![]() Nobody liked Flowers of Evilįlowers of Evil is one of my favourite manga, so you might think I’d hate its anime adaptation, given that its art style is radically different from its source material. I sure learned the hard way that when a franchise changes hands, it’s almost always a bad thing. ![]() It still enrages me that this monstrosity is even associated with Blood+. One moment the show was a cutesy slice of life, the next it verged on torture porn, with giant raving rabbid rip-offs throwing victims into blenders to create sickening slushies. So I was bitterly disappointed to learn, upon watching it, that it was actually more of a spiritual successor than an actual sequel and that, unlike Blood+, its characters were vapid and their relationships with each other were shallow, its plot was nonsensical, and its tone was all over the place. To this very day Blood+ is one of my favourite shows, so I was ecstatic to learn that it was due a sequel and that CLAMP, who were still in my good books at the time (though not anymore), were behind its creation. I promise not to resort to cursing or making threats while writing this! Spoilers for Naruto/Naruto Shippuuden and Blood-C. It’s already gone sour.Following last week’s blog post on anime fans being angry people, here’s a list of the times when anime has made me angry. It’s unclear how much that would help anything, or whether it should even happen. Director Casey Hudson has alluded to the fact that fan reaction is going to play a role in DLC, but it seems unlikely that large changes will be made in the ending. it's a testament to player investment in the story that the ending has proved so rabidly divisive. It’s also possible that the writers wanted this moment for themselves. The impossible challenge of writing the infinte permutations of player choices into meaningful endings may have been too much. The need to make the game as friendly to new players as it was to returning players could have played a factor. It’s unclear what happened - time constraints or pressure from EA could have forced the team to rush an ending that should have had more time to develop. It feels like walking 100 miles to get lemonade only to get there and be told you can choose between a pair of shoes, some brass knuckles or a cheeseburger. The choices the player made throughout 100 hours of gameplay don’t have any effect, and a few eleventh hour decisions make all the small difference that’s available. They chose a lousy time to let it slip.Īt the end of the game, player control seemed to fall totally out of the equation. They let players take ownership of their character while keeping the narrative driving forward. The binary system, for its restrictions, allowed players to shape a character that reflected their decisions, and for a while the writers struck a great balance. The peak of the illusion of player control came at the end of ME2, when the player’s decisions really did determine the fates of every last crewmember aboard. ![]() It would seem that the developers had made a lot of improvements in the second game – some of those dialogue restrictions were smoothed out, and paragon and renegade interrupters made the choices feel much more fluid. I remember trying to play the first game with an even hand, and then I found that the game forced me to kill a squad member because I hadn’t committed to either track. It defines a struggle that Mass Effect has had since the beginning: allowing for player choice in the confines of what amounts to a linear story.įor me, the cracks in the illusion of choice became apparent as early as ME1: I was always frustrated with the way it shoehorned the player into the same old binary moral system: paragon and renegade, blue and red, good and evil. ![]()
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