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  1. Hi, it's been a while huh? I haven't been writing because I've instead been
  2.  
  3. reading essays and drafting concepts and dialogue for my crappy RPG maker
  4.  
  5. game. It's been a lot of fun and almost as engaging. I haven't had as much to
  6.  
  7. write about these past days anyway, as I've been spendgin a lot of time on YGO
  8.  
  9. decks and games I've already written about, like Super Meat Boy, or haven't
  10.  
  11. yet finished or played far enough to write on, like Hand of Fate 2. Today,
  12.  
  13. I'll be breaking the silence for the first time in a while to talk about one
  14.  
  15. game I didn't finish and one game I never actually played.
  16.  
  17. First up is Rime. It's and Indie puzzle/exploration game and it is just like
  18.  
  19. every other game of that type, meaning that it desperately wants to be
  20.  
  21. Journey. There is no spoken dialogue or narration, and the storytelling is
  22.  
  23. done through murals. The visuals are flatly colored and hihgly emphasized, and
  24.  
  25. gameplay consists of walking around and occasionally pressing the interact
  26.  
  27. button on some stuff. The "puzzles" are dead simple, most of them just involve
  28.  
  29. pusing a box onto a marked spot on the floor.
  30.  
  31. The biggest obstacle to your progression is just figuring out where the hell
  32.  
  33. to go next. Often there is no clear goal or place to progress towards. On one
  34.  
  35. occasion I had to look up a video walkthrough because the area I could explore
  36.  
  37. was huge and I didn't want to waste half an hour combing it for the way
  38.  
  39. forward. For most of the game, a magic fox-dog thing leads you through the
  40.  
  41. game, jumping past any obstacle and then barking at you until you catch up.
  42.  
  43. This is a fine idea to guide the player, and the fox stands out visually with
  44.  
  45. his bright red color, but he's so small that it can be hard to find him after
  46.  
  47. he's stopped, and the sound of his bark isn't easy to follow in the often
  48.  
  49. small environments. The only way to know where the fox goes is to follow him
  50.  
  51. there, which means running after him without ever stopping to take in the view
  52.  
  53. or admire the setpieces until you reach the next roadblock. I shoudln't need
  54.  
  55. to explain why this is terrible for a game like Rime. Oh, and if you follow a
  56.  
  57. little too close and touch the fox, your character is sent sprawling as the
  58.  
  59. fox runs away. I have no idea why this was done, and part of me thinks the
  60.  
  61. devs just never programmed something specific for the fox, and any object
  62.  
  63. moving that fast would cause this reaction.
  64.  
  65. One of the earlier puzzles involves some wild boar-like creatures eating
  66.  
  67. melons and blocking your path. TO get them out of the way you need to find a
  68.  
  69. bush that bears melons, pick one, and use it to lure the boar to a different
  70.  
  71. spot. A ok idea for a puzzle, but it wasn't executed well. The place blocked
  72.  
  73. by the boar has no melon bushes nearby, since this would trivialize the
  74.  
  75. puzzle, but if that's the case then how did the melon get over there in the
  76.  
  77. first place? Can the boar get melons out of the bush and move them? Was them
  78.  
  79. picking this particular spot just really bad luck? Why are the boar more
  80.  
  81. interested in the melon you bring than the one they were already eating? It's
  82.  
  83. not like they ran out, since they'll sit there eating forever until you bring
  84.  
  85. a new melon. For some reason, they abandon the melon already on the ground
  86.  
  87. which they can and have been eating to follow you around with a melon out of
  88.  
  89. reach. They don't even prod you or try and get to the melon in any way, just
  90.  
  91. patiently wait around for you to toss it on the ground. For creatures this
  92.  
  93. docile, it hardly makes sense for them to block your path the way they do, by
  94.  
  95. angrily squealing at you if you approach.
  96.  
  97. This puzzle also illuminates a more obvious issue with the game. Your primary
  98.  
  99. means of traversal besides walking is to jump and climb on objects, but you
  100.  
  101. can only climb or stand on very specific objects. Even if something is cearly
  102.  
  103. short enough to jump onto or climb onto, your character simply won't if the
  104.  
  105. devs didn't specifically mark it as climable. For the baor puzzle, you could
  106.  
  107. easily climb the tiny wall around the edge of the area you need to access and
  108.  
  109. circumvent the puzzle, but since the devs don't want you to do that, your
  110.  
  111. character will just jump around like a retard staring at the wall without ever
  112.  
  113. even trying to climb it. There are so many obvious solutions here. The
  114.  
  115. surfaces you aren't meant to climb could have been slick, and play an
  116.  
  117. animation of the character's grip slipping off. They couldve put something
  118.  
  119. that a person couldn't reasonably grab on top, like some pointed decorative
  120.  
  121. stuff. The wall could've just been a bit taller. But none of that is the case.
  122.  
  123. This issue ties in with not knowing where to go since often places that seem
  124.  
  125. accessible are not at all since the objects are just mysetriously impossible
  126.  
  127. to climb.
  128.  
  129. Compounding both the issues of getting lost and not knowing what you can climb
  130.  
  131. is the fact that this game has collectibles. These should encourage you to
  132.  
  133. explore, but trying to explore will often get you lost. You'l lose track of
  134.  
  135. the fox or where you were going before being sidetracked. Often an area that
  136.  
  137. looks like it might be concealing a collectible is impossible to acces and
  138.  
  139. purely there for visual purposes. The collectibles themselves aren't usually
  140.  
  141. worth findin anyway. There's a whol lot of them, but most do literally nothing
  142.  
  143. for the player. One type gives you a single still image to expand on the
  144.  
  145. story, but there seems to be only six of them in the entire game based on the
  146.  
  147. HUD, while the other type of collectible is four times as numerous and gives
  148.  
  149. you nothing. There are six items split into for pieces each in this second
  150.  
  151. category, but  colecting them does literally nothing. Maybe getting all four
  152.  
  153. of one provides some benefit, but if you miss even one piece of a set (which
  154.  
  155. you are very likely to do) then the whole thing was a waste of time, so why  
  156.  
  157. bother? The game wants to incentivize exploration with collectibles but the
  158.  
  159. design of the game otherwise pulls against this in all regards. The reward for
  160.  
  161. exploration is minimal and you can even be punished for expoloring.
  162.  
  163. Let's talk a bit about the world your exploring in Rime. You are exploring
  164.  
  165. through the ruins of a civilization. Buildings are in disreapir and the beings
  166.  
  167. you encounter are not doing anything productive, just standing around.
  168.  
  169. However, in playing the game there is little to suggest that the world around
  170.  
  171. you is in anything but perfect working order. The majority of tech you
  172.  
  173. discover works perfectly, and the areas traversed feel distinctly like they
  174.  
  175. were designed for someone like you to come through doing exactly what you are
  176.  
  177. doing. On some occasions flooring break away bu there is always an immediately
  178.  
  179. accesible path to the same destination, of you never revisit the area after
  180.  
  181. this for it to matter. The whole thing feels like a farce, it's just all too
  182.  
  183. "videogamey". It feels like being lead through a world rather than exploring
  184.  
  185. one.
  186.  
  187. Besides all the tech, there's straight up magic stuff everywhere. Huge chunks
  188.  
  189. of wall appear and disappear into thin air. GLowing statues shoot beams of
  190.  
  191. energy that fly through the air like spirits This conflicts oddly with all of
  192.  
  193. the stone and metal mechanisms. If this sort of magic exists, and the can be
  194.  
  195. controlled so well that it survives in perfect functioning condition through a
  196.  
  197. complete societal collapse, what's the deal with all the mechanical stuff? It
  198.  
  199. doesn't make a lot of sense.
  200.  
  201. Most of the magical doodads are activated by shouting at them, and how your
  202.  
  203. character is supposed to have figured this out is beyond me. If I woke up one
  204.  
  205. the shore of some beach and randomly came across magical glowing contraptions,
  206.  
  207. yelling at them is probably one of the last ways I would try to interact with
  208.  
  209. them. The shouting mechanic is pretty strange in its execution. You can shout
  210.  
  211. while moving, but if you shout while standing you're locked in place until the
  212.  
  213. shout is done. Some puzzles require a number is objects to be shouted at in a
  214.  
  215. limited amount of time, so this becomes a niusance. If you aren't in range of
  216.  
  217. an object, your character just hums instead. I guess he can somehow detect the
  218.  
  219. range of these magical devices and choose to shout or not based on that. One
  220.  
  221. type of item you can interact with is a vase, which responds to your shout by
  222.  
  223. breaking. Who in God's name thought this one up? In a society filled with
  224.  
  225. technology that is operated by shouting, why would people create vases that
  226.  
  227. break when someone shouts? How was all of their pottery not being constantly
  228.  
  229. broken? Or was this maybe some sort of avant garde art project for them?
  230.  
  231. Seriously, what the hell. This sort of thing just totally ruins the world
  232.  
  233. building of the game. How is anyone supposed to believe that a real society
  234.  
  235. would do something like this? It's already enough of a stretch to imagine that
  236.  
  237. a simple on switch would require pushing around multiple boxes and performing
  238.  
  239. actions with precise timing. The illusion that this world was the product of a
  240.  
  241. real civilization is stretched thin from the get go, and it can't survive
  242.  
  243. something like these stupid pots existing.
  244.  
  245. After a point fairly early on in the game, you begin encountering strange
  246.  
  247. shadowy beings. They don't appear malicious at all, and back away from the
  248.  
  249. player in fear. They even poof out of existence if touched. For some reason,
  250.  
  251. despite this, it seems you are expected to feel some sort of animosity towads
  252.  
  253. them, as you destroy groups of them on multiple occasions to progress. This
  254.  
  255. felt pretty weird and I wasn't a big fan.
  256.  
  257. One thing I really disliked was the climbing. It's basically identical to the
  258.  
  259. climbing in uncharted, which is to say all you do is hold the stick in one
  260.  
  261. direction and ocassioannly press jump. You have to move along a single
  262.  
  263. predetermined path, and it's agonizing. Climbing is so slow, there is no risk
  264.  
  265. of failure, and nothing happens while climbing. You can already see where
  266.  
  267. you're going so getting there is just a bore.
  268.  
  269. Now for some nitpicks, oh boy! In on part of the game you find yourself in a
  270.  
  271. large white landscape with a ship. You climb on and then transition to the
  272.  
  273. city. Evenetually the game flashes and you're back at the ship (I guess it was
  274.  
  275. a vision?) for a short cutscene. Then you just sit there and nothing happens.
  276.  
  277. After a few seconds a prompt shows up for you to turn the camera, and some
  278.  
  279. really ugly and poorly modeled clouds can be seen rolling in, and the game is
  280.  
  281. back to a cutscene. Why put the player back in control for such a short period
  282.  
  283. so they can turn a freaking camera? There's not even a clear signal that the
  284.  
  285. game has transitioned out of the cutscene. It was just so pointless and
  286.  
  287. stupid, especially knowing it would have likely been easier to keep it all as
  288.  
  289. one cutscene. Another really anooying and dumb part comes in an area where you
  290.  
  291. have to climb a block in the wall and slide through a little gap behind some
  292.  
  293. wood. If you just hold to the side, like usual, the kid stops moving. I
  294.  
  295. assumed this meant I couldn't progress and went back to look for a way to
  296.  
  297. remove the piece of wood. After a while I returned to the video walkthrough,
  298.  
  299. only to see that after the game stops you, you just need to let got of the
  300.  
  301. stick and then press to the side again. What? Why is this a thing now? I know
  302.  
  303. it wasn't a fluke because it happened to me when I tried both times and it
  304.  
  305. happened in the video too. Talk about confusing the player. I can't see any
  306.  
  307. reason for this either. I assume it was a glitch, and what an annoying glitch
  308.  
  309. it was. There was an area that I guess was supposed to be a maze of sorts with
  310.  
  311. like twelve doors and only one leads forward. THe only punishment for choosing
  312.  
  313. the wrong door is wasting your time as you loop back to the maze area. I guess
  314.  
  315. the game was padding for time here. Last nitpick, often when climbing your
  316.  
  317. character will clip into the wall. There were also clipping issues with lots
  318.  
  319. of the foliage in the fields.
  320.  
  321. I didn't get all that far into Rime before I just wasn't enjoying anything
  322.  
  323. about it. The only potentially interesting thing, that being the story, was so
  324.  
  325. slow to develop and I was just lisetning to youtube videos on my phone as I
  326.  
  327. boredly slogged through the game. I quit at this point, and I don't expect to
  328.  
  329. pick Rime up again (I plan to refund the game if I still can). Rime
  330.  
  331. exemplifies the worst elements of this type of indie game. I gameplay is
  332.  
  333. rubbish and the devs expect a drip feed of visual storytelling to keep the
  334.  
  335. player engaged in an otherwise worthless experience. How about making a short
  336.  
  337. film instead? Oh, but I guess it'd be hard to pad as much time when something
  338.  
  339. of interest needs to be happening at all times, and you can't just throw in
  340.  
  341. """puzzles""" that anyone with two brain cells to rub together can solve, or
  342.  
  343. climbing sequences that amount to QTEs with no time constraints to waste 5 or
  344.  
  345. ten minute every so often. In the several hours I played Rime for, there was
  346.  
  347. about 15 minutes of noteworth content. The game holds its audience in contempt
  348.  
  349. and expects them to swallow a load of nonsense just so they can experience
  350.  
  351. some artsy fartys pretentious story. Go play Journey or Abzu if you want a
  352.  
  353. good visual storytelling experience in a game, and don't waste any of your
  354.  
  355. time with a game like Rime.
  356.  
  357. That got really negative at the end, huh? Well there's no breaks on the
  358.  
  359. neagtivity train today because the next game I want to discuss will also have
  360.  
  361. a lot of words devoted to the negative elements. This game would be Lisa: The
  362.  
  363. Painful RPG. It's an rpg maker game and the sequel to Lisa the first, another
  364.  
  365. RPG maker game, although the two have little in common. I watched a 100%
  366.  
  367. playthrough on youtube, since I figured I would enjoy this more than playing
  368.  
  369. myself (it also saved me 10 bucks). I simply don't enjoy JRPG style combat
  370.  
  371. consisting only of picking moves from a menu and featuring no enemy health
  372.  
  373. bars. I also hate random encounters, and I wouldn't want to need to look
  374.  
  375. everything up or play the game through many times to find everything, so a
  376.  
  377. youtube playthrough was clearly the way to go. I skipped past random
  378.  
  379. encounters and through the boring parts of long fights which probably boosted
  380.  
  381. my overall opinion of the game. Before I get into the negatives, I want to
  382.  
  383. give the game some praise. There are some very nice elements. Most notable is
  384.  
  385. the music, with several real standout tracks, like Dandy Boy and All Hail the
  386.  
  387. Fishmen. There are a lot of clever and creative ideas for enemies and strange
  388.  
  389. situations the player can get into. The art is not exceptional but servicable.
  390.  
  391. While that's all I have to say on the positive side, I don't dislike the game
  392.  
  393. per se. These elements go a long way. However, there are some problems, mostly
  394.  
  395. with the story. The story is set in a post apocalypse where all women are
  396.  
  397. dead, leaving humanity to slowly die out. Brad Armstrong, the main character,
  398.  
  399. finds a baby girl left outside and decides to raise her in secret with his
  400.  
  401. friends. One day, Brad leaves the house for a while and returns to find one of
  402.  
  403. his friends dying, who tells him that someone kidnapped the girl (now called
  404.  
  405. Buddy). The story for the rest of the game revolves around Brad trying to find
  406.  
  407. and save Buddy. While a whole lot of stuff happens, there is no real through-
  408.  
  409. line for the overwhelming majority of the plot. You simply wander from screen
  410.  
  411. to screen, moving to the right until the nest thing happens, and most of these
  412.  
  413. events have no direct bearing on the plot of searching for buddy. This
  414.  
  415. certainly weakens the overall story, since it just feels like a parade or
  416.  
  417. random events that happen to Brad, occasioanly interspersed with bits of the
  418.  
  419. main plot, but even these bits are usually just "Brad finds Buddy, she acts
  420.  
  421. hostile, Brad passes out or something and wakes up to find her missing". This
  422.  
  423. exact thing happens about three or four times before the end of the game, and
  424.  
  425. it gets a little old. I think the creator had a lot of cool ideas for stuff to
  426.  
  427. have happen but no real way to connect everything, so a vague journey across
  428.  
  429. the land become the main plot and everything else was just layered on top.
  430.  
  431. The story is a tragedy, but not a well done one. I understand the desire to
  432.  
  433. tell a tragic story. Tragedy is underexplored in the modern era, where most
  434.  
  435. stories seem intent on making the audience happy because the creators fear
  436.  
  437. their work won't be profitable otherwise. Even mostly sad stories tend to have
  438.  
  439. happy endings. There is therfore a lot of untread territory with tragedy, but
  440.  
  441. a good tragic story requires more than just a serious of unusually cruel and
  442.  
  443. sadistic events befalling the protagonist. Lisa doesn't really achieve this.
  444.  
  445. Much of the bad stuff that happens to Brad has no real reason to happen and
  446.  
  447. doesn't play a larger part in the story. For example, you can have both of
  448.  
  449. Brad's arms cut off and nobody in the story will even acknowledge that this
  450.  
  451. has happened. Sure, I understand that Brad not mentioning it could just be
  452.  
  453. part of his stoic character, but why wouldn't Buddy or any of his friends or
  454.  
  455. party members make even the slightest aknowledgement of it? Last I checked,
  456.  
  457. having both arms lopped off is kind of a big deal.
  458.  
  459. By far the biggest issue in regards to the problem of tragedy for the sake of
  460.  
  461. tragedy is with Buddy's role in the story. It turns out that she was not
  462.  
  463. kidnapped, and instead ran away of her own volition (who killed Brad's frined
  464.  
  465. then, and why did he lie and say she was kidnapped? I might have just missed
  466.  
  467. this somehow but I don't recall there being any explanation for this). Brad
  468.  
  469. was apparently too overprotective of her and she wanted to go out into the
  470.  
  471. world. This is something that was already addressed earlier, where Brad
  472.  
  473. catches her leaving the house and pulls her back in. She is seen crying, and
  474.  
  475. Brad makes a mask for her so he can take her outside. Buddy gets mad and Brad
  476.  
  477. every time they met during the main story and criticizes how he raised and
  478.  
  479. treated her. When Brad says he didn't want anyone to hurt her, she even goes
  480.  
  481. as far as saying that he hurt her the most. This is just downright ridiculous.
  482.  
  483. Even if Brad was overbearing as an adoptive parent, his actions are easily
  484.  
  485. justified. Of course it should be expected that a young girl in a
  486.  
  487. postapocalypse wasteland with only men left would be under huge risk or being
  488.  
  489. raped or otherwise sexually abused. These fears are not unfounded either, as
  490.  
  491. almost every character Brad meets who mentions the girl says something about
  492.  
  493. wanting to have sex with her, often fighting Brad to the death over this. One
  494.  
  495. character is heavily implied to have molested her, another cuts off her nipple
  496.  
  497. (although Brad can choose to scrifice thee party member's lives instead), and
  498.  
  499. a third man scrathes her face deeply with metal claws. Buddy even stays with
  500.  
  501. Marty Armstrong, Brad's father, for three days, and claims that he was a
  502.  
  503. better father than Brad. However, Marty is already known to have been a
  504.  
  505. horribly abusive parent to Brad, and sexually abused his own daughter Lisa to
  506.  
  507. the point of driving her to suicide. Marty says that he's changed but the
  508.  
  509. player is shown no evidence of this, and we can only assume Buddy stayed
  510.  
  511. within the small cave Marty was living in those entire three days since her
  512.  
  513. boat was wrecked and the cave is on an island with nothing else but the cave.
  514.  
  515. How is this any less restrictive than living in the cave under Brad's house?
  516.  
  517. Clearly the dangers of the world are very much real and a threat to Buddy. In
  518.  
  519. the DLC for the game, we see some of Brad's more questionable parenting, but
  520.  
  521. the base game should stand on its own, so I won't accomodate for the DLC here.
  522.  
  523. This means that the worst thing Brad is seen to do is not let Buddy go outside
  524.  
  525. without a mask. we also know Brad takes drugs and drinks, but we are never
  526.  
  527. shown any negative consequences of this in regards to his parenting. How Buddy
  528.  
  529. can interpret her situation the way she does is pretty unbelievable as well.
  530.  
  531. She has lived with Brad and his friends for years, ever since she was an
  532.  
  533. infant, and never suffered anything noteworthy enough for the game to mention
  534.  
  535. besides being sad that she couldn't just walk around outside (this, of course,
  536.  
  537. would be the case regardless of who her parent was if they had any intention
  538.  
  539. of keeping her safe). Upon leaving Brad's place, virtually every man who hears
  540.  
  541. of her existence decides that they want to rape her, she is physically hurt
  542.  
  543. and scarred for virtually no reason, and has to constantly run and hide. Brad
  544.  
  545. also subjects himself to a huge amount of pain and suffering while trying to
  546.  
  547. rescue her with no ulterior motive. Given all this, only a complete idiot
  548.  
  549. could say that Brad hurt her the most. Physically speaking, it is objectively
  550.  
  551. untrue, and emotionally speaking, it makes no sense from almost any reasonable
  552.  
  553. perspective. It really seems like the dev just wanted the story to be as a sad
  554.  
  555. and tragic as possible, so Buddy acts in a totally unreasonable way just to
  556.  
  557. metaphorically kick Brad in the balls. Yes, it's true that Brad could have
  558.  
  559. chosen to kill three men instead of Buddy losing her nipple, but not only is
  560.  
  561. it unreasonable to demand this for Buddy, it is also her own fault that she is
  562.  
  563. in such a situation in the first place. Brad also knocks her aside when he
  564.  
  565. attacks his father, but again, Buddy put herself in the situation, and Brad's
  566.  
  567. actions are likely caused at least in part by having taken a large amount of
  568.  
  569. Joy a bit earlier; this also being Buddy's fault since she was held as hostage
  570.  
  571. to force Brad to take the drug. As much as Brad may care about Buddy, her
  572.  
  573. total rejection of him cannot be seen as anything other than outrageously
  574.  
  575. selfish or simply stupid. Brad should probably recognize this to some degree,
  576.  
  577. but his character does not appear to. I won't hold that against the game since
  578.  
  579. it could just be said to be Brad's obsession with his "second chance" after
  580.  
  581. what happens to Lisa causing him to seek Buddy's approval over everything,
  582.  
  583. including any kind of reason.
  584.  
  585. Maybe this is supposed to be the real tragedy; that only one girls is left in
  586.  
  587. the world and she's just a mssive bitch. I mean, it kind of makes sense that
  588.  
  589. she would be a bad person given that she is revealed after the credits to be
  590.  
  591. the duaghter of Dr. Yado, the man who caused the apocalypse and created Joy.
  592.  
  593. The apple doesn't fall far from the tree in this case, I suppose. But even
  594.  
  595. were that the intended message, it still doesn't really work for me. I can't
  596.  
  597. feel that bad for Brad when the big tragedy he suffers, Buddy's rejection, is
  598.  
  599. so comopletely irrational. If his own emotional response is meant to be the
  600.  
  601. tragedy, then that's simply a character suffering due to his own flaws, which
  602.  
  603. isn't all that tragic anymore. Neither way of viewing the game makes it easy
  604.  
  605. to emotionally connect. I can't take Buddy's rejection seriously and would
  606.  
  607. give up on her if she was so irrationally hostile to me. I can't connect with
  608.  
  609. Brad's obsession over his second chance either because nothing even remotely
  610.  
  611. like his situation has happened to me or almost anyone. Especially once it has
  612.  
  613. become clear that Rando is a good person who could take care of Buddy, and
  614.  
  615. that she would like this, I feel like any normal person would let her do as
  616.  
  617. she pleased at that point. Rando is friendly to Brad, too, so really there's
  618.  
  619. nothign wrong with the situation. Brad could keep in touch with Buddy if he so
  620.  
  621. desired. Instead he attacks and kills Rando, who was his adoptoed son. I don't
  622.  
  623. get it. Such irrational actions prevent me from conencting emotionally. Who
  624.  
  625. would kill their own adopted son, who likes and respects them, and also wants
  626.  
  627. to help care for Buddy, especially after Buddy has already totally rejected
  628.  
  629. them? Since I have to assume the answer is almost nobody, then how is the
  630.  
  631. audience meant to relate to Brad when he does this?
  632.  
  633. At the end of the day, the game's story feels like a cheap attempt at making
  634.  
  635. the player feel sad. It's the tragic equivalent of a jump scare. It may evoke
  636.  
  637. a basic emotional response, but it's incredibly shallow and doesn't have any
  638.  
  639. staying power. Jump scars have become notorious due to the popularity of
  640.  
  641. horror films, but tragedy being as unerexplored as it is, this type of cheap
  642.  
  643. tragedy is not common. For this reason I believe many people will be inclined
  644.  
  645. to think less critically about the game. While a jumpscare may make you feel
  646.  
  647. scared, most will agree that it isn't "really" scary. However, while Lisa: The
  648.  
  649. Painful RPG may make the player feel sad, I do not think so many people will
  650.  
  651. recognize that it isn't "really" tragic.
  652.  
  653. Again, I want to reiterate that I don't think the game is bad. There is a lot
  654.  
  655. of really good stuff going on here for such a small game that's worthy of
  656.  
  657. praise. I'd like to see more stuff from this dev with less emphasis on story
  658.  
  659. and just flex his muscles with what he does best: weird stuff.
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