, and Sherlock Holmes: The Awakened? Never did get around to buying it.