I enjoyed the first Sorcery! game because everything you did felt inconsequential. All the money and magical items and spells were neat, the various people and creatures you met along the way were fascinating, but all were still inconsequential. It was a freeing experience, being able to play in the moment, without any care for future events. If that first game was defined by this kind of narrative freedom, the second game is defined by a restriction of that freedom. Suddenly, consequences matter. Not in a major way, but just enough to focus your play, which is both good and bad.
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Andrew Paschal: In the grand scheme of things, there may yet be a place for sentimental music. Who hasn’t wallowed in songs like this just to indulge in the sheer emotionality of it all? Listening to “Hypnotised”, I often couldn’t decide whether I was genuinely moved, agitated, or distracted by its unabashed commercial sweetness. Commercial in the sense that it sounds like it’s trying to sell you something, like an ad promising a beautiful, fulfilling life if you just book a particular vacation or buy a certain piece of jewelry. Coldplay cast the spell effectively in places, but the song’s greatest error is its six-minute length, more than enough time to catch onto the band’s ruse. The effect wears off before the song is even over. [5/10]
Adriane Pontecorvo: There’s a fairly standard Americana twang to John Moreland’s latest track and a fairly standard catchy chorus, but oh, that voice. Whiskey-tinged and tear-stained, John Moreland’s voice turns a standard into a standout. He has an earthiness beyond his years on “It Don’t Suit Me (Like Before)”, a reflective song that proves you can be a seasoned pro even at the age of 31. There’s a depth here that belies the happily bouncing melody, a melancholy, a shadow. A good tune with some good, good grit to it. [8/10]
“As much as I hate to do this” was Jason Lytle’s comical and straight open to our conversation. As a fan of his and Grandaddy and Admiral Radley, I wondered how much his shy but strong personality would come through in person. He did not disappoint in the slightest. He joked often, took extremely long pauses to think of his answers, and generally seemed uncomfortable with the idea that someone would want to ask him a bunch of questions.
We Become What We Behold is a non-partisan game about politics, which is hard to imagine in such a currently divisive American and European political landscape. This is exactly the point of We Become What We Behold, though, examining the horror of the viral nature of divisiveness and tribalism.
The game begins simply enough, asking its player to watch and then photograph a small group of randomly wandering individuals. Photographing “interesting” things results in a hashtagged photograph that ostensibly goes viral enough to affect parts of the group. If we photograph the one “interesting” person who has chosen to wear a hat when no one else is doing so, this results in others adopting the look. In other words, hats become cool for some people, and they join the hat tribe.