Let's Sperg JAIMAS PLAYS A TERRIBLE GAME: EXTREME MEATPUNKS FOREVER by Heather Flowers - TFW You Make James Corbett Seem Like a Good Writer by Comparison

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Flowers decided to have a character introduced atop a pile of bloody corpses, have them decked out in feathers and wearing a bird mask, the only one who's specifically cut them up so far, all of which is probably meant to imply 'badass furry' but instead gives a vibe of 'genocidal lunatic'...

And then went: "Hmm... better make them Muslim".
 
So how old are these people, again? Because this just reads as a fight in the schoolyard.
Pretty sure they're supposed to be in their late 20's/early 30's, which just goes to show how great a writer Flowers is.
 
Pretty sure they're supposed to be in their late 20's/early 30's, which just goes to show how great a writer Flowers is.
I guess that Flowers must have watched to much anime, back in the day, because the teammate rivalry arc has been done to hell and back.
 
There is nothing redeeming about this game. It's like being in the room with a bunch of spoiled 12-year-olds fighting over who gets to play Mario Paint.
 
So this episode of Why EXTREME MEATPUNKS FOREVER Doesn't Work is gonna be a straightforward one, because we're going back to Scriptwriting 101.

It's been touched upon by a few Kiwis in this thread, most notably @Law, but one of the biggest problems this game has narrative-wise is a complete incapacity to maintain a consistent tone. While on one hand, a story needn't have an entirely consistent tone, with different events having their own flavor, story-based games in particular generally stick to a general theme, for good reason, with deviations made specifically to further that theme. You can absolutely throw in a scene that doesn't necessarily fit tonally with the rest of the work if the tonal shift is leveraged as part of the narrative or to demonstrate something, but generally you want to have a coherent narrative framing -and good god is this an area EXTREME MEATPUNKS FOREVER fails hard at.

In quite a few ways, this failure in tone can be placed at the feet of things we've discussed in previous episodes. For example, the antagonists cannot be taken seriously at the exact same time we're being told to take them seriously, since there's been not even a slight attempt at characterization and they've never been shown to be competent, let alone threatening. But it actually gets worse than this: the acknowledgement in Chapter 3 that Lianna fucking murdered them, something not established and even flat-out discredited by previous scenes, is handled with a casual faire that only becomes more disturbing when you realize that most of the fights in Chapter 1 and Chapter 2 were fucking started by our protagonists. Jason is the one that antagonized the Fash in Chapter 1, just to be a prick, and effectively roped Sam into a fight. Lianna railroaded the entire team into being outlaws starting Chapter 2, and the game simultaneously portrays the Fash as an all-consuming, all-knowing evil (they inexplicably know that the group are a meatpunks group despite them literally meeting one scene previous), but then shows us their evil with all the sturm and drang of a shitpost on pre-crisis /r/the_donald.

I think a bigger issue is that I know the story that EXTREME MEATPUNKS FOREVER is trying to tell, and.... It's not doing it especially well. The idea - insofar as I can suss out from Flowers' oeuvre - is to use the mechs as a forefront for the action sequences while the bulk of the narrative centers on the human drama, which has been done very effectively in other works of fiction. Hell, I'd say Gundam was the pioneer of that shit since the prevailing subtext of the entire series is the futility and tragedy of armed combat with giant robots. The problem is that EXTREME MEATPUNKS FOREVER does not have especially strong writing chops, so it winds up undermining its own messages with hilarious faire. The characters all have effectively flushed normal life down the toilet and have fucking killed people for tacitly stupid reasons, yet they laugh it off as if it's a car trip. The whole thing doesn't feel like it knows what it's doing. The game chases character-building and the acknowledgement that our protagonists murdered people with gay dopplegangers and Ed eating sand, like the player can't handle any major disruption to their fantasy by things like crises they have to deal with. It's ironically very safe for a narrative entirely about punks.

Next episode tomorrow.
 
Honestly, I've seen better villains in children's books from my days in school. At least those actually give a few reasons why you should care about whatever's going on.

This...just feels like a bar fight that turned into an autistic gang war and it's only going to get dumber, it seems.
 
Honestly, I've seen better villains in children's books from my days in school. At least those actually give a few reasons why you should care about whatever's going on.

This...just feels like a bar fight that turned into an autistic gang war and it's only going to get dumber, it seems.
Hell, if they weren't explicitly called The Fash I would have no idea that these villains are supposed to be fascists, they're that one-dimensional.

But then again, what else would you expect from a dev who gets the majority of their social interaction from twitter?
 
like the player can't handle any major disruption to their fantasy by things like crises they have to deal with. It's ironically very safe for a narrative entirely about punks.
I think this point is interesting because this game was created by someone who seems to be very much entrenched in the trigger warning crowd. If you think "misgendering" is "literal violence", you probably think that your game needs ways to skip combat or tough choices cause it might cause the delicate flower children who play it to have panic attacks. Hence, the now iconic [racist joke] that this game uses.

This choice also causes the game to utterly fail at being punk. Punk rock music was marked by extreme and often deliberately offensive expressions of alienation, and it's hard to do that if words frighten you.
Punk is not a hugbox. So I don't know why Twitter transgirl gamedevs love it so much.
Honestly, I've seen better villains in children's books from my days in school.
They remind me of the puttys from Power Rangers. Just an endless horde of faceless baddies for our heroes to beat on.
The writing would be less embarrassing if Mr. Flowers just wrote a super sentai style battle story, where a focus on conflict, supernatural happenings, mecha and dumb shit works and is expected. He tried to write about fascism and biological mechs though. Oof.
 
Punk is not a hugbox. So I don't know why Twitter transgirl gamedevs love it so much.
Here is what twitter thinks (cyber)punk is.

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Punk is not a hugbox. So I don't know why Twitter transgirl gamedevs love it so much.
Because they culturally appropriated it, ironically enough.

One of the reasons they believe that they "own" Punk is because most of the Punk movements of the late 20th century were leftist movements - because this was the counter-culture at that time. In their eyes, they are entitled to it basically forever based upon this alone, with all other considerations secondary.

This seems completely bonkers and hypocritical, but you need to remember that hypocrisy is an integral part of the modern left, and they are don't care how logically inconsistent they are in any form. As was once stated: If it weren't for double-standards, they'd have no standards at all.

Social Justice types love to pretend that they're fighting the good fight against an entrenched power structure, the underdog against "the man." It's a convenient illusion, and nothing more, done because these poor souls have been convinced that in protecting some poor defenseless multinational corporation from its responsibilities, they're somehow in the right, and that they are somehow the oppressed class while at the same time they're oppressing others. It's a convenient shell game, enabled on purpose by their activist buddies that lets them look the other way and ignore the real damage of what they argue for. In truth, they want justification for their hate, and nothing more.
 
This is it, then: Chapter 6. The final chapter of the first episode of EXTREME MEATPUNKS FOREVER.

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We lead in with some ominous text from the narrator, explaining that some shit's about to go down, seemingly in tune with what we saw earlier where the game gave us the option of seeing a conversation that did or did not go well. I'm not going to be overtly cruel about this, since this is a particularly long episode and this one doesn't pull its punches, but no game I have ever played worth a damn has ever done this. They do not because it ultimately lessens the impact.

This is a really big, really obvious example of how the author effectively focus-tested this game's story for Twitter, and it also gives you a really unpleasant lens of why, as a storyteller, this sucks for narrative-based games. There are stories you flat-out can't tell if you have to blunt them for a certain audience or dumb them down. I can only imagine how the audience for this game would react to something with actual complexity and nuance to its story that didn't pull its punches and was stark with its portrayals of tragedy and brutality. Can you imagine how they'd react to a Yoko Taro game? You'd probably need to bolt the windows and lock the medicine chest.

Let's move on.

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The chapter does something interesting here by putting us in the shoes of the Hopeville Meatpunks, which consists of June, the owl-masked diversity checkbox from earlier, Moss, a woman who kind of looks too much like Pam from Archer for my tastes, and Emmy, a tastefully drawn woman who appears to have a prosthetic arm from a meatmech grafted onto her, in what may be the most interesting character design in this game. I find it very funny that the game refers to these characters as our heroes, because frankly that's accurate considering what's about to happen in this chapter.

Unfortunately we lead off with the sort of dialogue this game has thrown our way for a while now.

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After long bits of silence, Moss breaks the silence by pointing out that they're self-evidently not Fash and Emmy agrees.

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After June reluctantly introduces herself, it comes out that the reason that Moss' dialogue is done the way it is is because she's effectively mute. At this point Cass asks the question we were all thinking, and by "we were all thinking," I mean "this game's Twitter audience was thinking and no one else:"

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Moving onward, introductions happen and it gets revealed that the individual who beat the ever-loving shit out of June was none other than our horned armored assailant.

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I actually decided to go over the previous screengrabs to confirm this. Assuming every single ring-out was, in fact, a murder, except for the HAT FASH, and the Lianna/Brad bout, the actual body counts by this point are:

Sam: 10
Lianna: 24
Cass: 11
Brad: 7

So no, only Lianna's killed over a dozen.
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Daily reminder that Lianna is the most obnoxious character and if you didn't hate her before this chapter, you will around the end of it.

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This one's a two-parter due to the sheer number of images. Part two shortly.
 
That night, Brad takes comfort in Sam being around. Feelings are starting to blossom between the two.

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It's Autistically heartwarming. That's part of my new segment, "I dare you to put that on your website's download page."

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The following Meatmech segment is, without a shadow of a doubt, the worst one yet. Before I get into why this is, I want to get into character balance, because there isn't any, and this has been apparent since the Brad/Lianna fight. Each one has their own gameplay style and one of two primary attacks, a unique secondary ability, and a unique passive ability.

The TL;DR is that due to how the game mechanics work, Lianna is far and away the strongest one. It isn't even a contest. She goes twice as fast as the other competitors and due to her secondary (a forward dash) this she has the best approach game (easily above Sam) and second-best recovery game (right below Cass). She also uses Crush, which is the better of the two punches because it inflicts a lasting status effect that weakens the enemy more than bash. Even better, if you time the punch so you do it when using her movement boost, the momentum will launch the enemy further, and while it's not as strong as Brad's YEET KICK, it doesn't fuck you to use.

So Lianna's blatantly overpowered. Cass and Sam are basically all right. Still with me?

Brad is awful. While he's potentially a very good defensive character, his passive requires him to be disadvantaged and his secondary is the only one that's as much of a hindrance as it is a help, since launching an enemy leaves you immobile and unable to act for about three full seconds. Worse, his turning seems to be bad and he handles like he's a defective truck carrying a heavy load when he takes damage. Every time you use Brad, you're effectively handicapping yourself. But Lianna is fucking insufferable, so the choice becomes using a weaker character or putting up with Lianna being an asshole.

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Nothing can prepare you for the sheer difficulty spike of the next area, especially if you elected to play Brad. The area opens with a 2v1, then a 3v1 with a giant, then another 2v1 with another giant, followed by a fucking 5v1 with a third giant over increasingly bad terrain and the game keeps starting you in positions where your back is to the killzone. You are beyond screwed on this map, and this one truly drives home why the game included a "Skip Battle" command: because this thing is blatantly unfair and took me around an hour of real time to complete, and the only reason I was able to beat it without skipping is because I was basically forced to swap to Lianna, who as we've discussed, is blatantly overpowered.

And since we've used Lianna, we get to see her be fucking insufferable again:

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Anyway, the character you chose chews Emmy out for fucking with their mech without asking by installing a comms system. In the case of Lianna this results in a rather hilarious exchange between her and Moss because they're both assholes and neither of them are right.

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The bright keeps fucking up, however, and it's clear we're close now.

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We scale the mountain as Sam. It's hard, but the fights are all 2v1s and it ultimately proves to be vastly easier than the Brad vs Lianna fight or the previous map. The bright keeps pulsing, and we keep climbing higher and higher until we can no longer; the road's been knocked out.

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Moss offers to use what is effectively a teleportation device to lob Cass up to the summit, and we go now to the big reveal.
At the top of the mountain, we run into our old "friend."

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The mysterious man knows Cass well. Having watched as the sun was stolen, along with the future of the world, he has come to the conclusion that order must be beaten out of anarchy, lest chaos reign.

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As the first test of his device, he intends to vaporize Hopeville.

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Determined to stop this outcome, Cass fights him.

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She is also mechanically the absolute worst choice for this fight, even if the best from a character perspective.

Cass is an incredibly defensive fighter. This guy is incredibly aggressive, has absolute priority, Lianna's passive speed boost, Sam's short-ranged teleport, and the most broken of all, he can attack - and use abilities - while under the effects of a status effect. This makes Crush essentially useless against him for the active effect and Knockout is not a guaranteed free hit. His sheer speed and power means he can effortlessly pin you against a wall and ream you, if he doesn't just send your ass sailing off a cliff. In short, Cass is even worse than Brad here.

It's a supposed-to-lose fight, but it is one you can win, especially if you're an asshole and swap in Lianna starting round 2 because, as we established, she's by far the most powerful character in the game. However, this comes with it its own problems.

Have you ever played through Final Fantasy VI? I'm bringing it up for a reason beyond me wanting to play literally anything that isn't EXTREME MEATPUNKS FOREVER - there's a story beat from it that this segment kind of reminds me of in a way, so hark to the tale of this old man a few minutes and listen. In Final Fantasy VI, about 60% or so of the way through the game, a major event happens that screws the entire setting as you knew it up forever. You wind up with one character, alone, on an island, with one of the only people she was close to, and by all accounts, everyone else in the world is dead. That one person along with you is sick, and becomes bedridden. You are then tasked to catch fish, since he can't do it and he has to eat. While it is possible to save him if you catch only the best fish, it's partly dependent on the RNG and by far the better narrative happens if you fail (which is what the game expects): She tries to kill herself, and only in surviving the attempt does she find something to live for.

I bring this up because this is the exact same thing that happens in EXTREME MEATPUNKS FOREVER, albeit in reverse. If you lose the fight, he lives and escapes, and a host of potential storylines from this incident emerge. If you successfully beat him.... It's infinitely worse. Not only do you still ultimately fail to save Hopeville, but anything you could have learned about how the mystery man did this or who he was working for has been lost because Lianna murdered his ass. And Lianna's spiel that follows only adds salt to the wound - Lianna has no idea how to disarm the device and would rather posture about how cool and badass she is than even try to begin disarming the device.

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I need to point out that not a single character has "whined" about their loss that we've seen, and Lianna openly declares that she murdered them while they begged for their lives. And this is the character that Heather Flowers believes we're supposed to root for.

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......You could go about finding that remote any time, Lianna.

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The thing is? Like I said - this is a supposed-to-lose fight. And you know what that means?

It means that Lianna, for all this bluster and bravado, fails.

A roar unlike anything. Light so bright that you can't look upon it.

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But look upon it they must.

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The fucking sun has arrived. Hopeville is gone. Everything is ash.

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Cass and Sam head down to check on the others. It does not go well.

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Sam asks to help out. It goes as you might expect.

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They're on their own now.

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But Cass has an idea.

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And thus, it all comes to a conclusion. Join me next post for the afterward and a big penalty shot session.

Also enjoy my context-free line to headline the entire review:
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That night, Brad takes comfort in Sam being around. Feelings are starting to blossom between the two.

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It's Autistically heartwarming. That's part of my new segment, "I dare you to put that on your website's download page."

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The following Meatmech segment is, without a shadow of a doubt, the worst one yet. Before I get into why this is, I want to get into character balance, because there isn't any, and this has been apparent since the Brad/Lianna fight. Each one has their own gameplay style and one of two primary attacks, a unique secondary ability, and a unique passive ability.

The TL;DR is that due to how the game mechanics work, Lianna is far and away the strongest one. It isn't even a contest. She goes twice as fast as the other competitors and due to her secondary (a forward dash) this she has the best approach game (easily above Sam) and second-best recovery game (right below Cass). She also uses Crush, which is the better of the two punches because it inflicts a lasting status effect that weakens the enemy more than bash. Even better, if you time the punch so you do it when using her movement boost, the momentum will launch the enemy further, and while it's not as strong as Brad's YEET KICK, it doesn't fuck you to use.

So Lianna's blatantly overpowered. Cass and Sam are basically all right. Still with me?

Brad is awful. While he's potentially a very good defensive character, his passive requires him to be disadvantaged and his secondary is the only one that's as much of a hindrance as it is a help, since launching an enemy leaves you immobile and unable to act for about three full seconds. Worse, his turning seems to be bad and he handles like he's a defective truck carrying a heavy load when he takes damage. Every time you use Brad, you're effectively handicapping yourself. But Lianna is fucking insufferable, so the choice becomes using a weaker character or putting up with Lianna being an asshole.

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Nothing can prepare you for the sheer difficulty spike of the next area, especially if you elected to play Brad. The area opens with a 2v1, then a 3v1 with a giant, then another 2v1 with another giant, followed by a fucking 5v1 with a third giant over increasingly bad terrain and the game keeps starting you in positions where your back is to the killzone. You are beyond screwed on this map, and this one truly drives home why the game included a "Skip Battle" command: because this thing is blatantly unfair and took me around an hour of real time to complete, and the only reason I was able to beat it without skipping is because I was basically forced to swap to Lianna, who as we've discussed, is blatantly overpowered.

And since we've used Lianna, we get to see her be fucking insufferable again:

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Anyway, the character you chose chews Emmy out for fucking with their mech without asking by installing a comms system. In the case of Lianna this results in a rather hilarious exchange between her and Moss because they're both assholes and neither of them are right.

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The bright keeps fucking up, however, and it's clear we're close now.

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We scale the mountain as Sam. It's hard, but the fights are all 2v1s and it ultimately proves to be vastly easier than the Brad vs Lianna fight or the previous map. The bright keeps pulsing, and we keep climbing higher and higher until we can no longer; the road's been knocked out.

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Moss offers to use what is effectively a teleportation device to lob Cass up to the summit, and we go now to the big reveal.
At the top of the mountain, we run into our old "friend."

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The mysterious man knows Cass well. Having watched as the sun was stolen, along with the future of the world, he has come to the conclusion that order must be beaten out of anarchy, lest chaos reign.

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As the first test of his device, he intends to vaporize Hopeville.

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Determined to stop this outcome, Cass fights him.

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She is also mechanically the absolute worst choice for this fight, even if the best from a character perspective.

Cass is an incredibly defensive fighter. This guy is incredibly aggressive, has absolute priority, Lianna's passive speed boost, Sam's short-ranged teleport, and the most broken of all, he can attack - and use abilities - while under the effects of a status effect. This makes Crush essentially useless against him for the active effect and Knockout is not a guaranteed free hit. His sheer speed and power means he can effortlessly pin you against a wall and ream you, if he doesn't just send your ass sailing off a cliff. In short, Cass is even worse than Brad here.

It's a supposed-to-lose fight, but it is one you can win, especially if you're an asshole and swap in Lianna starting round 2 because, as we established, she's by far the most powerful character in the game. However, this comes with it its own problems.

Have you ever played through Final Fantasy VI? I'm bringing it up for a reason beyond me wanting to play literally anything that isn't EXTREME MEATPUNKS FOREVER - there's a story beat from it that this segment kind of reminds me of in a way, so hark to the tale of this old man a few minutes and listen. In Final Fantasy VI, about 60% or so of the way through the game, a major event happens that screws the entire setting as you knew it up forever. You wind up with one character, alone, on an island, with one of the only people she was close to, and by all accounts, everyone else in the world is dead. That one person along with you is sick, and becomes bedridden. You are then tasked to catch fish, since he can't do it and he has to eat. While it is possible to save him if you catch only the best fish, it's partly dependent on the RNG and by far the better narrative happens if you fail (which is what the game expects): She tries to kill herself, and only in surviving the attempt does she find something to live for.

I bring this up because this is the exact same thing that happens in EXTREME MEATPUNKS FOREVER, albeit in reverse. If you lose the fight, he lives and escapes, and a host of potential storylines from this incident emerge. If you successfully beat him.... It's infinitely worse. Not only do you still ultimately fail to save Hopeville, but anything you could have learned about how the mystery man did this or who he was working for has been lost because Lianna murdered his ass. And Lianna's spiel that follows only adds salt to the wound - Lianna has no idea how to disarm the device and would rather posture about how cool and badass she is than even try to begin disarming the device.

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I need to point out that not a single character has "whined" about their loss that we've seen, and Lianna openly declares that she murdered them while they begged for their lives. And this is the character that Heather Flowers believes we're supposed to root for.

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......You could go about finding that remote any time, Lianna.

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The thing is? Like I said - this is a supposed-to-lose fight. And you know what that means?

It means that Lianna, for all this bluster and bravado, fails.

A roar unlike anything. Light so bright that you can't look upon it.

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But look upon it they must.

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The fucking sun has arrived. Hopeville is gone. Everything is ash.

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Cass and Sam head down to check on the others. It does not go well.

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Sam asks to help out. It goes as you might expect.

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They're on their own now.

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But Cass has an idea.

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And thus, it all comes to a conclusion. Join me next post for the afterward and a big penalty shot session.

Also enjoy my context-free line to headline the entire review:
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And so the world ends as all expected it would.

Not with a bang, not with a whimper, but with a psychopathic murderer in a narcissistic rant.
 
All right, so what can we say about this game now that we've reached its end? Well, quite a lot. It's got good music. It has some small amounts of clever writing, a whole lot of terrible writing, and could serve as a lesson to future generations on why worldbuilding, making believable antagonists, and doing proper character development are important. It also serves as a poster-child for why you don't focus-test your game for Twitter. That Social Media bubble is not the mainstream, and making a game designed to pander to that alone is going to alienate basically anyone outside this audience.

For my money the biggest lesson to take away from EXTREME MEATPUNKS FOREVER is how badly that pandering restricts your own storytelling. It's not possible to build the antagonists in a compelling way because they have to be portrayed as simultaneously impotent and a threat. Even the most dangerous, competent, and powerful of all of them, the only one of them that the game bothers to give a face, the game never bothers to give a name, and while he's the most interesting character in the entire narrative, his involvement with the story is cut off at the knees if you win and the entire incident with Hopeville comes across as heavy-handed, motivated by the game having a desperate need to give the game an emotional core that it really hadn't earned.

That or that Heather Flowers is goddamn obsessed with meat for some goddamn reason and wouldn't know a fascist from the hole in a chicken's ass, anyway.

Also let's take three penalty shots now that we're over and that brings us to seven.

:fapcup::fapcup::fapcup::fapcup::fapcup::fapcup::fapcup:
 
Something about the terrible characterizations jogged my brain a bit.

This seems to be a common issue in current-day fiction (any fiction, really) written by social justice retards. You know what 'informed ability' is; these retards are an example of informed morality. We're supposed to root for them, but if you review their actions and behavior dispassionately, as Jaimas notes they are a pack of fucking violent lunatics.

It's the same pattern with Antifa and BLM's behavior. 'We're the good guys!' they chant, as they assault and kill people, burn down businesses, and forcibly 'occupy' buildings.
 
For my money the biggest lesson to take away from EXTREME MEATPUNKS FOREVER is how badly that pandering restricts your own storytelling. It's not possible to build the antagonists in a compelling way because they have to be portrayed as simultaneously impotent and a threat. Even the most dangerous, competent, and powerful of all of them, the only one of them that the game bothers to give a face, the game never bothers to give a name, and while he's the most interesting character in the entire narrative, his involvement with the story is cut off at the knees if you win and the entire incident with Hopeville comes across as heavy-handed, motivated by the game having a desperate need to give the game an emotional core that it really hadn't earned.
Characterization is not the SJWs forte. As i think someone said already, they never give the bad guys visible names, ideology, motives or anything outside of them doing bad things because they fear that anyone might side with the bad guy rather than the supposed heroes. That would be probably the lowest of the low for these kind of people and that's why they resort to make the baddies such nebulous bumbling fools: so you don't have enough information about them to say "Hey, they are right".

This seems to be a common issue in current-day fiction (any fiction, really) written by social justice retards. You know what 'informed ability' is; these retards are an example of informed morality. We're supposed to root for them, but if you review their actions and behavior dispassionately, as Jaimas notes they are a pack of fucking violent lunatics.
They also are incapable of giving characters complex motivations or making them grow through strife and tragedy. Can you imagine that after burning an entire village that bitch in the wheelchair did some soul searching and fell into a massive slump after realizing that her selfish actions caused the deaths of many and could have potentially killed all her friends?

For them, all their characters are perfect in every way and they will never change or learn.
 
It seems like the problems with the worldbuilding and antagonists tie into a bigger overarching one: the game can't decide what the hell it wants to be in terms of narrative scope and tone. It tries to be a down to earth and relatable experience, but also an epic adventure. That's how you get villains who are goofy hooligans one moment and an evil army bent on taking over the country the next, or a world in chaos where everything has been destroyed but people still hang out at the pub and watch sports on television. The result is a mishmash that's less consistent than Sonichu, and nowhere near as unintentionally hilarious.

It's not that a story can't have tonal shifts as it goes on. The Lord of the Rings starts out with a humble little party and ends with quests and battles for the fate of the world, for example. But people like Flowers can't be bothered to put some thought into how to handle such a transition, and end up doing the same thing as their better-paid fellows in Hollywood: mindlessly aping the formulas and conventions of genres they don't understand. It's unsurprising that the results should invariably be abject garbage.
 
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