Sometimes I’ll decide to read a long running, in progress book series, and I’ll feel as if the plot and characters would’ve had a greater impact on me if I’d had a year to wait between books (for them to come out in paperback, at least). This is pretty much how I feel about Late Eclipses in a nutshell.
Two years ago, Toby Daye thought she could leave Faerie behind, now she finds herself back in the service of Duke Sylvester Torquill and sharing an apartment with her Fetch. When her friend Lily comes down with a mysterious, seemingly impossible illness, however, she soon finds herself struggling to save the undine and her subjects, not to mention that the Queen of the Mists has plans of her own, and, as if that weren’t bad enough, Oleander de Marelands, the same person responsible for turning Toby into a fish, is back, and just how does Toby’s mother Amandine fit into all this?
There’s a lot going on in this book. The pieces are moving around the board and things are changing. The central mystery isn’t that hard to solve in that the reader will probably know whodunit, it’s the how that keeps the characters (and the reader) guessing. Well, I figured it out as soon as a certain character was introduced, but even then there are a couple of twists and turns to this tale, and by the time it wraps up there are a lot of intriguing developments for future books to explore, and we’re not even halfway through the books that are in print and the series is still going!
As I mentioned in the little intro bit, I’ve been reading these books back to back and I can’t help but feel that I’m missing some of the impact of certain scenes than if I had had the time to wait between installments. Characters I feel like I’ve just come to know start dying left and right. This must be like what reading A Song of Ice and Fire feels like, except I’m fairly certain a few characters in this series have thick enough plot armor to survive for most of it.
That said, the series slowly seems to be becoming a bit more diverse. May Daye (who is honestly one of my favourite characters in this series) brings her South Asian girlfriend to a ball, and characters of colour like Raj are still up and about, but it’s a shame that given the immensity of the world and the variety of Fae on display that it isn’t more diverse. Then again, this is only book four, and I’ve read entire series that don’t even bother. In terms of potentially triggering content, I can’t remember anything specific besides there being a lot of death. It’s one of those books.
This is one of those books where it’s difficult to talk about it without spoiling everything. Suffice it to say that although this book made me sad (and a little angry) I’m intrigued by the possibilities it presents, and the next book deals with selkies! I love selkies, selkies are great!
This is one of those games where a review has been a long time coming. Since I lacked the hardware necessary to play the game when it first came out, I had to wait until I had a PC that was capable of handling the game, that time came and went, and I progressed to near the end of the base game before being swallowed up by other, newer, shinier games.
You know, the usual.
Dishonored is a stealth action adventure game about a man on a quest for revenge. Corvo Attano, once the bodyguard to the Empress, is framed for her murder and must hunt down and eliminate the people who orchestrated his downfall with the aid of supernatural powers bestowed upon him by the Outsider as well as rescue the late Empress’ daughter, Emily.
The basic gameplay flow of Dishonored is that it drops you into a huge level in the plague-infested steampunk city of Dunwall, gives you a target to eliminate, and then gives you free reign to accomplish your goals. There are multiple ways to approach targets and multiple ways to dispatch them, including nonlethal means. In addition to conventional tools like crossbow bolts (regular and sleep darts for nonlethal takedowns), Corvo also has some neat supernatural powers: Blink is a short range teleport, whereas Bend Time slows or stops time completely. Corvo can summon rat swarms to devour enemies or possess animals and people. These powers can be combined in interesting ways. One of my favourite things to do is stop time, fire a couple sleep darts at enemies, then watch as they all keel over unconscious. Powers can be upgraded by finding runes scattered throughout the level. Corvo can also equip bone charms (also found throughout the level) which enhance his abilities (increasing his movement speed, for example). Another important gameplay element is Chaos. Killing enemies (other than key targets) or leaving bodies around for enemies to discover raises Corvo’s Chaos rating. High Chaos will make Corvo’s enemies more suspicious, and result in increased defenses and a more difficult time traversing the level in the next mission.
For my playthrough, I went with a Low Chaos, Clean Hands (no killing), Ghost (no enemy alerts) run, which is one of the more difficult runs but is perfect for stealth runs. I didn’t manage to get Ghost due to an annoying alert guard in the very first level. This means that many of Corvo’s more interesting abilities were off limits to me (although I did take the opportunity to mess around a bit with the combat before loading a save). As a stealth game, Dishonored is engaging, if at times frustrating, and Ghost runs involve a ton of reloading if you’re spotted. I personally wouldn’t recommend a Ghost run on your first run, I just really like stealth games.
Here we come to the disconnect between Dishonored’s gameplay and the Chaos system in that the game gives you a bunch of cool toys to play with and punishes you with a bad ending if you use them. You can choose to only take down key targets or complete most missions in Low Chaos and still get the good ending, but even so, it still feels like you’re being punished for playing with your toys.
Even though the game isn’t technically open world, Dunwall feels huge. You can find the usual assortment of books and documents to read which flesh out the world. You can look for the Outsider shrines in each level, which contain a rune and some dialogue from the Outsider that changes slightly depending on your actions. Point the Heart (a macabre artifact that beats whenever a bone charm or rune is near) at an NPC and you’ll hear a fact about them. You might find out a guard you just knocked out is a serial killer or that one of your associates peeps on women in the bathroom. One of my favourite missions in the game is Lady Boyle’s Last Party, which sees you rubbing elbows with the elite at a fancy party where you need to first identify your target before moving to the main event. You can even eschew stealth altogether and walk in through the front door like a boss. Some of the nonlethal methods to eliminate your targets arguably leave them worse off than just outright killing them (like handing a woman over to her stalker or having two targets sent to be worked to death in their own mines).
Some criticisms I have is that the Blink power is a bit too sensitive, I’d be wiggling the mouse around, trying to get the indicator where I needed it to be and accidentally end up blinking too soon and faceplanting in front of enemies. Sometimes there would be a weird “time skip” where I’d save my game, get spotted, and reload to immediately be spotted again. Sometimes unconscious bodies that I’d stashed away were missing after a reload. Fortunately, the instantly spotted on reload only happened to me once and the game autosaves frequently. This is something that happens in many games, but after a while you hear the same NPC chatter over and over again. If I had a dollar for every time I heard a guard whistle the same tune I’d be filthy rich right now. Another thing I personally object to is the way the DLC apparently has more to do with the sequel’s plot than the actual base game. It’s not a complaint about the DLC itself, it’s just a personal gripe of mine. I dislike when I’m expected to play the games, play the DLC, buy the tie-in novels, and bake the officially approved cake so I can understand what’s going on in the series. To be fair, Bethesda isn’t the only company that’s guilty of this EA and BioWare but I thought I’d mention it because I despise the practice so much.
Normally I don’t buy a lot of DLC but I bought the definitive edition of the game on sale on Steam. The Void Walker’s Arsenal includes bone charms, gold, and books that were offered as preorder bonuses. The Dunwall City Trials are a series of challenge maps, each with a different objective. In “Mystery Foe” your goal is to collect clues in order to find and eliminate a random tarot, while “Kill Cascade” is a series of drop assassinations on a timer.The real meat of the DLC are the two story campaigns: The Knife of Dunwall and The Brigmore Witches, which follow the adventures of Daud as he searches for a woman named Delilah. Daud controls much like Corvo with the addition of some new tools like the Chokedust grenade, which can distract enemies for a few seconds while you escape (or sleep dart them). Another new feature of the DLC is corrupted bone shards which have both benefits and drawbacks. The favours system allows Daud to purchase advantages (like a weapons cache or a rune) that can make levels a little easier. The DLCs are supposed to be harder than the main campaign but they are absolutely a must play.
In terms of triggery content, one of the easiest ways to non-lethally deal with enemies is to choke them out. As you might expect from a game where you play as a supernatural assassin, violence is par for the course, and even in a playthrough where the player isn’t violent, NPCs will frequently be shot and stabbed by other NPCs. Descriptions of the effects of the rat plague are horrific and the game makes it clear that children are not exempt from the horrors that the poor of Dunwall experience. There are a couple sequences (one in the DLC) where you can torture characters for information.
I spent about 55 hours in total on both the base game and two story DLCs and 26 hours on the base game alone. There is some replayability if you want to go back and try a High Chaos playthrough. I can’t imagine anyone reading this hasn’t played this game, but if you’re the one person who hasn’t. Dishonored is a dark but engaging stealth action game with some really interesting level design.
I’ve been thinking about this recently, but describing a book as “historical fantasy” seems like a contradiction in terms, and yet, there’s no better way to describe this series, which was recommended to me courtesy of the tumblr hivemind as a sapphic historical fantasy series.
Margerit Sovitre didn’t expect to inherit a baron’s fortune, and with it, a bodyguard in the form of Barbara. At first, Margerit protests the need for Barbara’s protection, but she wasn’t counting on earning the enmity of the new baron and soon she can’t imagine life without her by her side. All is not well in Alpennia, however, with the Prince ill and the succession in question, Margerit finds herself drawn to the mystical rituals known as the Mysteries of the Saints, and now she’ll need Barbara’s protection more than ever to survive the deadly intrigue of the court.
I’m struggling with finding words to describe this book. There’s a bit of political intrigue, a little action, a bit of (Catholic) magic and a lot of mingling in Society and maintaining one’s reputation. According to the author, Alpennia is a fictional country nestled between Italy, Switzerland, and France. I’ve heard it described as “Ruritanian romance” but as I wasn’t familiar with that term, I was reminded of Regency romance.
The major players in this slow burn of a novel are Margerit and Barbara, the point of view characters. Margerit is a typical fish out of water protagonist who suddenly finds herself a highly eligible heiress, though she would rather spend her days buried in books than trying to land a man. Barbara, on the other hand, was trained from a young age by the former baron to be his armin (professional duelist) and finds to her chagrin that his death hasn’t freed her from service. There are some interesting secondary characters, like LeFevre, the baron’s (now Margerit’s) man of business, Margerit’s aunt Bertrut, the prickly scholar Antuniet, and the eccentric Vicomtesse de Cherdillac. My one issue is that we didn’t get to see very much of a couple characters.
Politics, religion, and reputation play a big role in Alpennian society. At times, the politics can be a bit knotty, but the basic idea is that there’s a crisis of succession based on the validity of a marriage contract. At one point there’s a discussion of some of the finer points of Alpennian inheritance laws and debts that becomes a plot point later on. The magic system is focused on the mysteries of the saints, which combines ceremonial magic with intercessory prayer and rituals in a way that reminds me of the game Darklands.
It’s a very slow-paced book, there isn’t really a sense of urgency in the plot until the last few chapters, when the plot threads are neatly tied up. In a book like Throne of Glass, where the main character is an assassin, the focus on dresses over murder was disappointing (even if Celaena is recovering from being imprisoned) but here it makes sense: Margerit is an heiress and would-be scholar, and Barbara doesn’t have many opportunities to leave her side, so of course there’s going to be a lot of visiting, parties, the opera, and the like.
In terms of potential triggers, there is an attempted rape/sexual assault and the attacker appears later in the story. The romance, which is between Margerit when she technically “owns” Barbara (it’s complicated) might make some people uncomfortable. However the power disparity between the two is acknowledged and Margerit does make multiple attempts to free Barbara from her obligations, which for me is more palatable than, say, the relationship between the two main characters in The Winner’s Curse. Although the main romance is between two women, Alpennian society is still very heteronormative, so characters make certain comments about how Barbara might be one of *those* women because she dresses in masculine clothing.
Overall, I definitely enjoyed this book. I’m not sure if it would make my “Top Ten Books of All Time” list, but the Alpennia series is now one to watch. I would recommend it if you like books like The Privilege of the Sword by Ellen Kushner, just be prepared for a slower read.
I start again, thinking I have what it takes to beat the final boss and finally finish this game that I’ve spent nearly 45 hours playing. The first tile I land on is the Desert Cult, “Easy” I think. “I’ll just beat these enemies and get some free gear out of it.”
And then the game throws a past boss at me and six enemies with shields, on a small map.
And that’s how I died on the first tile of the dungeon.
Beyond the thirteen gates at the end of the world, the game of life and death is played. As one of the players of this game, you’ll tackle a variety of challenges: some will reward you with gold, equipment, or food to ward off starvation, you may be blessed or cursed. Tour opponent, the mysterious Dealer, won’t pull any punches. Your run can end in one of two ways: victory or death.
Prepare to see a lot of death.
What makes Hand of Fate unique is that it is a combination of rogue-lite randomness, action combat, interactive fiction, and a deck-building game. The “tiles” of the dungeon are actually cards drawn from your encounters deck. As you might expect, each card represents an encounter of some sort. Many encounters present you with a choice: to attack some bandits or sneak past them, to try and pry open a treasure chest, or leave it alone. Unless they involve combat, these encounters are purely text-based, although sometimes you’ll be asked to pick a card to see if you succeed or fail at your endeavor. Some cards have tokens, which are gained by resolving that encounter in a particular way. Tokens unlock new encounters and equipment for your deck. As you traverse the dungeon, you need to keep an eye on your food and gold. One food is consumed per dungeon tile and if you run out of food, you steadily lose health until you buy more food at a shop. Starvation is only one of the few ways you can lose the game. You can also be afflicted with curses, which cause various effects (most of which are bad, but there are a few you can turn in your favour). Your goal is, naturally, to get to the end of the dungeon, where you’ll fight the boss. From there, you choose a new boss to face, adjust your encounter and equipment deck, rinse and repeat. There’s also an “Endless Mode” where you see how long you can last before dying.
It sounds like the deck is stacked against you (ha!) and occasionally you just won’t have any luck during a run. Fortunately, there are ways you can tip the scales in your favour. I mentioned before that most of the encounters come from your encounters deck. Each time you begin a run, you can add or discard encounters and equipment from your decks. Are you going up against a bunch of lizardfolk? Add in weapons and armor that are effective against lizardfolk. If food is going to be a problem, add in encounters that give you food cards. While the dungeon layout is random and there are some special encounters that you have no control over, you aren’t entirely at the mercy of the RNG.
When you enter combat (and you can go a full run without entering combat) the game switches to 3D graphics and becomes an Arkham-style brawl based on fluid counters and dodges. I loved watching the character bounce from enemy to enemy like the world’s angriest pinball. The idea is to watch for enemy prompts, a green prompt above their heads means that the attack is counterable, while red indicates an unblockable attack (I can’t remember if there’s a colorblind mode but I don’t think so). It’s a simple system that doesn’t really add many more mechanics although some shields and weapons have special abilities and artefacts grant powerful abilities with limited uses. Combat can be frustrating at times, particularly when you’re surrounded by enemies with shields of their own, but even though I would say it’s the weakest aspect of the game, I still had fun with the combat system. One thing I do recommend is using a controller. You can get by with mouse and keyboard (as I did for most of the game) but it’s much easier to activate weapon abilities and artifacts with a controller (which is ultimately how I managed to beat the game).
This wouldn’t be a proper review of Hand of Fate if I didn’t talk about the Dealer. The Dealer is basically the DM of the game your character is playing, and apart from the enemy grunts, his voice is the only one you’ll be hearing throughout your playthrough. He praises you when you do well, snarks at you when you forget to use a weapon ability, and questions your decision-making skills when you purchase new equipment at the shop. Mostly he snarks at you. Anthony Skordi does such a great job as this character, especially during later runs, where he goes from being smugly confident in his victory to throwing quite literally everything he has at you when you rise to the challenge. There are also many characters within the game, and some of them (like the one with the goblin disguised as a very short human) have a series of encounters that are unlocked in succession. It’s weird to talk about exploring a world where interactions are almost purely text-based, but the world is full of encounters with the supernatural, heroes who are down on their luck, treasure vaults filled with traps, a secret society, an auction where the currency is blood, and deals with the devil. Sometimes I just wanted to explore the entire floor of a dungeon just for discovery’s sake.
I’ve tried recommending Hand of Fate to my friends and most of the time they are reluctant to play it because they don’t like “hard” games. I don’t blame them, I dislike most games the “hardcore” gaming community touts as “hard” (not to mention that “hard” is subjective). Hand of Fate can definitely be a challenge, but I also feel like the deck-building aspect allows players to tailor their experience to some extent. I would say Hand of Fate is one of the easiest “rogue-lites” I’ve played, and I’ve played a bunch, but even so, the last level in particular seemed almost insurmountable until I managed to beat the last boss last night. It will definitely challenge you, and the red/green colour scheme and timing-based counters don’t make the game very accessible, but it’s also a unique game in an industry full of samey open worlds (says someone who loves open world games).
Some criticisms I have of this game are lack of any sort of character customization (you’re limited to playing as a dude), lack of enemy variety, and some late-game encounter cards. While lack of character customization isn’t a deal-breaker to me, I was still disappointed that I couldn’t play as a lady or even change the hairstyle or skin color of my adventurer. This has been addressed in the sequel somewhat with the option to play as a lady, but I don’t think you can customize the PC beyond that. Another issue I had with the game is lack of enemy variety. There are some unique enemies in the game (like Minotaurs or Lava Golems) but most of the time you’ll be fighting against four basic enemy types (“suits”) in the game: Dust (Bandits), Skulls (skeletons), Plague (Ratmen) and Scales (Lizardfolk), the game does try to mix it up by giving enemies more special abilities and throwing former bosses your way, but once you’ve fought one you’ve kind of fought them all. Finally, some of the late-game cards that require you to spend ridiculous amounts of resources for were little more than an annoyance, especially on the final level, where resources can very easily be lost from bad luck with the pain deck. A special annoyance for me during the final level was the Kraken, a boss who was just as much a challenge as the final boss and often ended my final boss run prematurely by happening to be in a linear dungeon layout. Sometimes, the way you obtain a card’s token is obscure, like the encounters that require you to fail in order to eventually succeed. I can’t think of any common triggers, though there are references to slavery (including one event where you are captured and forced to fight in gladiator games).
It took me 46 hours to finish the game, with a lot of stopping and restarting, and barely having touched the achievements. A single run to a boss encounter might take a few minutes or longer depending on which encounter cards you come across. There’s a ton of replay value, and the Wildcards DLC (which I recommend) adds “Fates” (like character classes) with their own encounter chains. Some encounters are only available to certain Fates, and they each have their own advantages and drawbacks. I would say the expansion is definitely worth it, especially if you’ve completed the game and are looking for a bit more challenge.
Not gonna’ lie, Hand of Fate is a frustrating experience at times, but it’s a unique experience, it’s an experience that kept me coming back for more even when I had the most rotten luck during a run, and that speaks volumes if you ask me.
I know it seems like I write these reviews moments after I finish the work in question but the truth is some of these have been kicking around for months (I blame the depression), not this review though, I literally just finished the book in question.
The first book in this series, Rosemary and Rue, was surprisingly good, and surpassed my expectations (which are, admittedly, very low for the urban fantasy genre). The world McGuire has created is so captivating that I can almost forgive her protagonist’s investigatory fuck ups (which often involved her getting shot in the first book).
This time around, October’s liege, Sylvester, Duke of Shadowed Hills, charges her to check on his niece, January, who is Countess of a the newly formed County of Tamed Lightning, sandwiched between his realm and the Duchy of Dreamer’s Glass. He can’t go himself, nor can he send more qualified members of his Court for fear of sparking a war with Dreamer’s Glass, though he does send her with Quentin, a page in need of some experience outside the knowe. What was supposed to be a simple courtesy call, however, quickly becomes deadly as someone starts killing off January’s key people.
As with the last book, I found many of the characters likeable. Besides Toby, there’s Quentin, an underage, inexperienced page currently being fostered in Sylvester’s Court, who is, interestingly enough, more savvy than October when it comes to technology. The staff of ALH computing were a mixed bag for me, I liked January and Elliot (who is a bannik, fae who are able to magically clean people and things), but couldn’t stand Gordan, who makes no secret of the fact that she hates purebloods and spends most of the novel hating on October (who she sees as the “lapdog” of the purebloods).
The world continues to be compelling. It’s populated by a wide variety of fae with their various organizations and politicking. Honestly, have the fun of urban fantasy for me is reading about the various fantastical elements and seeing how the author puts their own unique twists on myths, folklore, magical systems, etc. I love the ides of a company that specifically makes technology that is compatible with the weirdness that is Faerie, especially since traditional lore on the Good Folk often places them at odds with modern technology.
Unfortunately, like the first book, October doesn’t really do a lot of traditional investigating. Once again, I felt like the plot happened to her instead of her doing anything to drive the plot forward, to be fair, however, she’s facing an unknown assailant and something’s wrong with the phones. I’m probably jumping the gun by saying this, but her PI training seems like more of what TV Tropes calls an Informed Ability than a skill that has any bearing on the plot. My other major issue with this book is that the characters make a ton of questionable decisions. Guess what the remaining staff members at ALH do when Toby warns them not to split up? They split up, of course! One of the characters even references the “never split the party” rule in tabletop gaming. Personally, I was baffled that it didn’t occur to October to take a certain course of action (which seemed obvious to me) until about halfway through the book. At least Toby doesn’t end up injured and in distress as often as the first book.
Also unfortunate, but there’s not a lot of diversity here either. The only person of colour is one of the murder victims who was dead before October arrived on the scene. In terms of triggers, Alex, forces a kiss on October and his sister, Terrie, flirts with Quentin (who is underage), he also makes October feel attracted to him against her will. Fortunately, October is not having any of his shit (especially when other characters tell her “he can’t help it”) and tells him to stay away from her and Quentin. I also disliked how the killer is referred to using ableist terms for mentally ill people, which, while a pretty common trope, is still harmful.
Despite some very questionable decisions on the part of both main and minor characters, I’m enjoying this series and I look forward to reading the rest of it (provided I don’t get sick of it like I have with so many other series). I’m captivated by this world, even if the characters annoy the hell out of me sometimes.
Few things appeal to me more than books about witches and books about relationships between women. I don’t care if the witch is becoming the new vampire in fantasy and urban fantasy. I will take a good book about lady witches supporting each other over an interesting setting with girlhate any day of the week.
In the Witchlands, some people are born with a magical talent–a witchery–that sets them apart from from others. Safiya is a Truthwitch, able to discern truth from lies, while her friend Iseult is a Threadwitch, able to see the invisible threads that bind people together, though she is unable to see the threads that bind her heart. The two make an unlikely pair, Safiya is reckless, whereas Iseult is a careful planner. Unfortunately, their desire to live their own lives free from the influence of others proves difficult to obtain when they are caught up in political maneuvering between empires, and with a formidable Bloodwitch on their tails, Safi and Iseult will need the help of Prince Merik–a Windwitch desperately trying to help his impoverished nation–if they mean to survive long enough to attain true freedom.
The main characters, Safiya and Iseult, are the stars of the show. Safi is hotheaded, very much about doing. Iseult is the planner, the thinker, brains and brawn. In some stories, the secondary characters steal the show. In this book, the relationship between the two women takes center stage. I love them. There are also some great secondary characters: Aeduan, the Bloodwitch hunting Safi and Iseult for his patron, and Evrane, a Monk with a calming presence, especially when compared to her nephew, Prince Merik, who has quite the explosive temper. Some characters have smaller roles in the book, but manage to leave an impression on the reader, like Vaness, Empress of Marstok, or Mathew and Habim, the girls’ mentors, with some exceptions, I didn’t find the characters unlikable at all.
I love the idea of “thread-family” which is very much a family of choice rather than blood. Thread-brothers and thread-sisters share a close bond, one which often takes priority over, say, romantic bonds. It’s refreshing to see this sort of story where friendship is treated as just as important, if not more important, than romance.
I also enjoyed the action scenes. The book begins with a highway robbery gone wrong and everything just gets worse for our two protagonists from there. At times it’s difficult for me to see the action scenes in my head, but the scenes in this book played out like a big budget summer blockbuster in my head. This is one book I’d love to see adapted to the big screen.
One criticism I’ve heard about this novel is that there’s no worldbuilding. I disagree, to a point. There’s an elemental magic system, various empires and nations all trying to out-politic each other, and some hints at different pantheons and religious beliefs. The problem is that it’s not really expanded upon. Whereas some books will spend paragraphs telling you about how magic X works, Truthwitch takes a more, I guess you could say, minimalist approach. There’s nothing wrong with that but there were times that I wished the author had elaborated more on certain points.
If I had to name one thing I didn’t like about this book, I think I could sum it up in one word: Merik. Merik is the Prince of the impoverished nation of Nubrevna, desperate to forge a trade agreement or two to keep his country from being set upon by its neighbours, he’s also Safi’s Obvious Love Interest. Initially, I liked their playful bantering back and forth, that is, until he puts Safi and his aunt in leg irons on a ship for an entire day because he needs to maintain the loyalty of his crew. It was at this point that I completely lost interest in this character.
Another issue I had with the book is despite the emphasis on the friendship between Safi and Iseult they spend a fair chunk of the book separated until everything goes to shit. While we do get a glimpse of Iseult’s life before Safi and I understand why they separated, both characters are at their best when they are together, and it was these chapters in particular that I felt were the slowest parts of the book.
In terms of diversity, Iseult is described as having “slanted” eyes and her culture is basically (stereotypically) Romani in all but name (she is even referred to with the fantastic slur “‘Matsi”). There’s a minor black character, Ryber, and the powerful Empress of Marstok is described as having “bronze” skin. Safi herself is described as “tan”. In fact, Iseult, with her pale skin, is seen as unusual, although I should mention that the nation where they live is based on Venice, so it’s one of those ambiguous “are they tan white people or people of colour?” situations. In addition, Vaness, though powerful, is still a minor antagonist. In terms of LGBT representation, Matthew and Habim, Safi and Iseult’s mentors, are described as “heart-threads” which, if Ryber and Kullen are any indication, means that they are at the very least romantically involved, if not sexually. Overall, I’d say Truthwitch could use some work on the diversity front. It’s disappointing that there’s a main character of colour (and possibly two, depending on how you interpret Safi’s skin colour) whose family is depicted in such a stereotypical way.
Overall though? I loved Truthwitch despite its missteps. I loved the themes of friendship and found family. The action scenes were some of the most vivid I’ve read in a book, and most of the characters were interesting. I can’t wait to read Windwitch!
There was a time when I thought I wasn’t going to get to review this title, in 2016 when everyone thought the apocalypse was nigh, but it’s 2017 now, year of amazing game releases that offer amazing worlds to explore and problems to solve, escapes from reality that help you forget about all your mundane problems.
In Persona 5‘s case, the amazing world is Tokyo and the problem is high school.
In Persona 5, like its predecessors Persona 3 and Persona 4, you assume the role of an ordinary high school student. After attempting to stop an assault, the protagonist is arrested, branded a criminal, and sent away to attend the only school that would take him: Shujin Academy. As he’s settling into his new home, a cramped attic space above his new guardian’s coffee shop, he discovers a mysterious app on his phone. Later he discovers that the app is the gateway to the Metaverse, a space where the desires of corrupt adults become Palaces where they hide their deepest, darkest secrets. Seeking to change the hearts of these corrupted adults, the protagonist and his friends become the costumed vigilantes dubbed the “Phantom Thieves of Hearts” who infiltrate Palaces to steal the Treasure at its heart, thus changing the heart of the corrupt adult in the real world.
Persona 5, like its predecessors, marries typical JRPG dungeon-crawling, treasure-finding, and boss-fighting to a life simulation where you make friends, try to ace your tests, juggle three part time jobs, hit the batting cages, brew coffee, watch movies at the theatre, and possibly find time for romance. You know, just like real life. You’ll typically attend classes during the day. When classes are out, you can choose to hang out with other characters or participate in activities to raise your social stats, or you can choose to infiltrate a Palace. Infiltrating a Palace takes up the afternoon and evening, so you usually can’t do anything else that day if you choose to go dungeon-crawling. To make matters more complicated, you only have so much time to steal the Treasure before something really bad happens, fail to steal the Treasure before the deadline, and it’s game over. This means you do need to manage your time somewhat: do you make progress in the Palace or do you hang out with the friend who asked if you wanted to go to a movie that day? Fortunately, the game is generous with its deadlines for the most part and you can usually complete a Palace within the first three days at the start of the mission.
Palaces are Persona 5’s dungeons, they’re all unique and reflect their owner’s personality. Unlike Persona 3 and Persona 4, which had randomly generated dungeon floors, Persona 5’s dungeons are hand-crafted. Enemy shadows roam the dungeon, and coming into contact with them initiates a battle. Persona 5 takes a more stealth-based approach to gameplay (you are thieves, after all), you can hide behind objects in the level and ambush enemies to gain an advantage in battle. If an enemy spots you, the Palace’s security level will rise, and if it reaches 100%, you’ll be kicked out of the dungeon and need to return the next day. Safe rooms can be found throughout the dungeon where you can save your game, check your progress in the dungeon, and heal up using items that can only be used in safe rooms. Palaces also contain puzzles, these puzzles generally won’t keep you awake for days trying to solve them, but they’re a nice break from battling.
Speaking of battles, the endless menus of the previous games have been mostly done away with in favour of every action being mapped to a controller button. Press X to attack with your melee weapon, press Circle to guard, you can see and target enemy weaknesses with the press of a button. Persona 5 uses the familiar “One More” system, where targeting enemy weaknesses knocks them down and gives you an extra turn, managing to knock all enemies down allows you to perform a powerful All-Out Attack, or to negotiate with the shadows. Negotiation is a staple of the Shin Megami Tensei series and the earlier Persona games, but it disappeared in 3 and 4. You can negotiate with shadows for money, items, or their mask (which allows you to summon them as a persona). Negotiation is basically a matter of choosing options you think the shadow might like and hoping the RNG likes you. Occasionally, if you leave an enemy on the brink of death, they will attempt to negotiate with you, which is an easy way to gain their mask if they don’t have easily exploitable weaknesses. Speaking of exploitable weaknesses, enemies can also exploit your party’s weaknesses. It can be frustrating yet hilarious to watch enemies ambush you and then proceed to destroy your party before you even get a chance to react. The enemies may also take your party members hostage, failing to negotiate their release will make them unusable for the rest of the encounter. While still very much a turn-based battle system, the player feels a bit more involved in the action. Once you’ve obtained personas, you can take them to that old series staple, the Velvet Room, and fuse them together, sacrifice a persona to strengthen another, put them in “lockdown” to train them, or turn them into various items. Speaking of fusion, you have much more control over skill inheritance, especially when you factor in skill cards that you can use to give a persona certain skills.
The ability to form bonds with your party members and other characters has been an important part of the series since Persona 3. Persona 5 calls these relationships Confidants rather than Social Links. Each confident is linked to one of the Major Arcana, and usually all it takes to increase a confidant’s rank is to have a Persona of the same arcanum in your stock when you speak to them, but some levels might require certain social stats to proceed (for instance, a character won’t even speak to you if your knowledge isn’t at rank 3). While previous games treated social links as ways to give experience bonuses to personas during fusion, Persona 5‘s confidants all have impacts on the gameplay. For instance, one allows you to brew coffee and make curry, which is used to restore SP (used for skills), a valuable skill since SP-restoring items are few and far between. Another confidant might help you with negotiation, give you access to unique skills in combat, or allow you to do more things during the day. Each confidant has their own story and issues to overcome, and this ties into the second major dungeon area of the game: Mementos. In a nutshell, Mementos is everyone’s Palace, for regular people who are not quite evil enough to have their own Palace, but have still fallen victim to corruption. Occasionally (either through the Phantom Thieves’ fansite manager or your other confidants) you’ll receive requests to change someone’s heart in Mementos. It’s basically a matter of heading in, wandering around until you find the area with their shadow, and beating their shadow to complete the quest. Since Palaces disappear after you steal their Treasure, Mementos is your go-to grinding spot as well as a place to obtain Personas you missed in the Palaces.
Persona 5 might not have the most cutting edge graphics in the industry, but one thing it does have is style. Everything from the main character’s climbing animation to the menus oozes style. The shadows/personas themselves look fantastic in HD and this absolutely needs to be a series standard now. Even the (awesome) victory screen seamlessly transitions to the dungeon. It just looks so cool. While Persona 3‘s colour scheme was a melancholy blue and Persona 4‘s was a more upbeat yellow, Persona 5 has an aggressive red colour scheme that fits its themes of revolution and change. The soundtrack is amazing. “Rivers in the Desert” (a track that plays during certain boss battles) is one of my favourite boss themes in the entire series. I also love the upbeat “Life Will Change” which plays when you infiltrate a Palace for the final time to steal the Treasure. “Beneath the Mask” the track that plays during the evenings and on rainy days, has that “relaxing with a hot beverage and a book” feel.
I’ve been talking a lot about the game’s systems and not so much about my own personal opinions, but I think most of my readers are aware that I love this series, and this game is no exception. I loved hanging out with my party members. Persona 3 and 4 by no means had awful social links, but I found that I genuinely wanted to hang out with the confidants. I looked forward to messages they would send me asking if I wanted to go to a movie or hang out at the coffee shop. I liked making curry for them. I grew to love these quiet moments outside of battle. By the end of the game I was wishing it let me spend more time with the social aspects than the actual dungeons (not that the dungeons are awful). Their stories range from a washed-up politician trying to atone for his past mistakes to a woman who needs the courage to leave an exploitative cult, to fake dating one of your party members so she can check up on one of her friends, and, as I said, each one has an impact on other systems in the game. I absolutely loved the way Persona 5 makes you feel like a mysterious phantom thief, complete with sending a calling card to the target the day before you steal their Treasure. The actual heists, where you infiltrate the Palaces while an awesome track “Life Will Change” is playing in the background will make you feel like a badass. One last thing, boss fights have interesting strategies and at times you can send a teammate to perform special actions to weaken the boss. While this does make the majority of bosses ridiculously easy, I thought it was an interesting “hold the line” mechanic.
I also love the little touches in this game, like the fact that the tarot images you see when you rank up a confidant are from the Marseilles tradition instead of the Rider-Waite Smith, to the way the protagonist rakes his hand through his hair when he gets out of the bath. One minigame I loved was the flower shop part time job, where you have to choose the right flowers to match the customer’s order.
One major criticism I have is the fact that the game won’t let you do anything else that day even if all you’ve done is talk to your friends. The game makes you waste days doing nothing but meetings with your friends and sleeping. While I do appreciate, just as a person, that Morgana is reminding the protagonist to take care of himself and makes sure that he’s getting enough sleep, as a player it’s frustrating (so much so that Morgana telling the protagonist to go to sleep is a meme). It feels like Atlus is anticipating the release of “Persona 5 Crimson” which will give players more time to do things (which is another issue for another day) but at present, it’s really annoying that a game about time management doesn’t appear to respect your time. The other thing that I’m salty about is the fact that while the protagonist can initiate romantic relationships with any of the lady confidants (including his teacher) he can’t date the guys. While this is unsurprising seeing as Japan is still very conservative and there are few protections for non-straight, non-cis people, it’s particularly unfortunate considering a major theme of the game is rebellion against systems of oppression. To add insult to injury, two recurring characters are a stereotypical gay couple who exist to make Ryuji and the protagonist uncomfortable. I also didn’t like how Ann, a sexual abuse survivor, is constantly sexualized by the game and other characters even though she’s obviously uncomfortable (not to mention being body-shamed by Ryuji for liking sweets). Many people have pointed out that Lala Escargot, a trans woman (or drag queen) who works in a not-gay bar in Shinjuku, is a more positive portrayal of queer identities. The game refers to her with the correct pronouns and she is the voice of reason in Ohya’s confidant events (as well as your employer if you choose to work there), but she still speaks in a stereotypical husky masculine voice and plays a support role in Ohya’s story. Personally, I didn’t care for Ohya as a confidant and think that Lala’s story would be much more interesting, but it’s important to acknowledge that one positive portrayal doesn’t change the fact that someone decided to stick some gross stereotyping in their game, especially since Persona 2 gave us the option to have Tatsuya voice his attraction to Jun. In terms of actual gameplay things, the second to last dungeon was a long drag and culminated in a series of boss fights without an opportunity for a break. I also would’ve liked to see more opportunities to avoid combat (there’s a point where you have to convince some NPCs to give you invitations and there’s no option to avoid a fight completely). Lastly, I found the game overall to be pretty easy. The boss I had the most trouble with was the second story boss, but after that it was mostly smooth sailing barring some enemies getting the drop on me.
In terms of potentially triggery content. The opening scenes involve the protagonist being drugged and beaten by police. The very first antagonist you encounter is physically abusing male students and sexually abusing female students, including an implied sexual assault that drives one student to attempt suicide. There’s another suicide later in the game, but it’s revealed to be a murder. One of your party members is threatened with the prospect of sex slavery. The “bad ends” you reach by failing to complete palaces before the deadline also reference suicide and sex slavery. Several sidequests involve abusive boyfriends and girlfriends, abusive family members or bosses, stalkers, animal abusers, and other unpleasant people. A number of characters have unpleasant home lives that involve abuse or neglect of some sort. Suffice it to say if it’s something awful humans can do to other humans, it’s probably in this game in one form or another.
There’s so much more I could say about this game (such as influence of Gnosticism in its narrative) but that would involve heading into spoiler territory. The game has me clocked in at 150 hours and 50 minutes and I’ve only filled half the compendium, maxed about seven confidants, and didn’t even try activities like fishing. There’s so much to do that Persona 5 is easily worth your time and money despite its shortcomings and my personal gripes.
So far 2017 has been a year of one hit after another. Persona 5 has been keeping me from the many, many games in my backlog (including hits like Horizon: Zero Dawn). I’m in the midst of a deluge of great games, not that I’m complaining, I’d just like a bit of a break! Okay, game devs?
Inevitably with the release of so many big budget games in such a short span, some smaller projects don’t get the attention they deserve, I’m here to talk a little about one of them.
The Sexy Brutale is an adventure/puzzle game from Tequila Works, and takes place in the titular mansion turned casino. You are Lafcadio Boone, one of the guests of the mansion’s mysterious owner, the Marquis, during a masquerade. Unfortunately, the staff at The Sexy Brutale are inexplicably murdering the other guests, and it’s up to you to foil their murder plots and figure out just what the heck is going on.
What makes reviewing this game difficult is that pretty much everything story-related outside of the synopsis I just gave is a spoiler. The Sexy Brutale is not a long experience, my playthrough took about eight hours and I didn’t manage to find all the collectables, so this is one that you definitely should play for yourself if it interests you.
The Sexy Brutale takes an interesting approach to puzzle solving, instead of stockpiling items and combining them to make new items, the puzzles in this game are more about observation and timing. Lafcadio can’t interact with any of the other characters or the masks they wear detach and chase him until he leaves the room or dies (apparently you can die but I never did), so instead he has to follow both killers and victims at a distance, hide in cabinets, and foil murder plots behind the scenes like a guardian angel who moonlights as a stagehand. When you save a guest, you obtain their mask, which unlocks a special ability that you can use to solve later puzzles. And speaking of timing, the day resets when the clock strikes midnight, any items you’ve gathered up to that point vanish, but you keep any information you may have discovered, like a password or a door code. You can rewind or fast-forward time to certain points almost as often as you like, so if you’ve missed the window of opportunity to save the guests, you can rewind time straight away and try again.
What I liked most about the puzzles is that they’re deceptively simple. Chances are if you’re having trouble with a puzzle you’re likely overthinking it. One early puzzle had me wandering around the casino for hours when the solution was literally as simple as flicking a couple switches. There were some hiccups where I had no idea where to go, but usually figuring out how to progress was a matter of following someone around until they dropped a key piece of information. I wouldn’t say the puzzles are particularly hard, but it’s easy to assume they’re complicated when the opposite is true.
I particularly love the way sound and music is used in this game. The music will reach a crescendo to let you know that time is running out for the murder victims, then fall silent when the deed is done. It can be really disconcerting when you’re just wandering around and the music starts to pick up, even more so when you’re racing against the clock to save them before it’s too late. There are also a couple of really amazing vocal tracks.
In terms of potential triggers, one of the deaths is a suicide by hanging and you need to interact with something near the body to progress. The setting is a casino and the lore will hit home for anyone with a gambling addiction. The various deaths can be hard to watch. What lore I managed to unlock was pretty creepy.
In terms of diversity, Trinity is blind and Thanos uses a wheelchair (I don’t know if there’s another name for it). Aurum, Willow, and Greyson appear to have darker skin in the official art. While there’s no explicit confirmation in canon, the game implies that one male character has feelings for another but as far as I know there’s no indication that those feelings are reciprocated.
I almost passed on The Sexy Brutale because of the price (21.99 CAD) but I’m glad I didn’t. The ending is one that will stay with me, and I still have a lot of lore, playing cards (you can collect an entire deck’s worth of playing cards) and invitations to collect. I’m not sure if I will return to the Sexy Brutale any time soon, but it was an experience that I do not regret. If you enjoy puzzle games and you like murder mysteries–with a twist in that you’re not figuring out who done it but how to stop it from happening–The Sexy Brutale is an easy recommendation.
Most YA post-apocalyptic settings are about the world going to shit or the world going to shit and giving birth to an oppressive dystopian society. The protagonist joins a rebellion and topples the oppressive regime, things are better, the end.
The Scorpion Rules is not one of those books.
The Scorpion Rules is set in our world controlled by an AI, Talis, who keeps the world from being ravaged by war by taking the children of world leaders hostage. If their countries go to war, their children die. This is Greta’s fate, as a duchess and crown princess of the Pan-Polar Confederacy, she lives in a compound with other hostages until she turns eighteen. Until, one day, a boy, Elian, arrives at the compound, and he’s not interested in following any of the rules. As Greta and Elian watch their nations tip closer to war, Greta finds herself faced with a choice: die, or find a way to break all the rules.
I think the best way to describe The Scorpion Rules is that it’s not so much a story about rebelling against an oppressive regime as it is a meditation on a way of life that’s come to an end. Talis is in control, and the hostages need to make the best of a shitty situation. Greta accepts this as how the world is supposed to work. While other heroines might be frustrated by their treatment and dream of revolution, she’s aware that her survival depends on the willingness of others to go to war.
Inevitably, someone shows up and isn’t interested in following the rules, this person is Elian (there’s an accent on the A) and before you ask, yes, he’s a love interest, and, yes, there is a love triangle between Greta, him, and Da-Xia, a girl seen as a living goddess by her people but again, unlike a typical novel of this type, there’s no staging a rebellion in the compound and overthrowing their oppressors and living happily ever after. It’s closer to something like a slice of life anime set in a dystopian society than the Hunger Games trilogy. Do you like goats? There’s a lot about goats, and philosophy, that doesn’t mean the novel is devoid of tense moments, far from it, but you shouldn’t go into it expecting an explosion a page.
If I had a criticism or two, I think the writing can be a bit pretentious at times, name-dropping Roman philosophers like they’re rock stars. I also struggled with the way Greta cared for an AI despite said AI torturing her with her own nightmares and basically being in charge of (and therefore responsible for) their treatment in the compound, even when she acknowledges that this is the case.
The main cast is also pretty diverse, besides our main protagonist (who is bisexual) there’s a bisexual Tibetan girl, an black girl (who speaks Xhosa), a disabled albino boy, a Jewish boy, and a couple who don’t get a lot of characterization. My one issue with the case is I wish Thandi, the black girl, wasn’t so much of an Angry Black Woman.
The only major triggers I can think of are that there are a couple torture scenes and some violence.
The Scorpion Rules is a strange book. It’s definitely not for everyone but it’s something different in a sea of nearly identical novels with the same plot and some name changes. If you don’t mind a slow, slow burn, like goats, and want something different in this genre, I recommend this one and I can’t wait for The Swan Riders.
Once upon a time, no Western publisher thought that there was a market in the West for visual novels. Nowadays, Aksys releases at least one otome game a year and the visual novel tag on Steam keeps having more titles (of varying quality) added to its ranks. One genre we don’t see represented very much, however, is the adventure game. The Ace Attorney series immediately springs to mind for me, or maybe it’s because I just don’t play that many adventure games.
Root Letter (stylized as a square root sign encompassing the word “Letter”) was a pleasant surprise when it was announced for localization. It’s developed by Kadokawa Games and published by PQube in the West, and is the first in Kadokawa Games’ “Kadokawa Game Mystery“ brand. Key staff from the popular Japan-only dating sim LovePlus also worked on this game, including character designer Mino Taro.
The protagonist of Root Letter (default name Takayuki) is a middle-aged man who is searching for his high school penpal, Aya Fumino, after he finds an unsent letter from her in which she confesses to a murder. Determined to find out the truth, he heads to Matsue in Shinmane Prefecture to hunt down her classmates she spoke about in her letters. Unfortunately, she only addressed them by their nicknames, so he has a bit of detective work to do.
I think this is one of the only games I’ve played where the setting steals the show. The developers worked with the local government to depict Matsue as accurately as possible. You can go on Google right now and find photographs that look just like the backdrops in the game, down to the view from the tour boat that tours around Matsue Castle. The area is also rich with history, folklore and traditions that are reflected in the game, such as when the protagonist visits Yaegeki Shrine, known for its association with lovers and matchmaking, and participates in a divination where a coin and a slip of paper placed in the Mirror Pond foretell how long it will take you to marry based on how long it takes to sink. Food is ever present, from soba noodles to dango (dumplings) and Western-style cakes. It made me very hungry and I have very limited access to typical ingredients used in Japanese dishes where I live (for some reason they stock sushi rice but no seaweed).
Gameplay consists of two main phases. There’s the typical adventure game phase, where you can Move to different locations, interact with objects in scenes by “Checking” them, have conversations with witnesses through the “Ask” command, and occasionally present them with items from your Inventory. At certain times or if you’re just stuck, you can have Takayuki use the “Think” command to give you a hint as to where to go next or what to ask. He can also consult the guidebook, which provides information about the locations you visit, or check his smartphone, which you can use to save and load the game or view items you’ve collected. Then there’s Investigation mode, where Takayuki interrogates someone he suspects to be one of Aya’s classmates by presenting evidence and asking the right questions at the right time (much like the Ace Attorney series). At certain points during this phase, he’ll enter Max Mode, where a meter starts climbing and you need to select the correct phrase to throw at the person to continue the story. At the beginning of each chapter, Max will read a letter from his penpal, and remember how he responded. Your responses determine which ending you get. The game should take about 15 – 20 hours to complete with all trophies, even if you don’t use a guide for the little side missions.
The characters themselves aren’t as exaggerated as your average anime character, and they each have their dreams and secrets. Unfortunately, there isn’t a whole ton of depth to them. There’s the fat kid (originally nicknamed “Fatty”) who struggles with his self-confidence and feelings for a girl when he isn’t conventionally attractive, there’s the housewife who dreamed of becoming a famous pop star and instead lives her dreams through her daughter, there’s the riches-to-tags scion of a father who made one too many shady business deals who is struggling to make ends meet, and so on. I think my favourite of the bunch was Snappy, who doesn’t take anyone’s shit.
That said, ultimately Root Letter fell short of my expectations for several reasons. The protagonist is flat out rude and obnoxious, harassing characters when they straight up tell him to leave them alone. and even triggering them by exposing them to their phobias when they clam up and he can’t get any useful information out of them. I get that the devs needed to think up ways that these characters would keep talking to this douche, but it didn’t endear me to the protagonist at all. The investigations all follow the same basic format: the person you’re talking to denies they are one of your penpal’s classmates, you present evidence to the contrary, they deny it, you act like a prick until they admit it. Unlike in, say, Ace Attorney, where some trials throw some extra condition at you, there’s really nothing like that here. It doesn’t help that the English script feels like it’s been literally translated from Japanese, so there’s some really odd phrasing when you’re questioning people about certain topics. One example that immediately comes to mind is when asking someone about their “Preferred Partner” when the topic is the person this individual is crushing on. More than once I was clicking through all the dialogue options because I didn’t know if they were at all relevant to the discussion. While the music is nice, ranging from melancholy piano music to more upbeat when you engage Max Mode, there’s not a lot of it, and you’ll be spending most of your time with this game listening to the same track over and over. Many reviewers have complained about the endings. Personally, I like that the endings are so different, covering everything from horror to UFO sightings, but only the fifth ending explains the whole story. The others are more like someone wanting to be a bit more experimental. Something that particularly annoyed me was that although there is an option to skip chapters after you’ve completed the game once, there’s no option to skip chapter eight, which means that you need to play through it at least five times to see all the endings. Also, in chapter three, the protagonist doesn’t read the letter at the beginning of the chapter like the other letters, so if you want the trophy for all the letter responses you’ll need to go through that bit five times.
In terms of potential triggers, the “Cursed Letter” ending is the bloodiest and most violent ending that requires you to collect ghost stories featuring varying degrees of murderous ghosts. The nicknames Aya calls her friends include Bitch, Fatty, and Four-Eyes, which the entire cast uses constantly. In one scene, the protagonist essentially forces one of the characters (who has weight-related issues) to eat chocolate potato chips, tries to take advantage of a character’s bird phobia by waving a stuffed bird around, and causes a character to pass out by making them think that there’s blood on the floor (actually jam). In at least two of the endings, one character knocks Aya to the ground and kisses her. This character doesn’t try to deny that this was assault.
At least in terms of setting, Root Letter feels like a labour of love on the part of the developers. It’s a shame that a wooden English translation and obnoxious lead character soured my experience. I want to recommend this to people who like thrillers and are looking for something to play on a weekend, but the fact is that there are better games out there that deliver the same sort of experience.