Before we get very far into this, I want to acknowledge a point that you might be thinking right now: "But MegaBearsFan, Yorshka tells us who her parents are!" Or at least, she tells us that her father is Gwyn and her sister is Gwynevere and her "brother" is Gwyndolin. Seems pretty cut-and-dry right? OK, blog post over. If I keep writing on topics like this, I'm going to become very prolific!
... Well, maybe it's not quite that simple. This all seems rather fishy, and I'm not so sure if I'm willing to take Yorshka's words at face value. We still have the Ringed City DLC coming out for Dark Souls III at the end of this month, so it's entirely possible that DLC will settle the questions raised in this post. But until then, please humor me as I take a dive down a bit of a rabbit hole.
Yorshka directly states that Dark Sun Gwyndolin is her brother.
Before we go any further, let's take a look at what Yorshka actually says - her full dialogue can be conveniently read on fextralife (among other Souls wikis). When you meet Yorshka and perform the Darkmoon loyalty, she mentions:
"If thou shalt swear by the Covenant, to become a shadow of Father Gwyn and Sister Gwynevere,
A blade that shall hunt the foes of our lords;
Then I place thee under the aegis, and the power, of the Darkmoon."
If you level up in the covenant, she'll go on to talk about her relation to Dark Sun Gwyndolin:
"The Darkmoon Knights were once led by my elder brother, the Dark Sun Gwyndolin.
But he was stricken by illness, and leadership of the knights fell to me.
Then Sulyvahn wrongfully proclaimed himself Pontiff, and took me prisoner.
Oh where could my dear brother be?"
If you take this all at face value, then it seems pretty cut-and-dry, but take another look at the actual subtitle text. When she talks about Gwyn and Gwynevere, she uses the words "Father" and "Sister" (respectively), implying that Yorshka may be the daughter of Gwyn and blood sister to both Gwynevere and Gwyndolin. However, notice that, unlike when speaking of her brother, the words "Father" and "Sister" are capitalized, as if they are proper nouns or - more likely - titles... [More]
"If you own a PS4, and you aren't playing Bloodborne, then you are using your PS4 wrong!" That was the final line of my Bloodborne review. PS4 exclusives have been generally better than XBoxOne exclusives, but I haven't been particularly impressed yet. Until Dawn showed some promise and might be the only other PS4 exclusive that I'd even consider recommending. I gave up on Gran Turismo when GT4 started to turn into more of a car-collecting game rather than a racing game (I describe it as "Pokemon for cars"), and I've long since burnt out of the Uncharted games. I heard good things about the Ratchet & Clank reboot, but mascot platformers aren't really my thing, so I passed on that one. And I haven't gotten to play Horizon Zero Dawn yet.
Nioh has fast, dodge-heavy combat, in which each weapon had multiple move-sets.
Well now there's a new PS4-exclusive on the market, and it's supposed to be competition for the Souls-Borne series. Nioh definitely shares a lot of superficial design elements with Dark Souls, and its fast, dodge-heavy combat using weapons that have multiple movesets seems thoroughly inspired by Bloodborne. But Nioh is also heavily inspired by Ninja Gaiden. Although the original Ninja Gaiden was a good game for its time (and some of the sequels have been good too), it's these Ninja Gaiden influences that start to hamper the experience for me.
A random loot-dropping quarter-muncher
Nioh really started to lose me with its second true boss fight: Hino-Enma, a flying vampire and/or succubus who deals paralysis. The problem was that most damage just seemed unavoidable. All her attacks dealt damage through my blocks, which meant that dodging was the only way to keep alive. But she has a cheap spinning attack that (as far as I could tell) could not be dodged if you are in melee range when she starts the attack. All of her attacks felt considerably overpowered considering the limited (if present at all) wind-ups and cool-downs for them, especially the frustrating paralysis-inducing attacks. Even when she left openings, my attacks didn't stagger her, so she often countered with her own combo when I was in the middle of an attack, which just leeched precious more health. She just kept chipping away at my health like an arcade quarter-muncher, making the fight feel less about skill and more about just being efficient enough to defeat her before I ran out of elixirs. The only way to get more elixirs was to backtrack through the level and grind for them.
Bosses feel severely overpowered for their missions, and are tedious and uninteresting to boot.
After using a Travel Amulet to pick up my lost Amarita and return to the shrine, I power-leveled to 10 levels over the mission recommendation. This finally allowed me to beat Hino-Enma, but left me severely over-leveled for the next mission, which I cleared with absolutely no trouble at all. But then I got to that mission's boss (a lightning-spewing dog name Nue), and got repeatedly pulverized again. Even after grinding through some of the nearby Yokai (which posed virtually no threat to me at my level) to accumulate extra elixirs, I still didn't have enough to get through this boss's mile-long health bar. I don't mind being stonewalled occasionally, and I don't mind bosses being hard, but I expect the challenge to be more evenly-distributed. Am I missing some simple technique for dealing with bosses? Are the missions leading up to bosses supposed to be so trivial to deal with?... [More]
Jay Cutler is out, and former Buccaneer Mike Glennon is in.
The Chicago Bears have wasted no time in making major roster shake-ups in the 2017 off season. In a long-overdue move, Chicago finally released quarterback Jay Cutler. He was still under contract, so the Bears will suffer a salary cap hit, but it shouldn't hurt their ability to sign players at needed positions.
Hoyer and Barkley will still
be teammates in San Fran.
To replace Cutler, the Bears signed two-year Tampa Bay backup quarterback Mike Glennon to a 3-year contract worth roughly $45 million. It's a high price to pay for an unproven player who's already been benched in his career. Glennon has been praised for his arm strength and intelligence, but he hasn't handled pressure very well and his accuracy is questionable. Pressure will be a problem too, as the Bears have been in the bottom half of the league in sacks allowed for quite a few years now. Though at least some of those sacks can probably be attributed to Jay Cutler holding onto the ball too long. But Glennon is young and has plenty of room to develop; whereas, Cutler has been a pretty known quantity for quite some time now
The Bears also lost backups Bryan Hoyer and Matt Barkley to the 49ers, leaving Connor Shaw (who was injured last preseason) as the only current backup going into the NFL Draft in April... [More]
I just don't understand how CD Projekt Red can be such masters at world building and quest design, but are completely inept at everything that involves Geralt drawing a sword or throwing igni. I almost gave up on Hearts of Stone because the beginning of its main quest just put me into a controller-throwing rage.
Geralt is tasked with killing a mysterious sewer monster who has been killing women who go into the sewer hoping to find a toad who can be turned into a prince with a kiss. One of The Witcher III's long-standing annoyances for me is that it makes such a big deal about Geralt being so analytical that he prepares for every monster hunt with potions and so forth, but whenever a quest boss comes along, the game decides to just throw the player in with no chance to prepare. This quest provided no opportunity to investigate to learn what the toad monster is or what its weaknesses might be. When you hit an arbitrary point in the sewer, the game triggers a cutscene that just throws Geralt into the boss arena, so you can't re-equip yourself, respec, or otherwise prepare.
To make matters worse, the game checkpoints you inside the boss fight, instead of prior to the cutscene. If you die, you have to wait for the game's god-damned-bloody long-ass load times before having to go through the trouble of resetting your equipped potions or any other preparatory activities, only to survive for thirty seconds before the fracking toad kills you again and you have to sit through another two minutes of load screen before having to start it all over again. Just unacceptable, CD Projekt Red; absolutely unacceptable.
In order to beat the damn thing, I had to reload from an autosave earlier in the quest (fortunately, I didn't lose much progress) and use the Potion of Clearance to respec Geralt to take points out of my [currently useless] support skills and put them into abilities that buffed my attack, defense, and the two spells that are actually useful for this fight.
The boss fights in Hearts of Stone seem to break the game's rules, and frustrated me to no end.
To add insult to injury, this boss fight ends with a cutscene, and the next playable, non-dialogue sequence is another boss fight, this time a mage with an entourage of soldiers. Without any of my support or crowd-control spells, I ended up having to replay this fight several times as well (it didn't help that the mage seemed to have a one-hit kill area-of-effect tornado attack). At the end, I thought I would be able to respec my character back to the way I had him, but apparently that potion is only a one-time use. I had to fast travel around to several merchants to try to find someone who would sell another copy to me (because Kiera disappears after you finish the main story, so I couldn't buy it from her). It cost 1,000 gold! Then, after finding my way back to the original quest-giver, I got stuck in yet another obnoxious boss fight.
All three of these boss fights seemed to break the game's established rules. The first one kept hitting me with poison, so I tried using a potion that was supposed to allow me to heal from exposure to poison. Except the potion didn't work. Neither of the other two bosses were vulnerable to Yrden or to dimeritium bombs to block or negate their magic abilities. This all was incredibly frustrating, as one of my biggest pet peeves with video games is when the developers give bosses immunity to all the fancy support items and spells that the player has, which you've been saving up for just such an occasion - a boss being the one place where such tools are actually useful or necessary. On top of that, all three fights are needlessly long endurance matches that quickly devolve to repeating the same few actions a hundred times in a row. Absolutely, unforgivably terrible boss fights, the whole lot of them! Needless to say, this DLC did not get off on the right foot with me - much like the base game didn't.
But I grit my teeth and played through the base game, only to find some of the most outstanding quest design and characters that gaming has to offer. So I would do the same with the Hearts of Stone DLC. And once again, I was rewarded for my patience with a quality storyline.... [More]
You've probably already heard this, but Logan is not a typical comic book movie. In fact, this movie feels less like a comic book movie, and more like a western combined with Terminator 2: Judgement Day and The Last of Us. This last analogy is particularly apt, considering that Logan deals with the extinction of mutants from the X-Men film universe.
The X-Men comics and movies have always been known for being topical, with their themes of racism, bigotry, and so forth, and Logan manages to to also be surprisingly topical regarding its storyline of a child fleeing [what amounts to] a violent drug cartel in Mexico, being unwelcome in the United States, and having to flee even further to Canada.
And this movie is laden with so much more possible metaphor. Logan's rejection of the comics' fallacious telling of events may symbolize our own need to let go of our childhood nostalgia regarding these fictional universes and characters and accept new and different interpretations. The final scene, with the child clutching the action figure, just so perfectly captures this bittersweet sentiment. And thank goodness that there isn't an end-credits scene, because I would have been pissed if anything had come up to ruin that perfect final shot. Or maybe it symbolizes the gradual and steady loss of our own real-world heroes. The last astronaut to walk on the moon died this year. We've lost civil rights leaders, WWII veterans are becoming increasingly rare, our 20th century pop culture icons are slowly kicking the bucket. What kinds of heroes will replace them? There's a lot to unpack here.
The X-Men are revered, mythical figures within the film's universe.
And by avoiding any strong, direct connections to other X-Men movies, Logan not only allows non X-Men fans to get into the movie without all the extra baggage, but it also kind of implies that maybe the previous movies aren't to be taken seriously either... [More]
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