#oneaday Day 179: Your occasional reminder that AI can fuck off

I saw a TV ad for "Apple Intelligence" yesterday. The concept of the ad is that someone is angry someone at their workplace keeps stealing their pudding — hahaha, so hilarious and cosy and relatable — and writes them a furious email. They then click the "Friendly" button on Apple Intelligence and the email is rewritten to be the most milquetoast, handwringy, insincere thing you've ever seen. And this is supposed to be a selling point.

Elsewhere, a YouTuber I know had someone in their comments getting pissy about how they pronounced "ZX81", and, presumably in an attempt to further their argument, the commenter in question then copy-pasted a ChatGPT conversation — without editing out the "ChatGPT says:" bits — that didn't even particularly help their cause.

I keep seeing YouTube thumbnails made with AI art-stealing machines. Coca-Cola made a Christmas ad with AI. The memorial lunch for beloved broadcaster Steve Wright had an invitation that was made with AI. Entire websites are made of AI slop. And even here in fucking WordPress, I can't escape the sodding "Generate with AI" button.

I fucking hate it. I want it to go away. I want people who say "but it's good for summarising things" to drown in the sea. I want people who say "but it's better than doctors at diagnosing problems!" to be the victims of the worst malpractice the medical industry has ever seen. I wish eternal loneliness and desolation on those who use it to write emails. And I want it out of the pieces of software I use on a daily basis.

We're even starting to get accounts on BlueSky that pretend to be real people, but simply respond with ChatGPT answers that are tuned to be deliberately argumentative. What is the fucking point of all this shit? How is it benefiting humanity and productivity in any way whatsoever?

It isn't. All it's doing is continuing to make tech worse, year on year, while keeping oblivious shareholders — who aren't interested in anything but seeing "growth" — happy that companies are providing supposed "new innovations" that actually don't provide any sort of useful functionality whatsoever.

I'm aware I'm ranting incoherently, but honestly right now it feels like it's pointless to even try and come up with a cogent argument. This shit is infesting everything, and it's becoming impossible to escape from. And I legitimately do not understand how anyone can possibly think this shit is in any way better than what we had before.

I guess the one upside is that with how much AI is being used pointlessly to provide "summaries" of Google Searches, YouTube videos and other such shite, the planet will burn down all the sooner, so eventually we won't have to worry about it at all. Then the Great Thinkers of the day — assuming anyone survives — can stroke their chins for two hundred years about "where it all went wrong".

Here. Here is where it all went wrong.

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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#oneaday Day 178: Acceptable mediocrity

My Bold Proclamation of the Day is that I feel like it would probably behoove us, as a society, to be more comfortable with mediocrity than we are.

This evening, Andie and I went out for dinner, because we both just wanted to get out of the house for a bit. We went to a local chain pub that we've been to a few times before and always liked, and the food was fine. It was perfectly acceptable. If we were living in a world where star ratings were used properly, I would rate it three out of five stars. It was not the sort of meal that I will remember for the rest of my life (or indeed the rest of the week, probably) but it also wasn't so terrible that I wanted to throw it in the face of the chef who microwaved it.

Thing is, I don't feel hard done-by to have a three-out-of-five meal at a place like this. In fact, that's pretty much what I expect. But I feel like the way we live life today, a three-out-of-five meal would be seen as somehow "unacceptable", and my commentary on how it was perfectly fine and exactly what you want sometimes, would be ignored completely, with nothing but the star rating being seen as a sort of "inverse recommendation".

Back when I worked at the Apple Store in the late '00s, the company introduced a scheme called NetPromoter. Initially I thought this was an Apple initiative, but I have learned in the years that followed that it is quite a common thing in the service and retail sectors generally.

If you're not familiar with NetPromoter, it goes like this. You engage with a customer and provide them your service or sell them something. Then, after they have departed your premises/website/whatever, they get emailed a short survey in which they are asked to rate their experience out of 10. Higher scores are, of course, good, and are regarded as "Promoters" — people who are actively likely to recommend (or "promote") your store or service to family, friends and colleagues. Conversely, low scores are, naturally, bad, and are regarded as "Detractors" — people who will recommend against your services.

All sounds reasonable enough, right? What if I told you that only scores of 8 and above were regarded as "Promoters", and anything below that was considered a "Detractor"? Because that's how it fucking works. There's no option for "this was fine, I had no complaints, but it also wasn't anything particularly special that I feel like shouting about" either. If we assume someone who felt that way believed that was worth a 5 or 6 out of 10, the poor old employee responsible for that perfectly acceptable service would probably find themselves on the receiving end of some sort of disciplinary action. Because yes, of course, systems like NetPromoter are inevitably used to browbeat employees into submission, rather than to actually improve things for the customer.

The same is true of online reviews for pretty much anything. Have you ever noticed how when an app on your phone bugs you to rate it, it's never "Leave us a review!", it's always "Leave us a 5-star review!"? That's because to most folks online these days, there are only really two ratings: 5-star (good) and everything else (bad). The video game sector has, of course, also been guilty of this for as long as the games press has been a thing; "70%" is seen as a barely average passing grade, and anything below that will almost certainly be ignored or considered "bad" by a significant portion of the games-purchasing public.

I've spoken numerous times about how I've had the absolute best times with games that, on average, net scores of 65% and below, and it's often for very similar reasons that I find mediocrity in other areas of life perfectly acceptable: sometimes that's precisely what you're in the mood for. This evening, we were in the mood for some average pub food, and by golly, that's most certainly what we got. When I'm in the mood to play a Neptunia game, I also know exactly what I'm getting and am in the correct mindset to appreciate it, too.

It's time we embraced perfectly acceptable mediocrity. Perfection is the enemy of good, as the aphorism says, and I absolutely agree with that. If you spend all your time looking for something that is really worth that 5-star rating, you're never going to be satisfied with anything.

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#oneaday Day 177: A quiet day

I didn't play The Dagger of Amon Ra today after all. I figured there's no rush — my The Colonel's Bequest video is in three parts, so I can spread those out across this week and perhaps a bit of next week, and set aside a bit of time in the week or next weekend to play The Dagger of Amon Ra without feeling like I need to race through it. I have a trip into the office this coming week, too, so that will put Tuesday and Wednesday evening out of action, so no sense rushing things.

I will, however, be coming home from this office trip with a veritable armload of goodies that I'm very much looking forward to having a proper play with. Chief among these are the two Evercade Alpha units, which are the bartop arcade form factor Evercade devices that we've just launched. These are lovely things indeed, and the fact they work with the full library of Evercade carts (including the Namco ones, which won't work on the TV-connected VS system) mean that they might just become my preferred way to enjoy Evercade games. I'm especially looking forward to playing Star Luster on them; I feel like the cockpit-view space sim will feel nicely immersive when played with arcade controls!

It's a little late for Thanksgiving, but I'm immensely grateful that I was given the opportunity to work on the Evercade project. From the moment it was announced, I knew that it was going to be something thoroughly interesting and special, and now that I've been a full-time part of it all for quite a while now, I'm still thrilled to be involved. It's a platform that offers something genuinely unique in this day and age — and it's a system that, in one form or another, be it the dinky handheld Super Pockets or the behemoth that is the Alpha, I would recommend without hesitation to anyone who complains that they "don't have time" to play modern video games. If that's the case… play some old ones! They're still damned fun. Plus there are lots of folks making brand new games for old platforms (and in the style of old platforms), too, meaning you don't have to miss out on playing "new" stuff just because you've decided to play with a retro-focused system.

Next year we've got some immensely exciting stuff planned that, of course, I can't talk about just yet, but I'm super thrilled we have them in the pipeline. It's going to be a super-cool year for Evercade, and I hope that now we've stuck around for four years (having successfully launched right in the middle of the 2020 pandemic!) people will see that this is absolutely a platform well worth taking seriously.

Christmas is coming up, y'know. Super Pockets make excellent gifts. Evercade EXP-R, VS-R and Alpha make even better gifts. Particularly if you pair them with an armful of cartridges!

Anyway, enough selling while I'm off the clock. I'm off to go play a round or two of Donut Dodo before bed.

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#oneaday Day 176: Take a Bow

Today, I played through all of the first Laura Bow game, The Colonel's Bequest. I enjoyed it a lot! You can read more about my thoughts on the subject right here, and a full Let's Play of the game will kick off on my YouTube channel from tomorrow. It's just three (long) episodes rather than a lot of 30-minute episodes like I did with The Case of the Serrated Scalpel last year, as I felt that fit the format of the game a bit better, and the overall structure of The Colonel's Bequest is… well, quite different from pretty much any adventure game I've played.

But enough of that. What's next? The Dagger of Amon Ra, of course! This is the follow-up to The Colonel's Bequest, and I'm going to do my best to play it through and record it tomorrow. I don't know if it's longer, shorter, easier, harder… the only thing I do know is that it uses point-and-click controls instead of The Colonel's Bequest's text parser, and it quizzes you on what happened at the end, so you need to make notes, just like Laura herself.

Then after that, I'll start having a look at The Crimson Diamond. Plus alongside all this, I might do something similar to what I did last year ("3 interesting DOS discoveries", "5 DOS games I always wanted to play" and "5 of the best early FPSes") if I can figure out what I might want to cover for videos in that style. I haven't started looking yet. Racing games is a possibility — a good excuse to bust out the Screamer series, perhaps? — or flight sims. Space combat sims? I don't know. I haven't decided yet. Looking at shareware stuff I used to like is also a distinct possibility, perhaps from the perspective of "shareware games I always wanted to try the Registered version of", since the only Registered shareware game I had back in the day was Wolfenstein 3-D, which I got for free after making some levels that were included in the official "Super Upgrades" expansion pack.

I've probably told this story at least once on this blog before, right? Well, regardless, I'll tell it again, 'cause you might be new around here. It's a story of delightfully happy coincidence.

Back at the time I was playing Wolfenstein 3-D on the family PC, I was involved with a local shareware library. I did a bit of part time work helping them out at local computer fairs, writing their catalogues and that sort of thing. I don't remember getting paid for this, but it was decent experience and I got lots of freebies from the shareware library, which was nice.

Among those disks that I got for free were numerous Wolfenstein 3-D editors, and they worked with the shareware version. So I made a bunch of levels.

I forget the exact circumstances of how the next bit came about, but I was browsing the GAMERS forum on CompuServe one day, when I found myself in contact with a gentleman called, as I recall, Carlton somethingorother. He was a representative from Apogee, and he was looking for new Wolfenstein 3-D levels to include in the upcoming data disk for the game. There was money on offer for anyone whose levels were included. After consulting with my parents — online safety and all that — I submitted my pack of ten levels to him, expecting never to hear from him ever again.

Imagine my surprise when a few months later, I got a package from the United States containing a cheque for $200, plus a registered copy of Wolfenstein 3-D and the new Super Upgrades pack, which included my levels, along with a bunch of other community contributions. So technically I'm a professional game designer.

But anyway. Yeah. That copy of Wolfenstein 3-D was the only Registered shareware game I had, because it was the early days of the Internet (in fact, via CompuServe, our "ISP" at the time, you couldn't even access the Web, and had to append "INTERNET:" to any email addresses you were sending messages to outside of the CompuServe service) and my parents weren't super-into the idea of sending $40 overseas in the hope of getting a video game back, and they absolutely weren't going to share their credit card information online. As such, I became intimately familiar with a lot of "Episode 1s" and not a lot else… so exploring the "Episode 2s" and beyond for some games I liked back in the day might be interesting, for sure.

I'll think of something. For now, I think it's time to just play something fun for a bit without thinking about how to turn it into an article or video. Come to me, Donut Dodo…!

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#oneaday Day 175: I picked what to play for #DOScember

As you will know if you've been reading for the past few days, I've been mulling over what to do for "DOScember" this year on my YouTube channel. I was fairly firmly set on doing another full adventure game playthrough, but hadn't quite settled on what.

Well, after being recommended the excellent looking The Crimson Diamond, I'm… not going to play that right away. Instead, I'm going to play at least one of the games it cribs extensively from, and a series of adventure games I've always wanted to check out but never got around to: the Laura Bow mysteries from Sierra.

I've spent a little time familiarising myself with the first game The Colonel's Bequest this evening, and I think I've got a feel for what to expect now. This was a highly experimental game for creator Roberta Williams, and modern commentators tend to agree that it doesn't quite succeed at what it's trying to do, but it's a thoroughly interesting game nonetheless. That sounds like ideal fodder to play, talk about and discuss. Plus, like I say, I've wanted to play both Laura Bow games for ages and never made the time to do so.

For the unfamiliar, The Colonel's Bequest is a mystery-themed adventure game in which you play the 1920s journalism student Laura Bow, who has come along to provide moral support for her friend Lillian while she attends a family reunion of sorts. Said reunion is taking place on the plantation of Colonel Henri Dijon, a former war hero, and is, for maximum creepiness, in the very depths of a bayou in the southern United States.

Upon arriving at the mansion, Laura notes that despite the Colonel announcing that he has left an equal share of his fortune to everyone present (except Laura, obviously), all the family members immediately start being absolute dickheads to one another, and it's clear that mischief is about to be afoot. What then follows is a curious twist on the usual adventure game formula, where you, as Laura, must wander through the mansion and its grounds, attempting to gather pieces of evidence and knowledge that will allow you to leave the situation 1) alive and 2) with a full understanding of what happened.

The Colonel's Bequest mostly lacks conventional puzzles, aside from a couple of instances. Instead, the game is mostly about being in the right place at the right time to witness or discover things; the game is split into hour-long Acts, which in turn are split into 15-minute time blocks, and discovering something significant causes time to advance. It's possible to advance time before gathering important items or speaking with certain characters; indeed, it's possible to "finish" the game with almost complete obliviousness to what happened around Laura, and you are not penalised for doing so, other than receiving a low "Sleuth" rating in the finale.

What this effectively means is that The Colonel's Bequest is a game in which taking notes of what happens when, where, how and why is quite important, particularly if you plan to replay the whole thing. Having pieces of evidence or knowledge to ask or tell people about can lead to learning more about what's going on, and you'll need to follow all these threads to their various conclusions as much as possible to get the best rating.

I stopped playing for this evening because I don't want to spoil too much for myself. I suspect my playthrough won't conclude with me getting the elusive "Super Sleuth" rating at the conclusion of the playthrough, but I'm looking forward to giving it a go anyway. In typical Sierra style, there are some delightful characters involved, along with some fun narration, and this is what I'm really looking forward to: having an excuse to do some silly voices.

Anyway, yeah. So that's the plan. The Colonel's Bequest, at the very least. And if I get through that fairly quickly, on to The Dagger of Amon Ra. And if I beat that before December is through, then I'll look at The Crimson Diamond. After all, I felt like I should probably familiarise myself with the "source material" before jumping into something that is a direct and unashamed homage to it, right?

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#oneaday Day 174: Why am I still doing this?

Why am I still doing this? Or, perhaps to the point, why did I start doing this again? This article from Aftermath does a good job of explaining why.

Since the rise of social media, I feel like it's significantly less likely for someone to have a "personal website", because everyone is concerned about their "reach" and "engagement", and if you want both of those things, you want to be on a well-established social media site.

But if you're more concerned with self-expression and having a space to truly call your own, having your own website is hard to beat. And I think as people become more and more disillusioned with social media — Twitter and Facebook in particular — I think personal websites are going to become more and more important to a wider range of people.

Times have changed a bit, though. The word "blog" seems to have fallen out of wide usage, to be replaced with "newsletter", this being a result of the assumption that people will sign up to get your posts delivered to them via email, rather than going out of their way to visit your site. However, most of the "newsletters" out there are actually just blogs: people having a space to call their own, writing whatever they feel like at any given moment.

The best blogs… sorry, newsletters… of course have a distinct focus. One of my favourites is Ed Zitron's Where's Your Ed At?, which is one of the few sites out there continually taking the garbage of the AI industry and other enshittified parts of the Internet to account for their making life worse for everyone.

And, of course, if you've been following me for a while, you'll know about my own MoeGamer, which is my main video game blog. MoeGamer has now outlived all of the professional, commercial sites I have ever written for, which is a nice feeling. Sure, I don't update it every day or indeed regularly, but there's a ton of stuff to read on there, and I've made sure all of it is hopefully relevant and interesting, regardless of when you come to it. No racing to get "news" out the door; no rushing games to meet embargoes; just in-depth articles about games that, for one reason or another, I have found it worthwhile to spend some time, effort and words talking about.

This site, though, this is mostly for me. This site is my virtual replacement for the personal diaries I used to write as a teenager, only at no point have I become embarrassed enough about something I've written to want to throw the whole thing in the outside bin so it would never be found by anyone, except maybe the dustmen, who I hope had a good laugh about how much I fancied Nikki Rose before flinging the book into landfill. This site is my reminder of at least part of my time on this planet which, for sure, has had some hefty ups and downs over the course of the last 15-20 years or so.

Does it have many people reading it? No. But I'm not doing it for them. I'm doing it for myself — and if anyone happens to stumble across this little corner of the Internet and gets something out of something I've written, that's just a happy bonus.

If you've never given this sort of thing a try and you find yourself frustrated at social media, I can highly recommend giving it a go. It's dead easy to get started with a platform like WordPress or its numerous imitators; in many cases, you can get up and running for free, too.

However you choose to do it, I can assure you of one thing: having a space to truly call your own, in which you can express yourself completely freely, is something that I've started to find increasingly important with each passing year. It's a good thing to have an outlet, for both the good feelings and the bad, and banging out 500-1000 words every so often just about whatever's on your mind is a healthy habit to get into.

That's why I'm still doing this. Not to be famous, not to make money, not to get engagement and followers. But because it's just something I want to do, and which I find is of great benefit to my overall wellbeing. Give it a try!

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#oneaday Day 173: Staring down the barrel of #DOScember

#DOScember is the annual celebration of DOS gaming and computing on YouTube and surrounding environments (not to be confused with #DOSember, which is a Twitch thing) and, even though many of the original participants and organisers have become somewhat disillusioned with the whole thing for various reasons, it's still a fun excuse to bust out some classic MS-DOS games and remind yourself of how good early '90s PC gaming was.

I did a few videos last #DOScember that I not only enjoyed making, they also performed rather well on my channel. So I'm likely going to spend this December doing primarily DOS gaming stuff on my YouTube channel.

I'm thinking a few things at this point. Firstly, I'm quite keen to do another full adventure game playthrough similar to my The Lost Files of Sherlock Holmes: The Case of the Serrated Scalpel runthrough from last year. (This wasn't a #DOScember thing, it was just something I felt like doing at the time.) I haven't yet decided what I should do as yet; on the one hand, playing something I'm already familiar with should mean that I can get through it without getting stuck, but on the other, this might be a prime opportunity to explore a game I've never tried for the first time.

The temptation when thinking "I want to play an adventure game" is to jump straight to Sierra and LucasArts, and for sure, they are all solid choices. But there were other folks making adventures at the time, too, and I think the stuff from them is worth celebrating, too. At present, I'm leaning towards something from Access Software, as these are games I've never tried, and I know at least some of them (the Tex Murphy games and Countdown spring immediately to mind) are fondly regarded.

When considering that I probably want to play these games as a Let's Play, I'd also prefer a game that isn't "talkie", so I can narrate and do the voices myself. It's a silly little thing, but I do very much enjoy doing this, so it's something I'm particularly looking for.

The other thing that I'll probably do is at least a few "pre-scripted" videos like I did last year. Last time around, I looked at early first-person shooters, games I'd always wanted to try but never had the chance to, and interesting discoveries I'd stumbled across by chance. Those are solid formats, and all of those videos performed well; I'm thinking I might do something other than first-person shooters for the first bit though. Perhaps space sims or flight sims? Those are ripe for exploration, and they're both genres I used to absolutely love.

Anyway, that's the plan for #DOScember on the YouTube channel. If you have any good DOS adventure game suggestions (preferably of the point-and-click variety, and preferably not "talkie", as outlined above) then I'd love to hear 'em. Otherwise, I'll see you on the channel!

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#oneaday Day 172: Things you're not allowed to pretend you were the first to think of any more

Christmas is coming, and that means yet another year of people who think they are absolutely hilarious for informing you of their sudden revelation that Die Hard is a Christmas movie. Societal norms dictate that you are supposed to laugh at this, pretend you've never heard it before and explain, incredulously, that "it really is, isn't it?" or something along those lines.

As an autistic person, I have the regrettable tendency to spot patterns in everyfuckingthing, particularly human interactions. And, doubly regrettably, I find predictable patterns in human interaction oddly infuriating. One would think these patterns would make communicating with one another easier, particularly for one with the social anxiety that so often goes along with autism.

But no; somehow, I have transcended these "easy wins" of polite conversation and crossed over into the territory where I can see these mindless, predictable exchanges as being utterly meaningless, devoid of any real connection between the participants, instead just relying on quoting something other people have said a million bajillion katillion times over already.

I think my distaste from this at least partly stems from someone I knew at university who, in retrospect, was probably also autistic, as his sole contribution to conversations on numerous occasions was to repeatedly and relentlessly quote Blackadder, devoid of any context whatsoever. It wore me down so much over the course of four years that I was not able to even contemplate watching Blackadder for a good long while afterwards.

It's not just that, though, as I'm sure even a non-autistic person can understand how that would become exceedingly annoying over the course of four years. I think the thing that frustrates me more than anything is how I'm sure everyone involved in the conversation about how Lisa from Accounts "can't deal with the word 'moist'" knows that, in fact, Lisa from Accounts really has no strong feelings about the word "moist" and is instead simply parroting something she heard someone else say that she found quite amusing, perhaps in the hope that someone she likes might flirtatiously start using the word "moist" around her more, giving her ample opportunity to do that thing where people go "oh, no, stop, you big silly" and push someone away while laughing, when they actually just want to shag them.

Or something. I don't know. The very prospect of behaving like that has always annoyed me sufficiently that I never attempted to carry it through to potential shag territory.

It's the insincerity of it that bugs me, I think. It's the very worst kind of small talk; supposed "communication" that is doing nothing but fill silences, but nothing of any real substance is being discussed. People aren't actually getting to know one another or improving their relationships with one another when they have the "pineapple on pizza is weird, isn't it?" discussion; they're simply reading from the hymn sheet in a vain attempt to make themselves look Funny and Cool, because as everyone really tries to drum into you while you're growing up, Having A Good Sense of Humour is the most important character trait anyone can develop, regardless of situation.

I do not, at this point, wish to imply that I am devoid of a good sense of humour. In fact, I have a fucking excellent sense of humour, thank you very much. Well, okay, I still have pretty much the same sense of humour I did when I was 15 years old, which means I still find farts hilarious, but at least when you let out a particularly salty grunt in front of friends, family or colleagues, you're taking a bit of a risk under most circumstances. You're putting yourself out there (quite literally, in terms of gaseous emissions) and, effectively, saying "this is something I find funny" without resorting to material that Michael McIntyre might find "a bit tired".

Of course, I appreciate that there are doubtless plenty of you out there who think a rancid bottom-burp is the absolute worst thing someone can do in polite company. And that's fine, too. There are plenty of people I wouldn't (voluntarily) let off a trouser-trumpet in front of because, despite the autism, I know that it's not a good idea.

But even so. A fruity guff is something you've made yourself, rather than stolen from wherever these inane non-discussions came from in the first place. And thus, if you want to be pals with me, I'd much rather you let rip with a thunderous eggy woofter than even think about telling me how funny it is that Die Hard is "technically" a Christmas movie.

Parp.

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#oneaday Day 171: The End of Grisaia

I've finally finished The Eden of Grisaia, and, aside from the prologue/after stories and gratuitous H-scenes, which I will probably save for tomorrow given it's getting late, that means I've finally brought this amazing trilogy to a close. Back when I first backed it on Kickstarter, I had been led to believe that it was one (well, three) of the best visual novels ever produced, and having now read the whole thing through from start to finish, I have to concur.

It's a long read, to be sure — the first game alone is somewhere in the region of 50+ hours, though the subsequent two are closer to the 25-30 hour mark — but it's one of those instances where the sheer length is kind of important to your sense of involvement with the whole thing; by the time you've reached Eden's dramatic finale, a big part of it all feeling so satisfying is because you've previously spent so much time with these characters.

And it's really interesting how the whole thing is handled. I won't go into specific details in this post as I'll probably do a more substantial writeup on MoeGamer in the very near future, but I will talk in general terms.

The Fruit of Grisaia, the first entry in the series, is set up in a typical "bishoujo game" format, where you make a few choices in a common route, then end up on a specific girl's route to see their story and endings.

The Labyrinth of Grisaia, the second entry, follows this up with a series of non-canonical "After Stories" which assume you're continuing from the good endings of each girl's individual route from The Fruit of Grisaia. But then it presents you with what it calls its "Grand Route", which, very unusually for what has up until this point seemed mostly like a fairly conventional romance visual novel, focuses very much on the protagonist.

Then The Eden of Grisaia picks up where the cliffhanger of Labyrinth left off, only unlocking its "After Story" and a short "Prologue" to the entire shebang after you've read the conclusion of the protagonist's tale.

Grisaia's protagonist is no ordinary man, you see. He's not a self-insert for the player, and you are not supposed to "inhabit his role" as you are in some other games. Yuuji, as he is known, is a complex, thoroughly fascinating character, and the way the trilogy gradually drip-feeds you the truth of Yuuji's full identity and background makes it consistently compelling. At the start of The Fruit of Grisaia, you think he's a bit of a weirdo who is starting a new life at a school that is also inhabited by a bunch of other weirdoes. Throughout The Labyrinth of Grisaia, you learn a lot about his past life that made him the way he was. And in The Eden of Grisaia, things build to a dramatic conclusion that sees Yuuji confronting his oldest and most feared foe in scenes that would make a Metal Gear game proud.

Yes, y'see, Grisaia's big secret, if it even is one at this point, is that it's not a standard school romance series at all, despite what The Fruit of Grisaia might initially lead you to believe. Mind you, with the high drama that occurs in each and every character route in The Fruit of Grisaia — which ranges from violent yakuza shenanigans to the post-traumatic consequences of having survived through a situation that involved, among other things, cannibalism — you'll barely be halfway through a route before you realise that there is definitely more going on here than might have initially appeared.

The series moves from being a tale about coping and moving on from trauma to some rather thought-provoking ruminations on war and terrorism in the information age. And it does so gradually and naturally; The Eden of Grisaia ends up in a very different place to where The Fruit of Grisaia started, but that just makes the journey feel thoroughly worthwhile. I can highly recommend the experience of reading through the trilogy, and I'll have more to say on the subject when I'm a little more awake.

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#oneaday Day 170: I really don't care about drama

I've been umming and ahhing about whether or not to post this, but if I can't speak freely on my own fricking website, I think I'll explode, so I'm going to say it anyway.

I really, really don't give a damn about any drama surrounding an individual behind a particular project. I'm not saying you have to feel the same way, but I do want to express that I find it continually tiresome and genuinely upsetting when I want to talk about something that I think is cool, but the first response is always "but [individual] worked on it, so it's bad (and by extension you are bad for having anything positive to say about it)".

I'm not going to talk about specific cases here, because even doing that has the potential to attract ire towards me, and that's not what this post is about. What it is about is the sense of frustration I feel that the real people who worked on a project end up getting punished for the actions or behaviour of one individual — and, by extension, the attacks people who express enthusiasm for that project end up suffering also.

It is an unfortunate fact of capitalist life that in order to claw your way up to the top of the heap, you probably have to be a bit of a shithead. The way capitalism works, the way business works; you need to be a bit of a shithead in order to see success. You need to doggedly pursue the things you want to achieve, and you need to defend your commercial interests. This is true for pretty much all industries, whether it's groceries, tech, publishing or whatever. I defy you to find any company out there with an executive suite that has never done anything you're not a particular fan of, all in the name of either pursuing their goals or defending their commercial interests.

Trouble is, when the higher-ups at a company do something that is regarded as "bad" or "indefensible", the real people who suffer are those who are just doing their job underneath. When one CEO behaves poorly, the people who are actually making the products that CEO's company is known for end up getting punished for it. They could do an absolutely amazing job on whatever they worked on, but still get punished because their boss once did "A Bad Thing", often several years ago.

This, unfortunately, spreads outwards. Because "(CEO = Bad) = (Company = Bad)", anyone who then expresses an interest in or an enthusiasm for the products of Company gets yelled at by people who care more about the CEO than the company or the product. And that leaves people feeling like they simply can't express their enjoyment of something they like just as a product, because of one thing the CEO did half a decade ago.

CEOs should, ideally, not do shit things. It would be lovely if we lived in a world where CEOs did not feel the need to do shit things, be it in the name of pursuing their goals or defending their interests. But we do not. And frankly, I am, I'm afraid, long past giving a shit.

I've seen too many pointless, unnecessary arguments and too many strained, even broken friendships over this sort of thing, and it just doesn't matter. We live in a joyless enough world as it is; we should not be attacking one another over the things we choose to have fun with, so long as those things are not actively hurting someone. And in the specific instances I'm thinking about here, no-one is getting hurt except the folks who worked on them, and the people being attacked for daring to say something positive about them.

That's all I'm going to say on the subject. I do not want an argument on this, I do not want anyone in the comments trying to tell me I'm wrong for feeling this way. I'm fed up and I'm annoyed, and I am absolutely not in the mood for someone to tell me I'm wrong for feeling that way. So if you're gearing up to type a comment like that, zip it. I do not want to hear it.

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