YIIK: A Post Modern RPG / Ackk Studios / Andrew Allanson - "I wanted to make a game with a protagonist who was very unlikeable" - From Someone who is equally unlikeable. Currently developing Version I.V (1.5)

Maybe if you want people to play more than one playthrough you should design the one guy we hear the most to not be an insufferable cunt that takes up 50% of the cutscenes monologuing about his cock size or whatever the fuck the plot is about, idfk i listen to boy with fren not play hipster fuck fuck game.
 
It’s been posted before, but I’m going to highly recommend this video on YIIK. It’s long, but he goes through the game itself, but also talks about former interviews the creator did, old notes and production stuff, and talks a lot about how the game became what it did.
Listened to most of the video while playing Grim Dawn, I think the root of the problems in the game is that the creator wanted to have his postmodern day cake and eat it - He doesn't want to look at the medium and have a story be ambiguous so the audience will think about it, he wants to show how intellectual he is, tell the audience what's the meaning he intends and just flip basic tropes around to maximum edginess point (and act as if he is the first one who does it). Though just about everyone that ever invokes post modernism is guilty of doing that, so in some way it really is a Postmodern RPG.

Also he cheats by referencing early RPG games to make the audience forget that in the 20+ years that passed vitually every RPG trope was already subverted. And in the end of the day, the reasons why a lot of RPG tropes are kept despite all the time that passed is that they are better for storytelling and flipping them doesn't achieve anything but a neat one time twist.

But if you want to play an actually fun RPG, where the main character is a red headed, privilaged, emotionally immature guy, who meets a girl and is thrust into a fantastical quest, where the party calls him out on his behaviour, he meets a different version of himself, he learns he is the harbinger of the apocalypse, gets people killed, decides to improve himself and make amends with the party and ends up sacrificing himself to save the world and make amends. Play Tales of the Abyss.
 
Listened to most of the video while playing Grim Dawn, I think the root of the problems in the game is that the creator wanted to have his postmodern day cake and eat it - He doesn't want to look at the medium and have a story be ambiguous so the audience will think about it, he wants to show how intellectual he is, tell the audience what's the meaning he intends and just flip basic tropes around to maximum edginess point (and act as if he is the first one who does it). Though just about everyone that ever invokes post modernism is guilty of doing that, so in some way it really is a Postmodern RPG.

Also he cheats by referencing early RPG games to make the audience forget that in the 20+ years that passed vitually every RPG trope was already subverted. And in the end of the day, the reasons why a lot of RPG tropes are kept despite all the time that passed is that they are better for storytelling and flipping them doesn't achieve anything but a neat one time twist.

But if you want to play an actually fun RPG, where the main character is a red headed, privilaged, emotionally immature guy, who meets a girl and is thrust into a fantastical quest, where the party calls him out on his behaviour, he meets a different version of himself, he learns he is the harbinger of the apocalypse, gets people killed, decides to improve himself and make amends with the party and ends up sacrificing himself to save the world and make amends. Play Tales of the Abyss.
Dude jerks himself off a bit too much in the game too, between the constant of “Two Brothers” being put on a pedestal and the bit where he puts his own name on the game as a “man, isn’t this person just a great and amazing musician”, it tends to stand out a lot.

That and the interviews he gave in the past make him sound really full of himself.
 
But if you want to play an actually fun RPG, where the main character is a red headed, privilaged, emotionally immature guy, who meets a girl and is thrust into a fantastical quest, where the party calls him out on his behaviour, he meets a different version of himself, he learns he is the harbinger of the apocalypse, gets people killed, decides to improve himself and make amends with the party and ends up sacrificing himself to save the world and make amends. Play Tales of the Abyss.
This. Tales of the Abyss is my favorite game of all time and I advocate to everyone I know to play it.
 
This. Tales of the Abyss is my favorite game of all time and I advocate to everyone I know to play it.
Tales of the Abyss and .hack//GU are infinitely better examples of RPGs with actual asshole protagonists who mellow out over time than YiiK. Luke's breakdown when he realizes everyone fucking hated him is intense.
 
Tales of the Abyss and .hack//GU are infinitely better examples of RPGs with actual asshole protagonists who mellow out over time than YiiK. Luke's breakdown when he realizes everyone fucking hated him is intense.
And it helps that both games have some fantastic voice acting unlike YIIK. Hell I would argue both Tales of the Abyss and the GU trilogy are Yuri Lowenthal's best work, same for Johnny Yong Bosch.
 
And it helps that both games have some fantastic voice acting unlike YIIK. Hell I would argue both Tales of the Abyss and the GU trilogy are Yuri Lowenthal's best work, same for Johnny Yong Bosch.
Lowenthal is knocking it out of the park with those screams in GU. Same goes for Atoli's voice actor when she's talking about how absolutely miserable she is IRL.
 
Lowenthal is knocking it out of the park with those screams in GU. Same goes for Atoli's voice actor when she's talking about how absolutely miserable she is IRL.
Atoli's boss fight is one of my most memorable moments in gaming. Comparing with YIIK's mind dungeons, it shows that all the elaborate metaphor bullshit is far less effective than an empty void and a character screaming the same two lines over and over.
 
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How old was the dude when he wrote the story? Because his little blurb kindof suggests, alongside all of the inconsistencies about the year 1999, that it's a case of an amateur writer trying to make something entirely beyond his capabilities and not understanding why other people aren't interfacing with the scheme as he planned it out. You'll see this a lot in amateur-hour circles, because it does take a certain amount of effort to look at the bigger picture from another person's shoes.

All of that blathering about it being a story about negative, obsessive, self-destructive behaviors is an interesting one, but that's really not what the story presents. Ignoring even postmodernism's big tenets and assuming that there is some grand pretentious interpretation (is alex at the end of the game the true alex? is everything else in the game his bizarre, weird imagining of a heroic tale to cope with the fact that his weird obsession make him into a deadbeat? does y2k somehow symbolize not the end of the world, but effectively the end of alex's future because he got caught up in a weird internet thing?)... none of it is effectively communicated to the audience. It comes off like any of the other weird, obscure, pretentious earthbound clones.

Maybe he couldn't really get any feedback on the game's story and writing because people were bored to death of the combat and couldn't be assed to tell him that his story has pretty shit pacing, extreme tonal inconsistencies, mismatched characterization, and does its more interesting angles dirty by insisting they be interrupted by "weird" segments. Should've listened to Hamburger Helper and put in the 'skip gameplay' button.
yiik actually takes place in 2016 not 1999
 
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